A sonification is a nonverbal speech act and might sound like “wa-UM-eii”, or “wooosh!” The purpose of this study was to investigate a choreographer’s use of sonification in dance instructions, to see if there are different types of sonifications and if the use of these might differ with a change in context. Video material capturing the rehearsals of a noted dance company was analyzed using a cognitive ethnography-based approach. Nine different types of sonifications were identified and described according to purpose, and a context-based analysis showed that certain kinds of sonifications occurred more frequently in some contexts than others. The results suggest that sonification used in dance instruction can serve multiple different purposes – the three main purposes described here are these: to communicate the quality of a movement, to facilitate communication between choreographer and dancers, and to coordinate the dancers as a group.

The objective of this study was to investigate if there was a difference in the dietary intake of calcium and iron between female college aged dancers and non-dancers. Three day food records of 18 dancers and 21 non-dancers were analyzed for calcium and iron using Nutritionist IV computer software. Though not statistically significant dancers had a higher intake of calcium than non-dancers (864.7 mg/d vs. 796.2 mg/d) The main sources of calcium for both groups was milk followed by cheese. Mean daily intake of iron for dancers and non-dancers was 16.9 mg/d and 16.5 mg/d respectively. Grains were the main source of iron for both groups. A participants survey was used to collect descriptive data such as height, weight, smoking status, hours spent exercising , use of multivitamin supplements and nutrition course attended. Five dancers and four non-dancers took multivitamin plus mineral supplements. Reasons for use of supplements were: perceived notion that supplements provided energy and participants thought their diet was inadequate. The dietary habits of 38 % of the non-dancers who had previously had a nutrition course was not positively influenced by nutrition education. / Department of Home Economics

NY, Univ., Diss.--New York. / Includes bibliographical references (p. 301-315) and index.

Thesis (Ph. D.)--Texas Woman's University, 2005. / Includes bibliographical references (leaves 208-218). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (Ph.D.) - University of Queensland, 2003. / Includes bibliography.

Thesis (Ph. D.)--Texas Woman's University, 2005. / Includes bibliographical references (leaves 208-218)

No description available.

Orientador: Odilon Jose Roble / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T20:27:54Z (GMT). No. of bitstreams: 1 Lima_KarenAdriede_M.pdf: 2548160 bytes, checksum: c17344be5b7093960985fab6ffad35c8 (MD5) Previous issue date: 2015 / Resumo :O presente estudo de mestrado dedicou-se a investigar o processo de aprendizagem do bailarino no momento do espetáculo, além de identificar como se dão e quais seriam estes aprendizados. Interessou-nos investigar se é possível destacar um tipo de aprendizado específico desse momento da cena e que contornos estéticos podemos eleger a partir dele. Para tal, fizemos uso de uma metodologia filosófico-conceitual, especialmente inspirada na Estética. Encontramos o conceito de "aura" na filosofia de Benjamin, de "fluxo" nos estudos de Csikszentmihalyi e de "experiência" em Dewey, compondo três pilares do que identificamos como esse aprendizado específico. Com o intuito de complementar nossa pesquisa e dar voz aos bailarinos, trabalhamos com a aplicação de questionários semiestruturados e, por meio da Análise de Conteúdo proposta por Bardin (2011), efetuamos uma organização dos discursos. Deste modo, consideramos que não somente foi possível afirmar a existência de um processo de aprendizagem do bailarino específico do momento do espetáculo, como entender, na voz dos bailarinos, como se dá a percepção desse aprendizado único, o que nos inspira a pensar o espetáculo não mais como uma etapa final de um trabalho realizado, mas sim como um processo / Abstract: This master¿s degree study was dedicated to investigate the dancer's learning process at the time of the spectacle, as well as identify how it happens and what it is. It was of our interest to investigate whether it is possible to single out a specific type of learning from that moment of the scene and what aesthetic contourings we could elect from it. To this end, we used a philosophical-conceptual methodology, especially inspired by the Aesthetics. We found the concept of "aura" in the philosophy of Benjamin, "flow" in the studies of Csikszentmihalyi and "experience" in Dewey, composing three pillars of what we identify as that particular learning. In order to complement our research and listen to the dancers, we applied semi-structured questionnaires and, through the content analysis proposed by Bardin (2011), we have or organized the speeches. Thus, we consider that not only it was possible to affirm the existence of a dancer¿s learning process specifically from the spectacle time, but also to understand, according to the dancers, how they realize that single learning, which inspires us to think the spectacle not as a final step of a concluded work, but as a process / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Extensive research into the lives of professional ballet dancers has been conducted by the psychological and medical fields, but much of this research has focused on problems in the environment, sometimes in a way that further pathologizes dancers. Professional ballet is a highly demanding performance area, yet little research into ballet dancers’ performance lives has been conducted, which further shapes perceptions about this population. This study explores how South African professional ballet dancers’ performance lives are shaped by discourse, and how they draw on available discursive resources to construct their subjectivity and create meaning, and to what ends, in relation to performance. Findings suggest that dancers are caught up in several powerful, dominant discourses, some of which may position them in ways that cause subjective harm, but that alternatives do exist. Insights into the complex web of intersecting discourses surrounding ballet are offered, and questions posed to create possibilities, but ultimately, dancers must decide which positions they want to claim or resist, as they continually form their subjectivities. / Mini Dissertation (MA)--University of Pretoria, 2017. / Psychology / MA Counselling Psychology / Unrestricted

