A dança possibilita a aquisição de habilidades e auxilia na melhora da capacidade motora, permitindo movimentos mais complexos. O objetivo deste trabalho foi analisar o equilíbrio postural e a força muscular de mulheres idosas que participam de desfiles no carnaval. Métodos: Para a realização do estudo foram recrutadas 110 mulheres, com média de idade de 67,4 (5,9) anos, divididas em dois grupos. Um grupo de idosas participantes dos desfiles de carnaval na \"Ala das Baianas\" (Gr- Baianas) e um grupo controle que não realiza tal atividade (Gr-Controle). Foram avaliadas as características sociodemográficas; clínicas; atividade física; psicocognitivas: utilizando a Escala de Depressão Geriátrica (EDG), Mini-Exame do Estado Mental de Folstein(MEEM); equilíbrio postural dinâmico: Time up & Go Test com e sem dupla tarefa; força muscular de flexores e extensores de joelho utilizando o dinamômetro isocinético; força de preensão palmar e avaliação do equilíbrio postural por meio de uma plataforma de força nas seguintes condições: olhos abertos e olhos fechados. Resultados: Nas condições sócio-demográficas os grupos foram diferentes no item socioeconômico. Não houve diferenças significantes na avaliação psico-cognitiva, no número de quedas, no equilíbrio dinâmico e no equilíbrio postural com olhos abertos e força muscular de flexores e extensores de joelho. O grupo Baianas apresentou força de preensão palmar superior ao controle em ambos os membros, houve diferença significante em todas as variáveis do equilíbrio postural com os olhos fechados. Conclusão: As condições sóciodemográficas, clínicas, funcionais e psico-cognitivas e força de flexores e extensores de joelho não demonstraram diferenças entre os grupos. As coreografias das dançarinas de samba demonstraram influência no equilíbrio postural com os olhos fechados, com menores oscilações no sentido anteroposterior e médio-lateral e maiores amplitudes de deslocamento, velocidade e área de deslocamento nos dois sentidos. As baianas apresentaram maior força de preensão palmar que o controle / Dancing allows the gain of abilities and helps on increasing of motor skills, allowing more complex movements. Methods: The objectives of this study were to analyze the postural balance, muscle strength of women who casting in the carnaval parades. A hundred and ten women were assigned with average age of 67.4 (5.9) years old, divided between two groups: a group of elderly participants of the carnaval parades in the \" Wing of Baianas \" (Gr- Baianas) and a control group that does not perform this activity (Gr-control).We assessed socio-demographic characteristics; clinics; physical activities; psycho-cognitive: using the Geriatric Depression Scale (GDS), rapid cognitive assessment (Mini - Mental State Examination); Dynamic postural balance: Time up & Go test, with and without dual task; muscle strength of knee extensors and flexors using an isokinetic dynamometer; handgrip strength and evaluation of postural balance through a force platform under the following conditions: open eyes and closed eyes. Results: In socio- demographic groups were different in socioeconomic item, there were no significant differences in psycho-cognitive assessment, the number of falls, dynamic balance and postural balance with open eyes and muscle strength of knee extensors and flexors. The group presented dancers grip strength higher than the control in both limbs; there was a significant difference in all variables of postural balance with eyes closed. Conclusion: Socio-demographic, clinical, functional and psychocognitive conditions and strength of flexors and knee extensors showed no difference between groups. The choreography of samba\'s dancer demonstrated influence on postural balance with eyes closed with lower oscillation in anteroposterior and mediolateral displacement and larger amplitudes in both directions, velocity and displacement area. The group dancers had greater grip strength than the control

