This dissertation looks at adolescent male dance students who challenge the dominant perceptions of masculinity by participating in dance, an art form which has been subjected to feminine and homosexual stereotypes. With a multi-methodological approach—qualitative, arts-informed, autobiography, interviews, videotape, and performance—this research investigates and explores the largely unknown realities regarding adolescent male dance students; why they decide to take dance; what makes them continue or stop dancing; how their perceptions of dance are transformed over time; how they feel when they are dancing; the realities they embody in studio and on stage; their message to the public about who they were, who they are, and what they want to be in and through dance. The researcher challenges the socially constructed epistemology that dance is merely an entertainment while exploring the relationship between mind and body; gender, race, and identity; literature and literacy; physical education and dance; the professional and the novice; the hows and the whys; female and male dance educators; dance pedagogy (theory) and curriculum delivering (practice); and the association of homosexuality and heterosexuality in the context of dance and its effect on adolescent male students’ willingness to dance. This study shows that families, friends, teachers, school administrators, dance class environment, media (So You Think You Can Dance), and technology (internet) have all created various levels of impact on adolescent males’ decision to participate in dance at a high school. Data and implication from this research can serve as a catalyst for future studies on adolescent male dance students. Findings can also be applied to dance programs at all levels, curriculum development, and teacher education. This electronic dissertation encompasses graphs, photos, audio and video clips, webpage links, and even a full-length documentary movie to enhance the research finding and maximize the power of a multimodal design (Jewitt & Kress, 2003).

Darbo objektas. sportinių šokių šokėjų patiriamas stresas, jo įtaka savęs vertinimui ir jo įveikimo būdai. Darbo problema: kuo ypatingas streso poveikis sportinių šokių šokėjams ir kokie yra galimi jo įveikimo būdai? Darbo tikslas: nustatyti streso poveikį, jo įtaką savęs vertinimui ir jo įveikimo būdus sportinių šokių šokėjams. Darbo uždaviniai: 1. Įvertinti streso poveikį sportinių šokių šokėjams. 2. Identifikuoti streso įveikimo būdus. 3. Nustatyti sportinių šokių šokėjų patiriamo streso įtaką jų savęs vertinimui. Tyrimo metodai: 1. Mokslinės literatūros analizė. 2. Statistinių duomenų analizė. (Taikant SPSS statistinių duomenų apdorojimo programą) 3. Anketinė apklausa. Tiriamieji klausimai: - Kuo yra išskirtinis stresas kaip reiškinys? - Kokie yra šokėjų patiriamo streso teoriniai pagrindai? - Koks yra streso poveikis sportinių šokių šokėjų savęs vertinimui? Išvados. 1. Sportinių šokių šokėjos dažniau nei šokėjai patiria stresą (p=0,040). Tiek vyrai, tiek ir moterys dažniausiai stresą patiria profesinėje veikloje – šokiuose (p=0,225). Dauguma sportinių šokių šokėjų šokdami stresą jaučia kartais (p=0,653). Sportinių šokių šokėjams dažniau nei šokėjoms stresą labiausiai kelia integruojančios arba ribinės funkcijos (p=0,002). Tiek vyrams, tiek ir moterims stresą dažniausiai kelia siekis būti geriausiu (p=0,773). Sportinių šokių šokėjoms dažniau nei šokėjams stresą kelia psichiniai stresoriai (p=0,002), o šokėjams vyrams dažniau nei moterims pasireiškia... [toliau žr. visą tekstą] / Object of this paper. Stress experienced by dance sport dancers, its influence to their self assessment and stress coping techniques. Problem of this paper: what is the speciality of stress experienced by dance sport dancers and what are possible its coping techniques. Aim of this paper: to identify effect of stress, its influence to self assessment and stress coping techniques to dance sport dancers. Tasks of this paper: 1st – to assess stress effect to dance sport dancers. 2nd – to identify stress coping techniques. 3rd – to identify influence of stress effect to dance sport dancers self assessment. Research methods: 1. Analytical Review of Literature . 2. Analysis of Statistical Data. (Using SPSS statistical data processing program) 3. Questionnaire survey. Research questions: - What is an exclusivity of stress phenomenon? - What are theoretical frameworks of dancers experienced stress? - What is the effect of stress to dance sport dancers self-assessment? Conclusions. 1. Sport dance dancers female more often than male feel stress (p = 0.040). Both male and female tend to suffer stress in their profession activities - dancing (p = 0.225). Most of dance sport dancers sometimes feel stress (p = 0.653). Dance sport dancers male more often then female integrative functions cause stress (p = 0.002). Often stress is caused by aspiration to be the best to both dance sport dancers female and male (p = 0.773). Stress is caused by mental stressors more often to dance sport... [to full text]

