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Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
Dance Base 14 –16 Grassmarket, Edinburgh EH1 2JU 0131 225 5525 Dance @Dancebase.Co.Uk Dancebase.Co.Uk
AUTUM N15 GET ON BEAT Courses, drop-in classes & workshops for eve ryone 5 September – 4 December Dance Base 14 –16 Grassmarket, Edinburgh EH1 2JU 0131 225 5525 dance @dancebase.co.uk dancebase.co.uk Dance Base is a registered charity that encourages and celebrates the potential for dance in everyone. Scottish Charity SC022 512 BOARD Patron: HRH Prince Charles, Duke of Rothesay KT KG Chair Edward A Crozier Artistic Patron: Mark Morris Members Paul Blair, Cllr Catherine Fullerton, Annie Griffin, Simon Guest, Christopher Hampson, Fiona Hendry, Donna Malone, Elizabeth Mitchell Dance Base gratefully acknowledges support from: If you or your company would like to support Dance Base please contact Matt Roe, Head of Operations & Business Development on 0131 225 5525 Front cover dancer: Sau Tham (Hip Hop Intermediate) Front cover photographer: Maria Falconer Photography: Maria Falconer, Francesca Dymond Design: Emma Quinn Print: Streamline WE LCOME Contents Summer may be over, but fear not! We have an action-packed line-up of classes and workshops for you Welcome 3 this autumn. There is something for everyone as we look ahead to the festive season. Community 4 / 5 In response to overwhelming demand we have added even Professional 6 more classes to our bumper ballet offering. There will be How we do it 7 an additional Ballet Vintage class while one of the current classes progresses to Ballet Vintage Improvers and on top How to book 8 / 9 of this, we are also introducing a second Ballet Absolute Beginners class. We hope these classes will allow more Pay It Forward 10 people to discover the beauty and grace of this timeless Hires 11 dance style. -
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. -
View Entire Issue As
Wisconsin slaughter Wolf advocates hope to curb what they call grossly inhumane and environmentally harmful forms of ‘hunting.’ page 14 April 17, 2014 | Vol. 5 No. 11 Dark political money clouds Earth’s future page 4 6 Saving Sadie 19 Snow White en pointe 20 A dancing Ira Glass 22 Unaffected art 29 Hard-boiled ideas Shot and left for dead, Michael Pink’s original Popular PBS host of ‘This May 4 is the last chance Before you give up on Sadie survived to become ballet ‘Mirror, Mirror’ pre- American Life’ appears at to see MAM’s ‘Uncom- those leftover Easter Eggs, an advocate for animal mieres amid much antici- The Riverside in an unlike- mon Folk,’ which showcas- check out Mike Muckian’s welfare and the disabled. pation on May 15. ly show with two dancers. es its vast folk collection. tantalizing ideas. 2 WISCONSINGAZETTE.COM April 17, 2014 News with a twist WiGWAG By Lisa Neff & Louis Weisberg BIGGEST ASS in jail, the dough gets Super Mighty. in London is serving coffee, QUESTIONABLE VISITS MADISON doubled for landing on Go And he’s not tea, cakes and sandwiches QUALITY The world’s tallest horse and when a player lands getting cherry and offering two hours of A woman in Lufkin, Texas, and tallest donkey each on free parking, he or she empanadas or cuddle time with the house was arrested for posses- made an appearance at the cleans up. But there just chicken roas- kitty cats. Customers pay 5 sion of drug paraphernalia. 35th annual Midwest Horse weren’t enough votes for titos or nacho pounds — about $8.29 — She caught the attention of Fair at the Alliant Energy that “Mom gets out of jail buffitos. -
IN the WINGS 8 P.M
