2019'S HISTORIC RHYTHM WORLD
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FOR IMAGES and MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations Coordinator 413.243.9919 X132 [email protected]
FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations Coordinator 413.243.9919 x132 [email protected] TIRELESS: A TAP DANCE EXPERIENCE, AT JACOB’S PILLOW JUNE 28-JULY 2 CURATED BY TAP SENSATION MICHELLE DORRANCE June 5, 2017 – (Becket, MA) Astonishing tap artists from across the U.S. and abroad come together in a Jacob’s Pillow-exclusive program curated and introduced by the “tireless ambassador of tap” Michelle Dorrance (The New York Times). TIRELESS: A Tap Dance Experience will come to the Ted Shawn Theatre, June 28-July 2, and features outstanding tap artists including Jumaane Taylor and M.A.D.D. Rhythms of Chicago, siblings Joseph and Josette Wiggan of Los Angeles, Joe Orrach of San Francisco, and Reona and Takashi Seo of Japan. A Tap Program in The School at Jacob’s Pillow, All Styles Dance Battle, and many free public events make this an expansive week celebrating the art of tap dance. “I’m very interested in exploring the practice of artist as curator,” comments Pamela Tatge, Jacob’s Pillow Director. “A year ago, Michelle Dorrance had just returned from Japan where she regularly interacts with their vibrant and innovative tap scene. She told me about Reona Seo and that led her to highlight for me the many explosive tap talents she sees in the U.S. and abroad. I had the idea that we should invite her to bring some of these artists together in an evening that she would curate exclusively for the Pillow. And so, TIRELESS was born. We also invited Michelle and Dormeshia Sumbry-Edwards to host a two week program at The School so that young talents will have the opportunity to learn from them, outstanding faculty, and all of the virtuosic artists performing at the Festival. -
Dorrance Dance
BLUE RIBBON CHILDREN’S FESTIVAL CURRICULUM MATERIALS Dorrance Dance March 2nd, 2021 Materials by: Susan Cambigue Tracey & Tara Cook Davis 1" TABLE OF CONTENTS Overview of the Blue Ribbon Children’s Festival 3 Before You Experience the Festival 4 Story of Dorrance Dance 5# • Meet the Creative Team 6 • Themes 7 Preparation • Short History of Tap Dance 8 $ Dance Movement Terms 9 $ Things to Watch for at the Performance 10# After the Performance# • Draw Your Impressions; Dance and Movement 11 • Assessment for Students 12 Short and Easy Lessons for the Classroom • Becoming a Musician 13-15 • Learning to Tap 16-17 • Tap Dance-Movement Bank 18-19 • Tap Choreography 20-21 Background on The Music Center 22 Dance for Students to Learn 23-25 • Directions for the Dance 2" OVERVIEW THE 50TH ANNUAL BLUE RIBBON CHILDREN’S FESTIVAL The Blue Ribbon Children’s Festival - one of California’s longest ongoing free arts education programs, and a huge favorite among L.A’s students and teachers - is now expanding from fifth grade to include students in grades 3-12! The Blue Ribbon Children’s Festival is an opportunity for students to experience the performing arts by a professional dance company, along with the chance to dance along at home. WHEN? March 2, 2021 10:00am-10:45 WHERE?# http://musiccenter.org/brcf WHAT DOES IT INCLUDE? Performance of Holiday House Jam, Basses Loaded, Sugar Rum Cherry and Cavalier Duet, Aaron and Warren Trade and DD128QR by Dorrance Dance Materials for teachers Curriculum, Dance Directions, Instructional link for the Student Dance WHO SPONSORS IT? The Blue Ribbon in association with The Music Center 3" Before You Experience The Festival REVIEW all the included background information. -
Krt Madonna Knight Ridder/Tribune
