Solicitud de envío manuscrito de artículo científico. / En el presente estudio, se relacionaron las variables pasión y estado de fluidez (flow) en 142 bailarines de una escuela de danza. La pasión es la identificación que tiene la persona con una actividad que le encanta e invierte tiempo, dedicación y compromiso (Carpentier, Megaeu y Vallerand, 2012). El flow es la abstracción del tiempo y del espacio que tiene la persona ante una actividad que le es placentera (Hernández, Morales y Triguero 2012). Se aplicaron los instrumentos: Escala de pasión adaptada en español (Orgamdídez, Borrego y Gonçalves, 2014) y la Escala de flow adaptada en español (García et al. 2008). Los resultados demuestran que existe una correlación positiva entre la pasión y el flow en los bailarines (p<,05). Además, se encontró que existe diferencia significativa en la variable sociodemográfica roles de los bailarines, evidenciando que los profesionales y estudiantes experimentan mayor pasión y flow (p<,05). / In the present study, the variables passion and state of flow in 142 dancers from a dance school were related. Passion is a person's identification with an activity that they love and invest time, dedication, and commitment (Carpentier, Megaeu and Vallerand, 2012). Flow is the abstraction of time and space that a person has in front of an activity that is pleasurable for them (Hernández, Morales and Triguero 2012). The followed instruments were applied: Passion Scale; adapted to Spanish (Orgamdídez, Borrego and Gonçalves, 2014) and Flow Scale; also adapted to Spanish (García et al. 2008). The results show that there is a positive correlation between passion and flow in dancers (p <,05). Moreover, it was found that there is a significant difference in the sociodemographic variable of the roles of the dancers, showing that professionals and students experience greater passion and flow (p <,05). / Tesis

This study tested a model of objectification theory proposed by Fredrickson and Roberts (1997) as it applies to disordered eating in a sample of dancers and non-dancers. The methods in this study are based on a previous test of objectification theory done by Tiggeman and Slater (2001). Two samples of participants were given a survey to measure self-objectification and its anticipated consequences. The first sample included 155 women who participated in either ballet, modern, jazz, or hip-hop dance. The second sample included 199 women enrolled in undergraduate classes at the University of Central Florida during the fall semester of 2004. Participants in the two samples did not score differently on the measure of self-objectification. However, dancers scored significantly higher on the self-surveillance, body shame, appearance anxiety, flow, awareness of internal body states, and disordered eating measures than the non-dancers. None of the proposed mediating variables were found to mediate the relationship between self-objectification and disordered eating in either sample.

Thesis (Ph.D.)--Ohio University, November, 2005. / Title from PDF t.p. Includes bibliographical references (p. 272-299)

University of Macau / Faculty of Social Sciences and Humanities / Department of Communication

Thesis (Ph. D.)--University of California, Los Angeles, 2001. / Vita. Includes bibliographical references (leaves 201-210).

M. Ed. / We live in an era of technology where people strive for technological precision and higher standards of living. We can describe this as the information era where it is no longer possible to expect from learners to memorise all given information. Apart from that, we live in a multi-cultural society which leads to unique considerations that have to be accommodated. We are faced with a variety of problems such as economic instability, corruption and crime. An allover result of such conditions could cumulate in problems with discipline. The school is only one of the entities in the total process of learning and current changes in the educational system focus on the responsibility to enrich the child with life-long learning habits. Learning opportunities outside schools are encouraged to enhance self-development and learning. This study aims to explore and describe the life-world of the classical principal dancer in order to gain an understanding of what it takes to become a top performer. The qualities that support educational development and self-development will be outlined. An explorative, descriptive, contextual and qualitative study was carried out with the view to obtain insight and understanding with regard to the classical principal dancer's life-world, what it takes to perform and to reach the top. The research is conceptulised and focuses on principal dancers of the South African Ballet Theatre and the Cape Town City Ballet. The phenomenological interviewing method was used as well as the taking of field notes. The interviews were audio taped and then transcribed. The researcher made use of Tesh's method to process the data. Guba's model was applied to ensure trustworthiness of the research.

Generalized joint laxity (GJL), a condition in which most joints of the body move beyond the accepted normal range of motion, is present in many ballet and modern dancers. It has been associated with an increased risk of injury, decreased muscle strength, and greater landing forces. Increased joint laxity results in joint instability and may precede the development of osteoarthritis, which is associated with a reduction in cartilage thickness. We hypothesized that dancers with GJL would have decreased hip cartilage thickness, as well as greater hip adduction angles and greater ground reaction force on landings. Twenty female ballet and modern dancers (mean age: 21.0 ± 1.79 years; mean weight: 57.0 ± 5.71 kg; mean years of dance experience: 14.6 ± 3.53 years; mean hours of training per week: 19.2 ± 7.24 hours) were recruited from college and local dance programs and screened for GJL. Each dancer performed three forward drop landings onto a force plate and received an MRI on their dominant hip. There was a significant difference in hip cartilage thickness, as viewed in the frontal plane (GJL group average: 2.66 ± 0.33 mm; control group average: 3.14 ± 0.48 mm; p = 0.0160), between the groups. There were no significant differences in peak hip adduction angle on landing (GJL group average: 80.9 ± 5.04 degrees; control group average: 77.9 ± 5.78 degrees; p = 0.2269) or peak landing ground reaction force (GJL group average: 5.56 ± 1.28 body weights; control group average: 5.17 ± 0.82 body weights; p = 0.4274) between the generalized joint laxity group and the control group. Dancers with GJL have thinner cartilage at the hip. These results suggest that dancers with GJL may be at a greater risk for injury. Therefore, these dancers may benefit from strength training programs, rather than flexibility training, to help counteract the joint instability that can lead to injury.

[No Abstract]

Thesis (Ph.D.)--Ohio University, June, 2009. / Release of full electronic text on OhioLINK has been delayed until June 1, 2012. Includes bibliographical references (leaves 371-443)

Thesis (Ph.D.)--Ohio University, June, 2009. / Title from PDF t.p. Release of full electronic text on OhioLINK has been delayed until June 1, 2012. Includes bibliographical references (leaves 371-443)