A dança de salão no processo de composição coreográfica em Jomar Mesquita

Esta dissertação apresenta como objetivos conhecer e descrever o processo de composição coreográfica de Jomar Mesquita, onde a transposição da Dança de Salão do seu contexto genuíno e social para o contexto cênico constitui a dimensão estruturante do processo criativo. A obra de Jomar Mesquita pode ser vista principalmente através das apresentações da Mimulus Companhia de Dança (MCD), a qual ele dirige, por isso a pesquisadora foi a Belo Horizonte/Minas Gerais – Brasil, onde a companhia funciona, realizar a pesquisa de campo. Esta pesquisa apresenta-se como um estudo de caso cuja metodologia é de natureza qualitativa. Foram usados como instrumentos desta pesquisa a observação não-participante da rotina diária do estabelecimento onde funcionam a Mimulus Companhia de Dança, a Mimulus Escola de Dança e a Associação Cultural Mimulus; entrevistas semiestruturadas a integrantes da Mimulus Companhia de Dança e dois funcionários da Mimulus Escola de Dança; questionários a alunos da Mimulus Escola de Dança; e fontes documentais acerca da Mimulus Companhia de Dança. Esta pesquisa demonstrou que o processo de composição coreográfica em Jomar Mesquita caracteriza-se principalmente pelas desconstruções dos passos e figuras padronizados da Dança de Salão, assim como das representações e conceitos incutidos nessa dança. Caracteriza-se ainda pela participação dos bailarinos tanto nos processos vivenciados pela MCD, quanto nos processos vivenciados em outras companhias de dança.

Representação escolar dos pais, envolvimento e contributo para a relação educativa

Dissertação de mest. em Observação e Análise de Relação Educativa, Faculdade de Ciências Humanas e Sociais, Univ. do Algarve, Escola Superior de Educação, Instituto Politécnico de Beja, 2005

O comércio electrónico: realidade algarvia

Dissertação de mest. em Gestão Empresarial, Faculdade de Economia, Univ. do Algarve, 2001

Concepções e práticas de avaliação das aprendizagens na educação pré-escolar

Esta dissertação teve como problemática as conceções e as práticas de avaliação das aprendizagens, que três educadoras de infância da cidade de Évora utilizam para avaliar as crianças, segundo o modelo ou as orientações curriculares que seguem. Privilegiámos uma investigação de natureza qualitativa, utilizando como estratégia de investigação o estudo de casos e como técnicas de recolha e tratamento de dados a observação, análise documental, inquérito por entrevista e análise de conteúdo. Para desenvolver este estudo, realizámos pesquisa bibliográfica sobre a avaliação das aprendizagens em geral e segundo os modelos curriculares do Movimento da Escola Moderna e o High-Scope e as Orientações Curriculares para a Educação Pré-Escolar. Constatámos que o referencial teórico da ação educativa influencia as conceções e as práticas de avaliação das aprendizagens que as educadoras utilizam. Também verificámos alguns constrangimentos na avaliação, nomeadamente o tamanho do grupo de crianças. /ABSTRACT: This thesis had as problematic the conceptions and assessment practices of learning that three nursery teachers in the city of Évora use to assess children, according to the model or the curriculum guidelines according to the work. We gave importance to a research of a qualitative nature, using as strategy research the study of cases and as techniques for collecting and processing data the observation, document analysis, enquiry through interview and analysis of the content. To develop this study, we conducted bibliographic research about the assessment of learning in general and according the curricular models of the Movement of Modem School, High-Scope and Guidelines for the Pre-School education. We found that the theoretical framework of educational action influences educational concepts and practice of learning assessment that educators use. We have also seen some constraints in the assessment, including the size of the group of children.

