Convention 34.2010.Pdf
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Europeanfolkdanc006971mbp.Pdf
CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life. -
Dance Ensemble Synchronisation: Movement Timing Between Two Or More People
Dance Ensemble Synchronisation: Movement Timing between two or more People by Juliane Jacqueline Honisch A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY School of Psychology The University of Birmingham December 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Dancers’ need to be coordinated in an ensemble poses multisensory challenges. The present thesis focuses on temporal aspects of visually mediated interpersonal synchronisation in dance, emphasising feedback control, using an information processing perspective. The thesis firstly reviews previous literature on psychological factors in the coordination of dance (Chapter 1). Measurement methods and analyses to examine timing of dancers’ interpersonal synchronisation are then introduced (Chapter 2). In the first two experimental chapters (Chapters 3, 4) a lead-follower paradigm is developed to quantify the temporal linkage between two or more individuals. Performer interdependence was estimated using mean, variance and serial correlation measures. Chapter 3 evaluates multimodal (auditory and visual sources) and Chapter 4 unimodal (two visual sources) on individuals’ synchronisation performances. In Chapter 5, dancers’ interpersonal synchronisation and the effect of visual and sensorimotor familiarity were investigated. -
Standard Rhythm Introduction
STANDARD RHYTHM INTRODUCTION The Standard Rhythms, also known as Smooth Rhythms, include the Foxtrot, Quickstep, Tango, Waltz, and the Viennese Waltz. With the introduction of Dance Sport, the name Standard was adopted to describe this set of rhythms. The following information and definitions are to help in the reading and understanding of the charted figures. These are the common definitions for the information presented. These definitions are extracted from dance publications that are used by most of the teachers of dance worldwide. Positions of the Feet This refers to the position of one foot in relation to the other at the end of a step. For example on a pull step with the right foot, the right foot will start to move back. A turn is then made on the left foot so that the right foot will end to the side. The step would be described as right foot to the side. This does not describe the actions necessary to get the right foot to the side. Usually, the amount of turn on a step is in relation to the turn the feet make, not the turn that the body makes. The turn of the body is quite often different from the amount of turn of the feet. Amounts of Turn The amount of turn in a figure or step is the amount of turn the feet or foot makes. The information of the preceding paragraph explains this further. Closed Dance Position (CP) The Closed Dance Position is the position that is maintained most of the time while dancing the Standard dance rhythms. -
Cultures of Dance’ Construct Experiences of Health and Growing Older APPENDICES
An Exploration of How Various ‘Cultures of Dance’ Construct Experiences of Health and Growing Older APPENDICES Susan Mary Paulson Dissertation submitted for the degree of Doctor of Philosophy City University London Department of Psychology November 2009 FOCUSED CODING...................................................................................................................5 NARRATIVE THEME: FORMING A SENSE OF BELONGING THROUGH DANCE ............................5 NARRATIVE THEME: LEARNING TO DANCE ............................................................................15 NARRATIVE THEME: PSYCHOLOGICAL HEALTH, SENSE OF BELONGING AND GROWING OLDER......................................................................................................................................26 NARRATIVE THEME: SENSE OF BELONGING, GROWING OLDER AND PHYSICAL HEALTH .....32 CIRCLE DANCE FIELD NOTES...........................................................................................39 FIRST CIRCLE DANCE GROUP 4.5.07 AT 10.00AM-12.00PM....................................................39 FIRST CIRCLE DANCE GROUP 18.5.07 AT 10.00AM-12.00PM..................................................39 FIRST CIRCLE DANCE GROUP 25.5.07 AT 10.00AM-12.00PM..................................................41 4.6.07 ETHNOGRAPHIC INTERVIEW WITH RETIRED BALLERINA IN HER 70S WHO LEFT THE FIRST CIRCLE DANCE GROUP ..................................................................................................41 FIRST CIRCLE DANCE GROUP 8.6.07 AT 10.00AM-12.00PM....................................................42 -
Introduction to International Waltz
International Waltz Introduction to International Waltz General - The waltz is a dance for couples in 3/4time. The dance was developed from the Weller, a German peasant dance and the Laendler , an Austrian dance. The two most danced forms of the waltz are the Viennese Waltz and the Slow Waltz. The International waltz is a structured form of the Slow waltz and is in the smooth category of ballroom dances. The character of International Waltz is that it has a late rise over the basic three steps which can be described as “step,” “balance” and “elevation.” This is also further described as “down,” “down,” “up,” to contrast it with “down,” “up,” “up” as used in American style. Timing - The timing for International Waltz is 3/4, or three beats to each standard measure (bar) of music. The BPM, or bars per minute, used can vary from 29 to 31. Although there is an accent on the first beat, the most important consideration is the long 2 count (2 & 5 on standard weaves) which allows for a momentary suspension of the body flight where most adjustments in direction are made. Rhythm - The normal rhythm of the waltz is 1, 2, 3. Each number represents a beat in a bar (measure) of music. Frequently, however, there will be figures with more than three steps taken over one measure. Where there are more than three steps taken, there will be syncopation. This syncopation can be on any beat of the measure. In describing the figures, in this manual, each beat in the measure will have an equal amount of time associated with it. -
