Thesis (M.A.(Heritage and Cultural Sciences))--University of Pretoria, 2008. / Includes bibliographical references.

Thesis (M.A.)--Florida State University, 2003. / Advisor: Dr. Tricia Young, Florida State University, College of Visual Arts and Dance, Dept. of Dance. Title and description from dissertation home page (viewed Feb. 26, 2003). Includes bibliographical references.

Thesis (MA(Counselling Psychology))-University of Pretoria, 2006. / Includes bibliographical references. Available on the Internet via the World Wide Web.

Thesis (Ph. D.)--University of California, Berkeley, 1989. / Includes bibliographical references (367-390).

Thesis (M.S.)--Brigham Young University. Dept. of Exercise Sciences, 2006. / Includes bibliographical references (p. 61-66).

The following investigation develops a critique of Competitive Ballroom Dancing as a social phenomenon from an anthropological perspective and that of a non-dancer. In order to do this the thesis is concerned with interrelating dance with anthropology. The concepts of how people express themselves and communicate in society provide the study with the scope to explore certain issues. The first aspect shows how a person would prepare to be a dancer in competition, this involves, among other things, learning to dance, finding a suitable partner and the overall appearance of the dancer. Secondly looking at competition, which involves sport and dance, judgement and perception of how the dancers and spectators view it. The embodied content of the competitive dancer is seen as an important issue, since it can affect how the dancers dance and how the dance is perceived, despite the fact that competitive ballroom dancing is such a highly formal, structured and rule-governed form of dance. Ritual and performance theories integrating emic and etic tendencies are juxtaposed with what appears to happen in this form of dance. In addition various types of altered state of mind are examined, in view of comments made by dancers about how they feel when dancing. Furthermore this thesis explores an understanding of how important this form of dancing is to its participants and how the activity can be a life-long pursuit whether as a dancer or subsequently as a spectator. It also illustrates the extent to which younger people enjoy an activity where there is great emphasis on being fit and how they have come to link it with sport.

This thesis attempts to better understand gender roles portrayed in the media. By using Stuart Hall's theory of audience reception (Hall, 1980) the researcher looks into dance and gender in the media to indicate whether or not LDS participants believe stereotypical gender roles are portrayed on Dancing with the Stars." Through four focus groups containing a total of 30 participants, the researcher analyzed costuming, choreography, and judges' comments through the viewer's eyes. From participant responses, the conclusion was made that audience members do perceive stereotypical gender roles on "Dancing with the Stars." Participants felt that costuming was the biggest indicator of gender roles on the show, and that choreography and judges' comments also contributed to the perception of gender roles.

From 1926 to 1958, the Savoy Ballroom in New York's Harlem neighborhood played a critical role in the development and showcasing of African-American popular culture. During its lifetime, the Savoy Ballroom significantly affected the concurrent development of jazz music and jazz dance, and laid important groundwork for racial integration. The Savoy Ballroom served as the home base for such jazz greats as William "Chick" Webb, Lucius Venable "Lucky" Millinder, and David "Panama" Francis, and launched the careers of John Birk "Dizzy" Gillespie, Charlie Parker, and Thelonious Monk. Beyond music, the Lindy Hop, a partnered jazz dance that emerged at the Savoy during the late 1920s, was one of the Ballroom's cultural exports; it gained an unprecedented degree of fame and recognition during the late 1930s, and is still practiced today by communities across the United States and the world. The objective of this dissertation is to examine the cultural, social, and musical contribution made by the Savoy Ballroom to the promotion of African-American culture. The first and second chapters of this dissertation address the historical and cultural context of Harlem and the Savoy proper. The third chapter examines some of the emerging traditions behind the Savoy Ballroom's status as the "World's Finest Ballroom." The fourth and fifth chapters address the chronological and technical development of music and jazz dance at the Savoy, with particular attention given to the lasting impact of such advancements as the incorporation of swing feel into jazz. The sixth chapter examines the cultural impact of the Ballroom on contemporary and modern media, particularly print, music, film, and photography. Finally, the seventh chapter examines the Savoy Ballroom's participation in New York's World's Fair exhibition in 1939, and its impact on the worldwide export of Harlem's African-American culture.

Thesis (Ph. D.)--Florida State University, 2008. / Advisor: Suzanne Sinke, Florida State University, College of Arts and Sciences, Dept. of History. Includes bibliographical references.

Thesis (Ph. D.)--University of California, San Diego, 2006. / Title from first page of PDF file (viewed June 27, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 853-893).