Studien undersökte huruvida det finns någon skillnad mellan dansare och icke-dansare gällande grad av högkänslig personlighet (HSP). Även välmåendet hos dansarna undersöktes samt om deras välmående skiljde sig från icke-dansarnas, där pandemins påverkan på välmåendet också beaktades. Vidare undersöktes sambandet mellan HSP och välmående inom de två grupperna och totalt. Studiens resultat utgick från insamlade data från en enkät bestående av mätinstrumenten HSP-skalan, Välmåendeskalan samt två egenformulerade frågor om pandemins påverkan på välmåendet. Urvalet omfattades av 224 personer, varav 110 var dansare och 114 icke-dansare. Studiens data bearbetades i SPSS. De främsta analyserna som användes var ANCOVA, Pearsons korrelationskoefficient samt Cronbachs alfa. Resultatet påvisade ingen skillnad mellan dansare och icke-dansare i grad av HSP, dock fanns en skillnad mellan grupperna gällande subskalan estetisk känslighet (AES), där dansarna tenderade att ligga högre. Gällande välmående fanns en interaktionseffekt mellan grupp och kön samt interna skillnader inom dansargruppen, där dansstuderande utifrån självskattning mådde bättre än övriga verksamma inom dansyrket. Generellt hade välmåendet bland deltagarna försämrats av pandemin men dansarnas välmående hade enligt självskattning påverkats mer negativt än för icke dansare. Sambandet mellan HSP och välmående var svagt negativt för båda grupperna och totalt. Resultatet skiljde sig delvis från tidigare forskning som tytt på att alla kreativa yrkesgrupper består av en högre andel HSP-personer. Vidare forskning bör undersöka kreativa yrkesgrupper var för sig och inte generalisera kreativa professioner som en och samma grupp. En strävan med studien var att utvidga uppmärksamhet och förståelse för dansare som yrkesgrupp. / The study examined whether there was any difference between dancers and non-dancers regarding the degree of highly sensitive personality (HSP). Furthermore, the dancers’ well-being was examined as well as whether it differed from the non-dancers’ well-being, with the impact of the pandemic taken into consideration. Additionally, the relationship between HSP and well-being was investigated - within the two groups and in total. The results of the study were based on data collected from a survey, consisting of the two pre-existing instruments “HSP-scale” and “Questionnaire on well-being” as well as two questions specifically designed for this study, regarding the pandemic’s impact on the well-being score. The sample consisted of 224 persons, of whom 110 were dancers and 114 non-dancers. The survey data was processed in SPSS. The main analyzes performed were ANCOVA, Pearson’s correlation and Crohnbach’s alpha. The results showed no significant difference between dancers’ and non-dancers’ degree of HSP, however there were some differences for the subscale aesthetic sensitivity (AES). For the measurements of well-being, an interaction effect between group and gender was found, as well as internal differences within the dancer group showing that the dance students scored higher on well-being than others in the dance field. In general, the level of well-being among the participants decreased due to the pandemic, but the dancers’ well-being had been more negatively affected according to the survey. The results showed a slight negative relationship between HSP and well-being for each group and in total. This outcome partly differed from previous research, which suggested that all creative professions have an enhanced percentage of HSP-persons. Future research should examine creative professions individually and not generalize creatives to one and the same group. One aim for the study was to expand the awareness and understanding of the dancers’ occupational field.