Tema: Šokis su ugnimi kaip prevencijos priemonė 12 – 18 Tyrimo problema – Kaip vaikams iš socialinės rizikos šeimų, stokojantiems socialinių įgūdžių, šokis su ugnimi gali padėti tokius įgūdžius susiformuoti? Tyrimo objektas – rizikos grupės vaikų požiūris į šokį su ugnimi kaip meninės saviraiškos priemonę. Tyrimo tikslas – ištirti kokį poveikį turi šokis su ugnimi vaikų socialinių įgūdžių tobulėjimui. Tyrimo uždaviniai: 1. Aptarti meninio ugdymo sampratą ugdant socialinės rizikos grupės vaikus 2. Išanalizuoti šokio ir žongliravimo ugnimi meno reikšmę bei naudą asmenybės formavimuisi. 3. Ištirti kaip šokio su ugnimi praktiniai užsiėmimai gali padėti rizikos grupės vaikams lengviau adaptuotis prie aplinkos. 4. Ištirti šokio su ugnimi studiją lankančių vaikų socialinių įgūdžių pokyčius po pirmojo pasirodymo. Tyrimo hipotezė – meninis ugdymas stiprina vaikų pasitikėjimą savimi bei adaptavimosi visuomenėje įgūdžius. Išanalizavus mokslinę literatūrą ir atlikus tyrimą, prieita prie šių išvadų: 1. Išanalizavus mokslinę literatūrą, galime teigti, kad šokiai su ugnimi daro teigiamą įtaką rizikos grupės vaikams. Įskiepytas noras tobulėti ir ugdyti save bei ilgos ir sunkios valandos treniruočių salėje – morališkai ir fiziškai sustiprėję vaikai. Daug laiko ir pastangų buvo skirta meniniam vaikų ugdymui: asmenybės tobulinimui, bendravimo įgūdžių gerinimui, kultūros mokymui, disciplinai. 2. Darbo metu grupėje pastebėti kardinalūs pokyčiai vaikų elgesyje: pakilusi savivertė... [toliau žr. visą tekstą] / Research problem – can arts education, or at this point dancing and juggling with fire be an effective preventive mesure for children at risk? The subject of the research – how children at risk adapt to the environment. The objective of the research – analyze how dancing with fire affects the improvement of an individual. Tasks of the research: 1. Analyze the concept of arts education and how it can be used in life. 2. Analyze the meaning and the benefits of the art of dancing and juggling with fire. 3. Examine how practice of dancing with fire can help children at risk easier to adapt to the environment. 4. Select and prepare a team of children that would appear in a full performance. The hypothesis of the research: arts education strengthins childrens confidence and skills to adapt to the society By analyzing scientific literature and the results of the research these conclusions have been made: 1. Teachers and parents must be able to educate children`s personality through arts education. 2. Juggling increases brain power and develops logical thinking. 3. Arts education helps children at risk develope abilities such as freedom of expression, discipline, basic features of culture, self – esteem and respect to others, imagination. Which they didn‘t have the opportunity to get from their families. 4. Practicing dancing with fire helped develope these skills: 2. Self confidence and trust to others; 3. Quick desicion – making in stressfull situations; 4. Responsibility... [to full text]

The purpose of this study is to set forth certain principals or rules, Which, if adhered to, will be a beginning in the training of the young musician who would make the playing of dance music his profession. Be it understood that this is only an embryonic work and as such it should not be considered a final and irrevocable treatise on this topic. Actual work and development in this field will probably see many of the practices recommended herein relegated to a less important stage while items not mentioned, or perhaps mentioned and treated without undue stress, may come to the foreground of importance. It is hoped that this work will help in paving the way for a sincere and unprejudiced program of training for the young dance musician. However, before venturing into any discussion concerning dance music, it is necessary to have a clear understanding as to what fields of music are included in the term dance music.

