Participant loyalty and satisfaction with services offered on Street Dance Kemp Goal: Main goal of this thesis is to find a relationship between participant loyalty and satisfaction with services offered on Street Dance Kemp. Methods: In this thesis is used questionnaire and structured interview for obtaining data about participant satisfaction with services offered and about their loyalty to the event. Will be also examined the available competition in dance camps in Europe. To find a relationship between participant loyalty and satisfaction is used statistical method Kruskal-Wallis non-parametrical ANOVA. Results: Main result of this thesis is evaluation of the relationship between participant loyalty and satisfaction and future possible improvement of the services in order to get more loyal participants. Key words: sport event, street dance, hip-hop, questionnaire and interview, competition analysis, Kruskal-Wallis ANOVA

O presente estudo refere-se às presenças femininas na dança de rua, expressão que aparece como um dos elementos do movimento cultural hip hop. Atualmente, o hip hop tem se configurado como território predominantemente masculino nas suas manifestações, sendo atravessado por diferentes significados de corpos e gêneros, os quais se correlacionam com outras marcas culturais tornando complexas as relações humanas e, portanto, de poder, as quais funcionam de múltiplas formas na organização dos grupos sociais. Nesse panorama a atuação dos corpos femininos é pensada dentro de uma rede de relações sociais e de poder, disputando e produzindo significados, inventando suas próprias táticas de inserção, de modo plural e dinâmico. Poderes não tão localizáveis (FOUCAULT,2007c), mas que estão dispersos, circulam nas práticas sociais, produzem e constituem sujeitos. Dessa forma, estabeleço como objetivo desse estudo, mapear como são exercidas as diferentes presenças femininas nos grupos de dança de rua, Original Dancer e Piratas de Rua, ambos da cidade de Pelotas/RS. Para desenvolvimento da pesquisa foi utilizado como caminho metodológico a etnografia urbana a partir de Magnani (2002), associada a elementos do método cartográfico (ROLNIK, 2006). Para tanto, coloco em operação tais questões: como são inventadas táticas de inserção das mulheres na dança de rua? Como são exercidos pelas mulheres poderes-saberes que têm o corpo como arma? Como as mulheres constituem modos de subjetividade nesse contexto? Como emergem novos territórios para a produção de existências femininas? A presente pesquisa é conduzida pela inquietude de uma pesquisadora mulherer que deseja perceber como as mulheres têm se constituído eticamente enquanto presenças femininas nesses espaços de sociabilidades criados pela dança de rua. Ao longo dessa empreitada vou assumindo, incorporando e me apropriando de algumas pistas teóricas que penso importantes para dar visibilidade a essas mulheres de uma maneira positiva, produtiva, respeitando a pluralidade de suas existências. Sou assim, atravessada, movida entre encontros e desencontros no exercício de pensamento com as problematizações de Michel Foucault, especificamente quando ele nos fala de modos de subjetivação, da constituição ética e das micro-rupturas com aquilo que está na fronteira entre a sujeição e as práticas de liberdade do sujeito que estiliza a sua existência. / This study refers to the presence of women in street dance, an expression that appears as one of the cultural movement of hip hop. Currently, hip hop has been marked as a male-dominated territory in its manifestations, is traversed by different meanings of bodies and genders, which correlate with other brands making cultural complex human relationships and therefore of power, which operate multiple forms in the organization of social groups. In this scenario, the role of the female body is conceived within a network of social relations and power, playing and producing meanings, inventing their own tactics for integration, so plural and dynamic. Powers not as discoverable (Foucault, 2007c), but they are scattered, circulating in social practices, produce and are subject to. So I set the objective of this study, map and are carried out by women in different groups of street dance, Dancer Original Street and Pirates, both of Pelotas / RS. To develop the research was used as a methodological approach to urban ethnography from Magnani (2002), combined with elements of the mapping method (ROLNIK, 2006). Therefore, put in operation these questions: How are invented tactics for integrating women in street dance? How are powers exercised by women-knowledge that the body is a weapon? As women constitute modes of subjectivity in this context? As new areas emerge for the production of female stocks? This research is conducted by the restlessness of a young woman with a researcher who wants to understand how women have been constituted as ethically female presence in these spaces of sociability created by the street dance. Throughout the contract I assume, incorporating and appropriating me some clues I think theoretical important to give visibility to these women in a positive, productive, while respecting the diversity of their existence. I therefore crossed, moved between agreements and disagreements in the course of thought with the problematization of Michel Foucault, specifically when he speaks of modes of subjectivity, ethics and the establishment of micro-breaks with what is on the border between subject and practices subject to freedom of stylization of its existence.

