Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-08-16T13:58:33Z No. of bitstreams: 2 Tese - Regiane de Ávila Chagas - 2018.pdf: 1720554 bytes, checksum: 98af69b55de819562d7261238adf53a0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-08-17T11:21:51Z (GMT) No. of bitstreams: 2 Tese - Regiane de Ávila Chagas - 2018.pdf: 1720554 bytes, checksum: 98af69b55de819562d7261238adf53a0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-08-17T11:21:51Z (GMT). No. of bitstreams: 2 Tese - Regiane de Ávila Chagas - 2018.pdf: 1720554 bytes, checksum: 98af69b55de819562d7261238adf53a0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-07-06 / The present thesis has as study of object the dance. What motivates this research is the following research problem: what are the mediations that are becoming more determinant in the process of dance production in the historical particularity of the capitalist mode of production? For this investigative challenge, the theoretical framework is based on Karl Marx (2010, 2013), Karl Marx and Friedrich Engels (2007), Georg Lukács (1966, 2012, 2013) and Theodor Adorno and Max Horkheimer (1985). In the specific field of dance, the main interlocutions occurred with Roger Garaudy (1980) and Maribel Portinari (1989). The option for the method of analysis to grasp the essence of the reality of dance in the capitalist system was dialectical historical materialism, the philosophical basis of Marxism. Through the lens of dialectical historical materialism, material reality concerns the processes of production and reproduction of human life. However, both the way and means used in the production of life are historically determined by equally particular social and economic conditions. In this research movement, both the ontological aspects of dance as well as their development in the pre-capitalist economic formations were approached. However, the particularity of the capitalist system became the mode of production that this research inserted more effort. The central thesis that this research postulates is summarized in the affirmation that dance is human work and therefore it is a human objectification that develops and manifests itself under certain social conditions, and that, in the historical particularity of the capitalist mode of production, dance has been developing as a commodity, where the phenomena of alienation, fetishism, reification and the culture industry constitute the most determinant mediations in its production. / A presente tese tem por objeto de estudo a dança. O que motiva esta investigação se traduz no seguinte problema de pesquisa: quais são as mediações que vêm se constituindo como mais determinantes no processo de produção da dança na particularidade histórica do modo de produção capitalista? Para este desafio investigativo, o quadro de referências teóricas encontra sua fundamentação em Karl Marx (2010, 2013), Karl Marx e Friedrich Engels (2007), Georg Lukács (1966, 2012, 2013) e Theodor Adorno e Max Horkheimer (1985). No campo específico da dança, as principais interlocuções ocorreram com Roger Garaudy (1980) e Maribel Portinari (1989). A opção pelo método de análise para apreender a essência da realidade da dança no sistema capitalista foi o materialismo histórico dialético, base filosófica do marxismo. Pelas lentes do materialismo histórico dialético a realidade material diz respeito aos processos de produção e reprodução da vida humana. No entanto, tanto o modo como os meios utilizados na produção da vida são determinados historicamente por condições sociais e econômicas igualmente particulares. Neste movimento de pesquisa foram abordados tanto os aspectos ontológicos da dança bem como seu desenvolvimento nas formações econômicas pré-capitalistas. No entanto, a particularidade do sistema capitalista se constituiu como o modo de produção que esta pesquisa inseriu maior esforço. A tese central que esta investigação postula se resume na afirmação de que a dança é trabalho humano e, portanto, ela é uma objetivação humana que se desenvolve e se manifesta sob determinadas condições sociais, sendo que, na particularidade histórica do modo de produção capitalista, a dança vem se desenvolvendo na qualidade de mercadoria, onde os fenômenos da alienação, do fetichismo, da reificação e da indústria da cultura se constituem como as mediações mais determinantes em sua produção.

