DOCSLIB.ORG

POPCITY UK Ugly Duck, 49 Tanner Street London Bridge, SE1 3PL Sat 5 Jan 2019, 11Am – 7Pm from £8 @Teamlondonbdg #Londonbridge #Popcityuk #Fiyahouse

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
POPCITY UK Ugly Duck, 49 Tanner Street London Bridge, SE1 3PL Sat 5 Jan 2019, 11Am – 7Pm from £8 @Teamlondonbdg #Londonbridge #Popcityuk #Fiyahouse ARIANE OITICICA ARTS & THEATRE PR MEDIA RELEASE – FOR IMMEDIATE RELEASE Team London Bridge and Fiya House present POPCITY UK Ugly Duck, 49 Tanner Street London Bridge, SE1 3PL Sat 5 Jan 2019, 11am – 7pm From £8 @teamlondonbdg #londonbridge #popcityuk #fiyahouse Renowned international dance competition Popcity UK brings together world-renowned dance artists and the UK hip hop and Popping community with 450 UK-based dancers, international judges, guest performers and live DJs in the first hip hop event of the year at London Bridge. Winners will have the chance to represent the UK at the Popcity Finals in East Asia in December 2019. Activities leading up to the competition, which takes place on Saturday 5 January 2019 include taster sessions in Southwark schools for pupils aged 7+ years and inspirational workshops by London’s pioneers of hip hop throughout autumn 2018. The main battle event will also be streamed using Instagram Live. Popcity UK is presented by Fiya House, commissioned by Team London Bridge, funded by Arts Council England, and supported by Ugly Duck and Southwark Council. Popcity UK is an event for emerging and established hip hop dancers of all ages from across the UK to come together to train, share knowledge and compete in London Bridge. It is open to anyone who is interested in watching or taking part in Street Dance forms. Under the creative vision of Dickson Mbi, Brooke Milliner and Shawn Aimey from the prestigious Popping Crew Fiya House, the programme creates a platform for the UK hip hop scene to grow, and to gain greater international visibility. Popcity is unique; led by hip hop artists for hip hop artists, with the community at its core. Ellie Beedham, Director of Arts, Team London Bridge, said ”Team London Bridge is proud to support emerging talent by partnering with hip hop artists FiyaHouse. Together we will bring the International Popcity competition, which runs annually in cities across East Asia to London Bridge. Part of a cultural programme of work that heralds London Bridge as a main stage for the capital.” Fiya House travel across the globe to compete in prestigious hip hop and Popping competitions representing the UK and often come home victorious. Recent wins for Fiya House include: KOD UK Prelim 2018, Juste Debout UK Prelim 2011, 2013, 2014, 2015 and 2018. Fiya House co-director Dickson Mbi is not only highly respected within the hip hop sector, he has also gained public notoriety for his practice as a contemporary dancer working with the likes of Russell Maliphant and Akram Khan. He has been nominated for numerous major awards including ‘Best Achievement in Dance’ at the UK Theatre Awards 2017 and most recently for the ‘Southbank Sky Arts Breakthrough Award’. In person or via live-stream, audiences of the battle will have the opportunity to watch world-class dancers compete in Popping, hip hop, Afrobeats and Under-16s categories and come up close to hip hop culture. Dickson Mbi, Fiya House co-director, said “Fiya House has been running classes and events for the hip hop community since 2012. For Popcity 2019 we’re hosting some of the best dancers from across the UK and around the world to make it our biggest event yet. We’re excited to have the support of Arts Council England and Team London Bridge for the first time and want to invite everyone to come down and experience what Fiya House and Popcity is all about.” ENDS ARIANE OITICICA ARTS & THEATRE PR MEDIA RELEASE – FOR IMMEDIATE RELEASE NOTES TO EDITORS POPPING Popping is a form of street dance and is one of the original funk styles to come out of California in the early 1970s. Started by Boogaloo Sam, the dance is based on the technique of quickly contracting and relaxing muscles to cause a jerk in the dancer's body, referred to as a “pop” or a “hit”. This is done continuously to the rhythm of a song, in combination with various movements, to appear as though the beat is controlling the dancer’s body. Boogaloo Sam went on to create The Electric Boogaloo Lockers, later known as The Electric Boogaloos, who gained popularity through their pivotal performance on Soul Train in1979. Closely-related illusory dance styles and techniques are often integrated into Popping, to create a more varied performance. These dance styles include The Robot, Waving and Tutting. Popping is distinct from Breaking and Locking, with which it is often confused. In-keeping with its origins, Popping is often performed in battles and club settings, where participants try to outperform each other in front of a crowd. This creates space for improvisation and