O presente estudo refere-se às presenças femininas na dança de rua, expressão que aparece como um dos elementos do movimento cultural hip hop. Atualmente, o hip hop tem se configurado como território predominantemente masculino nas suas manifestações, sendo atravessado por diferentes significados de corpos e gêneros, os quais se correlacionam com outras marcas culturais tornando complexas as relações humanas e, portanto, de poder, as quais funcionam de múltiplas formas na organização dos grupos sociais. Nesse panorama a atuação dos corpos femininos é pensada dentro de uma rede de relações sociais e de poder, disputando e produzindo significados, inventando suas próprias táticas de inserção, de modo plural e dinâmico. Poderes não tão localizáveis (FOUCAULT,2007c), mas que estão dispersos, circulam nas práticas sociais, produzem e constituem sujeitos. Dessa forma, estabeleço como objetivo desse estudo, mapear como são exercidas as diferentes presenças femininas nos grupos de dança de rua, Original Dancer e Piratas de Rua, ambos da cidade de Pelotas/RS. Para desenvolvimento da pesquisa foi utilizado como caminho metodológico a etnografia urbana a partir de Magnani (2002), associada a elementos do método cartográfico (ROLNIK, 2006). Para tanto, coloco em operação tais questões: como são inventadas táticas de inserção das mulheres na dança de rua? Como são exercidos pelas mulheres poderes-saberes que têm o corpo como arma? Como as mulheres constituem modos de subjetividade nesse contexto? Como emergem novos territórios para a produção de existências femininas? A presente pesquisa é conduzida pela inquietude de uma pesquisadora mulherer que deseja perceber como as mulheres têm se constituído eticamente enquanto presenças femininas nesses espaços de sociabilidades criados pela dança de rua. Ao longo dessa empreitada vou assumindo, incorporando e me apropriando de algumas pistas teóricas que penso importantes para dar visibilidade a essas mulheres de uma maneira positiva, produtiva, respeitando a pluralidade de suas existências. Sou assim, atravessada, movida entre encontros e desencontros no exercício de pensamento com as problematizações de Michel Foucault, especificamente quando ele nos fala de modos de subjetivação, da constituição ética e das micro-rupturas com aquilo que está na fronteira entre a sujeição e as práticas de liberdade do sujeito que estiliza a sua existência. / This study refers to the presence of women in street dance, an expression that appears as one of the cultural movement of hip hop. Currently, hip hop has been marked as a male-dominated territory in its manifestations, is traversed by different meanings of bodies and genders, which correlate with other brands making cultural complex human relationships and therefore of power, which operate multiple forms in the organization of social groups. In this scenario, the role of the female body is conceived within a network of social relations and power, playing and producing meanings, inventing their own tactics for integration, so plural and dynamic. Powers not as discoverable (Foucault, 2007c), but they are scattered, circulating in social practices, produce and are subject to. So I set the objective of this study, map and are carried out by women in different groups of street dance, Dancer Original Street and Pirates, both of Pelotas / RS. To develop the research was used as a methodological approach to urban ethnography from Magnani (2002), combined with elements of the mapping method (ROLNIK, 2006). Therefore, put in operation these questions: How are invented tactics for integrating women in street dance? How are powers exercised by women-knowledge that the body is a weapon? As women constitute modes of subjectivity in this context? As new areas emerge for the production of female stocks? This research is conducted by the restlessness of a young woman with a researcher who wants to understand how women have been constituted as ethically female presence in these spaces of sociability created by the street dance. Throughout the contract I assume, incorporating and appropriating me some clues I think theoretical important to give visibility to these women in a positive, productive, while respecting the diversity of their existence. I therefore crossed, moved between agreements and disagreements in the course of thought with the problematization of Michel Foucault, specifically when he speaks of modes of subjectivity, ethics and the establishment of micro-breaks with what is on the border between subject and practices subject to freedom of stylization of its existence.

