The aim of this study was to investigate perceptions of Hip-Hop choreography and Hip-Hop choreography’s relation to freestyle. In order to accomplish that purpose, three dance artists were interviewed and a phenomenographical approach was used. From the result, the hope was to gain fresh insights and ideas for incorporating choreography in the teaching of Hip-Hop, and to explore various approaches for doing so. From the interviews with three dance artists, I found four categories which consist of different perceptions of choreography. The four categories were subjectivity, which could be perceived as freestyle, interaction which could be perceived as the relationship between performer and audience, physicality which could be perceived as more or less of a specific form and music which could be perceived as something inspirational. Intention behind what you do or public who is observing, was perceived as the influencer for freestyle to become choreography. The categories can define Hip-Hop choreography, yet those can also define choreography in dance overall. Physicality in specific form was perceived as one of the only categories that is directly connected to Hip-Hop choreography. Yet it does not disregard the importance of the three other concepts for the style Hip-Hop and so choreography.

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No description available.

Der französische Choreograph Jérôme Bel setzt in seinem biographischen Zyklus von 2004-2009 das Verhältnis von Werk und Autor, von Choreographie und Choreograph in Szene, vor deren Hintergrund die Geschichten und Namen des Tanzes anders lesbar werden: Die Stücke Bels tragen als Titel die Namen der Tänzer, die in ihnen auftreten. Die Geschichte der Namensgebung in der Arbeit Bels ist auch eine Geschichte, in der sein Name als Choreograph und Autor verschwindet, wenn er erscheint und erscheint, wenn er verschwindet. Von diesem Grenz-Ort aus wäre jene Geste zu befragen, die Jérome Bel vollzieht, wenn er den Stücken, für die sein Name steht, als Titel den Namen der Tänzer gibt, die in ihnen auftreten.

This thesis examines dance as a means of social and political revolt in the AIDS epidemic. The course of the AIDS epidemic within the United States was inexorably shaped by the way dancers and choreographers used their art form to rebel against concepts of masculinity, sexuality and disease transmission. Through confronting their audiences with the reality of their loss and humanizing themselves and their loved ones that passed away, dancers were able to change the image of the epidemic and push for necessary political and social reform. This paper also analyzes the ways that norms of masculinity and the stigma of effeminacy in modern society developed, through tracing the development and disappearance of the male dancers on stages across the world. This examination explores the connection between dance and queerness, as well as effeminacy and sexuality, and calls into question the ways in which our bodies and movements are colonized. These were concepts that were all explored during the AIDS epidemic as well as dance and social revolutions through out the earlier part of the 20th century.

This thesis explores the Continuing Professional Development (CPD) of mid-career artists in England and the South West of England in particular during 2000 to 2010. It identifies what their needs are and asks what CPD means to them; how they navigate their careers through their practice; how they articulate their needs; and how they negotiate to fulfil those needs. It examines to what extent the providers’ thinking about, and provision of, CPD in the region is aligned with the needs of the artists themselves. The individual narratives of artists are represented at the centre of this research. The research was developed in collaboration with University of Plymouth and the CPD agency, ArtsMatrix Ltd. Research methods used to collect data included extended dialogues with the artists Alyson Hallett, Mariele Neudecker, Helen Poynor and Phil Smith, via a series of walking interviews, using walking as an ethnographic research tool. By walking I engaged with a literal momentum of movement paralleling the physical and theoretical momentums of the artists’ practices. Policy and literature reviews; group interviews; artist interviews; desk-based research; observation and attendance at artist-led seminars and practice groups were also used. The research contrasts two CPD Schemes: The Contemporary Craft Fellowship Scheme, and The Artist as Cultural Agent: DIY. The thesis includes a policy and provision review of CPD literature in the UK and South West of England over the past ten years; a mapping of South West CPD provision for artists; and the identification and application of relevant theoretical and critical approaches to place, space, language and momentum in order to consider CPD provision in relation to the articulation, situation and concept of a career. This thesis argues that the language of CPD can constrain as much as enable artists’ development; that the terms “mid-career” and “South West” are open to contestation and can affect provider conceptualisations of artists in the region; and that artists need professional development throughout their careers but may not name it as such. I advocate for policy and provision to understand artists’ need to be supported “throughout” their practices rather than at certain points in a career, and advocate walking as both a research method and as one of a number of facilitative practices for those who provide CPD with or for experienced artists. I also advocate for artist-led CPD initiatives and an administrative support agency for artists.

