Considerando que expressividade é uma forma significativa de comunicação corporal, que busca através da Dança a harmonia das formas biológica, cultural e filosófica do ser humano, este estudo objetiva descrever e compreender a percepção dos acadêmicos de Educação Física que cursam a disciplina de Metodologia do Ensino da Dança Escolar sobre sua expressividade. Inicialmente são apresentados conceitos, classificações, bem como os níveis de complexidade da expressividade. Na seqüência faz-se uma interação entre Expressividade, Educação Física e Dança, ressaltando a importância do ato criativo da expressividade dentro do contexto de ensino. Participaram do estudo 16 acadêmicos do curso de Educação Física da Universidade Regional Integrada do Alto Uruguai e das Missões (URI) Campus de Erechim, que cursavam a disciplina de Metodologia do Ensino da Dança Escolar. Os instrumentos utilizados na pesquisa foram entrevistas semi-estruturadas (inicial e final) e notas de campo. O período de coleta de dados aconteceu de 02 de abril de 2008 a 28 de maio de 2008 na Sala de Dança e no Auditório Central da URI. As informações obtidas foram agrupadas em unidades de significado, que reescritas, originaram categorias de análise. Os resultados mostram uma significativa evolução em relação às definições de expressividade, evidenciando a linguagem do corpo em sua sensibilidade, bem como a constatação de como é possível criar e também incentivar a criação de novos movimentos, derrubando barreiras sociais com a Dança inserida no contexto da Educação Física. / If we consider that expressivity is one significative way of corporal communication, which searches through Dance the harmony of the biological, cultural and philosophical forms of human being, so this study desires to describe and to understand the perception of Physical Education undergraduate students who attend classes of Methodology of School Dance Teaching about their expressivity. In the beginning of this study is showed the concepts, classifications, as well as expressivity complexity levels. In the sequence, it does a interaction between Expressivity, Physical Education and Dance, it noted the importance of the creative act of expressivity inside teaching’s context. The participants were 16 students of Physical Education course from Universidade Regional Integrada do Alto Uruguai e das Missões (URI), Campus de Erechim. They attend classes of Methodology of School Dance Teaching discipline. The instruments utilized in the research were semistructured interviews (initial and final) and field notes. The collective period has happened at April 02nd, 2008 until May 28th, 2008 at Dance Room and at URI’s Central Auditorium. The informations were grouped in units of meanings that were rewrited. This originated the analyze categories. The results show a significative evolution related to expressivity definitions, which clear out the body language in your sensibility, as well as the observation that creating and also motivating the creation of new movements are possible, breaking down social obstacles with the Dance taking a place inside the Physical Education’s context.

Considerando que expressividade é uma forma significativa de comunicação corporal, que busca através da Dança a harmonia das formas biológica, cultural e filosófica do ser humano, este estudo objetiva descrever e compreender a percepção dos acadêmicos de Educação Física que cursam a disciplina de Metodologia do Ensino da Dança Escolar sobre sua expressividade. Inicialmente são apresentados conceitos, classificações, bem como os níveis de complexidade da expressividade. Na seqüência faz-se uma interação entre Expressividade, Educação Física e Dança, ressaltando a importância do ato criativo da expressividade dentro do contexto de ensino. Participaram do estudo 16 acadêmicos do curso de Educação Física da Universidade Regional Integrada do Alto Uruguai e das Missões (URI) Campus de Erechim, que cursavam a disciplina de Metodologia do Ensino da Dança Escolar. Os instrumentos utilizados na pesquisa foram entrevistas semi-estruturadas (inicial e final) e notas de campo. O período de coleta de dados aconteceu de 02 de abril de 2008 a 28 de maio de 2008 na Sala de Dança e no Auditório Central da URI. As informações obtidas foram agrupadas em unidades de significado, que reescritas, originaram categorias de análise. Os resultados mostram uma significativa evolução em relação às definições de expressividade, evidenciando a linguagem do corpo em sua sensibilidade, bem como a constatação de como é possível criar e também incentivar a criação de novos movimentos, derrubando barreiras sociais com a Dança inserida no contexto da Educação Física. / If we consider that expressivity is one significative way of corporal communication, which searches through Dance the harmony of the biological, cultural and philosophical forms of human being, so this study desires to describe and to understand the perception of Physical Education undergraduate students who attend classes of Methodology of School Dance Teaching about their expressivity. In the beginning of this study is showed the concepts, classifications, as well as expressivity complexity levels. In the sequence, it does a interaction between Expressivity, Physical Education and Dance, it noted the importance of the creative act of expressivity inside teaching’s context. The participants were 16 students of Physical Education course from Universidade Regional Integrada do Alto Uruguai e das Missões (URI), Campus de Erechim. They attend classes of Methodology of School Dance Teaching discipline. The instruments utilized in the research were semistructured interviews (initial and final) and field notes. The collective period has happened at April 02nd, 2008 until May 28th, 2008 at Dance Room and at URI’s Central Auditorium. The informations were grouped in units of meanings that were rewrited. This originated the analyze categories. The results show a significative evolution related to expressivity definitions, which clear out the body language in your sensibility, as well as the observation that creating and also motivating the creation of new movements are possible, breaking down social obstacles with the Dance taking a place inside the Physical Education’s context.