O presente estudo refere-se às presenças femininas na dança de rua, expressão que aparece como um dos elementos do movimento cultural hip hop. Atualmente, o hip hop tem se configurado como território predominantemente masculino nas suas manifestações, sendo atravessado por diferentes significados de corpos e gêneros, os quais se correlacionam com outras marcas culturais tornando complexas as relações humanas e, portanto, de poder, as quais funcionam de múltiplas formas na organização dos grupos sociais. Nesse panorama a atuação dos corpos femininos é pensada dentro de uma rede de relações sociais e de poder, disputando e produzindo significados, inventando suas próprias táticas de inserção, de modo plural e dinâmico. Poderes não tão localizáveis (FOUCAULT,2007c), mas que estão dispersos, circulam nas práticas sociais, produzem e constituem sujeitos. Dessa forma, estabeleço como objetivo desse estudo, mapear como são exercidas as diferentes presenças femininas nos grupos de dança de rua, Original Dancer e Piratas de Rua, ambos da cidade de Pelotas/RS. Para desenvolvimento da pesquisa foi utilizado como caminho metodológico a etnografia urbana a partir de Magnani (2002), associada a elementos do método cartográfico (ROLNIK, 2006). Para tanto, coloco em operação tais questões: como são inventadas táticas de inserção das mulheres na dança de rua? Como são exercidos pelas mulheres poderes-saberes que têm o corpo como arma? Como as mulheres constituem modos de subjetividade nesse contexto? Como emergem novos territórios para a produção de existências femininas? A presente pesquisa é conduzida pela inquietude de uma pesquisadora mulherer que deseja perceber como as mulheres têm se constituído eticamente enquanto presenças femininas nesses espaços de sociabilidades criados pela dança de rua. Ao longo dessa empreitada vou assumindo, incorporando e me apropriando de algumas pistas teóricas que penso importantes para dar visibilidade a essas mulheres de uma maneira positiva, produtiva, respeitando a pluralidade de suas existências. Sou assim, atravessada, movida entre encontros e desencontros no exercício de pensamento com as problematizações de Michel Foucault, especificamente quando ele nos fala de modos de subjetivação, da constituição ética e das micro-rupturas com aquilo que está na fronteira entre a sujeição e as práticas de liberdade do sujeito que estiliza a sua existência. / This study refers to the presence of women in street dance, an expression that appears as one of the cultural movement of hip hop. Currently, hip hop has been marked as a male-dominated territory in its manifestations, is traversed by different meanings of bodies and genders, which correlate with other brands making cultural complex human relationships and therefore of power, which operate multiple forms in the organization of social groups. In this scenario, the role of the female body is conceived within a network of social relations and power, playing and producing meanings, inventing their own tactics for integration, so plural and dynamic. Powers not as discoverable (Foucault, 2007c), but they are scattered, circulating in social practices, produce and are subject to. So I set the objective of this study, map and are carried out by women in different groups of street dance, Dancer Original Street and Pirates, both of Pelotas / RS. To develop the research was used as a methodological approach to urban ethnography from Magnani (2002), combined with elements of the mapping method (ROLNIK, 2006). Therefore, put in operation these questions: How are invented tactics for integrating women in street dance? How are powers exercised by women-knowledge that the body is a weapon? As women constitute modes of subjectivity in this context? As new areas emerge for the production of female stocks? This research is conducted by the restlessness of a young woman with a researcher who wants to understand how women have been constituted as ethically female presence in these spaces of sociability created by the street dance. Throughout the contract I assume, incorporating and appropriating me some clues I think theoretical important to give visibility to these women in a positive, productive, while respecting the diversity of their existence. I therefore crossed, moved between agreements and disagreements in the course of thought with the problematization of Michel Foucault, specifically when he speaks of modes of subjectivity, ethics and the establishment of micro-breaks with what is on the border between subject and practices subject to freedom of stylization of its existence.