freestyle movements that are seldom seen in shows and performances, and usually include interaction with other dancers and spectators. LISTINGS Team London Bridge and Fiya House present POPCITY UK Ugly Duck, 49 Tanner Street, London Bridge, SE1 3PL Sat 5 Jan 2019, 11am – 7pm From £8 (group discounts available) @teamlondonbdg #londonbridge #popcityuk #fiyahouse Fiya House is excited to present Popcity UK vol.4. On Saturday 5 January 2019, this renowned international dance competition arrives at London Bridge. Popcity UK is a space for emerging and established hip hop dancers of all ages from across the country to come together to train, share knowledge and to compete. It is open to anyone who is interested in watching or taking part in Street Dance. Popcity will see 450 UK dancers unite for the first hip hop event of the year. Featuring international judges, guest performers and live DJs, the battle will create an authentic hip hop experience with artists from around the globe and around the corner. Winners will have the chance to represent the UK at the Popcity Finals in East Asia, in December 2019. Tickets available from here: http://www.popcityuk4.eventbrite.co.uk Online Prices Competitors: £10 Spectators: £10 Groups of 10 or more: £8 On the Door Prices Competitors: £12 Spectators: £12 Schedule 11:00-12:00 Registration 12:00-16:00 Pre-selection for all categories 16:00-16:30 Break 16:30-18:00 Battles 18:00-18:30 Judge Demos 18:30-19:00 Finals ARIANE OITICICA ARTS & THEATRE PR MEDIA RELEASE – FOR IMMEDIATE RELEASE BATTLE CATEGORIES AND JUDGES Popping (1 vs. 1) EVO (China) Cintia Golitin (France) Mr Steen (Denmark) Hip Hop (1 vs. 1) Billy BizNizz (UK) Icee Forzesound (France) Afrobeats (2 vs. 2) Olu Alatise of Project G (UK) Homebros (UK) WhiitosLoco (France) Under 16s All Styles (1 vs.1) Olu Alatise of Project G (UK) Cintia Golitin (France) Icee Forzesound (France) The live DJs are: DJ Fayme (Germany) Josh Costanzo (UK) DJ Junia (UK) Winners Prizes Popping – flight to East Asia to represent UK in the Finals, Dec 2019 Hip Hop – £200 Afrobeats - £200 (£100 each) U16 All Styles - £100 JUDGES AND HOSTS Dickson Mbi, Creative Director and co-host Dickson is the Co-Director of renowned Popping Crew ‘Fiya House’. He is responsible for the artistic vision of the Popcity programme, including bringing in key artists from his own contacts as workshop leaders and judges. He will be responsible for the international guests whilst they are in the UK and will also co-host the battle event in January 2019. Shawn Aimey, Event Lead and co-host Shawn is a key member of renowned Popping Crew ‘Fiya House’. He will co-ordinate the workshop and battle events on the day and will be jointly responsible for the international guests whilst they are in the UK. Shawn will also co-host the battle event in January 2019. EVO (aka Hu Hongjun), International Judge Evo is a founding member of world-renowned Caster Crew in China and delivers Popcity China events each year. He is in demand across the globe teaching workshops, judging battles and performing. Evo will be a Popping judge for the battle in January 2019 and will give a demonstration of the style. ARIANE OITICICA ARTS & THEATRE PR MEDIA RELEASE – FOR IMMEDIATE RELEASE Michael Elmacin (aka Icee Forzesound), International Judge Icee is the founder of renowned hip hop crew Forzesound and has over 25 years experience as a competitor, judge, choreographer and teacher. Icee will be a U16s and hip hop judge for the battle in January 2019 and will give a demonstration of the style. Valentin Gautier (aka WhiitosLoco), International Judge WhiitosLoco is a viral YouTube and Instagram star, who has gained popularity for his work within Afrobeats in Paris, France. He also performs and judges at events across Europe. WhiitosLoco will be an Afrobeats judge for the battle in January 2019 and will give a demonstration of the style. Cintia Golitin, International Judge Cintia is recognised as one of the world’s leading female Popper’s, having won numerous competitions in Europe and beyond. She will be a Popping Judge for the battle in January 2019 and will give a demonstration of the style. Steen Koerner, International judge Mr Steen is an internationally renowned dance artist from Denmark specialising in Popping, and was awarded the hip hop Lifetime Achievement Award in 2004. He will be a Popping Judge for the battle in January 2019 and will give a demonstration of the style. Olu Alatise (aka Ms. Lulu), Judge Olu is Artistic Director of London-based Project G (Project Growth) and Project G Youth, an initiative to train and support women and young girls in Afrobeats and hip hop styles. Olu will be a judge for the U16s and Afrobeats battles in January 2019 and will give a demonstration of the style. Kurtis Agyekum and George Dukz (aka Kurty Swift and Uncle TC of Homebros), Judges Kurtis and George are founding member of internationally renowned UK-based Afrobeats group Homebros.
