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Abstract 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. My question for this paper is: How can dancetutoring in pree-school develop children`s motoric activity? 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. 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. Keywords: dancing, motoric activity, movemnet & play. / Sammanfattning 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. Min frågeställning inför undersökningen är: Hur kan dansundervisning i förskolan påverka barns motoriska utveckling? 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. 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. Nyckelord: dans, motorik, rörelse & lek.

La présente recherche est une étude ethnographique d'une danse de rue hip-hop appelée «breaking» (communément appelée «breakdance») à Montréal dans ses divers contextes et occurrences. En particulier, elle vise à déterminer les changements esthétiques et socio-culturels qui se manifestent lorsque le contexte social ou vernaculaire du «breaking» est reconfiguré en oeuvre de danse contemporaine. Un examen historique de la forme de danse encadre l'exploration du «breaking» dans quatre contextes précis: le «freestyle cypher,» le «battle» organisé, la mise en vedette «freestyle» et le spectacle de danse contemporaine. Le transfert ou le glissement de contexte de la danse se décline en plusieurs niveaux: les participants (qui), l'esthétique et la forme (quoi), le lieu (où), la relation au temps (quand) et la raison d'être (pourquoi). Ces cinq catégories d'examen sont empruntées de la Theory and Methods for an Anthropological Study of Dance de l'anthropologue de danse américaine Joann Kealiinohomoku. La compréhension du transfert de la danse en divers contextes est inspirée par des modèles théoriques d'études en danses folkloriques. Le «freestyle cypher» reflète le contexte original participatif de la danse folklorique, souvent désignée comme première manifestation de danse. Les contextes subséquents suivent approximativement les trois principes de théâtralisation adaptés par le folkloriste canadien Andrij Nahachewsky lui-même inspiré du folkloriste ukrainien Kim Vasylenko. Selon ces principes, différents niveaux ou approches d'adaptation de la danse folklorique au théâtre sont appliqués à la danse d'origine. Le dernier principe rejoint l'approche de chorégraphes en danse contemporaine qui fusionnent le vocabulaire et l'esthétique du «breakdance» avec ceux de la danse contemporaine et du ballet. Ce processus est démontré dans une recherche sur le travail de deux compagnies de danse montréalaises, Rubberbandance Group sous la direction de Victor Quijada et Solid State Breakdance Collective sous la direction d'un groupe de chorégraphes-interprètes féminines. Les ramifications socio-culturelles d'un tel transfert sont complexes, surtout dans le milieu des arts de la scène. Le glissement, notamment d'un art populaire ou d'une danse vernaculaire, au «High Art» sous-tend une reconnaissance et un soutien institutionnels. Les divisions de la reconnaissance et le soutien se font souvent selon les ethnies. Néanmoins, les formes de danse non-occidentales réussissent, depuis quelques années, à infiltrer la danse contemporaine. Le «breaking», bien qu'elle soit une forme de danse née en Occident, illustre cela. Elle a été créée par de jeunes noirs et hispanophones du Bronx, un quartier défavorisé de New York, avant d'être largement assimilée par de jeunes Canadiens d'origines ethniques semblables, aussi issus de milieux défavorisés. Le travail de Rubberbandance Groupe et celui de Solid State Breakdance Collective questionnent les hiérarchies et se jouent des catégories. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Breaking (b-boying/b-girling), Danse vernaculaire Africaine Américaine, Danse contemporaine, Danse de représentation, Danse de participation, Appropriation, Hip hop.

In this essay I refer Eilis Ni Dhuibhne’s narrative construction of the main characters and the theme of the novel The Dancers Dancing, in the context of the anthropologist Victor Turner’s concept of liminality. Thus the summer in the Gaeltacht that five teenage girls experience, can be understood as a depiction of the liminal phase in a rite of passage. Ni Dhuibhne’s differently constructed characters enlighten different aspects of liminality and through the céilí dance their experiences are exposed. Furthermore this essay suggests that Julia Kristeva’s notion of the chora, which can be associated to dance, is also relevant when describing the unbounded and unlimited process that radically can reform social structures. I conclude that the liminal space offers an area of many possibilities. It functions as a free zone where the main characters can freely explore their personal issues that trouble them, or the difficulties of their own society.

published_or_final_version / Education / Master / Master of Education

This study investigated children's attributions for their performance in creative dance and folk dance. Eighty-six grade 5 and 6 children from a suburban elementary school participated in five creative dance and five folk dance lessons as part of their regular physical education program. After participation in each dance type, children completed a questionnaire which assessed their perceived success and attributions for their performance. After rating their perceived success in creative/folk dance, children gave an open-ended attributional statement for their performance, and then scored their statement along the four causal dimensions (personal control, locus of causality, stability, external control) (Weiss, McAuley, Ebbeck, & Wiese, 1990). Thirteen dance lessons were videotaped and the teacher's behavior was analysed. Results showed that children in both creative and folk dance tended to: (a) perceive their performance as successful, and (b) make functional attributions by attributing their performance to factors which they perceived as being personally controllable, internal, and not under the control of other people. Results indicated no significant effects of dance type or gender for perceived success and the four causal dimensions. However, two significant effects were found for grade, as the grade 5's perceived their performance to be more successful than the grade 6's, and also attributed their performance to factors that were less under the control of other people. Results from children's open-ended attributional statements and the observational recordings of the teacher's behavior supported the notion that creative dance and folk dance are two distinct forms of dance. The overall results appear to have positive implications with respect to the influence of creative dance and folk dance on the motivation of children. The findings therefore support the inclusion of dance in elementary physical education programs.