To grasp what learning, teaching and knowing health might be in relation to a physical activity, the study explores what ninth grade students find difficult, and what they need to discern in teaching to experience the knowing of participation and evaluation of street dance classes through the concepts comprehensibility, manageability and meaningfulness. These concepts are brought from Aron Antonovsky perspective of salutogenic health by Sense of Coherence (SOC). However I do not claim to embrace the complete SOC since it relates to life as a whole (Antonovsky, 1991; 2005). The aim of the study is to investigate how to deal with the content of teaching making the students develop the ability to participate and evaluate physical activity in relation to the concepts mentioned. Furthermore by using the onset of phenomenography and theory of variation the study explores ways for teachers and students to discern critical features of the content of teaching. The study design used is Learning study. It is a cyclic, pedagogical design aiming for making it possible for teachers to scientifically explore the quality of their own teaching in relation to a specific content being taught. In a Learning study teachers are collaborating with content of teaching, trying to discern critical features of the content to make these aspects come clear for the students in renewed teaching. A phenomenographic perspective is used to discern how the students’ experiences of the teaching content vary. The theory of variation is used for planning and carrying out lessons and evaluating them in order to make the critical aspects discernable for the students. Three lessons within one Learning study cycle were staged. They were videotaped and field notes were taken. The sample consisted of three groups of ninth grade students, 15 to 16 years of age (n=52) and three teachers. Three critical aspects according to the object of learning were discerned in the study: Experiences of comprehensibility, manageability and meaningfulness within the context of street dance. Experiences of different forms of comprehensibility, manageability and meaningfulness within different situations of the context of street dance. Within the context of street dance experience how the actions and experiences of comprehensibility, manageability and meaningfulness by oneself simultane-ously relates to actions and experiences of comprehensibility, manageability and meaningfulness of others. The study shows how young students’ ability to carry through and evaluate street dance with point of departure in the meaning of comprehensibility, manageability and meaningfulness may be improved when the students are offered a variation in the critical features of the subject content. / <p>Baksidestext:</p><p>Denna licentiatuppsats handlar om åk 9-elevers erfaranden av lärandeobjektet <em>genomföra och värdera street dance utifrån begriplighet, hanterbarhet och meningsfullhet.</em></p><p>Vad eleverna erfor av lärandeobjektet kartlades före undervisning och preliminära <em>kritiska aspekter</em> identifierades. Kritiska aspekter är aspekter av lärandeobjektet som eleverna inte har urskilt. I efterföljande undervisning erbjöds eleverna <em>variation</em> i de kritiska aspekterna. Därefter analyserades vad eleverna erfarit av lärandeobjektet samt vilken variation i de kritiska aspekterna som erbjudits eleverna.</p><p>Studien är genomförd enligt principen för den didaktiska modellen <em>Learning study. </em>De metodologiska utgångspunkterna är fenomenografi och variationsteori.</p><p>Studiens resultat visar att de elever som erfor variation i relationen mellan begreppen och street dance och dessutom samtidigt kunde urskilja sina egna och kamraters handlingar i sammanhanget utifrån begriplighet, hanterbarhet och meningsfullhet erfor lärandeobjektet mer differentierat. Resultatet visar också att olika elevgruppers erfaranden av lärandeobjektet sammanföll med hur de kritiska aspekterna hade behandlats i undervisningen.</p><p>Eleverna problematiserade i studien möjligheter och villkor för begriplighet, hanterbarhet och meningsfullhet vid genomförandet av rörelse i street dance i ett gemensamt upplevt sammanhang.<strong> </strong></p><p><strong>Författarpresentation</strong></p><p>Sabina Vesterlund arbetar som lärare i idrott och hälsa på en f-9-skola i Värmdö kommun. Hon tog sin idrottslärarexamen vid Gymnastik – och idrottshögskolan (GIH) i Stockholm 1996. Sabina har sedan dess arbetat med utbildning i idrott och hälsa i grundskolans alla årskurser samt på lärarutbildningar vid Stockholms universitet och GIH.</p><p>2014 antogs hon till Forskarskolan i idrott och hälsas didaktik vid GIH. Denna licentiatuppsats är hennes examensarbete inom forskarskolan. Handledare har varit Jane Meckbach och Bengt Larsson.</p><p>För att beställa tryckt exemplar av licentiatuppsatsen kontakta författaren: sabina.vesterlund@gmail.com </p> / Forskningslinjen Utbildning

公共空間應該是什麼？公共空間裡的衝突該如何解決？本研究藉由中正紀念堂與街舞之經驗，歸納公共空間理論上爭論不休的問題。如何讓活動在公共空間中自由的發生？作為公共空間的中正紀念堂，代表特殊之文化意涵，與街頭舞蹈的表現的另類價值，因為硬體因素與交通區位而聚集在一起。但更重要的是街舞者如何利用生活，建構真實空間壓抑下的對立基地—第三空間，實踐公共空間真正的公共性，最終達成好的城市與好的公共空間之願景。 最後結果可以歸納為三點：第一、弱勢者在公共空間中其實一直被視而不見，因此公共空間裡需要的是真正屬於弱勢者的第三空間，否則沒有市民實踐的公共空間，沒有意義；第二、解決公共空間中的矛盾，必須回歸社會文化研究，發覺第三空間中，人、活動與次文化關係中隱含的契機—非正式體制；第三、規劃者必須有非正式體制的認知，在第三空間的社會文化與體制網絡內貢獻專業。 / What is public space? How to solve conflicts in public space? This paper has been summarized all issues of public space theory by the experience of C.K.S.'s memorial hall and street dance. How to let activities happen naturally? Public space which like C.K.S.’s memorial hall presents special cultural meaning, and combines with alternative value of street dance by material equipment and location. But more important is that how B. Boys “live” their “thirdspace” to counter pressure of real space, realize true publicity of public space, reach the goal of good city public space eventually. We can get three points in the end of this paper: first, there has be some thirdspace in public space because disadvantaged people have not been seen for so long, or public space is meaningless without people realized. Second, incase to solve conflicts in public space, we must return to social-cultural research to discover informal system, relationships between people, activities, and subculture in thirdspace. Third, planners have to realize the informal systems so to contribute their profession abilities within social-culture and network systems in thirdspace.

