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Funkids Amb La Black Music Big Band & Brodas Junior
Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
UNIVERSITY of CALIFORNIA RIVERSIDE in the Land of Perfect
UNIVERSITY OF CALIFORNIA RIVERSIDE In the Land of Perfect Bliss A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Fine Arts in Creative Writing and Writing for the Performing Arts by Simona Suresh Supekar August 2013 Thesis Committee: Professor Andrew Winer, Co-Chairperson Professor Tod Goldberg, Co-Chairperson Professor Mark Haskell Smith Copyright by Simona Suresh Supekar 2013 The Thesis of Simona Suresh Supekar is approved: Committee Co-Chairperson Committee Co-Chairperson University of California, Riverside Acknowledgements I am indebted to the guidance of Mark Haskell Smith, whose relentless support and spot- on feedback throughout the writing process was crucial to getting this far. I also want to thank Tod Goldberg for accepting me into the program and for his very insightful comments on my work. The smart, thoughtful feedback from Mary Yukari Waters was also instrumental in getting my story where it needed to be. Thanks also to my many colleagues at UCR who provided very valuable comments on my work and whose work I too admire. I am so lucky to have had you as friends in this program, so much so that I copied verbatim the first half of this sentence from the sample acknowledgments page in the thesis review packet. Last, I want to thank my parents Suresh and Shaila Supekar who gave me the stories to tell and the desire to tell them by virtue of just being here, in America, as immigrants who left so much behind in India. And of course, none of my work would be possible without the love—upon which everything is built, really—from my partner Arturo Aguilar, who pushed me to follow my dream and has supported me in every way throughout this journey. -
Love Is the Answer
love is the answer Born out of love for children with AIDS All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore rap: give it up yoah And when you're all alone once in a while you gotta let your hair down Love is the answer turn your troubles all around And when you're far from home its not a ghost town Love one another feel the heat yoah And when you're down and out there's love all around You can count on me, brother hey groove to the beat And when your hopes run out wave your hands in the hair You can be there for each other love jump up and down like a carnival fair And when you need a friend is the answer hey! Let's talk about love! Love one another And when you're on the end Name your price Love, we got to love, we got to love one another A ticket to paradise ! can't stay here any more Light of the world, shine on me, love is the answer And I've looked high and low (let's talk about love let's talk about love) I've been from shore to shore to shore Shine on us all, set us free, love is the answer If there's a short cut I'd have found it (let's talk about you let's talk about me and the way it should But there's no easy way around it be let's talk about love a dream, you and me, let's open up our hearts Light of the world, shine on me let it be free bring it on! Hey! Love is the answer Watcha gonna do? No matter what you say 1 and 1 makes 2 Shine on us all juz shout it out every boy every girl Set us free Spread out the word -
INFERNAL AFFAIRS (2002, 101 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
November 13 2018 (XXXVII:12) Wai-Keung Lau and Alan Mak: INFERNAL AFFAIRS (2002, 101 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY Wai-Keung Lau (as Andrew Lau) and Alan Mak WRITING Alan Mak and Felix Chong PRODUCED BY Wai-Keung Lau producer (as Andrew Lau), line producers: Ellen Chang and Lorraine Ho, and Elos Gallo (consulting producer) MUSIC Kwong Wing Chan (as Chan Kwong Wing) and Ronald Ng (composer) CINEMATOGRAPHY Yiu-Fai Lai (director of photography, as Lai Yiu Fai), Wai-Keung Lau (director of photography, as Andrew Lau) FILM EDITING Curran Pang (as Pang Ching Hei) and Danny Pang Art Direction Sung Pong Choo and Ching-Ching Wong WAI-KEUNG LAU (b. April 4, 1960 in Hong Kong), in a Costume Design Pik Kwan Lee 2018 interview with The Hollywood Reporter, said “I see every film as a challenge. But the main thing is I don't want CAST to repeat myself. Some people like to make films in the Andy Lau...Inspector Lau Kin Ming same mood. But because Hong Kong filmmakers are so Tony Chiu-Wai Leung...Chen Wing Yan (as Tony Leung) lucky in that we can be quite prolific, we can make a Anthony Chau-Sang Wong...SP Wong Chi Shing (as diverse range of films.” Lau began his career in the 1980s Anthony Wong) and 1990s, serving as a cinematographer to filmmakers Eric Tsang...Hon Sam such as Ringo Lam, Wong Jing and Wong Kar-wai. His Kelly Chen...Dr. -
Sino Land Company Limited • Annual Report 2009