Load more

Recommended publications
  • Getting Creative About Development
    Atlantic Council AFRICA CENTER ISSUE BRIEF Getting Creative About Development SEPTEMBER 2018 AUBREY HRUBY y 2035, sub-Saharan Africa will have more working-age people than the rest of the world combined. African governments col- lectively need to create eighteen million new jobs each year to absorb the large, young, and ambitious population coming to Bworking age.1 But technological advances, combined with the underde- veloped infrastructure of most African nations, mean that the tried and true model of export-oriented industrialization, which allowed the East and Southeast Asian economies to develop very rapidly, is unlikely to produce adequate job creation in the vast majority of African markets. In fact, manufacturing as a share of total economic activity in Africa has stagnated at about 10 percent,2 and—though there are notable excep- tions, such as Ethiopia—the continent as a whole is deindustrializing.3 Agriculture still continues to serve as the backbone of most African economies, with over 70 percent of Africans earning a living in that sector.4 But as Africa urbanizes, the composition of economic activity is rap- idly changing, shifting away from agriculture and towards the services sector. In 2015, services accounted for 58 percent of sub-Saharan GDP (up from 47 percent in 2005).5 More significantly, 33 percent of African 1 Céline Allard et al., Regional Economic Outlook: sub-Saharan Africa 2015, Internation- al Monetary Fund, April 2015, https://www.imf.org/~/media/Websites/IMF/import- ed-flagship-issues/external/pubs/ft/reo/2015/afr/eng/pdf/_sreo0415pdf.ashx. 2 Brahima Sangafowa Coulibaly, “Africa’s Alternative Path to Development,” The Brook- ings Institution, May 3, 2018, https://www.brookings.edu/opinions/africas-alterna- tive-path-to-development/.
    [Show full text]
  • Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
    UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity.
    [Show full text]
  • {Download PDF} Cultural Traditions in the United Kingdom
    CULTURAL TRADITIONS IN THE UNITED KINGDOM PDF, EPUB, EBOOK Lynn Peppas | 32 pages | 24 Jul 2014 | Crabtree Publishing Co,Canada | 9780778703136 | English | New York, Canada Cultural Traditions in the United Kingdom PDF Book Retrieved 11 July It was designed by Sir Giles Gilbert Scott in and was launched by the post office as the K2 two years after. Under the Labour governments of the s and s most secondary modern and grammar schools were combined to become comprehensive schools. Due to the rise in the ownership of mobile phones among the population, the usage of the red telephone box has greatly declined over the past years. In , scouting in the UK experienced its biggest growth since , taking total membership to almost , We in Hollywood owe much to him. Pantomime often referred to as "panto" is a British musical comedy stage production, designed for family entertainment. From being a salad stop to housing a library of books, ingenious ways are sprouting up to save this icon from total extinction. The Tate galleries house the national collections of British and international modern art; they also host the famously controversial Turner Prize. Jenkins, Richard, ed. Non-European immigration in Britain has not moved toward a pattern of sharply-defined urban ethnic ghettoes. Media Radio Television Cinema. It is a small part of the tartan and is worn around the waist. Help Learn to edit Community portal Recent changes Upload file. At modern times the British music is one of the most developed and most influential in the world. Wolverhampton: Borderline Publications. Initially idealistic and patriotic in tone, as the war progressed the tone of the movement became increasingly sombre and pacifistic.