街舞圈中，有一群特別的男舞者，他們擅長各種在台灣偏女性意象的風格。妖、騷、婊，是大家最常用來形容他們舞蹈肢體的詞彙。這群Girl’s Style男舞者帶給觀眾對於性別的不安全感，是這份研究的出發點，並且提出兩個研究問題，第一，他們性別越界特質的舞蹈實踐為何，反映了什麼性╱別意涵；第二，他們如何從舞蹈實踐中形塑自我。 為了解舞者的舞蹈實踐，本研究採取了參與觀察與深度訪談兩種資料收集方法，在校內熱舞社與校外街舞教室兩個田野點，集結近六個月的參與觀察筆記、近一年的相處經驗，以及四位受訪者的訪談內容，組成了可供分析的資料。研究者以舞蹈實踐、跨性別與舞蹈取向的自我，作為資料分析的三大概念，讓可見的舞蹈與舞者成為資料分析的對象。並且將舞者的自我等同於舞者的身體，其支持了舞者的吸收與抵抗，是舞者能動的基礎。 研究發現，這群特別的男舞者在街舞圈中，透過服裝、話語、性別腳本等多重文本的實踐，構成Bitch-Style這個新的意義系統，並且在實踐中翻轉了妖、騷、婊等污名話語，亦形塑跨性別的自我。舞者亦會在不同的情境中會自動調校性化的位置，以自我保護、展演符合社會期待的性別角色。未來期望更舞蹈與性/別的相關研究，能和本文的婊子們彼此激盪、對話。 / There’s a group of male street dancers call themselves “bitches”. Started with the uncertain feeling toward their sex/gender dancing image, the study tried to figure out what are their transgender dance practices, what kinds of meaning it contains with sex/gender, and how they fashion themselves by dancing. To understand their dance practices, the researcher took " Participant Observation" and "In-Depth Interview" as the two ways of data-collecting. After gathering with them for one year, I take dance practice, transgender performances and dance orientation of self as three approaches to analyze data. Self in this study is treated as dancers’ dancing body. In conclusion, the researcher argue that Girl’s Style male street dancers should be named as Bitch-Style male dancers. They form themselves by multi-textual practices such as discourses, dressing and gender script. Those insulting phrases like 妖、騷、婊 are transformed into positive words to them by dance practicing. Also, researcher found that they change sexed position quickly and well whenever they change scenarios. In the future,I hope there could be more researches about dance and sexuality which can support and dialogize with Bitches in my study.

Il ballo sociale di coppia è una forma di svago che è tornata ad essere praticata da giovani e adulti soprattutto dagli anni Novanta. Questa ricerca sociologica ha per oggetto gli eventi di ballo sociale di coppia che hanno luogo attualmente a Milano in spazi pubblici, soprattutto nel centro città, senza autorizzazioni formali e privi di finalità di lucro. L’ipotesi di base è che questi eventi, organizzati da gruppi di ballerini attraverso reti sociali online, siano parte di un fenomeno sociale unico. I tipi di ballo coinvolti sono il tango argentino, la mazurka francese neotrad, lo swing e i balli del sud Italia. Questo lavoro, attraverso l’osservazione partecipante in situazione e interviste in parte semistrutturate e in parte biografiche, mira ad individuare i significati specifici che distinguono tale pratica urbana dal ballo di coppia in luoghi istituzionali e quale sia il ruolo giocato dello spazio pubblico nel differenziare i due oggetti. Nell’analisi delle interviste, l’ambito di significato relativo alla socialità collettiva si è distinto rispetto agli altri per corposità e complessità, è stato perciò scelto come chiave interpretativa del fenomeno. Questa pratica si rivela, infine, una forma di socievolezza e un ambiente sociale in cui esperire un’intimità di gruppo generata da interazioni estemporanee tra conoscenti, e trova negli spazi pubblici della città il suo teatro di espressione privilegiato. / In Western culture, social partner dances have re-emerged as a leisure activity for young and adults since the 90’s. This sociological research concerns social partner dancing events taking place in public spaces in Milan nowadays, especially in the city centre. They are organized through online social networks by groups of dancers who occupy the public space without any formal license and any profit-mindedness; Argentinian tango, French mazurka, swing, and Southern Italian dances are the types of dances involved. The underlying assumption is that these street events are part of a unique social phenomenon. By means of an at home perspective to participant observation, semistructured, and in-depth interviews, this work aims, firstly, to find specific meanings to this practice by comparing it to partner dances performed in institutional places; and secondly, to identify the role of public space in this framework. The collective sociality dimension of meaning has been chosen as a key to interpretation, since it stood out for complexity and relevance. This urban practice turns out to be a kind of simmelian sociability and an environment to experience a group intimacy produced by extemporary interactions of acquaintances; of which urban public spaces, furthermore, prove to be a perfect theatre to its full expression.