A proposta deste estudo foi comparar o desenvolvimento motor de crianças que praticaram Dança Educativa com o desenvolvimento motor de crianças que não praticaram e verificar a permanência dos resultados obtidos, após seis a oito meses do término da intervenção. O estudo foi realizado com 85 crianças matriculadas no 1º ano do Ensino Fundamental de duas escolas da zona sul de São Paulo, randomizadas por sorteio em dois grupos (intervenção e controle). Os dois grupos tiveram seu desenvolvimento motor avaliado em três momentos: antes da intervenção, após a intervenção e após seis a oito meses do término da intervenção. O grupo intervenção participou de um programa de aulas de Dança Educativa por sete meses. Foram excluídas da análise as crianças com deficiência intelectual e/ou física, prematuras, entre outros critérios de exclusão. Os resultados indicaram que as crianças que participaram do programa de Dança Educativa obtiveram ganhos significativos em seu desenvolvimento motor geral e nas bases: equilíbrio, praxia fina e global, em comparação às crianças que não participaram. Foram analisados através de comparação dos resultados dos grupos controle e intervenção com os testes qui-quadrado e test t. A Dança Educativa auxiliou na evolução do desenvolvimento motor de crianças e seus resultados mantiveram- se, parcialmente, meses após o término da intervenção / The purpose of this study was to compare the motor development of children who practiced Educational Dance with the motor development of children who did not practice and to verify the permanence of the results obtained after six to eight months after the intervention. The study was carried out with 85 children enrolled in the first year of Elementary School in two schools in the south of São Paulo, randomized by lottery into two groups (intervention and control). The two groups had their motor development evaluated in three moments: before the intervention, after the intervention and after six to eight months after the intervention. The intervention group participated in an Educational Dance class program for seven months. Children with intellectual and / or physical disabilities, premature, and other exclusion criteria were excluded from the analysis. The results indicated that children who participated in the Educational Dance program achieved significant gains in their general motor development and on the basis of balance, fine and overall praxis, compared to children who did not participate. They were analyzed by comparing the results of the control and intervention groups with chi-square and t-tests. The Educational Dance helped in the development of children\'s motor development and their results were maintained, partially, months after the end of the intervention

A proposta deste estudo foi comparar o desenvolvimento motor de crianças que praticaram Dança Educativa com o desenvolvimento motor de crianças que não praticaram e verificar a permanência dos resultados obtidos, após seis a oito meses do término da intervenção. O estudo foi realizado com 85 crianças matriculadas no 1º ano do Ensino Fundamental de duas escolas da zona sul de São Paulo, randomizadas por sorteio em dois grupos (intervenção e controle). Os dois grupos tiveram seu desenvolvimento motor avaliado em três momentos: antes da intervenção, após a intervenção e após seis a oito meses do término da intervenção. O grupo intervenção participou de um programa de aulas de Dança Educativa por sete meses. Foram excluídas da análise as crianças com deficiência intelectual e/ou física, prematuras, entre outros critérios de exclusão. Os resultados indicaram que as crianças que participaram do programa de Dança Educativa obtiveram ganhos significativos em seu desenvolvimento motor geral e nas bases: equilíbrio, praxia fina e global, em comparação às crianças que não participaram. Foram analisados através de comparação dos resultados dos grupos controle e intervenção com os testes qui-quadrado e test t. A Dança Educativa auxiliou na evolução do desenvolvimento motor de crianças e seus resultados mantiveram- se, parcialmente, meses após o término da intervenção / The purpose of this study was to compare the motor development of children who practiced Educational Dance with the motor development of children who did not practice and to verify the permanence of the results obtained after six to eight months after the intervention. The study was carried out with 85 children enrolled in the first year of Elementary School in two schools in the south of São Paulo, randomized by lottery into two groups (intervention and control). The two groups had their motor development evaluated in three moments: before the intervention, after the intervention and after six to eight months after the intervention. The intervention group participated in an Educational Dance class program for seven months. Children with intellectual and / or physical disabilities, premature, and other exclusion criteria were excluded from the analysis. The results indicated that children who participated in the Educational Dance program achieved significant gains in their general motor development and on the basis of balance, fine and overall praxis, compared to children who did not participate. They were analyzed by comparing the results of the control and intervention groups with chi-square and t-tests. The Educational Dance helped in the development of children\'s motor development and their results were maintained, partially, months after the end of the intervention

