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Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pitágoras 500 is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The training of the dance students must comprise the learning of rhythmic elements from the numerous class experiences. The methodological approach on rhythmic teaching, usually employed, is based on the musical score and quantitative measurement of its constituents. But, also, the broad exploitation of sensory-motor strategies can strengthen the rhythmic learning. Thus, considering these reflections, this article aims to examine some theoretical assumptions of the rhythm study for future considerations in pedagogical procedures of rhythmic initiation into dance classes. [ABSTRACT FROM AUTHOR]

Ballet is a one of the contemporary forms of organization of the body experience. As a traditional practice that dates back to the 15th century, it is a set of techniques that take the body as an object of mastery and a means of aesthetic expression. This paper presents the results of an empirical research made in a ballet school whose aim was to analyze how some elements of a body are processed in this practice. Making use of interviews and observations, the work was oriented by the perspective of a dialectics of enlightenment, considering especially the body's mastery as a subjective production. Results show the ritualistic character of ballet, a geometric production of body and space, a lifestyle, pain as main component of this practice in association with the mastery of techniques and body instrumentation. This process reaches its maximal expression in what Horkheimer and Adorno called hate-love for the body. [ABSTRACT FROM AUTHOR]