Linguagem e suas possibilidades na educação física escolar

Pós-graduação em Ciências da Motricidade - IBRC

Papel evolutivo da dança: seleção de parceiros entre universitários

Pós-graduação em Psicologia do Desenvolvimento e Aprendizagem - FC

As tessituras do movimento: dança, tribalismo e imaginário no cotidiano de um grupo de alunos de uma escola pública de Araraquara

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Blog educacional para o ensino das danças folclóricas a partir do currículo de educação física do estado de São Paulo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Amoras e jabuticabas: raízes e frutos de uma Pedagogia Profunda para todos

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Hip hop na escola: para além da proposta curricular do Estado de São Paulo

Since 2008 the Department of Education of the State of São Paulo implemented the curriculum for elementary and high school. Within the discipline of Physical Education, Hip Hop appears as a theme for the ninth year pertaining to the content of rhythmic activities. However, there seems to be difficulties of teachers and their training against such content. Therefore, this research has developed a textbook to support didactic teaching for physical education teacher about Hip Hop in school. For this we conducted a literature review, which were selected several studies that sought to investigate the main difficulties of the physical education teachers, as well as those who had the Hip Hop theme, so that the material could meet the real difficulties of these professionals. Furthermore, we analyzed textbooks from other disciplines will be considered as the experiences of the researcher with the contents of dancing. Thus, we found some difficulties in the analysis of textbooks in the area of Physical Education, since there is a certain shortage of materials, as well as related specifically to Hip Hop. From the investigations, the book was prepared by selecting subtopics important to treat this content teachers in the school, for example, the story, the basic features and steps. It is understood, therefore, that this type of work is very important for Physical Education Teachers considering the difficulties facing the contents of Hip Hop and can contribute more effectively to their inclusion in the school context

Identificando tipos de personalidade na dança de salão

Many studies have shown a variety of benefits that the practice of Ballroom Dancing can bring, such as leisure and entertainment, the release of tension from a stressful routine, improving relationships, expanding social contacts. The rationale of this study is by the need to evaluate a different sphere of life of people involving the structure that is the personality. The man is humanized in contact with other men and the culture it is almost impossible to grow it in isolation, that is, are the social relationships that allow men to become human and her personality structure. The relationship brought about by the ballroom dancing can benefit the development of personality or simply put individuals in situations that provide a greater understanding of yourself, as this activity has characteristics that greatly facilitate social contact between people who practice it as the relationship between gentleman and lady for a dance, the contact with people in different classes, social events where it is practiced and even the music that is danced. This work aimed to be able to identify the type or types, the most common personalities exist in one group of participants in a course of Ballroom, based on the technique of Enneagram developed and disseminated by Gurdjieff, whose characteristic is to divide into nine different personality types. Participants were 42 students of the extent to ballroom dancing. We administered a questionnaire to identify the personality of each participant and then there was a second observation time the behavior of six participants in the class for confirmation of your psychological type to issofoi used a checklist developed by the author. Was also investigated whether there are differences of gender and psychological types who seek more such activity. The conclusions are that there are a large number of persons type 9, more than 42% and are predominantly male, since... (Complete abstract click electronic access below)

A interferência do estado de humor na melhora dos componentes da capacidade funcional em idosos

Mood States are feelings auto regulation deliver to individual better quality of life and healthy aging. The declines of the aging process can be minimized with the regular practice of physical activity and systematized. The objective of this study was to evaluate the effects of a dance program in mood states, depressive symptoms and functional capacity in elderly participants of PROFIT. METHOD: The sample was composed of 20 elderly people. The Training Group was formed by 15 elders who participated in a protocol of dance with duration of 1 hour, three times per week, for 12 weeks and the Control Group, composed of 5 elderly, did not attend any program of physical activity. The participants were evaluated by the List of States of Mind Reduced and Illustrated, Geriatric Depression Scale and the battery of tests of AAHPERD. For the mood states was used non-parametric analysis, according to the technique of Binomial Analysis. To compare the components of functional capacity between the groups was used analysis of variance for repeated measures two-way ANOVA and the level of significance was set at 5 %. RESULTS: The functional components remained favorable, highlighting Agility (pre = 21.03 ± 1.64 sec./ post = 18.63 ± 2.26 sec.) And aerobic endurance (pre = 495.94 ± 46.48 sec. / post = 448.01 ± 12.27 sec.). In the comparison between positive and negative functional levels and mood states showed no relationship between these variables, dealing with different aspects and has influence one another. The state post-dancing sessions mood in GT were more positive even for elderly patients with depressive symptoms even unproven statistically, depressive symptoms were maintained or reduced mostly. CONCLUSION: The dance practice maintains the functionality of components; modifies mood states to positive levels and reduces or prevents the onset of depressive symptoms and complications in elderly

