The discourse of dancers' and career transitions has significantly increased since the 1980s, and much of the literature views the topic of dancers and career transitions from European, American and Australian perspectives. No literature from a South African perspective was found, and this research dissertation aims to fill this gap. This research explores the phenomenon of a dancer's career transition from a South African perspective through a microcosm - four interviews conducted with former professional ballet dancers from a single ballet company. The aim was to answer the main research question; What is the experience of South African ballet dancers transitioning from a full-time professional stage performing career to alternative careers or roles? A Phenomenological case study was applied to explore and identify the former dancer's transition experiences. Qualitative data was gathered through in-depth interviews with four former dancers who had been employed full-time by a single company in the Western Cape, South Africa. The transcripts of the data collected were analysed using thematic analysis, and four themes emerged: 1. Loss, grief and coping processes. 2. Preparation for an exit. 3. Support systems. 4. South African experience versus outside South Africa experience. Several established theories and models were used to underpin the interpretations and understandings of the experiences of these former dancers. These include Irina Roncaglia's Career Transition Model for Ballet Dancers (Roncaglia, 2006), Colin Murray Parkes' Psychosocial Transition Theory (1998), Margret Stroebe and Henk Schut's Dual-process Model of Coping and Bereavement (1995), Britton Brewer, Judy Van Raalte and Darwyn Linder's Athletic Identity (1993), and Carolyn Cutrona and Daniel Russell's ideas on types of Social Support (1990) along with an exploration on the profile of South African dancers. The research demonstrates that even though South African ballet dancers find themselves in different training and performing environments compared to their European, American and Australian counterparts, the experiences of dancers' transitioning out of a professional stage performing career have similar themes yet are unique for each individual. The research also comments on suggestions to improve South African dancers' experiences while considering the socio-economic climate of Dance in South Africa. Recommendations for further study are made, borne from the limitations and findings of this research. In closing, although zoomed into experiences from a single ballet company, the four themes provide an answer to the research question, which allows for a new perspective (South African) to be added to the already established dialogue of dancers and career transitions.

Core is defined as the central, innermost, most essential part of anything. In dance every technique and movement requires intense control, which is provided by core strength. The core in the human body is the torso that consists of the abdominal muscles. These muscles cover the rib cage and protect the lungs which are the respiratory center for the body. Breath control is one of the best ways to garner focus for the dancer. In this thesis, the concept of the"core" becomes the basis for the design of a building devoted to dance and located within the city. Since a defined core is crucial to the dancer in order to have a fluid performance, its existence within the building's design needs to have an outstanding presence and role. This guiding component for this thesis in combination with site investigation, research, and design process will lead to the conceptualization and final product of the Dance and Performance Arts Center. / Master of Architecture

<p>Syftet med denna uppsats är att undersöka på vilket sätt musik och filmrum interagerar med varandra i filmmusikalerna ”Dancer in the Dark” och ”Chicago”. Detta görs huvudsakligen med utgångspunkt från Richard Dyers teorier kring rumsgestaltning inom filmmusikaler, men också utifrån deras roll som förmedlare av utopiska värden, samt Michel Chions teorier kring ljudets olika effekter på film. Vilka värderingar och budskap filmerna har och hur de kommer fram diskuteras också. </p><p> Resultatet av analyserna visar att de två filmernas sätt att arbeta med rum och musik skiljer sig markant, men att de båda för fram ett samhällskritiskt budskap.</p>

Syftet med denna uppsats är att undersöka på vilket sätt musik och filmrum interagerar med varandra i filmmusikalerna ”Dancer in the Dark” och ”Chicago”. Detta görs huvudsakligen med utgångspunkt från Richard Dyers teorier kring rumsgestaltning inom filmmusikaler, men också utifrån deras roll som förmedlare av utopiska värden, samt Michel Chions teorier kring ljudets olika effekter på film. Vilka värderingar och budskap filmerna har och hur de kommer fram diskuteras också. Resultatet av analyserna visar att de två filmernas sätt att arbeta med rum och musik skiljer sig markant, men att de båda för fram ett samhällskritiskt budskap.

The present study explored the stigmatization experiences of dirty workers in one dirty work job-female exotic dancers-in an effort to understand the components of dirty work stigma. The framework presented here is based on the integration of existing theory regarding the components of stigma and dirty work. Grounded theory was used to guide the collection and analysis of interviews from 18 participants. Five dirty work stigma components were identified in the participant accounts (i.e., awareness of negative perceptions, type of stigma, visibility, controllability, and type of taint). These components were centrally organized around the moral taint of the dirty work job of exotic dancing.