Submitted by Rafael Santana (rafael.silvasantana@ufpe.br) on 2017-05-12T19:38:18Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) VERSÃO FINAL DISSERTAÇÃO.pdf: 30969870 bytes, checksum: f2dad514370b11a588111188391e3769 (MD5) / Made available in DSpace on 2017-05-12T19:38:18Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) VERSÃO FINAL DISSERTAÇÃO.pdf: 30969870 bytes, checksum: f2dad514370b11a588111188391e3769 (MD5) Previous issue date: 2016-04-25 / Um dos elementos característicos do balé clássico é o uso da sapatilha de ponta, um calçado que possibilita a dança na ponta dos pés. Seu uso remonta ao período romântico na dança (século XIX), e foi um dos elementos que tornou possível a reprodução dos significados estéticos desse movimento artístico. O uso da sapatilha de ponta é encarado como um ritual de passagem para toda aspirante a bailarina. Normalmente cabe ao professor avaliar suas alunas e decidir o momento ideal para começar a prática nas pontas, o que deve ser feito de maneira responsável, caso contrário, vários danos podem ser causados à saúde da praticante. Reconhecendo a complexidade do processo de indicação e com a ideia de identificar elementos que o envolvem, o objetivo do estudo foi compreender como ocorre o processo de indicação do uso da sapatilha de ponta sob o ponto de vista de professores e alunas de Balé Clássico. Foi feito um estudo descritivo e exploratório, conduzido pela abordagem qualitativa. Participaram da pesquisa catorze professores e onze alunas de balé clássico de instituições privadas da cidade do Recife. Para a coleta dos dados, ambos os participantes foram submetidos a um roteiro para entrevista semiestruturada. Para as alunas, foi acrescida a solicitação de desenho(s) e narrativa da(s) imagem(ns) construída(s). Todas as falas foram gravadas e transcritas. Os dados foram submetidos à análise de conteúdo (BARDIN, 2011), com auxílio do software Atlas.ti for Mac. Após a análise das falas, os resultados foram agrupados em duas categorias analíticas/temáticas: os professores, o ensino do balé e a indicação para o uso da sapatilha de ponta e as alunas, a prática do balé e o uso da sapatilha de ponta. Para os professores, o ensino do balé apresentou-se marcado por dualidades envolvendo suas crenças versus realidade, bem como a presença dos conhecimentos empírico e científico; a indicação para o uso da sapatilha de ponta teve a ver com a abordagem didático-pedagógica e a verificação de critérios, tanto objetivos quanto subjetivos. As alunas pareceram ter clareza dos requisitos importantes para o uso da sapatilha de ponta, mas também compreenderam que a palavra final é do professor. Os significados referidos à sapatilha foram marcados pela expectativa, por uma forte presença iconográfica, pela influência de modelos ao longo da formação e por valores estéticos. Estes significados remeteram-se a ideais de feminilidade, estimulando comportamentos esperados para uma aspirante a bailarina. Os achados da pesquisa servem de subsídios para nortear novos estudos, ampliando a discussão sobre o tema em questão e, possivelmente, auxiliando na construção de propostas de intervenção que aliem conhecimentos da Arte, Educação e Saúde. / One of ballet’s features is the use of pointe shoe, a shoe that enables the dance on the tip of the toes. Its use dates back to the Romantic period in dance (19th century), and was one of the elements that made possible the reproduction of the aesthetic meanings of this artistic movement. The use of pointe shoes is seen as a rite of passage for any aspiring ballet dancer. Usually it is up to the teacher evaluate their students and decide the ideal moment to start practice at the pointe shoes, which should be done in a responsible way, otherwise severe damage can be caused to the health of the practitioner. Recognizing the complexity of the nomination process, and with the purpose of identifying elements that involve it, the aim of the research was to understand how is the process of indication of pointe shoes from the point of view of ballet teachers and students. A descriptive and exploratory study, conducted by the qualitative approach, was made. Research participants were fourteen teachers and eleven students of private institutions in the city of Recife. To collect data, all the participants underwent a roadmap for semi-structured interview. For the students, it was also requested drawings and their description. All speeches were recorded and transcribed. Data were submited to content analysis (BARDIN, 2011) with the support of Atlas.ti software for Mac. After analyzing the speeches, the results were grouped into two analytical/thematic categories: teachers, ballet instruction and indication for the use of pointe shoe and students, ballet practice and use of pointe shoe. For teachers, the ballet instruction was marked by dualities involving their beliefs versus reality, and the use of empirical and scientific knowledge; the indication for the use of pointe shoe involved didactic and pedagogical approach and criteria of verification, both objective and subjective. The students seemed to have clear in mind the requirements for the use of pointe shoe, but also understood that teachers give the final decision. The meanings of pointe shoes were marked by expectation, a strong iconographic presence, influence of models over the training and aesthetic values. These meanings forwarded some ideals of femininity, encouraging behaviors expected for an aspiring dancer. The outcomes of this research serve as subsidies to guide further studies, expanding the discussion on the topic at stake and possibly assisting in the construction of intervention proposals that combine Art’s knowledge, Education and Health.