Considerando que expressividade é uma forma significativa de comunicação corporal, que busca através da Dança a harmonia das formas biológica, cultural e filosófica do ser humano, este estudo objetiva descrever e compreender a percepção dos acadêmicos de Educação Física que cursam a disciplina de Metodologia do Ensino da Dança Escolar sobre sua expressividade. Inicialmente são apresentados conceitos, classificações, bem como os níveis de complexidade da expressividade. Na seqüência faz-se uma interação entre Expressividade, Educação Física e Dança, ressaltando a importância do ato criativo da expressividade dentro do contexto de ensino. Participaram do estudo 16 acadêmicos do curso de Educação Física da Universidade Regional Integrada do Alto Uruguai e das Missões (URI) Campus de Erechim, que cursavam a disciplina de Metodologia do Ensino da Dança Escolar. Os instrumentos utilizados na pesquisa foram entrevistas semi-estruturadas (inicial e final) e notas de campo. O período de coleta de dados aconteceu de 02 de abril de 2008 a 28 de maio de 2008 na Sala de Dança e no Auditório Central da URI. As informações obtidas foram agrupadas em unidades de significado, que reescritas, originaram categorias de análise. Os resultados mostram uma significativa evolução em relação às definições de expressividade, evidenciando a linguagem do corpo em sua sensibilidade, bem como a constatação de como é possível criar e também incentivar a criação de novos movimentos, derrubando barreiras sociais com a Dança inserida no contexto da Educação Física. / If we consider that expressivity is one significative way of corporal communication, which searches through Dance the harmony of the biological, cultural and philosophical forms of human being, so this study desires to describe and to understand the perception of Physical Education undergraduate students who attend classes of Methodology of School Dance Teaching about their expressivity. In the beginning of this study is showed the concepts, classifications, as well as expressivity complexity levels. In the sequence, it does a interaction between Expressivity, Physical Education and Dance, it noted the importance of the creative act of expressivity inside teaching’s context. The participants were 16 students of Physical Education course from Universidade Regional Integrada do Alto Uruguai e das Missões (URI), Campus de Erechim. They attend classes of Methodology of School Dance Teaching discipline. The instruments utilized in the research were semistructured interviews (initial and final) and field notes. The collective period has happened at April 02nd, 2008 until May 28th, 2008 at Dance Room and at URI’s Central Auditorium. The informations were grouped in units of meanings that were rewrited. This originated the analyze categories. The results show a significative evolution related to expressivity definitions, which clear out the body language in your sensibility, as well as the observation that creating and also motivating the creation of new movements are possible, breaking down social obstacles with the Dance taking a place inside the Physical Education’s context.

Submitted by Anelise Milech (anelisemilech@gmail.com) on 2017-02-15T13:06:04Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Roberta Santos Azambuja dos Santos.pdf: 3215901 bytes, checksum: 0d1b83419471db9f1a9d6715ad044550 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-02-16T20:48:07Z (GMT) No. of bitstreams: 2 Roberta Santos Azambuja dos Santos.pdf: 3215901 bytes, checksum: 0d1b83419471db9f1a9d6715ad044550 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-02-16T20:49:13Z (GMT) No. of bitstreams: 2 Roberta Santos Azambuja dos Santos.pdf: 3215901 bytes, checksum: 0d1b83419471db9f1a9d6715ad044550 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-16T20:49:25Z (GMT). No. of bitstreams: 2 Roberta Santos Azambuja dos Santos.pdf: 3215901 bytes, checksum: 0d1b83419471db9f1a9d6715ad044550 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2014-01-14 / Sem bolsa / Entretanto, inúmeros estudos apontam que esta prática corporal não é expressiva enquanto conteúdo das aulas de Educação Física na escola. Neste sentido, esta pesquisa buscou Compreender os saberes envolvidos na formação docente, a partir da análise de um processo de intervenção com dança escolar com os professores de Educação Física do município de Bagé/RS. Trata-se de uma pesquisa de cunho qualitativo priorizando a metodologia da Pesquisa-Ação, seguindo o ciclo apontado por Tripp (2005), onde as ações são planejadas, implementadas, descritas e avaliadas. Após a realização da intervenção avalia-se a prática a fim de que esta seja melhorada. Os sujeitos investigados foram os professores de Educação Física da rede municipal da cidade de Bagé/RS que atendem aos níveis de Educação Infantil e Ensino Fundamental. A intervenção foi realizada durante um período de três meses no primeiro semestre do ano de 2013, envolvendo aulas de dança escolar, onde houve um processo de constante troca entre os pares durante os encontros, surgindo discussões pontuais acerca da realidade da dança escolar nas escolas em que atuam. Para documentar todas as informações produzidas, regularmente nos encontros, foram utilizados os seguintes instrumentos: questionários (diagnóstico e de avaliação), filmagens, fotos, memoriais reflexivos. Através das informações obtidas foi feita a categorização, exploração e discussão da pesquisa a partir da análise de conteúdo e triangulação de dados. O estudo revelou a importância da formação continuada para os professores, que evidenciaram melhoria na capacitação para trabalhar com o conteúdo nas suas práticas pedagógicas, permitindo aos mesmos refletir os antigos saberes em prol da construção de novos. As práticas formativas devem ser uma constante na carreira docente, possibilitando aos professores melhoria no seu desenvolvimento profissional. / Physical Education. Nevertheless, studies show that the mentioned body practice is not significant as part of the Physical Education classes in school. This way, the