Despite concerns regarding working conditions in Scottish lap-dancing venues being raised in the 2006 report published by the then Scottish Executive’s Adult Entertainment Working Group, women’s experiences of working inside these venues remains under-researched. This thesis provides an up-to-date snapshot of working conditions in the Scottish lap-dancing industry. The study utilised in-depth, semi-structured interviews with dancers which benefitted from the researcher’s involvement in the industry. The inclusion of women’s voices led to the conclusion that wider cultural and economic changes are impacting negatively upon working experiences in venues by adversely altering the dynamics of supply and demand. This means power is felt to be partially shifting from workers to owners, and to a lesser extent, customers. Participants suggest that venues have changed from being enjoyable working environments where money could be made relatively easily to ones where the work embodies the characteristics of precarious labour where competition is rife and projected income is far less certain. A feminist and Foucoudian analysis assists in understanding and explaining these changes. The thesis suggests that simply improving working conditions for women may prove ineffective in the facilitation of a more satisfactory workplace, due to the overriding desire for profit held by both dancers and owners in an industry which has become less financially lucrative. Ultimately, the thesis reveals and explains how shifts outside the lap-dancing venues have affected dancers negatively in different ways, affecting relationships inside the venue, and the actual experience of carrying out the labour. This thesis argues that these shifts have been assisted by the provision of State policy that fails to recognise lap-dancing as a form of labour and is not concerned with dancers safety at work.

Darbe tyrimo objektu pasirinkti šie šokėjų patirties aspektai susiję su tapatybės formavimusi, iniciatyvumu, bendraisiais gebėjimai, gebėjimai dirbti komandoje, tarpasmeniniai santykiai, bendravimas su suaugusiais, o taip pat trenerio bei kitų sportininkų neigiama įtaka. Tyrimo tikslas – išsiaiškinti sportiniuose šokiuose įgytos patirties ypatumus. Tyrimo uždaviniai: 1. Išsiaiškinti teigiamus sportiniuos šokiuose įgytos patirties ypatumus pagal lytį. 2. Išsiaiškinti teigiamus sportiniuose šokiuose įgytos patirties ypatumus pagal šokėjų sportinę patirtį. 3. Išsiaiškinti teigiamus sportiniuose šokiuose įgytos patirties ypatumus pagal šokėjų amžių 4. Išsiaiškinti neigiamus sportiniuose šokiuose įgytos patirties ypatumus lyties, sportinės patirties ir amžiaus aspektu. Tyrime dalyvavo 63 sportinius šokius kultivuojantys asmenys. Tarp jų buvo 33 merginos ir 30 vaikinų. Vidutinis apklaustų šokėjų amžius – 14,2 metai, o sportinius šokius šoka vidutiniškai 10,66 metus. Apklausai parinkti šokėjai, kurie yra įtraukti į Lietuvos sportinių šokių federacijos skelbiamą reitingų lentelę (B, C ir D meistriškumo klasės). Sportiniuose šokiuose įgyta patirtis buvo tiriama naudojant Jaunimo Patirties Skalę (Youth Experience Scale). Joje buvo pateikti 78 teiginiai. Klausime pateikti teiginiai apėmė šešis faktorius: tapatybės formavimasis, iniciatyvumas, bendrieji gebėjimai, komandinis darbas ir gebėjimas bendrauti, tarpasmeniniai santykiai, o taip pat neigiama patirti. kiekvieną faktorių sudarė... [toliau žr. visą tekstą] / In this paper as an investigative object various aspects of dancers' experience were chosen.They are associated with formation of personality, initiative, general abilities, abilities of working in a team, interpersonal relationships, communication with adults, as well as negative influence of trainers and other dancers. Aim of the research is to find peculiarities of experience in sport dances. Tasks of the research are to: 1. Find out positive peculiarities of experience in sport dances according to sex. 2. Find out positive peculiarities of experience in sport dances according to the dancers' experience in sports. 3. Find out positive peculiarities of experience in sport dances according to dancers' age. 4. Find out negative peculiarities of experience in sport dances according to sex, age and experience in sports. There were 63 participants in the research, who practice sport dance regularly. There were 33 girls and 30 boys. The average age of the dancers is 14,2 , and the everage length of practice of sport dances is 10,66 years. For this research the dancers who are involved into rankings of Lithuanian dance sport federation(B, C and D skills classes) were chosen. The experience of sport dance was investigated using the Youth Experience Scale. There were given 78 propositions in that scale. The propositions in the question comprised six factors: formation of personality, initiative, general abilities, abilities working in a team, interpersonal relationships... [to full text]