Proponho uma reflexão sobre a prática coreográfica em dança com uma comunidade específica: os alunos do Ensino Médio do Colégio Estadual Júlio de Castilhos, de Porto Alegre – RS. Investigando um contexto institucional, público e de ensino, meu objeto de estudo centra-se no corpo como inscrição social e dançante, articulando procedimentos coreográficos com grandes grupos. Busco compreender a coreografia, sobretudo, como ato político e como teorização de identidade – corporal, individual e social (FOSTER, 2011) –, além de compreendê-la como possível catalisador na proposta de indicar o corpo social como corpo dançante, e vice-versa. Para este projeto prático, escolho procedimentos ligados às danças urbanas, e especialmente a Hip Hop Dance, mantendo como principais referências estudos nacionais, Rodrigues (2006), Ribeiro e Cardoso (2011), e estudos estrangeiros, Faure Marie-Carmen Garcia (2002, 2003, 2005). Aspectos da etnografia, como o recurso fotográfico, são pensados como método de observação sobre o corpo e o gesto dos alunos, tendo como suportes os conceitos de capital, habitus e campo (BOURDIEU, 1994). A transposição de conceitos sociológicos para o âmbito da dança contemporânea é experimentada a fim de alimentar as reflexões que compreendem o corpo e suas relações sociais de poder e pertencimentos. Como referência disso, aponto autores como Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) e Suzane Weber da Silva (2010). Como método de pesquisa, opto pela teoria enraizada (STRAUSS; CORBIN, 1990; PAILLÉ 1994). Os resultados desse processo conduziram uma criação coreográfica em larga escala com um grupo de jovens do Colégio, acompanhada por esse memorial reflexivo-crítico de criação. / I propose a reflection about the choreographic practice in dance with a specific community: the secondary school students from Colégio Estadual Júlio de Castilhos, Porto Alegre – RS. Investigating an institutional, public and scholar context, my study object focuses on the body as social and dancing inscription, studying and articulating choreographic procedures with large groups. I try to understand the choreography especially as a political act and as theorization of identity - corporeal, individual, and social (FOSTER, 2011), as well as understand it as a possible catalyst in the proposal for imagine the social body as dancing body, and vice versa. For this practical project, I choose procedures related to urban dances, and especially the Hip Hop Dance by keeping as main references national studies, Rodrigues (2006), Ribeiro and Cardoso (2011), and foreign studies, Faure Marie-Carmen Garcia (2002, 2003, 2005). Ethnographic aspects, as the photographic resource, are thought of as observation method over the body and gesture of the students, taking as supports the concepts of capital, habitus and field (Bourdieu, 1994). The transposition of sociological concepts to the field of contemporary dance has been tried to feed the reflections that understand the body and its social power relations and belongings. I point out as reference authors like Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) and Suzane Weber da Silva (2010). As a research method I choose the grounded theory (STRAUSS; CORBIN, 1990; PAILLÉ 1994). The results of this process have led a choreographic creation on a large scale with a group of young students of the College, accompanied by this reflective-critical memorial of creation.

La thèse définit ce qui pourrait être une saisie du mouvement et interroge la possibilité d'écrire et de lire la danse. La belle danse, dont l'origine, la contextualisation, et la définition en tant que style sont présentés dans le premier chapitre est prise comme cas d'école. Le second chapitre est rédigé dans la perspective du scripteur et il présente une analyse de la notation Beauchamps-Feuillet. Le troisième chapitre, qui adopte le point de vue du lecteur, définit les règles implicites de la belle danse, déductible de l'analyse des sources, et propose une analyse de la "Türkish Dance" (c.1725), due au chorégraphe Antony L'Abbé et au notateur François le Roussau. La thèse se réfère aux recherches de Guillemette Bolens pour la compréhension de l'usage de l'empathie kinesthésique pour l'écriture et la lecture, comme à des recherches cognitivistes récentes (Alva Noë). Elle se réfère aux recherches d'Etienne Darbellay et à leur cadre théorique, par exemple la théorie de la métaphore (Jakoff & Johnson; Zbikowski pour son usage en musicologie) et la compréhension des processus mémoriels (Croisile). Elle prend en compte certaines études, cruciales pour la compréhension de la belle danse, de son écriture et de sa lecture (Francine Lancelot et Marina Nordera par exemple). / This thesis defines if dance could be grasps, and how. Belle danse is taken as a "cas d'école" for unswering this question. Belle danse's origin, contextualisation and definition are given in the first chapter. The second chapter embraces the scriptwriter perspective to analyse Beauchamps-Feuillet notation. The third chapter adopts the reader's perspective (if "reading" can mean "decode", " analyse", "interpret" and "perform".) This chapter explicits some of belle danse's rules that are implicitly explained in the sources. It analyses the "Türkish Dance" (c. 1725). This score —and this dance— has been choreographed by Antony L'Abbé, and notated by François le Roussau. This thesis is written in reference to Guillemette Bolens researches that takes in acount the use of kinesthesis for writing and reading actions. It points to Etienne Darbellay's research based both on "théorie de la métaphore" (Lakoff and Johnson) and memory's process understanding (Croisile), and to crucial researches on belle danse writing and reading, particularly those of Marina Nordera.