This research explores the lives and experiences of female exotic dancers with the aim of gaining an empathic understanding of their involvement in the stripping industry. The stereotypes and generalizations of exotic dancers and the stripping industry undermine the exotic dancer's ability to be seen as an individual with her own story and her own experiences. The participants of this research were selected through convenience sampling and consist of three female exotic dancers. The researcher interviewed the participants using a semi-structured interview format and focused on the dancer's experience within the exotic dancing industry, her family history, her relationships, and personal life. The data was analysed using thematic network analysis. The thematic networks are often contradictory and inconsistent with the common stereotypes and ideas held about exotic dancers. The results indicate that some exotic dancers experience meaning, healing, gratification, and power within their work and live responsible, productive lives. / Psychology / M.A. (Clinical Psychology)

El objetivo de la investigación fue analizar las vivencias de bailarines de break dance que viven en contextos de riesgo en distritos de Lima Metropolitana. Esto con la finalidad de describir sus experiencias y formas de afrontamiento. Para ello, se realizaron entrevistas a profundidad con 10 integrantes de dos grupos de break dance ubicados en los distritos de Villa María del Triunfo y Villa el Salvador, cuyas edades oscilaron entre los 21 a 32 años (M=27). Los resultados evidencian que la práctica y pertenencia a los grupos de break dance funcionan como factores protectores frente a los peligros del contexto de riesgo. Así también, en función de la relación que se genere con esta actividad (un mayor grado de participación/un mayor nivel de involucramiento), se obtienen beneficios personales que repercuten en el desarrollo de un proyecto de vida. A su vez, los hallazgos muestran que la actividad del break dance tiene que articularse con otros factores personales y familiares para que la persona cuente con mayores recursos que le permitan enfrentarse a los riesgos de su contexto. / The objective of the research was to analyze the experiences of break dancers living in risky contexts in districts of Metropolitan Lima. To this end, in-depth interviews were conducted with 10 members of two break dance groups located in the districts of Villa María del Triunfo and Villa el Salvador, whose ages ranged from 21 to 32 years (average = 27). The results show that the practice and membership of break dance groups works as a protective factor against the dangers of the risk context. Also, depending on the relationship that is generated with this activity (a greater degree of participation / a greater level of involvement), personal benefits are obtained that have an impact on the development of a life project. In turn, the findings also show that the activity of break dancing has to be articulated with other personal and family factors so that the person has more resources that allow them to face the risks of the context in which they live. / Tesis