Thesis (Masters) -- The College of Saint Elizabeth, 2009. / Typescript. Available at The College of Saint Elizabeth - Office of Graduate Programs. "October 2009"

This paper is a study of the effect of W. B. Yeats's contact with Japanese Noh drama on his work. The immediately discernible effect on his work can be seen, of course, in his adaptation of Noh dramatic form to his Four Plays for Dancers and The Death of Cuchulain. It is the thesis of this paper, then, that, despite many handicaps, Yeats's aesthetic background was not only sufficient to discover what suggestion did lie in the limited information available to him concerning Noh, but also sufficient for him to intuit much of what wasn't suggested.

Thesis name: The evaluating of the change of walking quality in dancers in comparison with the normal population Thesis goal: This thesis deals with effect of long-term ballet dance on kinematic parameters of gait. The theoretical part includes basic characteristics of gait cycle and kinesiological and biomechanical findings of ballet movement and its compensatory mechanisms in musculoskeletal system. There is analyzed angular parameters of gait cycle in ballet dancers in performance of walking in the experimental part. The results will show if the many-years intensive training of dance affects the alignment of particular joints of the body during human walk. Method: Kinematic analysis by Qualisys system allowing automatic processing of record obtained with infrared cameras. Qualisys uses its own high-frequency cameras for precise movement tracking of the measured object using active or passive markers. Gathered data from device were processed and statictically evaluated with Microsoft Office Excel. Keywords: gait, bipedal locomotion, dance, gait analysis, gait of dancers, ballet, kinematics analysis