Mover/se(r) a gênese do corpo entre/corpos e seus trajetos no processo coreográfico

This paper proposes a reflection on the body between/bodies, especially in contemporary dance, in their path that starts from the choreographic construction, permeating the body of the choreographer, the dancer s body and when fulfills themselves as artistic expression, the body of the spectator. Initially discusses the body in dance as a body/space for convergence, connectedness and continuity, from the thought of the Greek philosopher Epicurus of Samos, in dialogue with the thought of Maurice Merleau-Ponty, Gilles Deleuze and José Gil. Reflect about the creation of this body/space in the relationship choreographer/dancer using as connecting thread the experiences of the author in his artistic path. Finally describes the process of creating the scenic experiment (h)áporos, which constitutes the practice scene of this dissertation, having as main objective the creation of spaces of convergence and interaction between a proponent and an affluent body that, in this move, transforms itself and the space that now cohabits / is

Emergent behaviour: learning from an artificially intelligent performing software agent

This research investigates the possibility for emergent choreographic behaviour to arise from the interactions between a human dancer and a learning, digital performing agent. The cognitive framework is extended through theories of distributed cognition to take into account the two interacting agents rather than a single agent and its environment. The Artificial Neural Network based performing agent demonstrated emergent dance behaviour when performing live with the human dancer. The agent was able to follow the dancer, create movement phrases based on what the dancer was performing and recognize short movement phrases, as a result of the interaction of the dancer’s motion captured movement data and the agent’s artificial neural network. This emergent behaviour was not explicitly programmed, but emerged as a result of the learning process and the interactions with the human dancer.

Splitting centre : directing attention in trans-media dance performance

In theatrical vernacular, the term ‘splitting centre’ refers to two performers staged at an equal distance from a centre point and sharing the focus of the audience. This term encapsulates the notion that two people (or, in the case of trans-media dance, two or more performance entities) are dividing the attention of the audience, operating as equal collaborators in a performance context. The augmentation of live performance with 3D projected scenography and mobile devices offers a starting point for discussions on the potential for dramaturgy, choreographic process, and changing expectations for audience behaviour in the theatre. In 2014, Deakin Motion.Lab premiered The Crack Up, a trans-media dance work that incorporated live performance, 3D digital scenography, and The Crack Up App, an app for mobile devices that audience members were invited to interact with during the performance. This investigation into the potential of trans-media dance performance, (defined here as a live performance in which both the digital and biological elements are choreographed as artistic equals within the theatrical context) with the addition of a mobile device raises questions about how the makers of trans-media dance might direct the attention of their audiences when the work is performed simultaneously across multiple platforms.

National dance forum 2015

There are ongoing tensions between academics who employ artistic practice as part of their skills set versus artists who enter the academy through a higher degree or taking up a university job opportunity. This panel will address both the pitfalls and opportunities when academic research interacts with creative practice. How one area supports and engages the other is a multifaceted and complex endeavour.

Trajectories of intensity. Looking at structured improvisation in 'the weight of the thing left its mark'

This article examines the intentions and implications of ‘structured improvisation’ in relation to my work 'The weight of the thing left its mark' performed in Melbourne in April 2009. The performance piece is premised on the dancers maintaining a performance improvisation practice but to frame these and add predetermined context as a choreographic overlay. In so doing the aim was to create spaces within the work where improvisation could authentically exist while striving for a definable and repeatable ‘work’. The presentation will examine some of the complexities and difficulties inherent in this aim and grapples with the different expectations and conflicts that exist between performance improvisation and choreography.

Now again

Now Again is a participatory performance made up of a series of individual and group activities that create opportunities to notice how we fit and shift in our environment. Reflecting the dance histories of the artists, the variable dynamic possibilities of the city are brought into focus through specific ‘scores’ that, as propositions for engagement, activate simple movement patterns or observations. The aim is to allow responsive noticing of the immediate environment, but also to enliven it in unexpected ways. Individuals who are participants and observers, dedicated or incidental (passers-by), become part of the disclosure of the physical and the social. The rigid structure of the city is re-imagined as a fluid, choreographic entity invested with organic qualities. Performances move between a series of city locations, each with differing activities. Designated ‘nodes’ in the city grid (certain streets, a square, a doorway, footpath, a hole in a wall or a particular tree), have been chosen for their imaginative, affective, or energetic resonances. These are ‘mapped’ by the perambulatory, physical, sensory, and relational engagement of all participants. This is a collective dance created through noticing the feelings and patterns of the physical self in the built, natural, and social environment. In some sites, the artists perform, while in others they lead a participative performance. Ephemeral, self-led, performance experiments designed to disappear into the fabric of the city, will also be invited. A mobile app enables audience participation. The app employs GPS data to trigger information specific to that site (written prompts, sounds and scored provocations).