present search aimed to comprehend the knowledge envolving teachers preparation from the analysis of an intervention with school dance contents considering Physical Education teachers in Bagé/RS. This is a qualitative research which prioritizes the Action Research, according to the cycle pointed by Tripp (2005), in which the actions are planned, implemented, described and valued. After the intervention, the practice is evaluated in order to be improved. The investigated individuals were Physical Education teachers from the municipal schools in Bagé/RS who attend Early Childhood Education and Elementary Education. The intervention was made during a three-month period in the first semester of the year 2013 and it involved school dance classes in which there was a process of constant partner exchanging during the meetings, raising accurate discussions about the reality of school dance classes in schools where each teacher works. To document all information produced, the following instruments were regularly used in meetings: questionnaire (diagnosis and evaluation ones), filmings, photographs, reflective written petitions. Using the information obtained, a categorization, exploration and discussion of the research was made from the analysis of the content and data triangulation. The study revealed the importance of continued training for teachers, who showed an improvement on their professional qualification to deal with the mentioned subject in their pedagogic practices, allowing them to ponder over old knowledge in favor of new knowledge. The training practices shoud be a constant point in teaching career, permiting the teachers to improve their professional development.

Syfte och frågeställningar Syftet med denna studie är att ta reda på om elever som gått igenom gymnasiets estetiska dansprogram upplever att de genom dansen utvecklat/stärkt olika psykosociala förmågor samt fysiska kapaciteter. De frågeställningar studien utgick ifrån är: Uppger eleverna att dans som uttrycksform stärker självkänsla, självförtroende och självmedvetenhet? Uppger eleverna att dans som uttrycksform stärker kroppskontroll/kroppskännedom? Uppger eleverna att dans som uttrycksform utvecklar den sociala förmågan? Är det någon del av dansen (dansundervisningen) som verkar vara speciellt utvecklande vad gäller ovanstående frågeställningar? Metod Metoden som använts är en kvantitativ enkät med till viss del kvalitativa ansatser, där före detta elever på gymnasiets estetiska program med dansinsriktning utgjort undersökningsgruppen. Totalt inkom 45 svar och dessa har analyserats kvantitativt och tolkats utifrån ett abduktivt teoretiskt ramverk bestående av fenomenologi, socialpsykologi med stöd av tidigare forskning. Resultat Resultaten visar att majoriteten av eleverna upplever att dansen har bidragit till (i stor utsträckning eller delvis) att stärka deras självkänsla, självförtroende, självmedvetenhet, kroppskontroll/kroppskännedom samt till att öka deras sociala förmåga. De delar inom dansundervisningen som visat sig vara mest utvecklande för de psykosociala förmågorna är möjligheten att stå på scen, improvisationen samt det egna skapandet. De fysiska kapaciteterna upplevdes mest utvecklas av möjligheten att stå på scen, improvisation samt mötet med olika dansstilar. Slutsats Slutsatsen är att genom mötet med dansen som uttrycksform och dansundervisningen som vilar på skolans värdegrund ökar danselevens psykosociala förutsättningar och fysiska kapaciteter. Detta verkar ske framförallt när eleven får arbeta kreativt och kommunikativt i en trygg miljö. En lärmiljö som utgår från en holistisk syn där kroppen får vara både subjekt och objekt, där en sund kroppsuppfattning råder kan då ge eleven chans att utveckla en god självkänsla. / Aim The aim with this study was to find out whether former students of the upper secondary school dance-program, experience that they through dance have enhanced/strengthened certain psychological and social abilities as well as physical capacities. The questions asked in relation to the aim where: Do the students mention that dance as expression strengthens self-esteem, self-confidence and self-awareness? Do the students mention that dance as expression strengthens body-control/body-awareness? Do the students mention that dance as expression helps enhancing the social ability? Is there any part of dance (the dance-education) that seems to be particularly part of the development according to the questions asked? Method The method being used is a quantitative questionnaire with some qualitative approaches where former students of the upper secondary school aesthetic dance-program have been part of the subject group. A total of 45 answers where collected and they have been analysed quantitatively and interpreted from an abductive theoretical framework consisting of phenomenology, social psychology and by the support of earlier research in dance. Results The results show that a majority of the students experience that dance has contributed to (to great extent or partly) strengthen their self-esteem, self-confidence, self-awareness, body-control/body-awareness and enhancing their social ability. The parts of the dance-education that turned out to be particularly enhancing the psychosocial abilities where; the possibility to be on stage, improvisation and the self-creating work.  The physiological capacities that the students experienced most enhancing where; the possibility to be on stage, improvisation and meeting different dance-styles. Conclusions The conclusion is that through meeting dance as expression and dance-education, based on the values of the schools steering documents, the dance-students psychosocial abilities and physical capacities enhances. This seems mainly being referred to when the student can work creative and with communication in a safe environment. A learning-environment based on a holistic point of view where the body can be both subject and object, where a healthy view of the body reigns, might give the student a chance for developing a good sense of self.