The present study explored the stigmatization experiences of dirty workers in one dirty work job-female exotic dancers-in an effort to understand the components of dirty work stigma. The framework presented here is based on the integration of existing theory regarding the components of stigma and dirty work. Grounded theory was used to guide the collection and analysis of interviews from 18 participants. Five dirty work stigma components were identified in the participant accounts (i.e., awareness of negative perceptions, type of stigma, visibility, controllability, and type of taint). These components were centrally organized around the moral taint of the dirty work job of exotic dancing.

Essa tese procura investigar os mistérios que envolvem a adesão ao metier da dança, atividade artística para a qual é atraída uma minoria que faz do corpo instrumento de trabalho e recurso privilegiado de transgressão das próprias condições de existência. Trata-se de um estudo sobre bailarinas e bailarinos profissionais cujo interesse reside no exame dos elementos objetivos e subjetivos de acesso e permanência nessa carreira. A idéia consiste em desvendar a vocação para a dança tomando como cenário analítico o contexto do meio coreográfico da cidade de São Paulo, na atualidade, em que são encontrados bailarinos de distintos perfis alinhados em diferentes modelos estéticos: de um lado, a produção contemporânea que tem como base os procedimentos do balé clássico e, de outro, as linguagens de vanguarda amparadas, sobretudo, nas técnicas de improvisação. De acordo com isso, o objetivo deste trabalho é compreender quem são aqueles que, do ponto de vista social, tornam-se bailarinos, suas razões e seus meios, e em que medida os capitais econômicos, simbólicos e corporais podem ser traduzidos no âmbito dos estilos aos quais essas trajetórias se dirigem. A tese teve como fundamentos de pesquisa a etnografia de duas companhias paulistanas uma tradicional e outra de vanguarda e um conjunto de entrevistas com bailarinas e bailarinos, a partir das quais foram geradas narrativas sobre os seus itinerários e um banco de dados morfológicos que permitiram a interpretação das trajetórias dos agentes desse meio. Ao abordar essa base de dupla perspectiva metodológica, o trabalho elabora a análise da modelagem corporal e do imaginário desses profissionais e dos estilos de vida que deles derivam. A trajetória social e a feição do corpo dos bailarinos, submetidas ao ângulo das subjetividades do sujeito e da construção da dimensão de seus sentidos, foram às principais referências utilizadas como fontes de dados para apreender as especificidades dos portadores que constituem o pequeno grupo que realiza o salto para essa profissão e passa a vivenciar a dança como um trabalho, na condução metódica da vida; e para examinar os fatores e as condições sociais que orientam a formação dessa vocação. / This thesis seeks to investigate the mysteries surrounding the access to the métier of dance, this artistic activity to which a minority is attracted, which makes the body a work instrument and a privileged transgression resource of their own living conditions. This is a study on professional dancers, both male and female, whose interest lies in examining the objective and subjective elements of access and permanence in this career. The idea is to unveil the \"vocation\" to dance considering as analytical scene the present choreographic context in the city of São Paulo, where dancers of distinct profiles are found lined up in different aesthetic models: on the one hand, the contemporary production that is based on the procedures of classical ballet and, on the other, the vanguard languages especially supported by improvisational techniques. Accordingly, the objective of this work is to understand, from a social standpoint, who are those that become dancers, their reasons and their means and to what extent the economic, symbolic and body capitals can be translated within the styles in which those paths are conducted. The thesis had as a research basis the ethnography of two dance companies from São Paulo a traditional and a vanguardist one as well as a series of interviews with dancers, from which both narratives about their itineraries and a morphological database were generated, allowing the interpretation of the trajectories of the agents in this environment. In addressing the basis of this dual methodological perspective, the work elaborates the analysis of body sculpting, these professionals imaginary and the lifestyles that derive from it. The social trajectory and the shape of the dancers bodies, submitted to the angle of the subjectivity of the subject and the construction of the size of their senses, were the main references used as data base to capture the specificities of holders who constitute the small group that leaps into this profession and starts to experience dance as a work, as a methodic way of life, and to examine the factors and social conditions underlying the formation of this vocation

