'Dancing the Downward Slide: Spaces of Affective Adjacency in Rian and Bird with Boy'

This chapter examines how the choreography of affect in two dance theatre works creates a space of affective adjacency—a space in which the building of an alternative structure of feeling and an alternative economy of the body can be experienced. Focusing on the choreographic use of repetition in Junk Ensemble’s Bird With Boy (2011) and Fabulous Beast Dance Theatre’s Rian (2011), it shows how the work required to build an alternative affective space can become visible. Although affect is most often viewed as a preconscious, ephemeral phenomenon (a passage of intensities), that can have little or no lasting impact on socio-political action, theorists such as Megan Watkins have argued for a consideration of the ‘cumulative aspects of affect’. Highlighting Spinoza’s distinction between affectus (the capacity for a body to affect and be affected), and affectio (the impact the affecting body leaves on the affected), Watkins points out that affectio can ‘leave a residue’ allowing for the ‘capacity of affect to be retained, to accumulate, to form dispositions and thus shape subjectivities’. The choreography of repetition in Bird With Boy and Rian presents sites for an examination of this accumulation of affect and its capacity not only to form and shape dispositions, but also, as Lauren Berlant suggests, ‘to move along and make worlds, situations, and environments’.

Feminist Street Performances in Puerto Rico: Alternative Imaginaries Shifting the Ideal(ized) National Body

Thesis (Ph.D.)--University of Washington, 2016-08

(Un)covering ground: dance, space and mobility

Ballet and modern dance teachers often exhort students to ‘travel across the floor’ and ‘cover ground’. These instructions invoke metaphors of travel and mobility that capture an array of common assumptions about dance, space and movement. This essay examines the spatial and mobility discourses that these instructions simultaneously build upon and produce while exploring the seductiveness of technique’s promise of mastering space through the moving body. Threading auto-ethnography with critical theory and moving across different disciplinary fields and writing styles, I explore the ways in which these instructions leak outside the perimeter of the dance studio to feed into the narrative of a dancer’s extended physical, geographical and social mobility. Analysing the mobility and travel discourses of my dance training vis-à-vis poststructuralist theorizations of the subaltern power of the nomad and theories of space and place, I argue that this narrative becomes complicit in the construction of an idealized notion of artistic nomadism, which, in turn, aligns with current neoliberal logics organised around the production of mobile subjects.

Bodily Experience and Restricted Conditions in Contemporary Art

The Doctoral research was carried out with the primary purpose of reviewing past practice designs and for identifying how body movements contributes to these designs. The context in which the body movements are understood are that of discipline enforced by culture and other physio-biological restraints. A discussion on the relationships of body experience in restricted conditions are carried out, which includes the interaction between movement and space in the application of painting, moulding, biological markers, and moving images. The discipline, socially acceptable practices and regulations present in the researcher’s personal life and culture frame the artworks and a fascinating exploration of dynamics between freedom of movement in artwork construction and restrain of behaviour has been analyzed. In the process of art production, significant points discussed were with respect to the identification, succession and repetition of habitual acts. In addition, bodily movement could be considered as a synthesis of spatiality and temporality. The key point which contains the elements of time and space remains relevant to my creative practice and theoretical research. The core interest of my practice is in understanding the settings and simple rules for bodily movement, which is inspired by the past and forms a possible creation for the future. In this research, the attempt was not to display a comprehensive understanding on how body influences the design of art but rather to explain how understanding body movements provides a trace of my works, from origin, the working process and to completion. Relevant artworks and reflection of personal experiences are discussed as needed to help the reader gain more insight on the interactions of body in art creations.

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

Niveles de actividad física, contenidos-contextos de la clase e intervención docente durante la clase de educación física y su asociación con el tipo de profesor

Resumen: Objetivo: determinar la asociación entre el tipo de profesor (especialista y no especialista en educación física), con el nivel de actividad física, el contenido-contexto de la clase y el comportamiento del profesor. Método: Estudio descriptivo de corte transversal en un colegio distrital de Bogotá. Fueron evaluadas 57 clases de educación física, y dos docentes (uno con formación académica en Educación física), por medio del Sistema para la observación del tiempo de instrucción de la condición física (SOFIT). Las variables observadas fueron analizadas con estadística descriptiva en cantidades relativas a los minutos y proporción de la clase. Para establecer la asociación entre el género de los estudiantes y el tipo de profesor se usaron test t para muestras independientes y U de Mann-Witney. Resultados: La duración promedio de la clase fue 82,7 minutos, 69% del tiempo programado; los estudiantes pasaron la mayor parte del tiempo de pie 29% (25 minutos), el contenido predominante de la clase fue el de tipo general 21% (25 minutos) y los maestros ocuparon en promedio el 36% (29 minutos) de la clase observando. Los estudiantes pasaron 53% (44 minutos) en actividades físicas moderadas a vigorosas (AFMV). Los niños fueron más activos que las niñas (53.94% vs 50,83%). Se observó una asociación positiva entre el género y casi todos los niveles de actividad física de los estudiantes (p<0,05). Se identificó que existe una diferencia estadísticamente significativa (p<0,05), para las categorías sentado y estar de pie de la variable Niveles de Actividad física tanto en los resultados expresados en minutos, como en la proporción del tiempo de la clase y para la categoría caminando expresada en tiempo de la clase. Para la variable contenido-contexto se determinó una asociación para la categoría conocimiento, tanto en la proporción como en el número de minutos, y para la categoría contenido general en los resultados expresados en proporción de la clase. Finalmente, para la variable comportamiento del profesor expresada tanto en minutos como en proporción de la clase tuvo significancia estadística en todas sus categorías a excepción de la categoría promover Conclusiones: hay una diferencia importante en la forma como los dos tipos de maestros desarrollan la clase y los niveles de actividad física en que involucran a los estudiantes. La educación física en la escuela debe ser impartida por profesionales formados en el área, que tengan las destrezas y habilidades necesarias para desarrollar una educación física de calidad.

Genetic parameters for carcass traits and body weight using a Bayesian approach in the Canchim cattle.

Correlation between genetic parameters and factors such as backfat thickness (BFT), rib eye area (REA), and body weight (BW) were estimated for Canchim beef cattle raised in natural pastures of Brazil. Data from 1648 animals were analyzed using multi-trait (BFT, REA, and BW) animal models by the Bayesian approach. This model included the effects of contemporary group, age, and individual heterozygosity as covariates. In addition, direct additive genetic and random residual effects were also analyzed. Heritability estimated for BFT (0.16), REA (0.50), and BW (0.44) indicated their potential for genetic improvements and response to selection processes. Furthermore, genetic correlations between BW and the remaining traits were high (P > 0.50), suggesting that selection for BW could improve REA and BFT. On the other hand, genetic correlation between BFT and REA was low (P = 0.39 ± 0.17), and included considerable variations, suggesting that these traits can be jointly included as selection criteria without influencing each other. We found that REA and BFT responded to the selection processes, as measured by ultrasound. Therefore, selection for yearling weight results in changes in REA and BFT.