Title: The choreography composition for the Fitness step aerobic senior category. Objectives: According to Analysis and Predictions of development of step aerobic competitive choreographies create and demonstrate the new choreography on the FISAF, Žij pohybem and Mistry s mistry competitions.

Actuellement, la technologie des services Web évolue rapidement, en étant soutenue par les grands acteurs du domaine des systèmes d'information. Les applications basés sur services Web sont faiblement couplées et utilisables de façon automatique via l'utilisation d'un ensemble de normes basées sur XML. Hormis la description syntaxique des messages, il est nécessaire d’avoir une description sémantique du comportement des services. En effet, lors de la conception d'un service ou lors d'une composition de services, il est important de vérifier la conformité avec un cahier des charges. L’enrichissement des descriptions des services par l’inclusion de leurs comportements est de plus en plus important. Ce comportement peut être décrit par des protocoles métier représentant les séquences possibles d'échanges de messages. Les services Web utilisent des politiques de contrôle d'accès (ACP) pour restreindre l'accès à des consommateurs autorisés. Ces politiques doivent faire partie de la description du service. Dans cette thèse, l'analyse d'interopérabilité en termes de contrôle d’accès après la formalisation des services Web annotés avec les politiques de contrôle d’accès est réalisée. Nous présentons une approche pour intégrer les outils de vérification dans l'architecture de contrôle d’accès de façon à garantir une interaction sans erreurs. Les politiques et les crédits sont présentés comme une ontologie afin de bénéficier de la flexibilité offerte par subsomption sur des concepts. La chorégraphie des services Web est utilisée dans la phase de conception d’applications pair à pair complexes dans lesquelles chaque pair peut être implémenté par un service Web. Par conséquent, la sélection des services Web pour l’implémentation de chorégraphie en utilisant l’approche de vérification de compatibilité avec contrôle d'accès est l'un des objectifs de notre recherche. Dans ce travail, les modèles de protocole métier du service Web sont étendus en ajoutant des informations au message sur chaque transition du service dans lequel ce message sera envoyé ou reçu. Nous définissons et vérifions la compatibilité des services Web afin de voir si (et comment) plusieurs services peuvent avoir des interactions en fonction de leurs protocoles. Cette approche aidera les concepteurs à choisir des services Web de manière simple et à vérifier s’ils peuvent mettre en œuvre la chorégraphie nécessaire en vérifiant la compatibilité avec notre approche / Currently, Web services technology is rapidly move forward supported by major players in the field of information systems. Web services applications are loosely coupled and usable in an automatic way via the use of a set of standards based on XML. Beside the syntactic description of messages, there is a need for the semantic description of the behavior of services. Indeed, whether in the design of a service or composition of services, it is important to check compliance with a set of specifications. Enriching services descriptions by including their behaviors is becoming more and more important. This behavior can be described by business protocols representing the possible sequences of message exchanges. Web services use access control policies (ACP) to restrict the access to authorized consumer. These policies should be a part of the service description. In this thesis, the interoperability analysis in terms of AC after the formalization of the Web services annotated with the access control (AC) is performed. In addition, we present an approach for embedding the checking tools in the AC enforcement architecture to guarantee the errors free interaction. The ACP and the credentials are presented as ontology in order to benefit from the flexibility offered by subsumption on concepts. Web services choreography is used in the design phase of complex peer-to-peer applications in which each peer can be implemented by a Web service. Therefore, selecting Web services for choreography implementation using the compatibility checking approach with access control is one of the objectives of our research. In this work, the business protocol models of the Web service are extended by adding information to the message on each transition about the service in which this message will sent to or received from. We define and verify Web service compatibility in order to see if (and how) several services can have interactions based on their protocols. This approach will help the designers to select Web services in an easy way and verify if they can implement the required choreography or not by checking the compatibly using our approach