IN THE WINGS 8 p.m. Thursday, Feb. 28 8 p.m. Friday, March 1 2 & 8 p.m. Saturday, March 2 DANCE Choreographers’ Showcase SERIES PRESENTS Deirdre Carberry, director Experience the next wave of emerging choreographers as CCM dance majors take the stage with exciting and diverse new works. These choreographers have cast CCM dance majors to tell their stories through classical, modern and contemporary genres. Location: Patricia Corbett Theater Admission: FREE _____ CCM BALLET ENSEMBLE 8 p.m. Thursday, April 18 8 p.m. Friday, April 19 PRESENTS: 2 & 8 p.m. Saturday, April 20 Spring Dance Concert With Chamber Choir and Chamber Players Jiang Qi, director CCM faculty present new works this spring! Deirdre Carberry choreographs “Kitri’s Wedding” from the full-length ballet Don FALL DANCE Quixote (Act III), which was originally choreographed by Petipa in 1869 and will include the infamous bravura wedding Grand Pas de Deux. Created with a National Endowment for the Arts Choreography CONCERT Fellowship, Michael Tevlin’s “…And Ye Shall Be as Gods…” depicts the story of Adam and Eve, danced to Igor Stravinsky’s Serenade in A for piano with original scenic design by C.D. Higgins. In addition, Judith MICHAEL TEVLIN, director Mikita will choreograph a modern piece, featuring the CCM Chamber Choir. Finally, the Chamber Players will accompany Jiang Qi’s exciting new work. Location: Patricia Corbett Theater Tickets: $15 general admission, $10 non-UC students, UC students FREE. Friday, November 30, 2012, 8:00 p.m. Saturday, December 1, 2:00 and 8:00 p.m. Sunday, December 2, 2:00 p.m. -
MARY HELLER – CURRICULUM VITAE C
Heller 1 MARY HELLER – CURRICULUM VITAE c. (208) 310-9913 e. [email protected] w. marychoreographer.com RECENT TEACHING (PAST TEACHING end of CV)________ July – Aug. Urban Bush Women’s Summer Leadership Institute – dancer, researcher and co-creator in 2014 “Soul Deep”, a culminating production of the 100+ participants of the institute. Tulane University, New Orleans, LA Jan. 2014 – Heller Barre Practice®, Adult Tap Workshop, Creative Movement for 3-5 yr. olds, & Present Change Health, Gain Wealth® retreats for teens and adults Locations on marychoreographer.com with Hellet Barre Practice® offered via skype Prescott, Prescott Valley, Chino Valley, & Scottsdale AZ Oct. 2013- Invited Guest Teacher of Contemporary/Modern Technique, and Mentor for Independent Present Study courses. Prescott College, Prescott, AZ Sept. 2013- BeMoved® Artistry 2 Certified Instructor & Breadth of BeMoved® for people sitting – Present Weekly classes for the athlete to assisted living homes. Featured on AZTV, AZKNAU radio, Senior Connection, and Healthhubnetwork.com. Please see CHOREOGRAPHY/CREATIVE WORK for current research being done at this time. Locations on marychoreographer.com & BeMoved-Dance.com, Prescott, Prescott Valley, Chino Valley, & Scottsdale AZ July 2012 - Please see CHOREOGRAPHY/CREATIVE WORK for current research being done at this time. Feb. 2013 BeMoved® substitute in Chicago, IL - see BeMoved-Dance.com Chicago, IL 1994-present Choreographing U.S.A.G Women’s level 7-Elite Gymnastic Floor Routines - Please see seasonal CHOREOGRAPHY/CREATIVE WORK for current research being done at this time as well. Buffalo Grove Dance & Gymnastics Center, Buffalo Grove, IL Aug. 2011 to BeMoved® Certified Instructor, and Floor Barre Fit Instructor – Weekly classes & July 2012 Featured at Family Fun Nights in Moscow, ID in 2011 –Please see CHOREOGRAPHY/ CREATIVE WORK for current research being done at this time as well. -
2018/19 Hip Hop Rules & Regulations