www.sino.com This annual report (“Annual Report”) is available in both English and Chinese. Shareholders who have received either the English or the Chinese version of the Annual Report may request a copy in the language different from that has been received by writing to the Company’s Registrars, Tricor Standard Limited, 26th Floor, Tesbury Centre, 28 Queen’s Road East, Hong Kong. The Annual Report (in both English and Chinese versions) has been posted on the Company’s website at www.sino.com. Shareholders who have chosen to rely on copies of the Corporate Communications (including but not limited to annual report, summary financial report (where applicable), interim report, summary interim report (where applicable), notice of meeting, listing document, circular and proxy form) posted on the Company’s website in lieu of any or all the printed copies thereof may request printed copy of the Annual Report. Shareholders who have chosen to receive the Corporate Communications using electronic means through the Company’s website and who for any reason have difficulty in receiving or gaining access to the Annual Report posted on the Company’s website will promptly upon request be sent the Annual Report in printed form free of charge. Shareholders may at any time choose to change their choice of language and means of receipt (i.e. in printed form or by electronic means through the Company’s website) of all future Corporate Communications from the Company by giving reasonable notice in writing by post to the Company’s Registrars, Tricor Standard Limited at 26th Floor, Tesbury Centre, 28 Queen’s Road East, Hong Kong or by email at [email protected]. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Hip-hop, Streetdance, and the Remaking of the Global Filipino Permalink https://escholarship.org/uc/item/16q5z7gp Author Perillo, Jeffrey Lorenzo Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Hip-hop, Streetdance, and the Remaking of the Global Filipino A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Jeffrey Lorenzo Perillo 2013 © Copyright by Jeffrey Lorenzo Perillo 2013 ! ABSTRACT OF THE DISSERTATION Hip-hop, Streetdance, and the Remaking of the Global Filipino by Jeffrey Lorenzo Perillo Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2013 Professor Susan Leigh Foster, Committee Co-Chair Professor Victor Bascara, Committee Co-Chair New York-based African American, Latino, and Caribbean immigrant youth of the 1960s and early 1970s gave life to one of the world's major contemporary cultural movements: Hip-hop. Initially misunderstood as a faddish form of Black male musical expression, Hip-hop's cultural resistance practices were quickly recognized as four core elements (emceeing, turntablism, graffiti art, and b-boying/b-girling). In the global context, Hip-hop has generated scholarly discourse that points to either the cultural globalization of American Blackness or a "global village." My project interrupts this conversation and focuses on the unique, multi-site cultural history of Filipino identity as constituted through practitioners of Hip-Hop dance. My work argues that a community of Filipinos, situated in different geo-political loci—Berkeley, California, Honolulu, Hawai‘i, and Manila, Philippines—configure prevailing concepts of Hip-hop while remaking conditions of ! ii dispossession and displacement in the late twentieth and early twenty-first centuries. -
MASARYKOVA UNIVERZITA Fakulta Sportovních Studií Rozvoj A
MASARYKOVA UNIVERZITA Fakulta sportovních studií Katedra gymnastiky a úpolů Rozvoj a historické aspekty tanečního stylu street dance Bakalářská práce Vedoucí práce: Vypracoval: PaedDr. Dagmar Šimberová Marcela Holasová Animátor sportovních aktivit PROHLÁŠENÍ Prohlašuji tímto, ţe je tato práce mým autorským dílem, které jsem zpracovala svědomitě a samostatně. Veškeré pouţité prameny a zdroje jsou řádně citované a uvedené v seznamu literatury. V Brně dne podpis ……………. PODĚKOVÁNÍ Ráda bych co nejsrdečněji poděkovala vedoucí mé bakalářské práce PaedDr. Dagmar Šimberové za její velkou trpělivost, vstřícný přístup, podporu a cenné rady a připomínky. OBSAH: ŮVOD ...................................................................................................................... 6 1. Definice tance ...................................................................................................... 8 1. 1 Rozdělení tance .................................................................................... 10 1. 2 Pohybové schopnosti v tanci ............................................................... 10 1. 3 Tanec jako sport a umění ..................................................................... 12 2. Street dance - charakteristika ......................................................................... 14 2. 1 Nejznámější soutěţe a akce street dance. ....................................... ….15 2. 2 Street dance - historie .......................................................................... 17 2. 3 Street dance - rozdělení ....................................................................... -
Grooving with New Cultures
14 發光的城市 A R O U N D T O W N FRIDAY, SEPTEMBER 24, 2010 • TAIPEI TIMES BY DAVid CHEN COMPILED BY MUSIC STOP NOAH BUCHAN Grooving with new cultures etizens and paparazzi were Teacher (麻辣鮮師) and more Moving Sound (聲動劇場), one of abroad as a modern twist on traditional get a taste of different cultures — they says to expect a humorous presentation salivating at the prospect recently in Jay Chou’s flop Taiwan’s most prominent world Taiwanese musical theater combined with will be learning more about their own. with a guest male rapper decked out that Mando-pop diva Jolin Pandaman (熊貓人), is worried music troupes, is back with a set of melodies and grooves from Central Asia The group plans a special performance in traditional robes playing the 蔡依林 Anew material that will be presented in and India. of the song Toh De Gong (土地公伯), or part of the Earth God, as well as a NTsai ( ) might have a new about his image, he should follow man. The rumors began over the in the footsteps of singer Van two separate shows at the Red House Hsieh says they are making a “Earth God,” from their latest album, choreographed dance featuring Hsieh weekend when bloggers spotted Ness Wu (吳建豪) and become a Theater (紅樓劇場) tomorrow. conscious effort to present world music Starshine. Even though the Earth God and the a capella group. Tsai holding hands with Vivian born-again Christian. Then all past The group, led by co-founders Mia in Taiwan as a way “to understand is one of the most common folk deities, Dawson, a 26-year old half- indiscretions would be forgiven. -
