東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

FindBook

Google Book

Amazon

博客來

Technical Pursuit : = Technique and Training of Nonprofessional Dancers in Ballet, Hula, and Bachata.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Technical Pursuit :/
其他題名:	Technique and Training of Nonprofessional Dancers in Ballet, Hula, and Bachata.
作者:	Forbez, Xiomara Mireya.
面頁冊數:	1 online resource (270 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-05, Section: A.
Contained By:	Dissertations Abstracts International84-05A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29392286click for full text (PQDT)
ISBN:	9798352939789

Technical Pursuit : = Technique and Training of Nonprofessional Dancers in Ballet, Hula, and Bachata.
Forbez, Xiomara Mireya.

Technical Pursuit :Technique and Training of Nonprofessional Dancers in Ballet, Hula, and Bachata. - 1 online resource (270 pages)

Source: Dissertations Abstracts International, Volume: 84-05, Section: A.

Thesis (Ph.D.)--University of California, Riverside, 2022.

Includes bibliographical references

My research expands normative understandings of "dancer" by studying ballet (European concert dance), hula (Indigenous Hawaiian dance), and bachata (Dominican social dance). I compare how "dancer" is invoked depending on dance form and context (stage, class, ceremony, home, club) thus giving nuance to "dancer" as a category. In particular, I unpack the ways access, participation, and ideas around home construct dancer identity. To do so, I couple analysis of media representations with practice/lived experiences, utilizing movies, video advertisements, YouTube, and social media, along with social media user comments, interviews, observant participation, and autoethnography. I argue that the identity of "dancer" is not solely obtained by movement - it is also highly contingent on social categories like race/ethnicity and age as well as access to training spaces and notions of "appropriate" participation.I look across ballet, hula, and bachata to analyze how nonprofessional dancers train and participate in different value systems. My ballet chapter contributes to filling the gap on adult ballet scholarship, working against exclusionary and ageist mechanisms to claim adults as valued and important dancers. Because of the globalization of hula, movement and choreography are often pushed into the spotlight while important aspects such as chanting, language, histories, craft, and culture risk being marginalized. My chapter on hula focuses on the many things one must do in order to participate fully and respectfully in hula. My chapter on bachata centers home training (learning dance at home). Stereotypes around social dance as an expression of innate talent and without rigor or technique invisibilize home training and family labor. I intervene by rendering home visible and valid as a training space, family/friends as teachers, and people who learn to dance at home, as dancers. Together, these chapters highlight how nonprofessional dancers acquire technique and how they navigate cultural values. In dance, bodies are regulated by dominant value systems; analyzing who is interpolated as "dancer" allows for an analysis of how value operates. Consequently, understanding and expanding the category of "dancer" nuances how bodies come to matter in life more broadly.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798352939789Subjects--Topical Terms:

610547
Dance.
Subjects--Index Terms:

AccessIndex Terms--Genre/Form:

542853
Electronic books.

Technical Pursuit : = Technique and Training of Nonprofessional Dancers in Ballet, Hula, and Bachata.
LDR:03642nmm a2200385K 4500 001 2363773
005 20231127094554.5
006 m o d
007 cr mn ---uuuuu
008 241011s2022 xx obm 000 0 eng d
020 $a 9798352939789
035 $a (MiAaPQ)AAI29392286
035 $a AAI29392286
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Forbez, Xiomara Mireya. $3 3704549
245 1 0 $a Technical Pursuit : $b Technique and Training of Nonprofessional Dancers in Ballet, Hula, and Bachata.
264 0 $c 2022
300 $a 1 online resource (270 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 84-05, Section: A.
500 $a Advisor: Kraut, Anthea.
502 $a Thesis (Ph.D.)--University of California, Riverside, 2022.
504 $a Includes bibliographical references
520 $a My research expands normative understandings of "dancer" by studying ballet (European concert dance), hula (Indigenous Hawaiian dance), and bachata (Dominican social dance). I compare how "dancer" is invoked depending on dance form and context (stage, class, ceremony, home, club) thus giving nuance to "dancer" as a category. In particular, I unpack the ways access, participation, and ideas around home construct dancer identity. To do so, I couple analysis of media representations with practice/lived experiences, utilizing movies, video advertisements, YouTube, and social media, along with social media user comments, interviews, observant participation, and autoethnography. I argue that the identity of "dancer" is not solely obtained by movement - it is also highly contingent on social categories like race/ethnicity and age as well as access to training spaces and notions of "appropriate" participation.I look across ballet, hula, and bachata to analyze how nonprofessional dancers train and participate in different value systems. My ballet chapter contributes to filling the gap on adult ballet scholarship, working against exclusionary and ageist mechanisms to claim adults as valued and important dancers. Because of the globalization of hula, movement and choreography are often pushed into the spotlight while important aspects such as chanting, language, histories, craft, and culture risk being marginalized. My chapter on hula focuses on the many things one must do in order to participate fully and respectfully in hula. My chapter on bachata centers home training (learning dance at home). Stereotypes around social dance as an expression of innate talent and without rigor or technique invisibilize home training and family labor. I intervene by rendering home visible and valid as a training space, family/friends as teachers, and people who learn to dance at home, as dancers. Together, these chapters highlight how nonprofessional dancers acquire technique and how they navigate cultural values. In dance, bodies are regulated by dominant value systems; analyzing who is interpolated as "dancer" allows for an analysis of how value operates. Consequently, understanding and expanding the category of "dancer" nuances how bodies come to matter in life more broadly.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Dance. $3 610547
653 $a Access
653 $a Dancer
653 $a Home
653 $a Participation
653 $a Technique
653 $a Training
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0378
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a University of California, Riverside. $b Dance History and Theory. $3 3692588
773 0 $t Dissertations Abstracts International $g 84-05A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29392286 $z click for full text (PQDT)