2018/19 Hip Hop Rules for the New Zealand Schools Hip Hop Competition Presented by the New Zealand Competitive Aerobics Federation 2018/19 Hip Hop Rules, for the New Zealand Schools Hip Hop Championships © New Zealand Competitive Aerobic Federation Page 1 PART 1 – CATEGORIES ........................................................................................................................................................ 3 1.1 NSHHC Categories .............................................................................................................................................. 3 1.2 Hip Hop Unite Categories .................................................................................................................................. 3 1.3 NSHHC Section, Division, Year Group, & Grade Overview ................................................................................ 3 1.3.1 Adult Age Division ........................................................................................................................................ 3 1.3.2 Allowances to Age Divisions (Year Group) for NSHHC ................................................................................ 4 1.4 Participation Limit .............................................................................................................................................. 4 Part 2 – COMPETITION REQUIREMENTS ........................................................................................................................... 5 2.1 Performance Area ............................................................................................................................................. -
Copyright Marilyn J. La Vine © 2007 New York –
Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. London March 2,1970 THE ROPES OF TIME # The Traveler The Royal Ballet; Royal Opera House With: Monica Mason, Diana Vere C: van Dantzig M: Boerman London July 24,1970 'Tribute to Sir Frederick Ashton' Farewell Gala. The Royal LES RENDEZ-VOUS Ballet,- Royal Opera House Variation and Adagio of Lovers With: Merle Park Double debut evening. C: Ashton M: Auber London July 24,1970 APPARITIONS Ballroom Scene The Royal Ballet; Royal Opera House The Poet Danced at this Ashton Farewell Gala only. With: Margot Fonteyn C: Ashton M: Liszt London October 19, 1970 DANCES AT A GATHERING Lead Man in Brown The Royal Ballet; Royal Opera House With: Anthony Dowell, Antoinette Sibley C: Robbins M: Chopin Marseille October 30, 1970 SLEEPING BEAUTY Prince Desire Ballet de L'Opera de Morseille; Opera Municipal de Marseille With: Margot Fonteyn C: Hightower after Petipa M: Tchaikovsky Berlin Berlin Ballet of the Germon Opera; Deutsche Opera House November 21, 1970 Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role SWAN LAKE Prince Siegfried With: Marcia Haydee C: MacMillan M: Tchaikovsky Brussels March 11, 1971 SONGS OF A WAYFARER (Leider Eines Fahrenden Gesellen) # Ballet of the 20#, Century; Forest National Arena The Wanderer With: Paolo Bortoluzzi C: Bejart M: Mahler Double debut evening. -
Ate9 Dance Company (With Glenn
Featuring Ate9 Dance Company, Deeply Rooted Dance Theater, View in browser and Visceral Dance Chicago 50 E Congress Pkwy (50 E Ida B. Wells Dr) Lily Oberman Chicago, IL 312.341.2331 (office) | 973.699.5312 (cell) AuditoriumTheatre.org [email protected] Release date: October 10, 2018 ATE9 DANCE COMPANY (WITH GLENN KOTCHE OF WILCO), DEEPLY ROOTED DANCE THEATER, AND VISCERAL DANCE CHICAGO PERFORM AT THE AUDITORIUM THEATRE AS PART OF THE “MADE IN CHICAGO” 312 DANCE SERIES ON NOVEMBER 16 AN EVENING OF INNOVATIVE CONTEMPORARY DANCE Ate9 Dance Company/Deeply Rooted Dance Theater/Visceral Dance Chicago on November 16, 2018 (CHICAGO, IL) – On Friday, November 16, three groundbreaking contemporary dance companies perform on the Auditorium Theatre’s landmark stage in the “Made in Chicago” 312 Dance Series. The evening features Ate9 Dance Company, performing the work calling glenn with live music from Chicago-based percussionist Glenn Kotche (Wilco); Deeply Rooted Dance Theater, performing Kevin Iega Jeff’s Church of Nations, Kevin Iega Jeff and Gary Abbott’s Heaven, and Nicole Clarke-Springer’s Until Lambs Become Lions; and Visceral Dance Chicago, performing company founder Nick Pupillo’s Soft Spoken. “We are thrilled to feature these three innovative companies as we open our 2018-19 ‘Made in Chicago’ 312 Dance Series,” says Rachel Freund, Interim Chief Executive Officer of the Auditorium Theatre. “This evening will highlight the creativity of these distinct companies and showcase the breadth of contemporary dance styles that we present on our historic stage.” The Los Angeles-based Ate9 Dance Company makes its Auditorium Theatre debut with calling glenn (2017), created by company founder and artistic director Danielle Agami in collaboration with Chicagoan Glenn Kotche. -