    [Show full text]
  • ONE AFRICA MUSIC FEST Dubai 2019
    ONE AFRICA MUSIC FEST Dubai 2019. (MEDIA PROJECT) Africa, powered by Music. Afrobeats to the World. STATISTICS & IMPACT. Attendance – 5000 attendees (Sold out) Access fee – Average $40 Male – 65% Female – 35% Countries in attendance – Nigeria, Zimbabwe, Rwanda, Uganda, UAE etc. Economic Impact to Kigali - $6million Industries affected – Airlines, Hospitality(Hotels), Logistics(Transportation), Arts & Craft, Food(Restaurants) WHY ‘ONE AFRICA MUSIC FEST’? • One Africa Global (Parent Company of ‘One Africa Music Fest’) mission is to afford the general public with African cultural and artistic experiences, promote the sense of Pan Africanism, make known the prospects in Africa and positioning Africa as the perfect destination for investment and by so doing, making Africa great again. This is accomplished through our goals: i. Encouraging people to increase their knowledge of African culture, using African arts that relate to the values and principles of African society and life. ii. Encouraging the respect that is incorporated in African culture. iii. Educating people of African descent about their culture and history so that they may gain a positive self-image, self-awareness and self-direction. iv. Create avenue where global communities can access the opportunities that Africa houses. v. Showcasing the beauty of African culture by performing African dance, music and story globally. vi. Provide investment and trade exchange platform that ushers in robust development in Africa for smart economy. STRATEGIES OF OAMF SYNCS WITH THAT OF AMFEST. • OUR STRATEGY • i. Fostering integration using African culture and art that facilitates world acceptance. • ii. Structuring a new frame work for economic growth and development by Africans for Africa.
    [Show full text]
  • Five Clips from Africa | Norient.Com 2 Oct 2021 11:12:51 Five Clips from Africa PLAYLIST by Georg Milz
    Five Clips from Africa | norient.com 2 Oct 2021 11:12:51 Five Clips from Africa PLAYLIST by Georg Milz To start the new year ethnologist and journalist Georg Milz sent us a list with five music videos from all around Africa. He shows us some really nice clips between pidgin pop, hip hop pantsula and house, from Nigeria and Mozambique to South Africa and Kenya. By the way he is shaping coupé-décalé from – and that might be surprising – Geneva, Switzerland. Artist: Timaya (Nigeria) Track: Ukwu Pidgin pop music from Nigeria got coined the term Afrobeats with an «s». Even though unlikely Fela Kuti's Afrobeat, Afrobeats is rather unpolitical it is still the most celebrated soundtrack in african nightclubs of today, with a growing impact on global pop music. It fuses and borrows rhythms and melodies from all kind of genres such as Congolese Soukous, R'n'B, Afrobeat, Coupé-Décalé or South African House and spices them up with local lyrics in pidgin english and auto-tune effects. Artists such as P-Square, D’banj or Wizkid are among top selling artists and first stars of this african music movement being played in clubs in the US aswell as in Kingston Jamaica. Timaya is another upcoming star from the megacity of Lagos. With his hit single «Sonko» he recently put a spotlight on the dancehall culture of Lagos biggest ghetto Ajegunle. On his latest song called «Ukuw», meaning waist, he jumped on the bandwagon of Nigeria's state to the art afrohouse productions. This joint not only got us twerking in our office last year.
    [Show full text]
  • Alternate African Reality. Electronic, Electroacoustic and Experimental Music from Africa and the Diaspora
    Alternate African Reality, cover for the digital release by Cedrik Fermont, 2020. Alternate African Reality. Electronic, electroacoustic and experimental music from Africa and the diaspora. Introduction and critique. "Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans. Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress." – Binyavanga Wainaina (1971-2019). © Binyavanga Wainaina, 2005. Originally published in Granta 92, 2005. Photo taken in the streets of Maputo, Mozambique by Cedrik Fermont, 2018. "Africa – the dark continent of the tyrants, the beautiful girls, the bizarre rituals, the tropical fruits, the pygmies, the guns, the mercenaries, the tribal wars, the unusual diseases, the abject poverty, the sumptuous riches, the widespread executions, the praetorian colonialists, the exotic wildlife - and the music." (extract from the booklet of Extreme Music from Africa (Susan Lawly, 1997). Whether intended as prank, provocation or patronisation or, who knows, all of these at once, producer William Bennett's fake African compilation Extreme Music from Africa perfectly fits the African clichés that Binyavanga Wainaina described in his essay How To Write About Africa : the concept, the cover, the lame references, the stereotypical drawing made by Trevor Brown..
