by Fu Siu Ngor. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 117-124). / abstract --- p.I / acknowledgments --- p.III / contents --- p.V / list of figures --- p.VII / list of tables --- p.VIII / Chapter chapter 1: --- introduction / Chapter 1.1 --- Dance and jump --- p.1 / Chapter 1.2 --- Research objectives --- p.4 / Chapter 1.3 --- Research hypothesis --- p.5 / Chapter 1.4 --- Definition of terms --- p.7 / Chapter chapter 2 : --- dance injuries / Chapter 2.1 --- Epidemiology of dance injuries --- p.12 / Chapter 2.2 --- Etiology of dance injuries --- p.19 / Chapter 2.3 --- Implication to this study --- p.30 / Chapter chapter 3 : --- biomechanical studies on landing from vertical jumps / Chapter 3.1 --- Biomechanics on landing from vertical jumps --- p.31 / Chapter 3.2 --- Biomechanical studies on ballet jumps --- p.46 / Chapter 3.3 --- Kinetics and kinematics studies on jumping sports --- p.49 / Chapter 3.4 --- Implication to this study --- p.57 / Chapter CHAPTER 4 : --- MATERIAL AND METHOD / Chapter 4.1 --- Study design --- p.58 / Chapter 4.2 --- Subject and sampling method --- p.58 / Chapter 4.3 --- Instrumentation --- p.60 / Chapter 4.4 --- Method --- p.70 / Chapter CHAPTER 5 : --- RESULTS / Chapter 5.1 --- Demographic characteristics --- p.79 / Chapter 5.2 --- "kinetic and kinematics changes on landing with ""pull-up""" --- p.82 / Chapter 5.3 --- "kinetics and kinematics changes on landing with and without ""pull-up""" --- p.92 / Chapter CHAPTER 6 : --- DISCUSSION / Chapter 6.1 --- Kinetic changes --- p.96 / Chapter 6.2 --- Kinematics changes --- p.102 / Chapter 6.3 --- Correlation between kinetics and kinematics --- p.105 / Chapter 6.4 --- "Effects of'pull-up""" --- p.107 / Chapter 6.5 --- Limitation of the study --- p.108 / Chapter 6.6 --- Suggestion for future studies --- p.110 / Chapter 6.7 --- Implication of this study --- p.112 / Chapter CHAPTER 7 : --- CONCLUSIONS --- p.115 / REFERENCES --- p.117-124 / APPENDIX 1 : Demographic characteristics --- p.i / APPENDIX 2 : Kinetic data --- p.v / APPENDIX 3 : Kinematics data --- p.x / APPENDIX 4 : Summary of kinetic and kinematics results --- p.xiv / APPENDIX 5 : Statistical results --- p.xv

I explore the sensuous, kinaesthetic experience and analysis of screen dance and the interconnectivity between our bodies, film, and heightened embodied sensibility. This physicality creates a dialogue between the rich diversity of screen dance genres under consideration, thereby avoiding hierarchical classifications. It also focuses attention on more abstract cinematic qualities, investigating how cinematic technique (as well as thematic content) generates emotional impact; allowing for the enjoyment of film as a material and sensual medium. However, since our senses have been trained according to the regulatory controls within our socio-historical/cultural contexts, equal attention is given to the ideology of representation, and to the links between embodiment, identities, meanings, and broader relations of inequality. I am particularly interested in how dance and film can function politically, both expressing and disrupting norms and ideologies. But I am also interested in how the presence of dance (and/or choreographed movement) can enhance a film's agency and its ability to cross time and space, “touching” the viewer and thereby working to transform historical objectification into embodied interaction. I combine a phenomenological lived-body experience of viewing with the epistemological functions that characterise it, using my own somatically felt body as a methodological starting point and a creative practice, and theoretical text-based and socio-historical contextual analyses. This balance between lived-experience and critical discussion is used to explore chapters on the deconstruction of national, cultural, and gendered identity through Flamenco dance and film; dance and physical disability; and avant-garde feminist screendance. A final chapter brings these key themes together by investigating how (psychiatric) disability, feminism, and national identity are treated in a contemporary Hollywood dance film. Whilst embodied perception is never “innocent” and always shaped, I show how the movement of affect and emotion between the film and viewer's body can constitute an ethical experience, encouraging progressive and self-reflexive political and ideological engagement.

