{"id":117518,"date":"2018-03-11T10:47:03","date_gmt":"2018-03-11T10:47:03","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/baile-flamenco-observacion-y-analisis-del-taranto-en-los-ambitos-profesional-y-academico-reflexion-metodologica\/"},"modified":"2018-03-11T10:47:03","modified_gmt":"2018-03-11T10:47:03","slug":"baile-flamenco-observacion-y-analisis-del-taranto-en-los-ambitos-profesional-y-academico-reflexion-metodologica","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/murcia\/baile-flamenco-observacion-y-analisis-del-taranto-en-los-ambitos-profesional-y-academico-reflexion-metodologica\/","title":{"rendered":"Baile flamenco: observaci\u00f3n y an\u00e1lisis del taranto en los \u00e1mbitos profesional y acad\u00e9mico. reflexi\u00f3n metodol\u00f3gica"},"content":{"rendered":"

Tesis doctoral de Estefania Brao Martin <\/strong><\/h2>\n

Resumen \testa investigaci\u00f3n sobre baile flamenco, se sit\u00faa en torno al baile del taranto, realizando una comparativa entre el \u00e1mbito profesional y el acad\u00e9mico, planteando finalmente una reflexi\u00f3n metodol\u00f3gica, basada en los estilos de ense\u00f1anza utilizados en educaci\u00f3n f\u00edsica. se plantea como objetivo general: establecer diferencias y semejanzas entre los tarantos de \u00e1mbito profesional y los de \u00e1mbito acad\u00e9mico. \tas\u00ed como objetivos espec\u00edficos: "\tanalizar los contenidos que conforman el baile del taranto en cada una de sus partes y en cada una de las d\u00e9cadas del \u00e1mbito profesional y establecer relaciones con el \u00e1mbito acad\u00e9mico. "\tdescribir la evoluci\u00f3n coreogr\u00e1fica que ha sufrido el baile del taranto en el \u00e1mbito profesional y c\u00f3mo el \u00e1mbito acad\u00e9mico se ha hecho eco de ello. "\tdemostrar el uso de falseta en la parte de la salida del baile del taranto como signo de identidad de este baile, al igual que paso de chafl\u00e1n lo es en el zapateado. "\tconfirmar que el taranto es un baile dram\u00e1tico, cuya tem\u00e1tica de las letras no es solo referente a la mina, a pesar de sus diversas posibilidades musicales y coreogr\u00e1ficas de ser finalizado: por tangos, por levante o por la combinaci\u00f3n de ambos. para la realizaci\u00f3n de esta investigaci\u00f3n se ha utilizado una metodolog\u00eda observacional para la cual se ha dise\u00f1ado una hoja had hoc, aoba-taranto, donde se recoge la estructura tradicional del baile (salida, 1\u00aa letra, falseta, 2\u00aa letra, escobilla y final) donde en cada una de sus partes se analizan los contenidos que se realizan. A trav\u00e9s de esta hoja de observaci\u00f3n se han analizado videos de bailes de taranto del \u00e1mbito profesional, divididos en diferentes d\u00e9cadas y del \u00e1mbito acad\u00e9mico. las conclusiones alcanzadas tras el an\u00e1lisis y contraste de los datos obtenidos en la investigaci\u00f3n son las siguientes: "\tse establecen semejanzas y diferencias en los bailes de taranto profesionales y acad\u00e9micos, en funci\u00f3n a las partes del baile y a las d\u00e9cadas profesionales, respecto a la duraci\u00f3n, situaci\u00f3n de inicio, utilizaci\u00f3n de complementos, diferentes braceos, giros, zapateados, marcajes, movimientos de caderas, desplazamientos realizados en el espacio respecto al p\u00fablico y a la expresi\u00f3n dram\u00e1tica. "\tdemostramos cient\u00edficamente que el baile del taranto en el \u00e1mbito profesional, como en el \u00e1mbito acad\u00e9mico, es un baile de car\u00e1cter dram\u00e1tico en general, aunque puede cambiar en su parte final. "\tla tem\u00e1tica de las letras de taranto no son solo referidas a la mina, aunque siempre reflejan aspectos dolorosos relacionados con ella o con diferentes sentimientos vitales del ser humano y condiciona la interpretaci\u00f3n del baile del taranto. "\tel baile del taranto es cada vez m\u00e1s complejo en su ejecuci\u00f3n t\u00e9cnica y coreogr\u00e1fica a nivel profesional, y a nivel acad\u00e9mico, se sigue igualmente esta tendencia. summary this research about flamenco dance is intended to analyse the kind of dance called taranto, making a comparison between work setting and academic world, concluding with a methodological reflection based on the different ways it is taught at school in the subject physical education. the general purpose is: to find differences and similarities between tarantos in a working environment and the ones performed in an academic context. the specific objectives are: "\tto analyse the content of each part of taranto dance and in each decades within work setting and to find out the relationship with the academic context. "\tto explain the choreographic evolution of taranto dance regarding the working environment and how the academic world followed that evolution. "\tto prove that the use of "falseta" in the beginning of this dance is a symbol of identity as well as "chaflan step" is in the zapateado. "\tto reinforce that taranto is a dramatic dance which lyrics are not only about the mine in spite of its many musical and choreographic ways of being finished: by tangos, by levante or using both of them. in order to carry out this research, an observational methodology has been used. For this purpose we designed an ad hoc sheet, aoba-taranto, where the traditional structure of this dance is shown (beginning, 1st letter, falseta, 2nd letter, escobilla and ending). In every part we analyse the contents performed. By using this sheet we have checked videos of taranto in work setting, divided in different decades, and others performed in an academic context. the conclusions reached after the analysis and comparison of the data we had access to were the following: "\tthere are indeed similarities and differences between the dances perfomed in working environments and the ones performed in academic contexts, in terms of dance stages, professional decades, length, starting point, use of complements, different braceos, spins, zapateados, marcajes, hips movements and other movements made along the area considering the audience and dramatic expression. "\twe scientifically prove that taranto dance is a dramatic dance in general, as much in work settings as in academic world, although it can change in the final part. "\tthe lyrics of taranto are not only about the mine but they always reflect painful aspects related with that or with different vital feelings of human beings and it makes conditional on the way the taranto is performed. "\tthe taranto dance is becoming more complex in terms of technical execution and choreography in a professional level. Besides we observe that the tendency is the same in academic level.<\/p>\n