Submitted by Leda Lopes (ledacplopes@hotmail.com) on 2017-02-14T18:55:41Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) ABAMBAÉ TERRA DOS HOMENS - SABRINA MANZKE.pdf: 13547674 bytes, checksum: 3c6da6faa534303defed1ed49a2a16d6 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-02-16T20:46:52Z (GMT) No. of bitstreams: 2 ABAMBAÉ TERRA DOS HOMENS - SABRINA MANZKE.pdf: 13547674 bytes, checksum: 3c6da6faa534303defed1ed49a2a16d6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-02-16T20:47:37Z (GMT) No. of bitstreams: 2 ABAMBAÉ TERRA DOS HOMENS - SABRINA MANZKE.pdf: 13547674 bytes, checksum: 3c6da6faa534303defed1ed49a2a16d6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-16T20:47:48Z (GMT). No. of bitstreams: 2 ABAMBAÉ TERRA DOS HOMENS - SABRINA MANZKE.pdf: 13547674 bytes, checksum: 3c6da6faa534303defed1ed49a2a16d6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-10-10 / Sem bolsa / O papel que a arte tem exercido no cotidiano tem possibilitado uma renovação na forma de pensar os objetos e as manifestações culturais. O fazer artístico possibilita um novo fazer cultural que tem fixado parte de sua preocupação na dimensão estética. Tem estado em evidência à contribuição cultural exercida por grupos artísticos que buscam na performance cênica apresentar diferentes manifestações populares e tradicionais. Este trabalho aborda a apropriação da corporeidade do samba de roda do Recôncavo Baiano realizada pela Abambaé Companhia de Danças Brasileiras, da cidade de Pelotas/RS. Expressão esta reconhecida como Patrimônio Cultural Imaterial do Brasil em 2004 e posteriormente, em 2005, como Obra Prima do Patrimônio Oral e Imaterial da Humanidade pela UNESCO. Com foco na corporeidade e na criação coreográfica enquanto (re)significação cultural, na maneira como os atores expressam seus sentimentos através da dança, e, a partir de uma pesquisa embasada nos métodos da antropologia da dança e da etnomusicologia, busquei compreender os elementos técnico-expressivos desta tradição centenária que permeia ritual, religiosidade e sociabilidade, e o processo pelo qual eles se transformam através da composição coreográfica para a cena. A partir deste estudo pode-se perceber a apropriação do samba de roda e as reinscrições a partir do corpo e da poética empregada pelos bailarinos, compondo assim a estética desejada pelo grupo. No caso específico da Abambaé se evidenciou que a companhia através do seu trabalho acaba por “criativamente, inventar” um novo Brasil. Com um entendimento e estética próprio, o Brasil da Abambaé, diverso e alegre e que o samba de roda está diretamente ligado a esta representação de Brasil que a companhia busca mostrar tanto em nível nacional como, e principalmente, internacional. / The role that art has played on everyday life has enabled a renovation concerning the way of thinking cultural objects and manifestations. The artistic doing enables a new cultural doing that has fixed part of its contribution on the aesthetical dimension. The cultural contribution provided by artistic groups that seek to present different popular and traditional manifestations through scenic performances has been in evidence. This work approaches the corporeity appropriation of the samba de roda from the Recôncavo Baiano carried out by the Abambaé Companhia de Danças Brasileiras in the city of Pelotas/RS. This expression was recognized as part of the Brazilian Non-material Cultural Patrimony in 2004 and later, in 2005, it was considered a Masterpiece of the Oral and Intangible Heritage of Humanity by the UNESCO. Focusing on the corporeity and choreographic creation as cultural (re)signification, on the way actors express their feelings through dancing, and through a research based on methods of the anthropology of dancing and ethnomusicology, I sought to understand the technical-expressive elements of this centenary tradition that permeates ritual, religion and sociability, and the process by which they are transformed by the choreographic composition for the scene. From this study, it is possible to perceive the appropriation of the samba de roda and the reinscriptions through the body and the poetic movement employed by the dancers, composing the aesthetic element desired by the group. Concerning the Abambaé, specifically, it was possible to perceive that the company “creatively, invents” a new Brazil through its work. With its own comprehension and aesthetics, the Brazil from the Abambaé is diverse and joyful, and the samba de roda is directly associated with this representation of Brazil that the company seeks to present on a national and mainly international level.