The grounded theory of this dissertation is that 'the dancing body makes sense of place'. This theory is investigated through hermeneutic praxis based on the theoretical perspective of phenomenology. In exploring how the dancing body experiences place, it is the processes that underlie and give form to dance that capture my attention. 'The dancing body makes sense of place' is a phrase that liberates the description and consideration of the non-verbal processes that underlie the dance/place interface. The phrase offers the possibility of communicating coexisting processes. Interpreted as 'the dancing body makes (sense of place)', the phrase suggests that the development of a 'sense of place' is an outcome of the action of dance. Whilst interpreted as 'the dancing body makes sense of (place)', the phrase implies the understanding of 'place' through dance. The hermeneutic praxis described in this dissertation, is comprised of memory retrieval sessions which allude to how the 'dancing body' experiences space, place and sense of place. During praxis, it emerges that the dancing body infers 'sense of place' through spheres of experience, that may be described as the; 'propriosphere, kinesphere, near-sphere', and 'far-sphere'. Praxis also reveals that the 'dancing body''s' relationship to place in integral in the development of a sense of belonging / Master of Arts (Hons)

A basic interpretive qualitative research approach (Merriam, 2002) was used to investigate the experiences of adolescent females engaged in elite dance training while attending regular high school programs. Participants were five adolescent females from the local dance community of a mid-size Canadian Prairie city. Semi-structured interviews provided an opportunity for the participants to share their experiences and perspectives, and describe what it is like to dance through high school. Data were analyzed in terms of Kearneys (2001) shared meaning and descriptive categories. The shared meaning of the dancers experiences reflected a common sentiment of mastery, accomplishment in both dance and school, and recognition of dance as a coping behavior and resource. Descriptive categories included two themes: The Daily Life of a Dancer (School and Dance Integrated) and The Social Life of a Dancer (School and Dance Separated). Findings are discussed in terms of the current literature on dance training and extracurricular activities for adolescents; implications are identified for counselling and educational professionals; and recommendations are made for future research.

A basic interpretive qualitative research approach (Merriam, 2002) was used to investigate the experiences of adolescent females engaged in elite dance training while attending regular high school programs. Participants were five adolescent females from the local dance community of a mid-size Canadian Prairie city. Semi-structured interviews provided an opportunity for the participants to share their experiences and perspectives, and describe what it is like to dance through high school. Data were analyzed in terms of Kearneys (2001) shared meaning and descriptive categories. The shared meaning of the dancers experiences reflected a common sentiment of mastery, accomplishment in both dance and school, and recognition of dance as a coping behavior and resource. Descriptive categories included two themes: The Daily Life of a Dancer (School and Dance Integrated) and The Social Life of a Dancer (School and Dance Separated). Findings are discussed in terms of the current literature on dance training and extracurricular activities for adolescents; implications are identified for counselling and educational professionals; and recommendations are made for future research.

Thesis (M.A.)--York University, 1999. Graduate Programme in Dance. / Typescript. Includes bibliographical references (leaves 152-159). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56164.

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Thesis (M.Tech.: Chiropractic)-Dept. of Chiropractic, Durban Institute of Technology, 2004 1 v. (various pagings) / Classical ballet is generally defined as a form of art although it has been found to be more physically demanding than most sports, perhaps due to its very precise technique that differs considerably from normal movement. Epidemiological studies investigating ballet injuries in other countries suggest that the incidence and prevalence of injuries among ballet dancers is high. However, no such studies had been conducted in South Africa. Consequently the purpose of this study was to determine the lifetime incidence and prevalence of ballet injuries in the greater Durban area, and to examine the association between certain individual factors and ballet injuries, in order to identify potential risk factors.

Thesis (M.A.)--University of British Columbia, 2007. / Includes bibliographical references (leaves 72-77). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.