Introdução: Profissões que se utilizam de padrões corporais para desempenho diário são encontradas na literatura com a nomeação de profissões não convencionais (como modelos, atletas e bailarinas), com ênfase no público feminino. Para indivíduos inseridos nesses meios, além de carreira profissional, as profissões tornam-se um estilo de vida. Visto que a faixa etária de iniciação nessas atuações é precoce (infância/adolescência), muitos sacrifícios são adotados pelas iniciantes em cada uma dessas atividades, como abandono dos estudos, da cultura, do convívio familiar, dias intensos de trabalhos e constantes pressões quanto a medidas e peso corporal, a fim de atender as exigências de suas profissões. As particularidades comuns e individuais de cada profissão e as cobranças diárias com as jovens podem modificar comportamentos físicos e também alimentares, podendo prejudicar a saúde das mesmas. Objetivo: Identificar se existe relação entre os níveis de aptidão física com marcadores cardiometabólicos de saúde, níveis de atividade física, qualidade de vida e saúde mental em modelos, atletas e bailarinas. Métodos: Este estudo é caracterizado como transversal, onde foram recrutadas 41 adolescentes e jovens adultos do sexo feminino com idade entre 14 e 24 anos, que foram alocadas em 4 grupos, grupo controle/universitárias (GU=11), grupo modelos (GM=11), grupo bailarinas (GB=11) e grupo atletas (GA=8), a alocação foi decorrente das atuações profissionais de cada participante. Foram avaliadas variáveis que compõem aptidão: aptidão cardiorrespiratória, flexibilidade, força muscular dinâmica máxima e resistente e composição corporal); qualidade de vida, variáveis bioquímicas (Lipoproteína de alta densidade (HDL), Lipoproteína de baixa densidade (LDL), Colesterol total (CT), Glicemia de Jejum (GJ); Insulina de Jejum (IJ); Proteína C-reativa (PCR); nível de atividade física e saúde mental. Resultados: Foram encontrados como resultados de nosso estudo que, apesar do pré-julgamento de que as profissões avaliadas possam ocasionar reduções nos marcadores cardiometabólicos, não foram encontrados prejuízos nos indicadores avaliados, tanto para variáveis físicas, metabólicas, de qualidade de vida, de níveis de atividade física e de autoimagem, sendo assim, apontando estar em um estado de saúde favorável nesses parâmetros. Mesmo sem diferenças estatisticamente significativas, todos grupos apresentaram valores acima do ponto de corte para saúde mental (>15). Além disso, foram encontradas diferenças estatisticamente significativas entre idade (anos) (p=0,002), menarca (p=0,004), duração de carreira (p=0,001), estatura (m) (p<0,001), IMC (p=0,018), RCE (p<0,001), %Gordura (p=0,020), VO2pico (p=0,020), 1RM de extensão de joelhos (p=0,031) e flexão de cotovelos (p=0,001), flexibilidade (p<0,001) e mets.min.afvigorosa (p=0,008), mets.minsomatorio (p=0,014). Conclusão: As profissões analisadas não parecem interferir na saúde física e metabólica das meninas avaliadas. Entretanto, para saúde mental, a faixa etária avaliada mostrou-se suscetível a sintomas depressivos. / Introduction: Professions that use body patterns for daily performance are named in the literature as non-conventional professions (such as models, athletes and ballet dancers. For the individuals inserted in this media, besides a professional career, the professions became a lifestyle. Given that the age of initiation in these careers is early (childhood/adolescence), many sacrifices are adopted by the beginners in each of these activities, like dropping out of studies, culture and family life, intense working days and constant pressures school their body measurements and weight, in order to meet the requirements of the professions. The common and individual particularities of each profession and the daily charges with these individuals may modify their physical and eating behaviors, which can ultimately impair their health specially in girls. Objective: to identify if there is a relationship between physical fitness levels and cardiometabolic health markers, physical activity levels, quality of life and mental health in models, athletes and ballet dancers. Methods: 41 female adolescents and young adults were recruited, aged between 14 and 24 years, who were allocated in four groups, control group/undergraduates (UG=11), models group (MG=11), ballet dancers group (BG=11) and athletes group (AG=8), the allocation was according to the professional performance of each participant. Variables composing physical fitness (cardiorespiratory fitness, flexibility, maximal dynamic strength, local muscular endurance and body composition), quality of life, biochemical variables (high-density lipoprotein (HDL), low-density lipoprotein (LDL), total cholesterol (TC), fasting glucose (FG), C-reactive protein (CRP)), physical activity level and mental health were evaluated. Results: As results of our study, it was found that besides the previous judgment that the professions assessed may cause reductions in cardiometabolic markers, we did not find impairments in the markers evaluated, either for physical, metabolic, quality of life, physical activity levels and self-image outcomes, therefore, it seems that these girls have a favorable health status in these parameters. Even without statistically significant changes, all groups presented values above the cutoff points for mental health (>15). In addition, statistically significant changes were found for age (years) (p=0.002), menarche (p=0.004), career duration (p=0.001), height (m) (p<0.001), body mass index (p=0.018), waist-height ratio (p<0.001), %fat (p=0.020), VO2peak (p=0.020), 1RM of knee extension (p=0.031) and elbow flexion (p=0.001), flexibility (p<0.001) and mets.min.vigorousfa (p=0.008) and mets.minsum (p=0.014). Conclusion: The professions analyzed do not seem to interfere with the physical and metabolic health of the girls evaluated. However, for mental health, the age group assesses showed itself susceptible to depressive symptoms.