El objetivo de este trabajo fue examinar la relación entre la imagen corporal y el perfeccionismo en mujeres bailarinas jóvenes en Lima (Perú). La muestra fue de 168 bailarinas mujeres en formación, de una academia privada de danza, con edades entre los 18 y 25 años (M = 21.23; DE = 2.22). Se administró el Cuestionario de la Figura Corporal (Izquierdo, 2020) y la Escala Multidimensional de Perfeccionismo (Rodríguez, Rojo, Ortega y Sepúlveda, 2009). Los resultados revelan que la Insatisfacción Corporal se relaciona de manera positiva y significativa con el Perfeccionismo Auto-Orientado (aunque esta correlación es baja: r = .15, p < .05) y con el Perfeccionismo Orientado a los Demás (correlación moderada: r = .35, p < .01), pero no con el Perfeccionismo Socialmente Prescrito (r = .06). Se concluye que las bailarinas en formación que tienden a preocuparse más por su peso presentan también una predisposición a exigir la perfección tanto en ellas como en el entorno. / This study aims to determine the relationship between body image and perfectionism in a sample made up of young dancers from Metropolitan Lima. The sample was composed of 168 female apprentice dancers, from a private dance academy in Lima Metropolitana, their ages were between 18 and 25 years (mean = 21.6; SD = 2.22). The Body Figure Questionnaire (Izquierdo, 2020) and the Multidimensional Perfectionism Scale (Rodríguez, Rojo, Ortega and Sepúlveda, 2009) were administered. The results reveal that body dissatisfaction is positively and significantly related to Self-Oriented perfectionism (although this correlation is low: r = .15, p < .05) and with Perfectionism Oriented to Others (moderate correlation: r = .35, p < .01), but not with Socially Prescribed Perfectionism (r = .06). It is concluded that the dancers in training who tend to worry more about their weight, also have a predisposition to demand perfection both in themselves and in the environment. / Tesis

No description available.

This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance instructors in Portland, Oregon and performative observations of dance events indicate the importance of these performers in perpetuating and developing Indian cultural artifacts, and illustrate the value of a multi-layered, performative methodological approach. These findings suggest that marginality in performance is a useful and dynamic site from which to investigate the processes of cultural communication, producing findings that augment sole textual analysis.

This study investigated the subjective well-being of female strippers. The effect that certain variables namely, self-esteem, general health, self-efficacy, perceived social support and sense of coherence had on subjective well-being and the independent components of subjective well-being, namely life satisfaction and positive and negative affect, were investigated. The sample consisted of 75 female strippers and was a consequence of a combination of purposive and convenience non-probability sampling. These women were employed at Teazers - a chain of strip clubs in Gauteng, South Africa. Information was gathered through self-reported questionnaires with quantifiable scales. The results of the regression models showed that life satisfaction depends on perceived social support, but positive and negative affect depends on self-esteem and general health. If life satisfaction and positive and negative affect is combined into a measurement of subjective well-being, 6.7% of the total variance in subjective well-being is uniquely explained by self-esteem. / Psychology / M. Sc. (Psychology)

Belly Dance in the Context of the Western and Arab Islamic Societies The present work deals with the development and social status of the belly dance and professional belly dancers in the Arab Islamic society and examines to which extent that status was influenced by the West and how the belly dance made its way to the Western culture. The work concentrates on the 19 th and 20 th centuries with a special focus on Egypt as a centre of the belly dancing. This work is supplemented with a questionnaire, the results of which depict the development of the social status of the belly dance and dancers in the Arab society at the beginning of the 21 st century.