American Style Smooth
American Style Smooth Edition: January 2015 NOTICE TO THE READER: In order to realize the maximum benefits of this manual, you may wish to view the corresponding DVDs while following the diagramed figures. While we have made every effort to ensure that this manual complements the DVDs accurately, we welcome any suggestions you may have. Please address your comments or questions to (800) 851-2813 or email us at [email protected]. ACKNOWLEDGMENTS: Very special thanks to Diane Jarmolow and Jerri Koby. DISCLAIMER: This manual is intended for information only. Please check with your physician prior to beginning any new physical activity. The publisher and author do not intend that any user of this manual endure undue exertion or strain. Copyright 2000-2015 by W.D. Eng, Inc. dba Dance Vision. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means (including information storage and retrieval systems) without written permission of the publisher. Published by W.D. Eng, Inc. Las Vegas, Nevada, USA / Edition dated January 2015. MANUAL UPDATES We are committed to constantly updating and improving our dance manuals so that you can count on their accuracy. The Dance Vision staff is currently in the process of editing and making improvements to the manuals. We also welcome and need your input. If you find an error, please email to [email protected]. We will review your correction and e-mail you a response. Please be sure to include the manual and name of the figure in your email. -
Alternating Underarm Turn
FIGURE INDEX Please note - Effective with this supplement (#7) and the 5th Edition of the Manual - Standard and Latin Rhythm abbreviations (as listed following) shall be used in the Figure Index, in all Tables of Contents that refer to figure by rhythm and/or number, for every page of each figure contained within every rhythm section, and page numbers for all revised/corrected and added figures. Standard (Smooth)... International Foxtrot............................. FT International Quickstep........................ QS International Tango.............................. TG International Waltz............................... WZ Viennese Waltz.................................... VW Latin (Rhythm)... Argentine/American Tango.................. AT Bolero................................................... BL International Cha Cha.......................... CH International Paso Doble...................... PD International Rumba............................. RB International Samba............................. SB Jive...................................................... JV Mambo................................................. MB Merengue............................................. MG Slow Two Step..................................... ST West Coast Swing................................ WC Legend: Figure Name - followed by - Rhythm Abbreviation + a hyphen + the Figure number Example: 5th Position Break MB-05 5th Position Break MG-06 Chassé to the Left CH-Int Indicates the figure will be found in the Introduction section for that rhythm Page numbers -
Prepared for the Benefit of the ROUNDALAB & URDC Membership
Prepared for the benefit of the ROUNDALAB & URDC membership Maintained, reproduced and distributed by RAL and URDC October, 2001 1 Common Glossary of Round Dance Terms A joint publication of The International Association of Round Dance Teachers, Inc and The Universal Round Dance Council, Inc. This document represents months of dedication on the part of the RAL/URDC Joint Committee for Development of a Common Glossary of Round Dance Terms. It is being made available to you with the recognition that it may contain some words and definitions that will need to be corrected and/or in some other way improved upon. However, RAL and URDC believe that even in it's present form the reader will find this Glossary to be an excellent source of terms and definitions encountered in the Round Dancing activity. A joint committee, composed of RAL and URDC representatives, will update this glossary periodically as needed. Suggestions for corrections and/or revisions should be addressed to the Roundalab main office or the URDC secretary (at the following addresses) for consideration in the next edition. This glossary is not intended to replace any Glossary issued exclusively under the RAL or URDC Organizational name, but to supplement it. Addresses of RAL & URDC: ROUNDALAB 355 N. Orchard, Suite 200 Boise, ID 83706-1600 e-mail: [email protected] Bob & Kay Close URDC Secretary 1100 Reflections Lake Loop, Lakeland, FL 33813 e-mail: [email protected] 2 Term Definition - A - "a" A character designating 1/4 beat, normally the last 1/4 of the beat in which a step or action is completed; so, for example, typical Samba timing might be written "1a2" meaning step one gets 3/4 beat, step 2 gets 1/4 beat, and step 3 gets 1 full beat. -