Made available in DSpace on 2016-07-27T14:21:34Z (GMT). No. of bitstreams: 1 Elise Alves dos Santos.pdf: 666668 bytes, checksum: 275894d4b232cc43354dde1ba1cf70ac (MD5) Previous issue date: 2008-03-06 / This is a descriptive-exploratory case study with the general aim of investigating the work context of professionals of a contemporary dance company in the state of Goias, based on the speech of the dancers. The specific objectives of the study are to: a) understand the work context of professional dancers of a contemporary dance company and collaborate with the studies in parallel fields; b) elaborate ways to intervene in the work context of the dancers in order to reduce their life experiences of pleasure. The study approaches the following categories of psychodynamics of work: work organization, work conditions and work relations, which make up just one category of analysis, called the administration of the organization. The other categories refer to the life experiences of pleasure and suffering as well as strategies of defense against suffering. Semi-structured individual interviews were used with all ten dancers in the company as well as a collective interview with 8 participants. After the literal transcription, the interviews were analyzed according to the discourse analysis proposed by Lane (1985). The study concerning the work context of professional dancers is a pioneer in the state of Goias. We discovered that the administration of the organization includes characteristics of work organization, life experiences of suffering and defense strategies against the suffering which is characteristic of workers in companies with similar administrative organization, the few hierarchy levels and the interpersonal relationships, considered familiar are informal and allow for a better division of labor, greater cooperation among the dancers, commitment too the learning and the performance of the dance techniques. The dancers said that they did not feel dissatisfied with the repetitive work for they movements in the classes and rehearsals in order to learn and develop technique, so that they can be able to better express themselves and communicate an intention. However, they pointed out that the restricted emphasis on the technique should not happen, for the artistic work becomes limited, creating life experiences of suffering that become worse with the little freedom that they have in the conception of the choreographies. The complexity of the movements presents a constant risk of work accidents and the incidence of injuries is considered to be high. The limitations refer to the motivation toward the work in an attempt to overcome their own limitations. The distance from the family, the intense routine of presentations, the rhythm of the work faster and faster, causes physical tiredness, emotional wear, and incapacity to free themselves from about work during their time off. In these cases anxiety predominates instead of the state of suffering. The subjects reported that they perceived a demand for exclusive dedication to the work as a dancer, but complain about feeling overloaded, for they lack time for other activities and to dedicate to their personal plans for life. They still face prejudice in relation to the work of a dancer, little recognizes as a profession. Especially the men because the work is considered feminine. The defensive strategies used are varied, such as the denial and/or rationalization of the pains and unfavorable physical conditions. They point out the need, even if temporary, to get away from the work environment. There is solidarity among the dancers to obtain rehabilitation; rest injury muscles; save energy in rehearsals; invest in treatments, such as physical therapy and shiatsu. Each one searches for development of his body consciousness; develops patience, that is, waits the moment of maturing of the work to arrive with the development of the activities. Criticism is verbalized in a mild form in order to lessen the future suffering when they will have to stop dancing due to the limitations of the body. Even so, the practice of a profession that involves art is related to the life history of the dancers and is considered a privilege, reason to be proud, characterized by an intense life experience of pleasure. The dancers state that they work with special content significant, due to the possibility of visualization beauty, of awakening consciences, promoting an education for life, of feeling more intelligent and capable, and developing self-knowledge. They are on the stage in these conditions, and they receive recognition from the public and this is considered to be gratifying. The results show that the differentiation the work of the dancer can bring greater life experiences of pleasure with compensate for the life experiences of suffering and anxiety. / Trata-se de um estudo de caso de caráter descritivo-exploratório com o objetivo geral de investigar o contexto de trabalho de profissionais de uma companhia de dança contemporânea do estado de Goiás com base no discurso dos bailarinos. Os objetivos específicos da pesquisa tratam de: a) conhecer como se configura o contexto de trabalho de bailarinos profissionais da companhia dança contemporânea e colaborar com os estudos das áreas de conhecimento correlatas; b) elaborar formas de intervir no contexto de trabalho dos bailarinos para reduzir suas vivências de sofrimento e conhecer suas possíveis vivências de prazer. A pesquisa abordou as seguintes categorias da psicodinâmica do trabalho: organização do trabalho, condições de trabalho e relações de trabalho, as quais compuseram uma só categoria