    [Show full text]
  • Africa's Soft Power : Philosophies, Political Values, Foreign Policies and Cultural Exports / Oluwaseun Tella
    “This seven-chapter book is a powerful testimonial to consummate African scholarship. Its analysis is rigorous, insightful, lucid and authoritative, providing fresh perspectives on selected uniquely African philosophies, and the potential­ ities, deployment and limitations of soft power in Africa’s international relations. The author rigorously Africanises the concept, broadening its analytic scope from its biased Western methodology, thus brilliantly fulfilling that great African pro­ verb made famous by the inimitable Chinua Achebe: ‘that until the lions have their own historians, the history of the hunt will always glorify the hunter’. This is truly an intellectual tour de force.” W. Alade Fawole, Professor of International Relations, Obafemi Awolowo University, Ile-Ife, Nigeria. “This book addresses an important tool in the arsenal of foreign policy from an African perspective. African states have significant soft power capacities, although soft power is not always appreciated as a lever of influence, or fully integrated into countries’ foreign policy strategies. Tella takes Nye’s original concept and Africanises it, discussing Egypt, Kenya, Nigeria and South Africa via their respective philosophies of Pharaonism, Harambee, Omolúwàbí and Ubuntu. This study is a critical contribution to the literature on African foreign policies and how to use soft power to greater effect in building African agency on the global stage.” Elizabeth Sidiropoulos, Chief Executive, South African Institute of International Affairs, Johannesburg, South Africa. “Soft power is seldom associated with African states, given decades bedevilled by coup d’états, brazen dictatorships and misrule. This ground-breaking book is certainly a tour de force in conceptualising soft power in the African context.
    [Show full text]
  • Downloaded from Brill.Com10/01/2021 03:30:26PM Via Free Access Heritage, Blackness and Afro-Cool 261
    African Diaspora 7 (2014) 260–289 brill.com/afdi Heritage, Blackness and Afro-Cool Styling Africanness in Amsterdam* Marleen de Witte Department of Sociology and Anthropology, University of Amsterdam, The Netherlands [email protected] Abstract This article focuses on the recent emergence of an “Afro-Dutch” category of self- identification among young people in Amsterdam. Dutch-born youth of different Afro- Caribbean and African backgrounds show a new sense of (and search for) a shared African heritage, and a growing desire for public exposure and recognition of this Africanness. Manifesting in, for example, media initiatives, performing arts, cultural festivals, and bodily fashions, this trend is characterized by an aesthetic emphasis on globalized African styles and by political struggles about the inclusion of African her- itage in Dutch imaginations of nationhood. Approaching Africanness as a process of becoming and a practiceofself-styling, this article explores the convergence between the renewed interest in African roots among Dutch-born Afro-Caribbeans and the ways in which Ghanaian youth engage with their African origins. It discerns three prominent, but contested tropes with regard to their framing and design of Africanness: “African heritage”, “blackness” and “Afro-cool”. Keywords Africanness – Afro-Dutch – Self-styling – Cultural Heritage – Blackness – Afro-cool * This paper was presented at the African Studies Association Annual Meeting 2012, Philadel- phia, and at the 20th International Conference of Europeanists in Amsterdam, 2013. The related research was funded by a veni grant from the Netherlands Organization for Scien- tific Research (nwo). I wish to thank Gladys Akom Ankobrey, Francio Guadeloupe, afdi editors Hélène Neveu Kringelbach and Karel Arnaut, and two anonymous reviewers for their extremely stimulating comments and for opening up exciting areas of debate, which I look forward to exploring further in the near future.