Orientador: Marcia Maria Strazzacappa Hernandez / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-04T06:59:57Z (GMT). No. of bitstreams: 1 Carvalho_KarinaAparecidaPintoSilva_M.pdf: 583023 bytes, checksum: e8cde3715e4983fa0769fd6e8c735b47 (MD5) Previous issue date: 2005 / Resumo: A interação professor - aluno e suas conseqüências na formação de crianças, jovens e adultos, têm sido objeto de diversos estudos na área da Educação. Na área do ensino da dança, mais especificamente, do ensino do ballet clássico, esta discussão foi até então pouco abordada. O objetivo desta pesquisa é investigar se a relação professor-aluno no ensino de ballet é determinante para a permanência (ou abandono) do aluno na dança. Partimos da premissa de que o ballet, em meio às outras técnicas de dança ensinadas em escolas livres (academias, conservatórios), continua sendo a mais disseminada, por isso a forma como é ensinada pode influenciar a concepção que o aluno terá sobre dança. Trata-se de uma técnica rígida e sistematizada, que impõe um padrão físico pré-estabelecido e talvez em virtude disto, o que se constata nas aulas é uma postura austera do professor em relação a seus alunos, ilustrada aqui pela imagem do bastão em punho. Acreditamos que a relação professor-aluno mais próxima e a preocupação com a individualidade do aluno muito teriam a enriquecer o ensino de dança / Abstract: The teacher-student relationship and its affects over children, young people and adults development, has been the subject of several studies in educational area. In the area of dance education, c1assical ballet education specificity, this theme has been little discussed. The subject of this research is investigating if the teacher-student relationship in barbet education has any importance in stimulating the students' interest or causing them to give up. We've started on the premise that since ballet, among other dance techniques taught in free schools (academies, conservatories), continues to be the more widely taught, and that there is real importance in the way it is taught: it can have an influence on the student's concept of dancing. Ballet is a rigid and systematic technique, which imposes a pre-established physical standard and, perhaps, it could be the reason that we usably see an austere teacher posture in relation with his/her students, here illustrated by the image of stick in hand. We believe that a c1oser teacher-student relationship in which the teacher is concerned with each individual can ready enrich dance education / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Alors que nombre d’artistes s’emploient à confronter les arts d’interprétation ou à transgresser les catégories de genre sur les scènes européennes, la formation des comédiens, en France, demeure organisée selon une logique disciplinaire. Au cours de son apprentissage, un élève préparant le diplôme national supérieur professionnel de comédien (DNSPC) dans une des écoles habilitées par l’État pratique néanmoins la danse et le chant, s’initie souvent aux arts martiaux et aux techniques somatiques, s’essaie parfois à l’acrobatie ou à la maîtrise d’un instrument de musique. Ces disciplines non-théâtrales intégrées à la formation visent à la fois à lui procurer des aptitudes complémentaires et à l’entraîner à l’exercice de « l’écart » tel que le définit le philosophe François Jullien, pour revenir à son art enrichi et peut-être ressourcé. Cependant, telle qu’elle transparaît dans des programmes et des discours qui la légitiment, la considération dont ces pratiques bénéficient dans des institutions qui s’imposent comme des voies d’accès privilégiées aux carrières théâtrales ne s’avère pas tout à fait équivalente à la place qui leur est réservée dans les cursus. L’enseignement, centré sur l’interprétation du répertoire dramatique, est principalement assuré par des metteurs en scènes invités, qui apportent leur vision du théâtre et leur appréhension du jeu. Il repose sur un système de valeurs dont les maîtres mots sont singularité et liberté. La transmission de techniques centrées sur la respiration, la voix, la concentration, le corps ou le mouvement ne s’articule pas sans difficultés avec une telle conception. Des contradictions surgissent entre la nécessaire adaptation de leur contenu au contexte d’enseignement et la sauvegarde d’une altérité féconde, tant sur le plan artistique que pédagogique. À travers une enquête auprès de cinq écoles supérieures d’art dramatique françaises, de leurs professeurs et de leurs étudiants, la thèse examine la formation de l’acteur au prisme de l’interdisciplinarité, afin de tenter d’en éclaircir les soubassements idéologiques et les enjeux esthétiques, mais aussi les implications dans la vie professionnelle des futurs acteurs. / While many artists strive to redefine the performing arts and break through genre-bound approaches on European stages, actor training in France is still structured around strong disciplinary lines. Throughout their training, student-actors who prepare the “diplôme national supérieur professionnel de comédien” (National Acting Degree) in French-government-accredited acting schools, nonetheless take dance and singing classes, often train in martial arts and somatic practices, and sometimes try their hands at acrobatics, or playing an instrument. These