Cette thèse a pour objet d’étude les processus d’élaboration de nouveaux ballets dans les compagnies de répertoire. À travers une enquête internationale, elle se propose d’interroger dans une perspective sociologique la situation de création spécifique qui est celle des chorégraphes de formation classique, insérés dans des institutions vouées principalement à l’entretien d’un répertoire d’œuvres existantes. Leurs trajectoires professionnelles et les différences genrées qu’elles mettent en évidence y sont élucidées, ainsi que la dimension fondamentalement collective d’un travail artistique qui implique la coopération d’autres acteurs, notamment les interprètes et les répétiteurs. À partir des formes d’incorporation et de circulation du mouvement, des logiques de création se dégagent, qui permettent d’interroger la nature de l’autorité créative du chorégraphe.Appuyé sur l’observation des répétitions de cinq créations au Ballet du Bolchoï, au Ballet de l’Opéra de Paris, à l’English National Ballet et au New York City Ballet, ce travail est complété par 29 entretiens et une base de données recensant toutes les créations des compagnies étudiées entre 2000 et 2016. Ces données croisées permettent de faire ressortir l’imaginaire commun qui sous-tend le travail des chorégraphes au XXIe siècle, les différences entre les quatre pays ainsi que les tensions propres à une forme de création identifiée comme classique. / Creativity within classical art forms is often underrated, and little is known about what it takes to craft a new ballet. This thesis explores the process of making new works in ballet companies today from a sociological perspective. Drawing on original field work in four countries, it looks at the specificity of the creative endeavours of ballet-trained choreographers, who work in institutional contexts where creation is allowed only limited space in comparison to the existing repertoire. The career trajectories of classical choreographers are addressed along with gender biases in the field. An in-depth look at the ways in which movement is shared, shaped and incorporated in the studio reveals the collective nature of creative processes which closely involve dancers and ballet masters.In addition to sustained periods of observation related to five creations at the Bolshoi Ballet, English National Ballet, New York City Ballet and the Paris Opera Ballet, the data gathered includes 29 interviews and a database listing every ballet created by the four companies above between 2000 and 2016. These findings shed light on the classical imaginary – a network of images and models, I argue, underpinning the work of 21st-century ballet choreographers – and highlight the complexity of classical artistic identities today.

A implantação de composições de serviços web de grande escala apresentam vários desafios, tais como falhas corriqueiras na infraestrutura, heterogeneidade tecnológica, distribuição do sistema por diferentes organizações e atualização frequente dos serviços em operação. Nesta dissertação, estudamos como uma implantação automatizada baseada em middleware pode auxiliar na superação de tais desafios. Para isso, desenvolvemos o CHOReOS Enactment Engine, um sistema de middleware que possibilita a implantação distribuída e automatizada de composições de serviços web em uma infraestrutura virtualizada, operando no modelo de computação em nuvem denominado Plataforma como um Serviço. O middleware desenvolvido é avaliado qualitativamente em comparação a abordagens de implantação ad-hoc e quantitativamente pela sua escalabilidade em relação ao tempo de implantação das composições de serviços. / The deployment of large-scale service compositions presents several challenges, such as infrastructure failures, technological heterogeneity, distributions across different organizations, and continuous services updating. In this master thesis, we study how the automated deployed supported by middleware can help in overcoming such challenges. For this purpose, we developed the CHOReOS Enactment Engine, a middleware system that enables the distributed and automated deployment of web service compositions in a virtualized infrastructure, operating in the cloud computing model known as Platform as a Service. The developed middleware is evaluated qualitatively by comparing it with ad-hoc deployment solutions, and it is also evaluated quantitatively by its scalability regarding the deployment time of service compositions.