4XJG R 7'1985 Sheila L
ORGANIZATIONAL CONFLICT: IN A PERFORMING ARTS ORGANIZATION by Sheila L. Strain-Bell B.S., Guilford College (1982) Submitted to the Department of Urban Studies and Planning in Partial Fulfillment of the Requirements of the Degree of Master in City Planning June 1985 at the Massachusetts Institute of Technology 1985 Signature of Authorc Deparient of Urban Studies and PJanning Certified by Professor Donald Schon Thesis Supervisor Accepted by professor Phillip Clay Vf Head, M.C.P. Committee AF TECHNOLOGY 4XJG r 7'1985 Sheila L. Strain-Bell 1985 ii ORGANIZATIONAL CONFLICT IN A PERFORMING ARTS ORGANIZATION by Sheila L. Strain-Bell Submitted to the Department of Urban Studies and Planning on May 28, 1985 in partial fulfillment of the requirements for the Degree of Master in City Planning ABSTRACT A qualitative research study was carried out to explore problems of organizational conflict. The conditions and processes of organizational conflict, issues of substantive organizational conflict, and organizational learning or failure to learn were investigated. A variation of intensive interviewing, semi-structured, was used to obtain primary information on organizational events at the Boston Ballet, a nonprofit performing arts organization made up of a ballet school and a ballet company. Six organizational members occupying different positions from the art, teaching, and administrative staffs were interviewed. Five of the six had been interviewed ten months earlier in 1984. There were four telephone interviews, two were follow-up and two were conducted with former organization members. On average, interviews lasted two hours. A tape recorder was used during face-to-face interviews. Thirty-one questions were formulated to focus on substantive issues of organizational conflict. -
David Justin CV 2014 Pennsylvania Ballet
David Justin 4603 Charles Ave Austin TX 787846 Tel: 512-576-2609 Email: [email protected] Web site: http://www.davidjustin.net CURRICULUM VITAE ACADEMIC EDUCATION • University of Birmingham, United Kingdom, Master of Arts in Dance in Education and the Community, May 2000. Thesis: Exploring the collaboration of imagination, creativity, technique and people across art forms, Advisor: Tansin Benn • Royal Academy of Dramatic Arts, Edward Kemp, Artistic Director, London, United Kingdom, 2003. Certificate, 285 hours training, ‘Acting Shakespeare.’ • International Dance Course for Professional Choreographers and Composers, Robert Cohen, Director, Bretton College, United Kingdom, 1996, full scholarship DANCE EDUCATION • School of American Ballet, 1987, full scholarship • San Francisco Ballet School, 1986, full scholarship • Ballet West Summer Program, 1985, full scholarship • Dallas Metropolitan Ballet School, 1975 – 1985, full scholarship PROFESSIONAL EXPERIENCE Choreographer, 1991 to present See full list of choreographic works beginning on page 6. Artistic Director, American Repertory Ensemble, Founder and Artistic Director, 2005 to present $125,000 annual budget, 21 contract employees, 9 board members11 principal dancers from the major companies in the US, 7 chamber musicians, 16 performances a year. McCullough Theater, Austin, TX; Florence Gould Hall, New York, NY; Demarco Roxy Art House, Edinburgh, Scotland; Montenegrin National Theatre, Podgorica, Montenegro; Miller Outdoor Theatre, Houston, TX, Long Center for the Performing Arts,