non-theatrical disciplines are integrated to their training with a view to complementing the young actors' set of skills but also to make them experience what philosopher François Jullien calls “l'écart”, and come back to their own art enriched and energised by their foray into other disciplines. Even if the interdisciplinary approach is touted in programmes and theoretical literature issued by the most prominent acting schools, that prestige is not reflected in the share given to non-theatrical approaches in actual syllabuses. The teaching in acting-schools is based on performing the repertoire, with master-classes given by guest directors who bring their own vision of theatre and performance. The underlying value system places individual difference and artistic freedom at the top. This conception of acting can make it difficult to teach techniques based on the body, movement, vocal training, breathing, and focusing. The dilemma is that these practices need to be adapted to the overall teaching context, all the while preserving the otherness that makes them such a fruitful alternative both artistically and pedagogically.Thanks to a survey conducted at five French Acting Schools, alongside teachers and students, this thesis explores actor training in the light of interdisciplinarity, as an attempt to clarify its underlying ideological tenets and its aesthetic potential, as well as what it means for the future careers of professional actors.

This thesis is a theoretical examination intended to lead the reader in a process of deeper and subjective understanding of culture through the medium of dance. The literature review avails the reader with meaningful foundation work and theories that are weaved together to propose a framework for observing dance movement with a more intercultural set of lenses. This thesis focuses particularly on three intersections: dance as a form of expression and nonverbal communication, dance as embodiment of culture, and dance as a reflection of cultural identity. A useful outcome of this study is a sequential set of tools suggested as a structure useful to gather and analyze data and to conduct further research.

Recognizing the importance of context with regard to youth agency, this study explores how 8 Black LGBTQ+ youth understand their practices of agency in ballroom culture, an underground Black LGBTQ+ culture. Ballroom was chosen as the backdrop for this scholarly endeavor because it allowed for the study of the phenomenon — Black LGBTQ+ youth agency — in a space where the youth might feel more able to be themselves, especially given that the 2019 Black LGBTQ+ youth report published by the Human Rights Campaign revealed that only 35% of Black LGBTQ+ youth reported being able to “be themselves at school” (Kahn et al., 2019). Thus, instead of asking what is wrong with schools, this study inverted the question to explore what is “right” about ballroom culture in which Black LGBTQ+ youth might practice different kinds of agency due to their intersectional racial and LGBTQ+ identities being recognized and celebrated. Framed by the youth’s understanding of their own agency across different contexts, my research illuminates the complex interrelationships between youth agency, social identity, and context. Extending the literature on youth agency and Black LGBTQ+ youth, the findings of this study suggest that in many ways these youth are always already practicing agency to work toward different ends, and that these different end goals are greatly mediated by the contexts in which they find themselves. In making connections between the ways Black LGBTQ+ youth feel liberated within ballroom space to use their agency to explore and affirm their identities outside socially constructed norms, the findings of this study point to new opportunities for education research, practice, and policy to learn from ballroom culture about how to better invite Black LGBTQ+ youth into schools in humane and educative ways, encourage their agentive imaginations within education spaces, and promote liberatory school environments that recognize and embrace these youth’s intersectional identities.

No description available.

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

This research explores the lives and experiences of female exotic dancers with the aim of gaining an empathic understanding of their involvement in the stripping industry. The stereotypes and generalizations of exotic dancers and the stripping industry undermine the exotic dancer's ability to be seen as an individual with her own story and her own experiences. The participants of this research were selected through convenience sampling and consist of three female exotic dancers. The researcher interviewed the participants using a semi-structured interview format and focused on the dancer's experience within the exotic dancing industry, her family history, her relationships, and personal life. The data was analysed using thematic network analysis. The thematic networks are often contradictory and inconsistent with the common stereotypes and ideas held about exotic dancers. The results indicate that some exotic dancers experience meaning, healing, gratification, and power within their work and live responsible, productive lives. / Psychology / M.A. (Clinical Psychology)