Made available in DSpace on 2015-03-05T18:25:55Z (GMT). No. of bitstreams: 0 Previous issue date: 22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta pesquisa investiga como a coreografia se constitui nas mídias audiovisuais a partir de procedimentos técnico-estéticos. Para responder a esta problemática foi realizado um estudo de caso do filme Michael Jackson- This is it, considerando os elementos que caracterizam o movimento nas imagens: luz, som e corpos; e os elementos da imagem: movimentos de câmera, montagem e edição. Tais elementos, ao serem combinados, produzem sentidos estéticos de movimento ritmado, percebidos aqui como coreografias audiovisuais. Com objetivos de propor o conceito de coreografias audiovisuais; identificar e caracterizar os elementos que constituem a coreografia audiovisual; descrever como se constitui a coreografia audiovisual nas mídias e como as coreografias audiovisuais no filme This is It atualizam o show em devir, esta pesquisa adotou como procedimentos metodológicos: pesquisa exploratória, revisão bibliográfica, estudo de caso, dissecação e análise fílmica. A partir da pesquisa concluiu-se que o filme This is it é um ca / The aim of this research is to investigate how choreography constitutes in the audiovisual Medias from technical-aesthetical proceedings. To answer this question it was realized a case study of the movie Michael Jackson - This is it, considering the elements which characterized the movement of the images: light, sound and bodies; as well as the elements of the image: camera movements, editing, and edition. Such elements, when combined, produce aesthetical rhythm movement senses, viewed here as audiovisual choreographies. It aims to present the concept of audiovisual choreography; identify and characterize the elements which constitute audiovisual choreography; describe how it is formed in medias and how audiovisual choreographies of the movie This is It bring up to date the show coming to be. This research adopted as methodological proceedings: explanatory research, bibliographical revision, case study, dissection and filmic analyses. From this research it can be concluded that the movie This is it is a typic

Against the backdrop of the 1933 and 1959 Cuban Revolutions, dance became highly politicized as performers interacted with the state and expressed ideas choreographically about race, gender, and social change. Starting in the 1930s, citizens invested in ballet as a means for cultural progress. In the 1940s and 1950s, a growing cadre of ballet professionals and their supporters advocated for the government to subsidize the form. Simultaneously, carnival, cabaret, and concert dancers sparked widespread discussion about nation and racial formation, specifically the place of blackness and whiteness in Cuba. As a result, performers and patrons established the political valence of dance as means for reflecting on larger questions about self and society. After 1959, dancers adapted to the regime change while pursuing longstanding projects. Ballet dancers performed aggressive choreography in fatigues, along with traditional ballets from Europe and Russia, as part of their revolutionary repertoire. Dance teachers built upon previous pedagogical efforts and contributed to new social engineering projects to “improve” Cuban youth. In parallel, modern and folkloric dancers choreographically critiqued patriarchy and race relations in a supposedly post-racial society. These performances developed a Cuban way of dancing and watching dance, the latter characterized as engaged and talkative. Dancers and publics built a vibrant establishment that eventually transcended national borders with Cubans dancing and teaching abroad in the 1970s and 1980s. Meanwhile, dancers contributed to the growing tourist industry and pushed for institutional changes at home in the late 1980s. In 1990, Cuba entered a crisis that destabilized the relationship between dance and politics that had developed over the previous six decades. During this period, different dance forms including cabaret, carnival, ballet, modern dance, and folkloric dance received various levels of public and state support. I argue that there were important continuities in dance hierarchies with ballet holding the greatest cultural and political capital starting in the 1930s. I also contend that dancers of different genres employed similar tactics to navigate sociopolitical shifts and expressive parameters across the decades. They consistently shaped dance institutions and asserted the value of their work to revolution and nationhood. This social and cultural history of Cuban dance sheds light on the reach and limitations of state power in Cuba as numerous constituencies engaged with the revolution, maneuvering for agency within a limited public sphere.