 <\/p>\n

Datos acad\u00e9micos de la tesis doctoral \u00abBaile flamenco: observaci\u00f3n y an\u00e1lisis del taranto en los \u00e1mbitos profesional y acad\u00e9mico. reflexi\u00f3n metodol\u00f3gica<\/strong>\u00ab<\/h3>\n
    \n
  • T\u00edtulo de la tesis:<\/strong>\u00a0 Baile flamenco: observaci\u00f3n y an\u00e1lisis del taranto en los \u00e1mbitos profesional y acad\u00e9mico. reflexi\u00f3n metodol\u00f3gica <\/li>\n
  • Autor:<\/strong>\u00a0 Estefania Brao Martin <\/li>\n
  • Universidad:<\/strong>\u00a0 Murcia<\/li>\n
  • Fecha de lectura de la tesis:<\/strong>\u00a0 27\/05\/2015<\/li>\n<\/ul>\n

     <\/p>\n

    Direcci\u00f3n y tribunal<\/h3>\n
      \n
    • Director de la tesis<\/strong>\n
        \n
      • Arturo Diaz Suarez<\/li>\n<\/ul>\n<\/li>\n
      • Tribunal<\/strong>\n
          \n
        • Presidente del tribunal: Mar\u00eda Luisa Zagalaz s\u00e1nchez <\/li>\n
        • m. Jes\u00fas Cuellar moreno (vocal)<\/li>\n
        • carmen Gonz\u00e1lez gonz\u00e1lez de mesa (vocal)<\/li>\n
        • Juan Cachinero zagalaz (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n

           <\/p>\n","protected":false},"excerpt":{"rendered":"

          Tesis doctoral de Estefania Brao Martin Resumen esta investigaci\u00f3n sobre baile flamenco, se sit\u00faa en torno al baile del taranto, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[14281,19156,8235],"tags":[43860,193744,231520,206104,101664,48164],"class_list":["post-117518","post","type-post","status-publish","format-standard","hentry","category-danza-y-coreografia","category-metodologia","category-murcia","tag-arturo-diaz-suarez","tag-carmen-gonzalez-gonzalez-de-mesa","tag-estefania-brao-martin","tag-juan-cachinero-zagalaz","tag-m-jesus-cuellar-moreno","tag-maria-luisa-zagalaz-sanchez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/117518","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=117518"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/117518\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=117518"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=117518"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=117518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}