En el moment en què els ballarins pateixen una lesió l'atenció dels professionals de la medicina de la dansa se centra prioritàriament en els aspectes físics del tractament i de la recuperació. Amb tot, la lesió sovint té conseqüències pel que fa a les funcions psicològiques. L'objectiu d'aquesta recerca de tipus exploratori, de disseny empíric, transversal, descriptiu i correlacional/causal és conèixer les respostes emocionals davant la lesió de ballarins lesionats de dansa mesurant depressió, desesperança, estat emocional i estratègies d'afrontament. Per això, es varen administrar el POMS, BDI-II, BHS i CHIP, a més d'un qüestionari sobre els factors associats a la lesió, a una mostra de 94 ballarins lesionats a Nova York. Els resultats més destacats assenyalen que el 31,9% dels ballarins va presentar una simptomatologia de depressió en les categories de lleu, moderat i sever en el BDI-II i un 42,9% d'ells desesperança. Quant al perfil de l'estat d'ànim (POMS), constatem una tendència a nivells elevats de tensió i confusió, seguits de depressió, fatiga i hostilitat. El vigor destaca per la seva absència. Les estratègies d'afrontament utilitzades inclouen l'afrontament instrumental i el de distracció, mentre que tendeixen a no utilitzar en la mateixa mesura estratègies pal·liatives. Pel que fa a d'altres factors associats cal destacar, en primer lloc, les preocupacions econòmiques com a factor que pot arribar a ser un impediment a l'hora d'obtenir tractament mèdic i/o psicològic. En segon lloc, en relació a les conductes dels ballarins és rellevant que el 64,8% va continuar ballant malgrat la lesió, i que el 31,9% va cuidar la lesió per sí mateix, sense cap ajut mèdic. Finalment, pel que fa al suport i l'ajuda que pot oferir un psicòleg especialitzat en dansa, els ballarins valoren positivament les tècniques de relaxació, i el seu suport davant les respostes emocionals davant les lesions, així com en la transició psicosocial de la carrera de ballarí. / En el momento en que los bailarines sufren una lesión la atención de los profesionales de la medicina de la danza se centra prioritariamente en los aspectos físicos del tratamiento y de la recuperación. Sin embargo, la lesión tiene a menudo consecuencias sobre las funciones psicológicas. El objetivo de esta investigación de tipo exploratorio, de diseño empírico, transversal, descriptivo y correlacional/causal es conocer las respuestas emocionales en bailarines lesionados midiendo depresión, desesperanza, estado emocional y estrategias de afrontamiento. Para ello, se administraron el POMS, BDI-II, BHS y CHIP, además de un cuestionario sobre los factores asociados a la lesión, a una muestra de 94 bailarines lesionados en Nueva York. Los resultados más destacados señalan que el 31,9% de los bailarines presentó una sintomatología de depresión en las categorías de leve, moderado y severo en el BDI-II y un 42,9% de ellos desesperanza. En cuanto al perfil del estado de ánimo (POMS), constatamos una tendencia a niveles elevados de tensión y confusión, seguidos de depresión, fatiga y hostilidad. El vigor destaca por su bajas puntuaciones. Las estrategias de afrontamiento empleadas incluyen el afrontamiento instrumental y el de distracción, mientras que tienden a no utilizar en la misma medida estrategias paliativas. En cuanto a otros factores asociados es importante destacar, en primer lugar, las preocupaciones económicas como factor que puede llegar ser un impedimento para obtener tratamiento médico y/o psicológico. En segundo lugar, en relación con las conductas de los bailarines cabe destacar que el 64,8% continuó bailando aún estando lesionado, y que el 31,9% cuidó la lesión por sí mismo. Finalmente, en cuanto al apoyo y la ayuda que puede ofrecer un psicólogo especializado en danza, los bailarines valoran positivamente las técnicas de relajación, y su apoyo ante las respuestas emocionales ante las lesiones, así como en la transición psicosocial después de la carrera de bailarín. / When dancers are injured dance medicine professionals focus their attention primarily on the physical aspects of treatment and recovery. However, injuries usually have an impact on the individual's psychological functions as well. The objective of this exploratory study, of experimental, transversal, descriptive and correlational/causal design, is to know the emotional responses towards injury in injured dancers measuring depression, hopelessness, emotional state and coping strategies. In order to do that, the POMS, BDI-II, BHS and CHIP were administered, together with a questionnaire regarding injury-associated factors, to a sample of 94 injured dancers in New York. As for the results, 31.9% of the dancers showed depression symptomatology in the categories mild, moderate and severe in the BDI-II and 42.9 of them showed hopelessness. Regarding the profile of mood states (POMS), results show a tendency towards high levels of tension and confusion, followed by depression, fatigue and hostility. Vigor stands out due to its low scores. The coping strategies used include instrumental and distraction, while not using palliative strategies in the same degree. Regarding other injury-associated factors it is important to note, firstly, the dancers' economical worries as a factor that can even prevent them from accessing medical and/or psychological treatment. Secondly, as regards dancers' behavior, 64.8% of them continued dancing despite being injured, and that 31.9% took care of their injuries themselves, without any professional medical help. Finally, regarding the support and help a dance psychologist can provide, dancers considered positive the relaxation techniques, and their support when emotionally responding to injuries as well as in the psychosocial transition at the end of their professional career.