The general aim of this research is the development of categories and codes (according to Saldaña's terminology, 2009) of the uses, functions and properties of the floor in dance. We have followed a methodology based on the qualitative analysis of a video corpus of dance works that were selected representive of a specific language (classical, modern and new dance) or as belonging to a particular historical moment (our research ranges from the end of the 19th century to the present), although some choreographies have also been included due to their contribution to the use of the floor in dance. In addition, this selection has been restricted by the availability of the works in video format. The final list of the works we have been analysing makes a total of 295 choreographies, 11 of which have been examined in depth so as to develop a qualitative codification. Once the categories had been established, the different aspects of the corpus of dances could be finally described and, in each category, the codes, which are the values of the dances, were also constituted. From the video-based qualitative analysis we propose different categories, grouped into three meta-categories focusing on the body techniques, the characteristics of the ground/floor, and the representation. / El objetivo general de esta investigación es el desarrollo de categorías y códigos (según la terminología de Saldaña, 2009) de los usos, funciones y características del suelo en la danza, por lo que hemos seguido una metodología basada en el análisis cualitativo de un corpus de videos de obras dancísticas, seleccionadas por ser representativas de un lenguaje concreto (clásico, moderno y new dance) o por pertenecer a un momento histórico determinado (nuestra investigación parte desde finales del siglo XIX y llega hasta la época actual), aunque también hemos incluido algunas coreografías que consideramos relevantes por su aportación respecto al uso del suelo. Esta selección también se ha visto condicionada a la disponibilidad en formato video de las obras. El listado final de obras sobre las que hemos trabajado ha sido del orden de 400 coreografías, de las cuales 11 han sido analizadas en profundidad para desarrollar la codificación cualitativa, estableciendo unas categorías de análisis que han permitido describir los diferentes aspectos del corpus de danzas, y en cada categoría, establecer unos códigos que son los valores que pueden adquirir las danzas. Este trabajo de visionado ha tenido como resultado del análisis cualitativo diversas categorías, y nos hemos centrado en las relativas al cuerpo, a las propiedades del suelo para la danza y a la representación.. / Aquesta investigació te com a objectiu el desenvolupament de categories i codis (segons terminologia de Saldaña, 2009) dels usos, funcions i caracterítiques del sòl a la dansa, per la qual cosa hem seguit una metodologia d'anàlisi qualitativa d'un corpus de vídeos de dansa, seleccionats perquè són representatius dels diferents llenguatges (clàssic, modern i new dance) o perquè pertanyen a un moment històric determinat (la nostra investigació s'inicia a finals del segle XIX i arriba fins a l'època actual), encara que també hi hem inclòs algunes coreografies que considerem rellevants per la seua aportació a la dansa en l'ús del sòl. La selecció s'ha vist condicionada a la disponibilitat de les obres en format vídeo, essent un total de vora 295 les coreografies analitzades, de les quals 11 han estat treballades en profunditat per al desenvolupament de la codificació qualitativa, constituïnt unes categories d'anàlisi que han permés descriure els diferents aspectes del corpus de danses, i establint a cada categoria uns codis com a resultat dels valors que les danses poden adquirir. Aquest treball de visionat presenta, com a resultat de l'anàlisi qualitativa, diverses categories, i la nostra investigació s'ha centrat en les que són estrictaments corporals, les referides a les propietats del sòl en relació a la dansa i les de la seua representació. / Arnal Rodrigo, RV. (2017). El suelo en la danza: uso del cuerpo y propiedades del soporte [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90449