Dança de salão: perspectivas de satisfação e motivos de adesão

The need to practice physical activity of any kind grows day by day. People look for studios, clubs, parks, either to practice some kind of sport, gymnastics classes, workout or a good walk. Over the last few years, another option has arived arose, which is a little different from what we are used to see. We are talking about Ballroom Dance, a new alternative for thoses who wants or needs to practice some physical activity but is looking for a different environment. Ballroom Dance is growing, thanks to the media, it has been an effective option for whom seeks to fill her free time and gains benefits such as leisure, satisfaction, health and quality of live, etc. Therefore, the objectives of this study were: investigating the reasons that lead the people to look for classes like Ballroom Dance and identify the degree of satisfaction of these students regarding Ballroom Dance classes. Thirty eight students participated in this study: some came from a dance studio from Rio Claro (SP), some from a gym academy with Ballroom Dance classes from Campo Grande (MS) and some from a Ballroom Dance Program of Unesp, Rio Claro in the community. The participants of both genders, ageing between 18 to 60 years, were enpaped on Ballroom program for at least one month. They answered a questionnaire related to the issue. After analyzing the data it was confirmed that people seeks for Ballroom Dance because they like to dance, they feel pleasure to dance, besides feeling relaxed in the activity and because dancing brought them fun. Regarding the Degree of satisfaction, all of them stated being satisfied with Ballroom Dance.

A ansiedade em bailarinos

This research aims to cover publications related to anxiety suffered by dancers and then to compare their psychological health promotion. This study was developed according to Capes, Scilelo and Google Scholar data basis, besides Sports and Dance Psychology books .These studies state that dance leads its practitioner to increase his self-perception, combined with body and mind work ,as long as the dancer’s limits and possibilities are respected. However, the fear of frustration, exhibition nervousness and expectations can trigger anxiety growth in moments of tension, such as performances. It shows that anxiety can interfere the dancer’s performance in a positive or negative way. It is also believed that, in a general way, his best performance can be achieved when he gets to a proper level of anxiety, which varies from person to person. A lot of authors mention different ways to promote a better balance of anxiety during dance sessions, developing students’ self-confidence, motivation, breathing and recuperation, besides using the benefits from dancing to improve practitioners’ body and mind health.This area lacks more specific studies to let new techniques be created and used by directors and dance companies, to enrich more and more the work of dancers’ emotional balance

Imagens, sensações e afetos: as personagens gays nos curtas-metragens brasileiros exibidos no Festival Mix Brasil de Cultura da Diversidade

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Dança do ventre e feminilidade: análise dos relatos de praticantes

Pós-graduação em Psicologia do Desenvolvimento e Aprendizagem - FC

Passé: balé bauruense em um ato e nove cenas

O projeto experimental Passé: balé bauruense em um ato e nove cenas é um livro-reportagem de perfis de pessoas que moram em Bauru e são ligadas ao balé clássico. Os entrevistados escolhidos pertencem a três gerações: são três idosas, três adultas e três jovens. Entre os nove perfilados, estão bailarinos e professores de balé clássico. O objetivo do projeto é resgatar, através da história oral de vida, e registrar, através do Jornalismo Literário, fragmentos da história da dança bauruense, pouco documentada, e retratar a paixão que as pessoas ligadas ao balé clássico sentem pela dança