Navigating control and illusion: functional interactivity versus ‘faux-interactivity’ in transmedia dance performance

Interactivity – a networked loop in which a performer’s live data feeds a digital system – can bridge the divide between live performance and digital entities in transmedia dance performances. In the ‘entanglement scene’ of Australian Dance Theatre’s Multiverse (2014), choreographer Garry Stewart and the creative coders and animators at the Deakin Motion.Lab utilise ‘faux-interactivity’, or a perceived relationship between the dancers and digital entities that exists only from the perspective of the audience. The spectre of ‘faux-interactivity’ challenges the spontaneity in live, embodied performance art because it both integrates live performance with prerendered digital content and offers a potential structure for a shared, dispersed creative and choreographic process across numerous and shared artistic and technological platforms. This paper investigates the concept of ‘faux-interactivity’, suggesting that its use can be a catalyst for moving beyond the limitations and values of ‘real’, or functional interactive systems within a theatrical context, and positing that definitions of ‘interactivity’ might be further expanded to accommodate the shifting timelines inherent in the disparate creative processes of human performance and coding.

Improvisation in visual art practice using a photographic process

In this article I discuss how I have come to understand embodied processes in my visual art practice using photography. I danced professionally for 25 years and performed in various contexts including classical ballet repertoire, contemporary dance, and commercial dance. I choreographed for various productions working with a group of dancers for seven years before studying visual art. I experienced a particular sense of embodiment as a live performer in which prescribed movements were learnt, performed and repeated as if second nature. Transitioning into a conceptually based visual art practice the creative process was flipped around. Using painting, sculpture, performance (in a different context) and photographic methods I explored ideas from which forms such as video/audio installations, photography, performance art and painting emerged mostly in a gallery context. Although I still think of forms of movement as content, in a visual art practise the idea or concept invokes form.

Family embeddedness and entrepreneurship experience: a study of Indian migrant women entrepreneurs in Australia

GroupIndia has emerged as a major source of migrants for developed countries including Australia; yet, there is a dearth of research on Indian migrant entrepreneurs, particularly women. Using qualitative methods of enquiry, we explore the perceptions of Indian migrant women entrepreneurs (MWEs) and their partners in Melbourne, Australia, about their entrepreneurship experiences from a family embeddedness perspective. More specifically, we explore how family embeddedness of Indian MWEs is influenced by certain factors which in turn influence their entrepreneurship experience. Our findings suggest that entrepreneurship among Indian MWEs is a complex phenomenon influenced by their being an Indian, a woman and a new Australian, all of which interact and influence their family dynamics and entrepreneurial experience. Our findings shed light on the duality of Indian culture which exerts both an enabling and a constraining influence on the family dynamics of MWEs, the constraining role of gender and the positive impact of their integration into the host country’s sociocultural context which all influence their family embeddedness and entrepreneurship. Contributing to the discussion on ‘ethnic’ and ‘women entrepreneurship’ from a family embeddedness perspective, we offer policy implications for facilitating entrepreneurship in the growing but under-researched cohort of Indian MWEs.

A satisfação e atitudes dos docentes face à inclusão de crianças com Necessidades Educativas Especiais na Região Autónoma da Madeira

A ideia de escola inclusiva é uma realidade com a qual todos se confrontam nos dias de hoje. Esta ajuda a promover o desenvolvimento das pessoas com e sem necessidades educativas especiais, tendo demonstrado ser um grande benefício para todos. Este estudo tem como objetivo compreender qual a satisfação dos docentes face à inclusão dos alunos com necessidades educativas especiais, na Região Autónoma da Madeira, bem como compreender a atitude e perspetiva dos educadores de infância e professores dos ensinos básico e secundário em relação a esta problemática. Na realização deste estudo, utilizou-se um inquérito por questionário para a recolha de dados, recorrendo a uma metodologia de cariz quantitativo. Os resultados desta investigação concluem que os docentes apresentam valores baixos a médios, no que se refere à sua satisfação profissional face à inclusão. Observou-se que os docentes mais novos demonstraram uma maior satisfação. Verifica-se também que os docentes do sexo masculino revelaram estar mais satisfeitos do que os do sexo feminino. Finalmente, constatou-se que os docentes com menos tempo de serviço estão mais satisfeitos do que os que possuem mais tempo de serviço. No que diz respeito às atitudes, verificamos que os professores concordaram que os docentes mais jovens, os que têm menos tempo de serviço e os do sexo feminino possuem atitudes mais favoráveis face à inclusão das crianças com NEE.