de análise, denominada de gestão da organização. As demais categorias referem-se às vivências de prazer e sofrimento e estratégias de defesa contra o sofrimento. Utilizaram-se entrevistas semiestruturadas individuais com todos os dez bailarinos da companhia e uma entrevista coletiva com oito participantes. Após transcrição literal, as entrevistas foram analisadas conforme a análise do discurso proposta por Lane (1985). A pesquisa realizada sobre o contexto de trabalho de bailarinos profissionais é pioneira no estado de Goiás. Constatou-se que a gestão da organização abarca características de organização do trabalho, vivências de sofrimento e estratégias de defesa contra o sofrimento característicos de trabalhadores de empresas com gestão da organização semelhante. Em relação à gestão da organização, os poucos níveis hierárquicos e as relações interpessoais, consideradas familiares são informais e permitem uma melhor divisão de trabalho, maior cooperação entre os bailarinos, comprometimento com o aprendizado e o desempenho das técnicas em dança. Os bailarinos relataram não se sentirem insatisfeitos com o trabalho repetitivo pois consideram necessária a repetição dos movimentos nas aulas e ensaios para aprendizado e desenvolvimento da técnica, a fim de estarem aptos a melhor expressarem-se e a comunicarem uma intenção. No entanto, assinalam que a ênfase restrita à técnica não deveria acontecer, pois o trabalho artístico torna-se limitado, gerando vivências de sofrimento que se agravam com a pouca autonomia de que dispõem na concepção das coreografias. A complexidade dos movimentos apresenta um risco constante de acidentes no trabalho, e o índice de machucados é considerado alto. As limitações referem-se à motivação para o trabalho na tentativa de superação dos próprios limites. A distância da família, a rotina intensa de apresentações, o ritmo de trabalho cada vez mais acelerado geram cansaço físico, desgaste emocional e incapacidade de desvencilhamento, das preocupações do trabalho no tempo livre, e nesses casos, a ansiedade predomina em vez da vivência de um estado de sofrimento. Os sujeitos relataram que percebem a exigência de dedicação exclusiva para o trabalho como bailarino, mas reclamam sentirem-se sobrecarregados, pois lhes falta tempo para outras atividades e para dedicarem-se a seus planos pessoais de vida. Eles ainda enfrentam o preconceito em relação ao trabalho de bailarino, pouco reconhecido como profissão, e os homens especialmente encaram o preconceito pois o trabalho é considerado feminino. As estratégias defensivas utilizadas são variadas, tais como a negação e/ou racionalização das dores ou condições físicas desfavoráveis que apontam a necessidade, mesmo que temporária, de afastamento do ambiente de trabalho; cumplicidade entre os bailarinos para obterem a reabilitação; poupar músculos lesionados; dosagem da energia nos ensaios; investimento em tratamentos, tais como fisioterapia e shiatsu; busca do desenvolvimento da consciência corporal; desenvolvimento da paciência, isto é, esperar o tempo de maturação do trabalho chegar com o desenvolvimento das atividades; verbalização das críticas de forma amena para atenuar as fontes de pressão; uso de gracejos em relação ao sofrido futuro quando deverão parar de dançar em razão das limitações do corpo. Ainda assim, o exercício de uma profissão que envolve a arte está relacionado com a história de vida dos bailarinos e é considerado um privilégio, motivo de orgulho, caracterizando uma intensa vivência de prazer. Os bailarinos alegam trabalharem com um conteúdo diferenciado, significativo, pela possibilidade de visualização de beleza, de despertar consciências, de promover uma educação para a vida, de sentirem-se mais inteligentes e capazes, desenvolvendo autoconhecimento. Estarem em cena, nessas condições, e terem o reconhecimento do público é tido como um trabalho gratificante. Os resultados indicam que a diferenciação do trabalho do bailarino pode trazer maiores vivências de prazer, as quais compensam as vivências de sofrimento e de ansiedade.

Several studies have reported various challenges ballet dancers experience in their performance careers. However, to date, very little research has been done to understand how professional ballet dancers persevere in their performance careers in the face of the demanding nature and various challenges associated with their career. The purpose of this study was to explore perseverance of professional ballet dancers in their performance career from the perspectives of retired professional ballet dancers. Using a social constructivist lens, the research question addressed in this study was: How can professional ballet dancers persevere in a performance career? Narrative interviews were conducted with participants (N = 9) who had danced at one or more professional ballet companies for at least one year and had been involved in the ballet world since their retirement from their performance careers. A thematic analysis was used to analyze the data and 4 themes were identified about persevering as a professional ballet dancer in a performance career: (a) Building and Looking After Your Healthy Sense of Self and Mental Attitude; (b) Navigating Your Career Journey With Intelligence and Courage Within and Beyond One Ballet Company; (c) Growing as an Artist to Have More Than Technique and Raw Physicality to Capture an Audience; and (d) Balancing Your Performance Career by Having a Life Outside the Dance World. Implications of the findings for research, practice, and counselling are discussed. / Graduate / 2020-04-26

Note:

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.