Thesis (M.A.)--University of Adelaide, Dept. of English Language and Literature, 1993. / Includes bibliographical references (leaves 248-271).

Thesis (Ed. D.)--Temple University, 1997. / Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 311-319).

Thesis (Ed. D.)--Temple University, 1997. / Includes abstract. Includes bibliographical references (leaves 311-319).

Thesis (M.A. in Dance)--Shenandoah University, 2004. / Includes bibliographical references.

Orientador: Dagmar Aparecida Cynthia França Hunger / Banca: Samuel de Souza Neto / Banca: Ana Flora Zaniratto Zonta / Resumo: Não disponível. / Abstract: Dancing expresses human and cultural heritage aspects of a given society and are mostly taught by licensed teachers or respected and seasoned practitioner . The main goal of this present research is analyze how those individuals who dedicate themselves to teach Street Dance in the São Paulo State got their formal training to do so ; and also theirs ideas and considerations about the challenges and limitations of their academic training to become teachers of such subject. This work is structured as follows: first the author brings us concepts about Culture, Hip Hop Culture, its origins and how the subject “Street Dance” is perceived and understood. On a second moment the author reviews what kind of studies and training are mandatory for someone to become a professional dancer or a Physical Education teacher; how PE teachers approach the teachings of dance techniques and how they accomplished their know how to do so, through academic/ professional training or just experiencing and practicing without formal, conventional education. Ten Street Dance Teachers of São Paulo State were interviewed and through their input the following conclusions became clear: A) None of them have ever received formal academic training in dancing; few of them hold degrees in Physical Education and most of them work as teachers licensed or authorized by organizations such as CREF or DRT. B) They believe there is no such thing as a unique or definitive line of education to become a professional in this field. C) They could not reach a consensus about the term “Street Dance”. D) They do not believe that there is a specific method to teach this dancing style. They rather believe that each teacher brings his or her own experiences to the class, which explains why each set of Street Dance students show different features and characteristics. E) They agree that getting a formal academic education... Complete abstract click electronic access below) / Mestre

Thesis (Ed.D.) -- Teachers College, Columbia University, 1991. / Typescript; issued also on microfilm. Sponsor: Nancy BrooksSchmitz. Dissertation Committee: Heidi Hayes Jacobs. Includes bibliographical references: (leaves 153-161).

Made available in DSpace on 2014-06-11T19:28:00Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-10-03Bitstream added on 2014-06-13T20:57:27Z : No. of bitstreams: 1 valderramas_cgm_me_rcla.pdf: 835140 bytes, checksum: 5cd709d347f01f4c0ef03fc998784587 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Dancing expresses human and cultural heritage aspects of a given society and are mostly taught by licensed teachers or respected and seasoned practitioner . The main goal of this present research is analyze how those individuals who dedicate themselves to teach Street Dance in the São Paulo State got their formal training to do so ; and also theirs ideas and considerations about the challenges and limitations of their academic training to become teachers of such subject. This work is structured as follows: first the author brings us concepts about Culture, Hip Hop Culture, its origins and how the subject Street Dance is perceived and understood. On a second moment the author reviews what kind of studies and training are mandatory for someone to become a professional dancer or a Physical Education teacher; how PE teachers approach the teachings of dance techniques and how they accomplished their know how to do so, through academic/ professional training or just experiencing and practicing without formal, conventional education. Ten Street Dance Teachers of São Paulo State were interviewed and through their input the following conclusions became clear: A) None of them have ever received formal academic training in dancing; few of them hold degrees in Physical Education and most of them work as teachers licensed or authorized by organizations such as CREF or DRT. B) They believe there is no such thing as a unique or definitive line of education to become a professional in this field. C) They could not reach a consensus about the term Street Dance . D) They do not believe that there is a specific method to teach this dancing style. They rather believe that each teacher brings his or her own experiences to the class, which explains why each set of Street Dance students show different features and characteristics. E) They agree that getting a formal academic education... Complete abstract click electronic access below)

Through an online survey conducted with Swedish high school dance teachers, the contents which make up the dance history course, a mandatory part of dance theory, is mapped out. The guidelines and regulations to which Swedish dance teachers must adhere when constructing the syllabus in the dance history course is broad, and by quantitative method, this study maps out areas where there is broad concurrence between respondents, and areas of greater disparity. By way of an intersectional perspective, the relative richness of historical background within, and among the different styles is brought into historical context. The theory Historical consciousness is used to analyse the consequences of the result in relation to the students’ opportunities to develop an identification with dance history. The result show broad similarities among the respondents, alluding to a general consensus of the contents of the dance history classes. The differences are found in how the individual styles of dance are taught, where hip hop to a greater extent lacks named historical persons, present in ballet and modern dance. Other findings are a predominance of men as named historical figures compared to women and a disproportional focus on the jazz’ early history compared to more contemporary movements.

This qualitative arts-based narrative inquiry explored and analyzed the experiences of five Black women dance educators who teach with micro-interventions of care, love, and mentorship toward racial uplift in Black youth. This inquiry’s data collection included participants’ journal entries, sent weekly via email; one-on-one, semi-structured interviews with the women; and roundtable sista’ circles convened within community dialogues. Participants were prompted to share stories of their lived experiences as community members, artists, educators, and scholars. The collected data was analyzed using thematic and narrative methods, beginning with deductive coding and continuing with chunked comparisons of the women’s narratives. This study’s findings revealed that the women’s narratives as educators, persons, and community leaders, centered Blackness, care and love for themselves and their community, and Afrofuturity extant in their dance education practices. The narratives themselves revealed anecdotes of community, artistry, spirituality, culture, and healing, told and retold in the form of storytelling and poetry. This study sheds light on the unique experiences and perspectives of Black women dance educators, highlighting the importance of their contributions to the field. This study also proposes future considerations for research and practice in unearthing more stories of dance education as a micro-intervention of care, love, and mentorship toward racial uplift in Black youth. The inquiry and its results hold ramifications for and suggest a new vision for Black youth as well as educators that is a joyful Afrofuturistic dance education praxis rooted in peace, love, harmony, and #JOY.

This study deals with the history of ballroom dancing in South Africa. While reference will be made to the founding of ballroom in the early eighteenth century in South Africa, the study will mainly focus on the period between 1920 and 1940 in the Johannesburg, Pretoria region. The study will determine how and why ballroom dancing came to South Africa from abroad; how South Africans borrowed from the international dancing world; what they copied, what ideas they followed, how they chose to dance ballroom and how this affected South African society at large. Copyright / Dissertation (MHCS)--University of Pretoria, 2009. / Historical and Heritage Studies / unrestricted