A Culture of Relationships: Early Care for Italian and American Children

A culture of childhood is a shared vision – an agreed upon vision – of the needs and rights of children, including ideas about how the people of the community can collectively nurture them and at the same time be renewed by them. In other words, it is a set of values, beliefs, and practices that people have created to guide their way of nurturing young children and their families. The vision is about investing in young children and investing in the supports and relationships that children need to learn and grow, both for the reason that children carry our future and because they carry our hopes and dreams for the future. These hopes and dreams begin with birth. Sensitive, emotionally available parents create the framework for interaction with their children by responding to the baby’s cues, engaging the baby in mutual gazes, and imitating the baby. The baby, born with a primary ability to share emotions with other human beings eagerly joins the relationship dance. The intimate family circle soon widens. Providers, teachers, and directors of early childhood programs become significant figures in children’s lives—implicit or explicit partners in a "relationship dance" (Edwards & Raikes, 2002). These close relationships are believed to be critical to healthy intellectual, emotional, social, and physical development in childhood and adolescence as well. These conclusions have been documented by diverse fields of science, ranging from cognitive science to communication studies and social and personality psychology. Close relationships contribute to security and trust, promote skill development and understanding, nurture healthy physical growth, infuse developing self-understanding and self-confidence, enable self-control and emotion regulation, and strengthen emotional connections with others that contribute to prosocial motivation (Dunn, 1993; Fogel, 1993; Thompson, 1996). Furthermore, many studies showing how relationship dysfunction is linked to child abuse and neglect, aggression, criminality, and other problems involving the lack of significant human connections (Shankoff & Meisels, 2000). In extending the dance of primary relationships to new relationships, a childcare teacher can play a primary role. The teacher makes the space ready--creating a beautiful place that causes everyone to feel like dancing. Gradually, as the dance between them becomes smooth and familiar, the teacher encourages the baby to try out more complex steps and learn how to dance to new compositions, beats, and tempos. As the baby alternates dancing sometimes with one or two partners, sometimes with many, the dance itself becomes a story about who the child has been and who the child is becoming, a reciprocal self created through close relationships.

Studi sull'immaginario musicale in Euripide

La dissertazione è suddivisa in due capitoli più tre appendici. Nel I capitolo, Musica e dolore, si indagano i casi di metamusicalità in riferimento al dolore, che si intensificano in Euripide: si nota lo sviluppo di una riflessione sul ruolo della mousike rispetto al dolore, espressa attraverso un lessico medico e musicale. Si dimostra che in Euripide si pone il problema di quale scopo abbia la musica, se sia utile, e in quale forma lo sia. Nella prima produzione si teorizza una mousa del lamento come dolce o terapeutica per chi soffre. Molti personaggi, però, mostrano sfiducia nel potere curativo del lamento. Nell’ultima produzione si intensificano gli interrogativi sulla performance del canto, che si connotano come casi metamusicali e metateatrali. Nell’Elena, nell’Ipsipile e nelle Baccanti, E. sembra proporre una terapia ‘omeopatica’ del dolore attraverso la musica orgiastico-dionisiaca. Nel II capitolo, Natura e musica, si sceglie l’Ifigenia Taurica come esempio di mimetismo orchestico-musicale fondato – oltre che su casi di autoreferenzialità – su un immaginario naturale che, ‘facendo musica’, contribuisce all’espressività della choreia e della musica in scena. Si ipotizza inoltre un accompagnamento musicale mimetico rispetto ai suoni della natura e movimenti di danza lineari accanto a formazioni circolari, che sembrano richiamare la ‘doppia natura’ del ditirambo. L’Appendice I, Gli aggettivi poetici ξουθός e ξουθόπτερος: il loro significato e la loro potenzialità allusiva, affronta un caso particolare e problematico di ‘mimetismo lessicale’, innescato dal termine ξουθός e dal composto euripideo ξουθόπτερος. Si dimostra che l’aggettivo indica originariamente un movimento vibratorio, ma sviluppa anche un senso sonoro, ed è quindi un termine evocativo rispetto alla performance. Nell’Appendice II, Il lessico musicale in Euripide, è raccolto il lessico euripideo coreutico-musicale. Nell’Appendice III, La mousike nei drammi euripidei, sono raccolti i riferimenti alla mousike in ogni dramma.