Introdução: As adaptações fisiológicas da dança samba são pouco conhecidas. A caracterização cardiorrespiratória e metabólica aguda e/ou crônica e da composição corporal como atividade física é pouco estudada. O samba é uma atividade intermitente que envolve movimentos dos membros inferiores, tronco e membros superiores simultaneamente. Objetivo: Verificar o efeito da dança samba na aptidão cardiorrespiratória e na composição corporal de mulheres passistas que desfilam em escolas de samba. Métodos: Participaram do estudo 26 mulheres, entre 20 e 40 anos de idade, distribuídas em dois grupos: Grupo-Passistas (GP): 13 passistas de uma escola de samba tradicional de São Paulo e Grupo-Controle (GC): 13 mulheres que não dançavam samba. Foram avaliadas as funções cardiovascular e metabólica pelo teste ergoespirométrico computadorizado e a composição corporal pelas dobras cutâneas. Foram realizadas sessões de ensaio de samba não padronizadas, sendo três sessões semanais, com duração de 60 minutos, por um período de 12 semanas. A frequência cardíaca (FC) variou durante os ensaios de 66% a 85% da FCmax atingida no teste de esforço e foi monitorada por cardiofrequencímetro. Resultados: Com a prática da dança samba houve aumento de 19% no VO2max e de 13% no PO2max (P < 0,001). Houve aumento da FC no pico do esforço de 3% (P < 0,022), da RERmax em 10% (P < 0,001). A massa magra aumentou um quilo (P < 0,004), a massa gorda diminuiu 12% (P < 0,001) e a porcentagem de gordura diminuiu 11% (P < 0,001). Conclusão: Houve melhora em todos os indicadores de aptidão cardiorrespiratória e de composição corporal com 12 semanas de dança samba. Estes resultados fornecem evidências adicionais de que esse estilo de dança tem efeitos significativos para a saúde / Introduction: The physiological adaptations of samba dance aren´t well known. Cardiopulmonary characterization and acute metabolic and/or chronic, body composition and physical activity are understudied. Samba is an intermittent activity that involves movements of lower body, trunk and upper body simultaneously. Objective: To determine the effect of samba dance in cardiorespiratory fitness and body composition of women dancers who parade in samba schools. Methods: The study included 26 women aged 20 to 40 years old, divided into two groups, Women Dancers Group: 13 dancers from a traditional samba school in Sao Paulo and Control Group: 13 women who did not dance samba. Cardiovascular and metabolic functions by computerized ergospirometry and body composition by skinfold were evaluated. Samba practice sessions were held nonstandard, three weekly sessions, lasting 60 minutes, for a 12 week period. The heart rate (HR) varied during the rehearsals of 66% to 85% HRmax achieved in the stress test and was monitored for heart rate monitor. Results: The practice of dance samba increased by 19% VO2max and 13% of PO2max (P < 0,001). There were HR increase in peak stress of 3% (P < 0,022) and RERmax by 10% (P <0,001). Lean body mass increased by one kilogram (P < 0,004), fat mass decreased by 12% (P < 0,001) and fat percentage decreased by 11% (P < 0,001). Conclusion: There was improvement in all indicators of cardiorespiratory fitness and body composition with 12 weeks of samba dance. These results provide further evidence that this dance style has significant health effects

A dança é geralmente considerada uma prática artística com exigências físicas semelhantes aos esportes. Para os cientistas em medicina da dança, o dançarino é reconhecido como um artista-atleta, então mapear as necessidades de saúde e a condição física do dançarino pode ser útil para entender a carreira e garantir que o corpo dos bailarinos seja preparado adequadamente para alcançar o escopo da criatividade. A taxonomia é o estudo científico responsável pela classificação sistemática e organização das categorias. A taxonomia psicomotora, baseada no consenso dos especialistas, sistematizou hierarquicamente o fenômeno da dança como um sistema de dança do motor. Este estudo propõe uma taxonomia psicomotora para seis diferentes estilos de dança (balé clássico, dança contemporânea, salão de baile, dança do ventre, urbano e jazz), examinando os elementos e capacidades físicas semelhantes, identificáveis, mensuráveis e críticas para o entendimento do Sistema de Atividade Motora da Dança. A partir da premissa de análise de tarefas, foram usados para validar a taxionomia o método de conteúdo de Fehring e o método de consenso Delphi, a proposta da taxonomia foi organizada sistematicamente em elementos e capacidades físicas selecionados com base no conhecimento de especialistas. A lista validada de elementos essenciais consiste em 10 elementos motores fundamentais para a execução dos seis estilos de dança e 10 capacidades físicas essenciais comuns aos elementos analisados. As capacidades mais importantes validadas pelos especialistas em saúde e dança para o Sistema de Atividade Motora da Dança foram coordenação, orientação espaço-temporal e força, enquanto as capacidades menos importantes validadas foram agilidade, flexibilidade e impulso. A taxionomia do Sistema de Atividade Motora da Dança foi composto por um conjunto de habilidades motoras de dança (sequência coreográfica, dança de improvisação e sequência de dança), elementos (postura dos pés, postura, transferência de peso, chute, dissociação, giro, salto, queda, elevação e deslocamento), e capacidades físicas (força, potência, resistência, coordenação, agilidade, equilíbrio, flexibilidade, impulso, ritmo e orientação espaço-temporal) necessárias para a realização de qualquer estilo de dança / Dancing is usually considered an artistic practice with physical demands similar to sports. To scientists in dance medicine, the dancer is recognized as a merged artist-athlete, so mapping the health needs and physical condition of the dancer may be useful to understand the career and to ensure the dancer\'s body is optimal to achieve the scope of one\'s creativity. Taxonomy is the scientific study responsible for the systematic classification and organization of categories. This study proposed a psycomotor taxonomy for six different dance styles (classical ballet, contemporary dance, ballroom, belly dance, urban, and jazz), screening the elements and similar physical capacities, which are identifiable, measurable, and critical to the Dance Motor Activity System. From the premise of task analysis, the Fehring content method and the Delphi consensus method were used to validate the proposed taxonomy based on experts\' knowledge, and we systematically organized the elements and physical capacities selected by the task analysis. The validated list of essential elements consisted of 10 fundamental motor elements and 10 essential physical capacities common to the six dance styles analyzed. The least important capacities validated by the health and dance experts for the Dance Motor Activity System were agility, flexibility, and impulse, whereas the most important capacities were coordination, spatio-temporal orientation, and strength. The psycomotor taxonomy, based on the consensus of the experts, hierarchically systematized the phenomenon of dance as a Dance Motor System. This was composed of a set of dance motor skills (choreographic sequence, improvisation dance, and dance sequence), elements (posture of the feet, stance, weight transfer, kick, dissociation, turn, jump, fall, lifting, and traveling), and physical capacities (strength, power, resistance, coordination, agility, balance, flexibility, impulse, rhythm, and spatio-temporal orientation) required for the performance of any give dance style