No description available.

This study examines the cultural and religious politics of dancing in late sixteenth- and early seventeenth-century England. Although theologically dance was considered morally neutral, as a physical, embodied practice, context determined whether each occurrence was deemed acceptable or immoral. Yet, judging and interpreting these contexts, and thus delineating the boundaries between appropriate and inappropriate behaviour, was contested and controversial. Advocates argued that dance enabled controlled, graceful movement and provided a harmless outlet for youthful energy. Opponents decried it as a vain, idle, and lascivious indulgence that led to illicit sexual liaisons, profanation of the sabbath, and eternal damnation. The first chapter introduces early dance fundamentals, describing steps, genres, and sources. The chapter also discusses venues in which people danced, times of day and seasons that were most popular, and demographic details for dancers in western England. Chapter 2 demonstrates how, by varying details of their performance, dancers could influence a dance’s appropriateness, as well as express aspects of identity, such as gender and social rank. Chapter 3 examines how clergymen and religious reformers addressed and tried to undermine pro-dance arguments through their treatment of biblical dance references in sermons and treatises. Chapters 4 and 5 feature case studies of parochial clergymen and lay persons whose opinions about dancing became flashpoints for local controversies. They explain why prosecutions for dancing were so sporadic and geographically scattered: dancing practices rarely entered the historical record unless a “perfect storm” of community tensions and personal antagonisms created irreconcilable differences that led to violence or court cases. The dissertation argues that a category, such as festive traditionalist, is needed to describe those who conformed to or embraced Protestant worship but who strongly resisted attempts to “reform” their behaviour outside of the church.

The study aimed to examine whether an experimental imagery intervention, which elicited ecological representations of self, was more effective in enhancing vividness of movement imagery, action control and performance ability than a conventional imagery intervention and/or that of a standard, instruction intervention. In order to test this hypothesis, a sample of 36 young ballet dancers (11-13 years) were secured from five reputable ballet schools and randomly assigned to three groups (n = 12) for the purposes of conducting a true experiment: a standard control group, an imagery control group and an experimental imagery group. Descriptive statistics and frequencies were conducted for all instruments used to describe and represent single variables of interest. Parametric and nonparametric statistical procedures were used to determine whether significant differences existed between the three groups for measures of vividness of movement imagery, action control and performance ability. Additional emerging relationships and trends were explored through bivariate correlational analyses, multiple stepwise regression procedures, a factor analysis as well as MANOVA and ANOVA statistical procedures. The results of the study were varied and some interesting trends were observed. Contrary to what was expected, the results revealed significant differences across the three groups for mean difference scores of performance ability, in favour of the standard control group. In particular, the standard control group revealed positive benefits in performance ability while the imagery control and experimental imagery groups revealed deteriorations in performance ability. The experimental imagery group was found to be significantly different from the imagery control group for mean difference measures of internal vividness ofmovement imagery. However, the study failed to reveal significant variations in mean difference scores for action control across the three groups. Furthermore, the results indicated that external and internal vividness of movement imagery were found to be significantly correlated with performance ability for the entire sample (N = 36) and across the two imagery groups (N = 24) respectively. Finally, numerous significant and near-significant relationships were observed between measures of vividness of movement imagery, action control and performance ability. The results were discussed in relation to the literature on mental imagery, ecological self, action control and development. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

No abstract supplied. / Thesis (M.Ed.) - University of Durban-Westville, 1985.