Diploma thesis is focused on pupils' coordination abilities on primary grade of elementary school. The main goal is comparison of pupils' levels in coordination skills, who attend dancing lessons in elementary art school and pupils who do not. It leads to be found out how dance and movement education influence coordination skills. The research part consists of motor tests, which find out levels of rhythmics, reacts, balances, orientations, associations and rebuilding. These tests are supplemented by questionnaire, which finds out information needed for processing of results. The questionnaire finds out what sports and how long the pupils do them in an organized way, whether the pupils do sports in an unorganized manner or not at all. In results there are compared measured values. Each test is described and evaluated. In the tests there are compared pupils of primary grade of elementary school and they are split to four categories - non-sporting pupils, unorganized sporting pupils, organized sporting pupils and elementary art school. For comparing results there were chosen values - arithmetic mean, minimum and maximum measured value and supplemented by graphical processing of comparison of selected four groups. From the measured values and their subsequent comparison, it turned out that pupils who...

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En 2001, dans la foulée de la réforme scolaire, une deuxième génération de programmes d’études en danse a été implantée (Gouvernement du Québec, 2001, 2003, 2007). Alors que la représentation devant public est prescrite dans les programmes d’études pour le secondaire (Gouvernement du Québec, 2003, 2007), elle est quasi-absente du programme d’études pour le primaire (Gouvernement du Québec, 2001). De plus, il y a peu de recherches empiriques sur l’enseignement de la danse à l’école québécoise et aucune sur l’utilisation de la représentation devant public dans ce contexte. Or, les enseignants sont nombreux à y avoir recours de façon intuitive pour favoriser les apprentissages chez les élèves. C’est pourquoi, à la lumière de repères théoriques issus de modèles de la transposition didactique, du processus de création, des systèmes de pertinence et de la construction identitaire des enseignants de la danse en milieu scolaire, nous avons cherché à comprendre comment la représentation devant public est utilisée, en danse, au troisième cycle du primaire, à l’école québécoise. Pour ce faire, nous avons eu recours à l’observation, à la captation audio et aux entretiens pour collecter des données auprès de deux enseignantes en danse et de cinquante-quatre élèves du troisième cycle du primaire, pendant le processus de création de danses menant à la présentation devant un public. Nous avons ainsi pu dégager treize thèmes représentatifs de l’expérience vécue par ces enseignantes et ces élèves, ainsi qu’une ébauche de modèle du processus de préparation d’une représentation devant public en milieu scolaire. / In 2001, following the curriculum reform, a second generation of dance programs was implemented (Gouvernement du Québec, 2001, 2003, 2007). While performing in front of an audience is prescribed in the programs for secondary education (Gouvernement du Québec, 2003, 2007), it is almost absent from the program for primary education (Gouvernement du Québec, 2001). Furthermore, there is little empirical research in the field of in-school dance teaching in Quebec, and none tackle the use of performance is this context. However, many teachers use it intuitively to promote students’ learning. Thus, enlightened by theoretical marks from models of didactic transposition theory, the creative process, the relevance systems theory and the identity construction in dance teachers in the school environment, we aim at understanding how performance is implemented, in dance, in Quebec’s schools, for kids from 5th to 6th grade. To do so, we used observation, audio recording and interviews to collected data from two in-school dance teachers and fifty-four of their students from 5th to 6th grade, while they were creating dances which would be performed in front of an audience. We were then able to extract thirteen themes representing the teachers’ and students’ experience of creating dances to be performed in front of an audience, and we developed a draft of a model of the process of preparing a performance.