The study focuses on the types of cultural practice that are, in the main, generated by the young people themselves (hereafter referred to as youth generated cultures) who fall within the age group of 14-20 yrs of age. The research was undertaken in the Western Sydney region, which is the largest expanding population in Australia, and is regularly defined as a socio-economically disadvantaged region, therefore, an important factor within this study is the issue of class determinants. The paper explores the youth generated cultural practice of graffiti, skateboarding, street machining, and street dancing. These creative practices challenge traditional notions of culture and the arts, however the young people also employ strategies of an aesthetic nature in their creative process. Youth generated cultures are actively engaged in criticism through the use of instrumentalist aesthetics such as Monroe Beardsley describes. The thesis proposes that youth generated cultures have, in a united and structured manner, provided for themselves a framework of economic and pedagogical support that has afforded them a place within the cultural mainstream without the recognition or approval of mainstream cultural establishments. It is argued that these particular youth generated cultures are not rebellious or destructive subcultures, that they are creative in nature and have been established primarily to produce and display their creative cultures. Youth agency is essential to the character of these youth generated cultures and it is this agency that is under challenge from the cultural hegemony. The young people involved in youth generated cultures demand that any account of their cultural practice must also accept the agency of youth as fundamental to their cultural status. / Master of Arts (Hons) (Art History and Theory)

The thesis is the result of an inquiry into the experiences of a group of people engaged in a Buddhist inspired creative meditation program, the main practice of which is the recognition and honouring of the spiritual dimensions, the divinity of self and others. The study employed a heuristic process of examining 'inner world' experiences. The inquiry was collaborative in the sense that its findings were not those of one person alone, but were a compilation of the results of interactions within the group. The inquiry was based on the hypothesis that creative meditation can facilitate changes in a person's perception of self and the external world. The principal aim was to explore into that possibility and investigate the group members' thoughts and feelings as to the main function, significance and eventual outcome of their practice. The investigation seemed to show that for the core group participants there were changes in self-understanding involving more self-acceptance. Changes in attitudes to relationships of various kinds also took place and these also seemed to involve the development of a greater degree of acceptance. With some participants the association of the practice with favourable co-incidence was an interesting but inexplicable feature. For some there was an identification of mind sets which seemed to have a bearing on the quality of meditation experience and its outcomes. The title of the study refers to the manner in which the meditations were often generated. A mandala, a symbolic picture, was designed by each participant and the features of this were imagined to move, sometimes dancing, through the meditations which followed. The second sub-title refers to an integral feature of the practice which was an attempt to arouse a sense of the wonderful as a quality of the people who were imagined to appear in the meditations. / Master of Science (Hons) (Social Ecology)