This study investigates the content of izigiyo (specified personified solo dance songs) texts that Zulu women perform at social occasions in KwaQwabe, a rural area near KwaDukuza (Stanger) in Northern KwaZulu-Natal, South Africa. Though this study focuses on izigiyo, the KwaQwabe have different oral performances that are performed at specific social occasions. In the KwaQwabe area there lives people who practise subsistence farming. The common crops that they (especially women) grow are maize, beans, groundnuts and imifino (herbs). The cattle and goats that the KwaQwabe men keep are mostly slaughtered for the amadlozi rituals. The study proposes that izigiyo as oral texts are largely responses to issues of heritage, culture, women abuse and domestic violence that lead to pent-up emotions, envy, witchery, gossip, and malpractices that can destroy a community-oriented life-style (Turner, 1998) that features in most African communities. The study hypothesises that Zulu women of KwaQwabe need to be treated with dignity and inhlonipho (respect) within the parameters of the Zulu tradition (Msimang, 1975). The study explores issues surrounding the izigiyo performance in order to establish whether Zulu women have always been silent (Bukenya, 2001) when it comes to issues that affect their lives, pertaining to issues that impinge negatively on their lives (Gunner and Gwala, 1991). The intended receivers of the messages (Ndoleriire, 2000) are always implied in the izigiyo texts and aim at serving as social regulators (Gumede, 2000). The language of izigiyo is in most cases metaphorical so as to avoid confrontation. In the midst of the izigiyo expression men and women relay their perceptions, experiences, and feelings about the way of life in their families and communities at large. This study, however, limits itself to the izigiyo texts that are enacted by Zulu women and does not include men’s. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2009.

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Ne taip seniai intelekto sutrikimą turintys asmenys Lietuvoje vis dar buvo izoliuota, stigmuota visuomenės dalis. Šiandien jų padėtis pasikeitusi. Siekiama bei įstatymais garantuojama kiekvieno neįgalaus asmens teisė į visapusišką ugdymą(si), socializaciją ir jo galimybes atitinkančią gyvenimo kokybę. Priklausomai nuo intelekto sutrikimo laipsnio, proto negalia lemia didesnius ar mažesnius pažeidimus visose bendrųjų gebėjimų raidos srityse (kognityvinėje, emocinėje, fizinėje, socialinėje) ir tuo riboja žmogaus galimybes. Dėl vidutinio intelekto sutrikimo sukeltų pažeidimų vaikai patiria kalbos, motorikos, aplinkos pažinimo, bendravimo sunkumų. Šokamieji žaidimai – veikla, kurioje persipina poezija, muzika, drama ir choreografija. Neįgaliųjų ugdymo kontekste šie žaidimai turėtų būti grindžiami ne judesių atlikimo kokybe, o tapti viena iš ugdymo ir komunikavimo priemonių, kurios užtikrintų pilnavertį, praktinį mokinių funkcionavimą. Tyrimo objektas – šokamųjų žaidimų atranka vidutinį intelekto sutrikimą turintiems vaikams. Darbo tikslas – atskleisti šokamųjų žaidimų ypatumus pritaikant vidutinį intelekto sutrikimą turintiems vaikams. Uždaviniai: išanalizuoti sutrikimų specifiką ir pateikti vidutinį intelekto sutrikimą turinčių vaikų psichologinę ir pedagoginę charakteristiką; išryškinti šokamųjų žaidimų taikymo galimybes šokio ugdymo procese; atskleisti šokamųjų žaidimų taikymo ypatumus vidutinį intelekto sutrikimą turinčių vaikų šokio veikloje; pagrįsti šokamųjų žaidimų... [toliau žr. visą tekstą] / Not long ago people with intellectual impairment were an isolated and stigmatised part of society in Lithuania. The situation has changed. Depending on the degree of intellectual impairment, mental disability determines minor to serious impairment in all areas of development of general abilities (cognitive, emotional, physical and social), thus limiting human capabilities. Children suffering from moderate intellectual impairment experience linguistic, motor, cognitive and communication difficulties. Dancing games encompass poetry, music, drama and choreography. In the context of the education of disabled people, instead of being based on the quality of movements, these games should become a means of education and communication ensuring full practical functioning of students. The subject matter of the thesis is selection of dancing games for children with moderate intellectual impairment. The purpose of the thesis is to reveal the specific features of dancing games adapted for children with moderate intellectual impairment. Objectives: to analyse the specific features of this type of impairment and provide the psychological and educational characteristics of children with moderate intellectual impairment; to highlight the applicability of dancing games in the dance training process; to identify the specificity of the use of dancing games in the dancing activities of children with moderate intellectual impairment; to justify the criteria for the selection of dancing games for... [to full text]