Viennese Waltz - DISVV170 Therefore DVIDA Will Improve Our Manuals with Each New
GOLD MANUAL (MISG12) Edition: June 2018 NOTICE TO THE READER: In order to realize the maximum benefits of this manual, you may wish to view the corresponding DVDs while following the diagramed figures. While we have made every effort to ensure that this manual compliments the DVDs accurately, we welcome and need your input. If you find an error or have a comment, question, or suggestion, please call (800) 851-2813 or email us at [email protected]. Please be sure to include the manual and name of the figure (for corrections) in your email. ACKNOWLEDGMENTS: We would like to thank the author, Tom Slater, for writing this syllabus. We appreciate his commitment to excellence, and desire to support dance teachers and students through this detailed documentation of the technique. DISCLAIMER: This manual is intended for information only. Please check with your physician prior to beginning any new physical activity. The publisher and author do not intend that any user of this manual endure undue exertion or strain. Copyright 2000-2018 by W.D. Eng, Inc. dba Dance Vision All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means (including information storage and retrieval systems) without written permission of the publisher. Published by W.D. Eng, Inc. Las Vegas, Nevada, USA June 2018 WARNING: Dance Vision will prosecute any individual or company, within the United States or any other country, who reproduces any or all of this text without the express written permission of the publisher. Dance Vision offers a reward of $1000 for information leading to the prosecution of copyright infringement upon its property. -
INFORMATION to USERS This Manuscript Has Been Reproduced
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted.Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced fonn at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Beil & Howell Inrormation Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313.761 4700 800.521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. -
2013 Kentucky Dance Institute Syllabus.Pdf
KENTUCKY DANCE INSTITUTE MURRAY STATE UNIVERSITY MURRAY, KENTUCKY 2013 Directors: “Stew” and Kathie Shacklette Troy & Dawn Schwartz Steve & Jody Trautwein Kentucky Dance Institute Murray State University Murray, Kentucky Welcome to the 61st annual Kentucky Dance Institute. While every year is different, one thing stays consistent: Here you will find the friendliest people. KDI provides an opportunity to meet old friends and make new acquaintances. Many traditions have grown since Frank Kaltman founded KDI at Lee’s Jr. College at Jackson, Kentucky in 1953. First came the “Knob Tigers”, then came Knob Tiger Night, Flying Tigers, The Ed Moody Scholarship fund, “Scrunch”, “Yahooo” and who knows what this year will bring. Our Staff is one of the finest available. Our goal is to provide you with an educational, as well as enjoyable week of dancing. We know there is always room for improvement and we do welcome constructive suggestions that would benefit the majority of the participants. The Staff is always ready to assist you at any time, just ask. We are looking forward to a GREAT week. Have a wonderful week. The Staff Directors: “Stew” and Kathie Shacklette Troy & Dawn Schwartz Steve & Jody Trautwein Instructors: Ahmet Luleci Charlie Wheatley Ed Austin Campbell Miller Table of Contents Basic Fundamentals of Folk Dancing ....................................................................................................... 9 Caller’s Workshop ................................................................................................................................. -
Dear Dedicated Dancer, TRY to FIT on ONE PAGE
NOTICE TO THE READER: In order to realize the maximum benefits of this manual, you may wish to view the corresponding DVDs while following the diagramed figures. While we have made every effort to ensure that this manual compliments the DVDs accurately, we welcome and need your input. If you find an error or have a comment, question, or suggestion, please call (800) 851-2813 or email us at [email protected]. Please be sure to include the manual and name of the figure (for corrections) in your email. ACKNOWLEDGMENTS: We would like to thank the author, Diane Jarmolow, for writing this syllabus. We appreciate her commitment to excellence, and desire to support dance teachers and students through this detailed documentation of the technique. We would also like to thank the original authors of the Bronze Standard Manual, Brian and Susan Puttock and Hilda Lanza for blazing the trail for DVIDA. DISCLAIMER: This manual is intended for information only. Please check with your physician prior to beginning any new physical activity. The publisher and author do not intend that any user of this manual endure undue exertion or strain. Copyright 2000-2013 by W.D. Eng, Inc. dba Dance Vision All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means (including information storage and retrieval systems) without written permission of the publisher. Published by W.D. Eng, Inc. Las Vegas, Nevada, USA September 2013 Renee Stephens – Editor WARNING: Dance Vision will prosecute any individual or company, within the United States or any other country, who reproduces any or all of this text without the express written permission of the publisher.