The primary objective of this thesis is to review literature written about poi in order to construct an historical overview of poi from pre-contact Maori society until the 1920s. The mythological and Polynesian origins of poi, traditional and contemporary materials and methods used to make poi, early travellers, explorers, and settlers accounts of poi and two case studies on the use of poi in the Taranaki and Te Arawa areas will be included in this thesis. The information will be used to show the changes in poi that have occured since Maori and European arrival to New Zealand until the 1920s.

Nga mahi a Tane-rore me Te Rehia (traditional Maori performing arts) is one of the most visible aspects of Maori culture. Traditional Maori performing arts is one of the key elements seen on the marae and it marked the first experiences between the Maori and European explorers. However, since the arrival of tauiwi (foreigners) the art has evolved, largely as a result of outside influences. Many of the changes that have been introduced to the art have been a product of the struggle of Maori to maintain their language and customs, despite the onslaught of cultural domination. An example of one such change is the introduction of a Western style competition, that is, a formal style of competition that includes judges, assessment criteria and/or competition rules, and prizes. This thesis will explore the evolution of traditional Maori performing arts with particular reference to how this traditional art form has been affected by the 'Western' notion of competition.

<p>Abstract</p><p>Dancing and the body`s ability to express itself has been an interest of mine for a long time. For that reason I would like to find out more on how you as a pedagogue can work with dancing as a way to develop motoric activity. The purpose of my research is to find out how pree-school-pedagogue`s and sportsteacher`s are working with dancing, and also how children in a pree-school class apprehends the idea of dancing before and after a dancelesson.</p><p>My question for this paper is:</p><p>How can dancetutoring in pree-school develop children`s motoric activity?</p><p>To find out the answer for this question I have also chosen to use relevant litterature within the subject. Since the examination covers only the answers from four pedagogue`s and six children I can not make a generell conclusion that covers all children or pree-schools. However can I show the benefits of using dancetutoring in pree-school to develop children`s motoric activity.</p><p>The result showed that children and pedagogues have the same apprehension about dance, and resembles this with a movement. The children`s answers are not as self-evident as the pedagogue`s but for me, they are of equal value for my examination. Some of the benefits with using dancing to develop motoric activity are, according to litterature and pedagogue`s: strengthened motor activity, coordination, flexibility, a developed movement pattern, consciousness of the body, increased knowledge of the body and self-esteem.</p><p>Keywords: dancing, motoric activity, movemnet & play.</p> / <p>Sammanfattning</p><p>Mitt intresse för dans och kroppens uttrycksmöjligheter har funnits en längre tid, och jag vill därför ta reda på mer om hur man som pedagog kan arbeta med dansen för att utveckla motoriken. Syftet med min undersökning är att ta reda på hur förskolepedagoger och idrottslärare arbetar med dans, samt hur barn i en förskoleklass uppfattar begreppet dans innan och efter en danslektion.</p><p>Min frågeställning inför undersökningen är:</p><p>Hur kan dansundervisning i förskolan påverka barns motoriska utveckling?</p><p>För att ta reda på svaret till dessa frågor har jag även valt att använda mig av relevant litteratur inom ämnet. Då undersökningen bara omfattar fyra pedagogers och sex barns svar så kan jag inte dra någon generell slutsats som omfattar alla barn eller förskolor. Däremot kan jag påvisa fördelarna med att använda sig av dansundervisning i förskolan för att utveckla motoriken hos barnen.</p><p>Resultatet visade att barn och pedagoger har samma uppfattning om vad dans är för någonting och liknar detta med rörelse. Barnens svar är inte lika självklara som pedagogernas men är ändå för mig, av lika stort värde i min undersökning. Några av fördelarna med att använda sig av dans för att utveckla motoriken är enligt litteratur och pedagoger: en stärkt motorik, koordination, smidighet, ett utvecklat rörelsemönster, kroppsmedvetenhet, ökad kroppsuppfattning och kroppskontroll samt självkänsla.</p><p>Nyckelord: dans, motorik, rörelse & lek.</p>