    [Show full text]
  • Nigeria's 'New Oil': Fueling the Growth of the Music
    CASE STUDY NIGERIA’S ‘NEW OIL’: FUELING THE GROWTH OF THE MUSIC INDUSTRY IN LAGOS THROUGH ENTREPRENEURSHIP April 2018 Caroline Fry Georgina Campbell Flatter PhD Candidate, MIT Sloan Executive Director, The Legatum Center Senior Lecturer, MIT Sloan Sarah Jane Maxted Prof. Fiona Murray Executive Director, MIT REAP MIT Sloan Associate Dean for Innovation Co-Director, MIT Innovation Initiative Nigeria’s ‘New Oil’: Fueling the Growth of the Music Industry in Lagos through Entrepreneurship April 2018 Caroline Fry1, Georgina Campbell Flatter, Sarah-Jane Maxted, Fiona Murray This case study is dedicated to Bolaji Finnih, passed away unexpectedly in December 2017. He was a true example of the ways in which entrepreneurship can have impact. He will be remembered by all and in particular through everything he did for the MIT community as well as across the African entrepreneurship community, particularly his home city of Lagos, Nigeria. Bolaji was a 2015 MIT Sloan School of Management Fellow, 2015 MIT Legatum Center for Development and Entrepreneurship Fellow, and Team Champion of the MIT Regional Entrepreneurship Acceleration Program, Team Lagos. More than that he was a true champion of African entrepreneurship, working relentlessly to support our community, increase MIT’s engagement in Africa, and raise the profile of the African continent. Through his company, Techpreneur, he established a home and support platform for thousands of entrepreneurs across Africa. Bolaji’s dedication, optimism, and passion created a powerful dynamic both within MIT’s ecosystem and in the broader global innovation community. We celebrate his legacy by continuing to build this global community, by strengthening our commitment to developing innovation ecosystems, and by showcasing and celebrating the greatest examples of entrepreneurs, like Bolaji, doing what they do best—turning challenge into opportunity.
    [Show full text]
  • "La Cultura Del Hip Hop En La Ciudad De Guatemala: Un Estudio Desde El Análisis Del Espectáculo En Los Estilos New Style Y B-Boy/B-Girl." Tesis De Grado
    UNIVERSIDAD RAFAEL LANDÍVAR FACULTAD DE HUMANIDADES LICENCIATURA EN CIENCIAS DE LA COMUNICACIÓN "LA CULTURA DEL HIP HOP EN LA CIUDAD DE GUATEMALA: UN ESTUDIO DESDE EL ANÁLISIS DEL ESPECTÁCULO EN LOS ESTILOS NEW STYLE Y B-BOY/B-GIRL." TESIS DE GRADO KENNETH ALEXANDER SCHELLENGER SAN JUAN CARNET 11958-10 GUATEMALA DE LA ASUNCIÓN, SEPTIEMBRE DE 2015 CAMPUS CENTRAL UNIVERSIDAD RAFAEL LANDÍVAR FACULTAD DE HUMANIDADES LICENCIATURA EN CIENCIAS DE LA COMUNICACIÓN "LA CULTURA DEL HIP HOP EN LA CIUDAD DE GUATEMALA: UN ESTUDIO DESDE EL ANÁLISIS DEL ESPECTÁCULO EN LOS ESTILOS NEW STYLE Y B-BOY/B-GIRL." TESIS DE GRADO TRABAJO PRESENTADO AL CONSEJO DE LA FACULTAD DE HUMANIDADES POR KENNETH ALEXANDER SCHELLENGER SAN JUAN PREVIO A CONFERÍRSELE EL TÍTULO Y GRADO ACADÉMICO DE LICENCIADO EN CIENCIAS DE LA COMUNICACIÓN GUATEMALA DE LA ASUNCIÓN, SEPTIEMBRE DE 2015 CAMPUS CENTRAL AUTORIDADES DE LA UNIVERSIDAD RAFAEL LANDÍVAR RECTOR: P. EDUARDO VALDES BARRIA, S. J. VICERRECTORA ACADÉMICA: DRA. MARTA LUCRECIA MÉNDEZ GONZÁLEZ DE PENEDO VICERRECTOR DE ING. JOSÉ JUVENTINO GÁLVEZ RUANO INVESTIGACIÓN Y PROYECCIÓN: VICERRECTOR DE P. JULIO ENRIQUE MOREIRA CHAVARRÍA, S. J. INTEGRACIÓN UNIVERSITARIA: VICERRECTOR LIC. ARIEL RIVERA IRÍAS ADMINISTRATIVO: SECRETARIA GENERAL: LIC. FABIOLA DE LA LUZ PADILLA BELTRANENA DE LORENZANA AUTORIDADES DE LA FACULTAD DE HUMANIDADES DECANA: MGTR. MARIA HILDA CABALLEROS ALVARADO DE MAZARIEGOS VICEDECANO: MGTR. HOSY BENJAMER OROZCO SECRETARIA: MGTR. ROMELIA IRENE RUIZ GODOY DIRECTORA DE CARRERA: MGTR. NANCY AVENDAÑO MASELLI NOMBRE DEL ASESOR DE TRABAJO DE GRADUACIÓN LIC. RAMIRO MAC DONALD LOPEZ REVISOR QUE PRACTICÓ LA EVALUACIÓN LIC. MYRIAM MARITZA CHICAS MORALES 4 5 AGRADECIMIENTOS Mis familiares, compañeros de estudio y amigos, en especial a Pamela Oliva.