Social Media Analytics for Youtube Comments: Potential and Limitations1 Mike Thelwall
Social Media Analytics for YouTube Comments: Potential and Limitations1 Mike Thelwall School of Mathematics and Computing, University of Wolverhampton, UK The need to elicit public opinion about predefined topics is widespread in the social sciences, government and business. Traditional survey-based methods are being partly replaced by social media data mining but their potential and limitations are poorly understood. This article investigates this issue by introducing and critically evaluating a systematic social media analytics strategy to gain insights about a topic from YouTube. The results of an investigation into sets of dance style videos show that it is possible to identify plausible patterns of subtopic difference, gender and sentiment. The analysis also points to the generic limitations of social media analytics that derive from their fundamentally exploratory multi-method nature. Keywords: social media analytics; YouTube comments; opinion mining; gender; sentiment; issues Introduction Questionnaires, interviews and focus groups are standard social science and market research methods for eliciting opinions from the public, service users or other specific groups. In industry, mining social media for opinions expressed in public seems to be standard practice with commercial social media analytics software suites that include an eclectic mix of data mining tools (e.g., Fan & Gordon, 2014). Within academia, there is also a drive to generate effective methods to mine the social web (Stieglitz, Dang-Xuan, Bruns, & Neuberger, 2014). From a research methods perspective, there is a need to investigate the generic limitations of new methodological approaches. Many existing social research techniques have been adapted for the web, such as content analysis (Henrich & Holmes, 2011), ethnography (Hine, 2000), surveys (Crick, 2012; Harrison, Wilding, Bowman, Fuller, Nicholls, et al. -
All Around the City Step out and Experience Macau’S Communities
7月 JUL | NO. 145 2015 ENGLISH VERSION | All Around the City Step Out and Experience Macau’s Communities This month the city rejoices with gusto in the 10th anniversary in full swing, as are Jazz singer Kirsten Long and renowned Macau Government Tourist Office (MGTO) of the Historic Centre of Macau’s recognition as a World Malaysian guitarist Az Samad. Music lovers will also want to recommends eight walking tour routes themed Step Heritage site. Take a guided tour of the Historic Centre – plus catch the end-of-season performances of the Macau Orchestra Out, Experience Macau’s Communities. Plus the fun tours through the Peninsula lanes and the islands of Taipa and Macau Chinese Orchestra, the latter in the baroque Take Selfies to Win Prizes activity (12/6-30/11) and Coloane. Or enjoy one of the eight walking tour routes splendour of Dom Pedro V Theatre. whereby residents and visitors need only download themed ‘Step Out, Experience Macau’s Communities’, taking the ‘Step Out, Macau’ app, take selfies at two in free performances at sightseeing points along the routes Culture vultures should pick up the Macau Cultural and Creative designated shooting spots along your chosen walking at weekends. Both Coloane Village and Taipa Village squares Map in traditional Chinese and English and download the mobile tour route, present them to staff of any MGTO host great Saturday afternoon entertainment perfect for the app introducing the city’s cultural and creative spaces. The Tourist Information counter in Macau - and redeem a whole family. And why not pick up a Star Merchant Award – map’s themed store, C-shop is now displaying and selling more souvenir! By accessing the app to upload selfies and Restaurants and Eateries Guide while you’re out and about, than 100 local original products. -
Interactive Animation Dance Game
Interactive Dance Game Name:_______________ Interactive: interacting with a human user, often in a conversational way, to obtain data or commands and to give immediate results or updated information. Dance: to move one's feet or body, or both, rhythmically in a pattern of steps, especially to the accompaniment of music. STEP ONE: RESEARCH at least 3 Dance Styles/Moves by looking at the attached “Dance Styles Categories” sheet and then ANSWER the attached sheet “ Researching Dance Styles & Moves.” STEP TWO: DRAW 3 conceptual designs of possible character designs for your one dance figure. STEP THREE: SCAN your character design into the computer and/or create digitally in Adobe Photoshop or directly in Macromedia Flash. Character Design Graphic Names STEP FOUR: BREAK UP the pieces of your digital character design like the above Character Design Graphic Names . If creating in Adobe Photoshop ensure you save each piece of your digital character with a TRANSPARENT BACKGROUND and save each separately as PSD files . STEP FIVE: IMPORT your character design (approved by teacher) into the program Macromedia Flash – piece by piece by OPENING Macromedia Flash then SELECT from the top of menu -> WINDOW -> SHOW LIBRARY -> STEP SIX: DOUBLE CLICK on the specific Character Design Graphic piece you want to IMPORT (SEE the above photo for specific names of body parts i.e. right arm upper graphic) STEP SEVEN: DELETE the template graphic part and PASTE or choose FILE IMPORT in the one you designed on paper or Adobe Photoshop . (head etc..) STEP EIGHT: RESIZE specific Character Design graphic pieces by RIGHT MOUSE CLICKing on the graphic and choose FREE TRANFORM to scale up or down.