Dança, corpo e desenho: arte como sensação

Este trabalho busca refletir sobre o estatuto do corpo e do movimento nas artes a partir da noção de sensação, como empregada no pensamento do filósofo francês Gilles Deleuze. Tal propósito se fará a partir do singular encontro entre os trabalhos de um pintor/desenhista e um dos mais emblemáticos bailarinos clássicos. O corpo em movimento, quando atinge o estado de dança, não se reduz a uma forma, a uma representação, nem a uma mecânica. Antes, pelo contrário, sua leveza singular afeta-nos sobremaneira. Tal afecção será tomada como fio condutor de nossa análise, tendo em vista as diferentes sensações e expressões que pode suscitar. A sensação de um corpo que dança pode expressar-se na dança em si como também no desenho. Que relações esses diferentes meios de expressão do corpo dançarino podem estabelecer entre si? Que acontecimentos singulares podem emergir nesse encontro particular? Antes que forma, linhas de força e expressão. Corpo-vibração, torrente de afectos e perceptos, constituindo sensações que diferentes meios artísticos expressam diferentemente.

Lumbo-pelvic stability and electromyography of abdominal muscles in ballet dancers

Evaluating the ability to rectify and maintain lumbar adjustment can contribute toward the understanding of the behavior of abdominal muscles and their participation in the stability of pelvic muscles in dancers during the posterior pelvic tilt and double straight leg lowering tests. Nine healthy volunteers (male and female ballet dancers; age mean: 25.9 ±7.37 years) underwent maximal isometric voluntary contraction (MIVC), isometric voluntary contraction at 50% of MIVC, posterior pelvic tilt (PPT) and double straight leg lowering (DSLL) tests. The tests were carried out in a single day, with 3 repetitions each. During the tests, electromygraphic signals of the rectus abdominis, obliquus internus and obliquus externus were recorded. The signal acquisition system was made up of bipolar surface electrodes, electrogoniometer and an electromechanic device (pressure sensor), which were connected to a signal conditioner module. Root mean square values of each muscle during the DSLL and PPT were converted into percentage of activation of 50% MIVC. Lower back pressure was submitted to the same process. ANOVA with repeated measures was performed, with the level of significance set at p < 0.05. The results revealed that all dancers were able to maintain posterior pelvic tilt and there was trend toward greater activation of the bilateral obliquus internus muscle. In an attempt to keep the pelvic region stabilized during DSLL, there was a greater contribution from the obliquus externus muscle in relation to other abdominal muscles.

Evaluation of movements of lower limbs in non-professional ballet dancers: Hip abduction and flexion

Background: The literature indicated that the majority of professional ballet dancers present static and active dynamic range of motion difference between left and right lower limbs, however, no previous study focused this difference in non-professional ballet dancers. In this study we aimed to evaluate active movements of the hip in non-professional classical dancers.Methods: We evaluated 10 non professional ballet dancers (16-23 years old). We measured the active range of motion and flexibility through Well Banks. We compared active range of motion between left and right sides (hip flexion and abduction) and performed correlation between active movements and flexibility.Results: There was a small difference between the right and left sides of the hip in relation to the movements of flexion and abduction, which suggest the dominant side of the subjects, however, there was no statistical significance. Bank of Wells test revealed statistical difference only between the 1st and the 3rd measurement. There was no correlation between the movements of the hip (abduction and flexion, right and left sides) with the three test measurements of the bank of Wells.Conclusion: There is no imbalance between the sides of the hip with respect to active abduction and flexion movements in non-professional ballet dancers. © 2011 Valenti et al; licensee BioMed Central Ltd.

Effect of different pulse treatments on vase life of inflorescences of oncidium varicosum 'Samurai'

Oncidium varicosum is a species of orchid that is prevalent in South America. This species produces yellow flowers, which are commonly named golden shower, ballet dancer and Anita's flower. The study of the post-harvest physiology of flowers involves examination of factors related to quality loss of cut flowers, which is related not only to several physiological processes but also to interactions between the floral components and qualitative factors. In this context, our research involved the study of physiological aspects of the post-harvest physiology of cut inflorescences of Oncidium varicosum ('Samurai') after treatment with pulsing solutions containing silver salts, 8-HQC and sucrose. A reduction of relative water content of Oncidium flowers treated with pulsing STS (2 mM) was observed. The soluble carbohydrates and reducing sugars content decreased, and higher contents were measured in flowers treated with STS (2 mM). All parameters related to flower coloration were reduced in all treatments. Similar results were obtained for carotenoid content, except for the STS treatment (2 mM), which differed significantly from the other treatments on the 8th and 12th days of vase life. The inflorescences' longevity varied from 12 days (distilled water) to 15 days (STS 2 mM).

O revelar da paixão: as relações estabelecidas entre coreógrafo, bailarinos e obra no processo de criação do Pas de Deux de Bachiana n.1

Pós-graduação em Artes - IA

Um processo criativo em dança contemporânea: a simbiose pedra/osso na conexão entre os princípios da Eutonia e os fatores do movimento

Pós-graduação em Artes - IA

Deusa das noites: personagens (des)veladas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Professores de street dance do estado de São Paulo: formação, saberes e ensino

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A dança como mediadora na formação da criança

This paper analyzes the dance, considered the oldest of the Arts, inserted in Art and Education. When you talk about dance as art, sought to articulate dance, body movement and music, because all these aspects are crucial when it comes to education in dance. Thus, this paper, by analyzing the meaning of dance over time, also made a parallel with the evolution of the concept of body that, throughout history, became the focus of sin, to currently be seen in optical freedom and autonomy, looking up from childhood, the formation of body awareness and embodiment, as a basis for identity and the formation of a positive self-image. In describing the evolution of dance, between different societies, it was shown that the tool is the dancer's own body and that for its use, it is necessary to look at its interior, human vitality, musicality and sensitivity. Proved that dance since the beginning, has been seen as a medium body, as well as desires and deepest sorrows of humanity, linked to religion, ritual or ceremonial, reaching today the freest expression of body, in modern dance. Given these considerations, based on theoretical frameworks, emphasized the importance of dance in middle school, focusing on their educational role and liberating, showing that it must be used as a tool for teaching and learning, and the development of children , given its interdisciplinary character, this Crosscutting Themes in elementary school and early childhood education curriculum benchmark. The paper concludes that, despite legislation and official documents require training for dance in the school curriculum, very little is done in this direction, which shows that there is still a choice of schools, the immobility of the pupils

A gênese do habitus e a construção da hexis corporal de bailarinos e jogadoras de futebol e suas implicações nos diferentes campos de atuação

This paper aims to show the beginning of habitus and the bodily hexis construction of male ballet dancer and female player soccer. Firstly, the habitus and the bodily hexis are established by the cultural inheritance of families (advices, likes, choices, prohibitions, and work divisions). After, they are restructured by the most diverse fields where this people act, mainly in the school, specifically at Physical Education classes (in the specialized places where these classes occur). Thus, it is possible to verify the success or the failure of their path lives and the possibility of a social ascent by the choice of these practices as professional career.

Ivaldo Bertazzo: além do movimento

Study of the method developed by the dancer, choreographer and physiotherapist Ivaldo Bertazzo (Bertazzo Method), describing their proposal postural re-education that seeks to understand the human being in its entirety. From this study we are interested in describe his work with a group of youngs, the Company TeatroDança Ivaldo Bertazzo. Finally, this study aims at describes the researcher personal experiences in practices of Movement Reeducation for two consecutive years. The study was conducted by reviewing several works of Ivaldo Bertazzo in order to identify his trajectory, as well as the major modifications and applications developed by the author in his Human Movement Theory