    [Show full text]
  • Phd Thesis June 2018
    Cadences of Choreomusicality: Investigating the Relationship Between Sound and Movement in Staged Performances of Popping and Animation in the United Kingdom Jo Read A thesis submitted for the degree of Doctor of Philosophy (PhD) School of Visual and Performing Arts (Dance) De Montfort University September 2017 1 Abstract This practice-led doctoral research explores the relationship between staged performances of popping, closely related movement practices such as animation (in dance) and music in the United Kingdom. Through an experiential, choreographic and critical methodology, I consider the ways that popping artists are able to shift, bend and distort perceptions of their performances through complex uses of musicality. Popping is a dance form that is included under the umbrella of street dance, which encompasses a wide range of dance practices with their origins in social and vernacular contexts. I scrutinise the musical trends and characteristics of popping and animation specifically, despite street dance forms usually being considered as a collective. This extensive focus reveals a range of selective rhythmical and textural nuances that engage the spectator in a world of choreomusical play. Placing practice at the centre of my investigation, I carry out a series of choreographed projects and reflect on these experiences from the position of dancer/performer and choreographer. Additionally, I consider the work of other popping artists in the field, presenting extensive choreomusical analysis of a selection of their work. Drawing from interviews that I conducted with nine UK street dance artists, I use a range of practitioner-led terminology to demonstrate the metaphorical vocabulary that they have employed to articulate their choreomusical practices and complicate notions of musicality.
    [Show full text]
  • Hip Hop Ja Jazztanssi
    Harri Heinilä Hip hop ja jazztanssi Afrikkalaisamerikkalaisen tanssin jatkumo Kansi: Harri Heinilä ISBN 978-952-68364-8-5 Musiikkiarkisto 2021 musiikkiarkisto.fi [email protected] Sisällysluettelo Johdanto: hip hop ja jazztanssi 5 Jazztanssin synty 13 Jazzmusiikin synty 20 Jazzmusiikin ja -tanssin terminologia 22 Jazztanssi orjuuden aikana Yhdysvaltain plantaaseilla ja sen vaikutus 31 Minstrelsy-aikakausi 36 Cakewalk 52 Texas Tommy 61 Charleston 63 Lindy Hop 71 Mambo ja salsa 75 Rock and roll -tanssit 79 Hip hop -musiikin synty 85 Breikeistä rappiin: hip hop -kulttuurin muotoutuminen 96 Hip hop -tanssien synty 104 James Brown ja ’Get on the Good Foot’ -tanssi 106 Burning eli ”polttaminen” 108 Burning muuttuu breikkaukseksi 117 Bronxin alkuperäiset 1970-luvun breikkausryhmät 121 Bronxin alkuperäisen breikkauksen loppu 137 Länsirannikon Soul Train -tanssijat osana hip hop -tanssia 139 Breikkaus siirtyy uudelle sukupolvelle 151 Breikkauksen jatkumo vai katkeama: ensimmäisen ja toisen 163 sukupolven väliset erot Jazz- ja hip hop -tanssien yhtäläisyydet 168 2 Epilogi: hip hop -tanssi 2000-luvulla 192 Suomalaisen hip hop -kulttuurin musiikin ja tanssin alku 197 tutkijan näkökulmasta Taulukot 4 Viitteet 209 Lähteet 271 Henkilöhakemisto 292 3 Taulukot Taulukko 1. Ragtime vs. Jazz. Taulukko 2. William Henry Lane vs. John Diamond. Taulukko 3. Bronxin breikkausryhmiä 1970-luvulla. Taulukko 4. Bronxin breikkauspaikkoja 1970-luvulla. Taulukko 5. The Campbellock Dancers vuonna 1973. Taulukko 6. The Rock Steady Crew:n tanssijoita vuonna 1981. Taulukko 7. The New York City Breakers. Alkuperäinen kokoonpano vuonna 1982. Taulukko 8. Dynamic Rockers / Dynamic Breakers vuonna 1983. Taulukko 9. Breikkauksen leviäminen elokuvien kautta eri maissa. Teos on saanut tukea WSOY:n kirjallisuussäätiöltä ja Suomen tietokirjailijat ry:ltä.
    [Show full text]