Essa tese procura investigar os mistérios que envolvem a adesão ao metier da dança, atividade artística para a qual é atraída uma minoria que faz do corpo instrumento de trabalho e recurso privilegiado de transgressão das próprias condições de existência. Trata-se de um estudo sobre bailarinas e bailarinos profissionais cujo interesse reside no exame dos elementos objetivos e subjetivos de acesso e permanência nessa carreira. A idéia consiste em desvendar a vocação para a dança tomando como cenário analítico o contexto do meio coreográfico da cidade de São Paulo, na atualidade, em que são encontrados bailarinos de distintos perfis alinhados em diferentes modelos estéticos: de um lado, a produção contemporânea que tem como base os procedimentos do balé clássico e, de outro, as linguagens de vanguarda amparadas, sobretudo, nas técnicas de improvisação. De acordo com isso, o objetivo deste trabalho é compreender quem são aqueles que, do ponto de vista social, tornam-se bailarinos, suas razões e seus meios, e em que medida os capitais econômicos, simbólicos e corporais podem ser traduzidos no âmbito dos estilos aos quais essas trajetórias se dirigem. A tese teve como fundamentos de pesquisa a etnografia de duas companhias paulistanas uma tradicional e outra de vanguarda e um conjunto de entrevistas com bailarinas e bailarinos, a partir das quais foram geradas narrativas sobre os seus itinerários e um banco de dados morfológicos que permitiram a interpretação das trajetórias dos agentes desse meio. Ao abordar essa base de dupla perspectiva metodológica, o trabalho elabora a análise da modelagem corporal e do imaginário desses profissionais e dos estilos de vida que deles derivam. A trajetória social e a feição do corpo dos bailarinos, submetidas ao ângulo das subjetividades do sujeito e da construção da dimensão de seus sentidos, foram às principais referências utilizadas como fontes de dados para apreender as especificidades dos portadores que constituem o pequeno grupo que realiza o salto para essa profissão e passa a vivenciar a dança como um trabalho, na condução metódica da vida; e para examinar os fatores e as condições sociais que orientam a formação dessa vocação. / This thesis seeks to investigate the mysteries surrounding the access to the métier of dance, this artistic activity to which a minority is attracted, which makes the body a work instrument and a privileged transgression resource of their own living conditions. This is a study on professional dancers, both male and female, whose interest lies in examining the objective and subjective elements of access and permanence in this career. The idea is to unveil the \"vocation\" to dance considering as analytical scene the present choreographic context in the city of São Paulo, where dancers of distinct profiles are found lined up in different aesthetic models: on the one hand, the contemporary production that is based on the procedures of classical ballet and, on the other, the vanguard languages especially supported by improvisational techniques. Accordingly, the objective of this work is to understand, from a social standpoint, who are those that become dancers, their reasons and their means and to what extent the economic, symbolic and body capitals can be translated within the styles in which those paths are conducted. The thesis had as a research basis the ethnography of two dance companies from São Paulo a traditional and a vanguardist one as well as a series of interviews with dancers, from which both narratives about their itineraries and a morphological database were generated, allowing the interpretation of the trajectories of the agents in this environment. In addressing the basis of this dual methodological perspective, the work elaborates the analysis of body sculpting, these professionals imaginary and the lifestyles that derive from it. The social trajectory and the shape of the dancers bodies, submitted to the angle of the subjectivity of the subject and the construction of the size of their senses, were the main references used as data base to capture the specificities of holders who constitute the small group that leaps into this profession and starts to experience dance as a work, as a methodic way of life, and to examine the factors and social conditions underlying the formation of this vocation

This qualitative research study was designed to gain a deeper, more profound understanding of the lived experiences of collegiate male dancers. Through three phases of research, this study uncovered societal and familial obstacles collegiate male dancers often endure during their dance journeys, and describes how males navigate and transcend them. Extensive interviewing offers detailed glimpses into the lives of 9 male students who participate in collegiate dance programs. The study reveals participants’ dance experiences prior to and during college; recognizes and questions common factors that influence collegiate male participation in dance; and identifies how male dancers feel supported and/or unsupported by their program. An experiential workshop series applied and explored existing pedagogical suggestions offered by other scholars. Subsequently, a rehearsal and performance experience physically investigated emergent themes. Recommendations are offered on how to better encourage, cultivate, and support collegiate male dance populations through enhanced pedagogies and program improvements.

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