FOLIO LINE FOLIO LINE FOLIO LINE “Music” “Ray of Light” “Something to Remember” “Bedtime Stories” “Erotica” “The Immaculate “I’m Breathless” “Like a Prayer” “You Can Dance” (2000; Maverick) (1998; Maverick) (1995; Maverick) (1994; Maverick) (1992; Maverick) Collection”(1990; Sire) (1990; Sire) (1989; Sire) (1987; Sire) BY CHUCK MYERS Knight Ridder/Tribune Information Services hether a virgin, vamp or techno wrangler, Madon- na has mastered the public- image makeover. With a keen sense of what will sell, she reinvents herself Who’s That Girl? and transforms her music in Madonna Louise Veronica Ciccone was ways that mystify critics and generate fan interest. born on Aug. 16, 1958, in Bay City, Mich. Madonna staked her claim to the public eye by challenging social norms. Her public persona has Oh Father evolved over the years, from campy vixen to full- Madonna’s father, Sylvio, was a design en- figured screen siren to platinum bombshell to gineer for Chrysler/General Dynamics. Her leather-clad femme fatale. Crucifixes, outerwear mother, Madonna, died of breast cancer in undies and erotic fetishes punctuated her act and 1963. Her father later married Joan Gustafson, riled critics. a woman who had worked as the Ciccone Part of Madonna’s secret to success has been family housekeeper. her ability to ride the music video train to stardom. The onetime self-professed “Boy Toy” burst onto I’ve Learned My Lesson Well the pop music scene with a string of successful Madonna was an honor roll student at music video hits on MTV during the 1980s. With Adams High School in Rochester, Mich. -
Recital Theme: So You Think You Can Dance
Recital Theme: So You Think You Can Dance GENRE LEVEL SONG ALBUM / ARTIST Ballet Baby Age 2-3 Hooray For Chasse Wake Up And Wiggle/Marie Barnett Ballet Baby Age 2-3 Wacky Wallaby Waltz Put On Your Dancing Shoes/Joanie Bartels Ballet I - II Age 8-12 9 Dancing Princesses Ballet I - II Teen/Adult Dance Of The Hours From the opera La Gioconda/Amilcare Ponchielli Ballet II Age 8-10 7 Dancing Princesses Ballet II - III Age 10-12 Copelia Waltz Coppelia/Delibes Ballet II - III Teen/Adult Danse Napolitiane Swan Lake/Tchaikovsky Ballet III - IV Teen/Adult Dance of The Reed Flutes Nutcracker Suite/Tchaikovsky Ballet IV Teen/Adult Paquita Allegro Paquita/La Bayadere Ballet IV - V Teen/Adult Paquita Coda Paquita/La Bayadere Pre-Ballet I - II Age 5-6 Sugar Plum Fairies Nutcracker Suite/Tchaikovsky Pre-Ballet I - II Age 6-8 Little Swans Swan Lake/Tchaikovsky Hip Hop I Age 6-8 Pon De Replay Music of the Sun/Rihanna Hip Hop I Age 9-12 Get Up Step Up Soundtrack/Ciara Hip Hop I - II Age 6-8 Move It Like This Move It Like This/Baja Men Hip Hop I - II Age 8-12 1,2 Step Goodies/Ciara and Missy Elliott Hip Hop I - II Age 10-12 Get Up "Step Up" Soundtrack/Ciara Hip Hop "The Longest Yard" Soundtrack/Jung Tru,King Jacob I - II Teen/Adult Errtime and Nelly Hip Hop I - II Teen/Adult Switch Lost and Found/Will Smith Hip Hop I - II Adult Yeah Confessions/Usher Hip Hop II Adult Let It Go Heaven Sent/Keyshia Cole feat. -
Artist Bios and Piece Descriptions
1 PERFORMANCE MIX ARTISTS 2013:BIOGRAPHIES Renée Archibald presents Shake Shake, a duet that brings new life to the old cliché of the dancer’s body as instrument. The work investigates sound as a kinetic sense, with rhythm accumulating and dissolving into sempiternal metabolic process and tumbling into finely-tuned cacophony that animates the performance space with lush visual noise. Shake Shake is performed by Jennifer Lafferty and Renée Archibald. Archibald is currently a third year MFA candidate and Teaching Assistant in The Department of Dance at the University of Illinois. After receiving a BFA from University of North Carolina School of the Arts, Archibald lived in New York City for ten years where she performed with independent artists including Christopher Williams, Ann Liv Young, and Rebecca Lazier. Her choreographic work has been presented at NY venues including The Brooklyn Museum, The Chocolate Factory, Danspace Project, Dance Theater Workshop, and The Kitchen. Archibald has taught at Barnard College and White Mountain Summer Dance Festival and has received choreographic residencies through the Brooklyn Arts Exchange, Movement Research, and Yaddo. In 2012, she was awarded the U of Dance Department's Vannie L. Sheiry Memorial Scholarship for outstanding performance. vimeo.com/reneearchibald Oren Barnoy presents Angels My House I Promise. Barnoy dives into an unknown world of dance while investigating not knowing. This experience of dancing is somewhere between ritual, improvisation, score, therapy, and set choreography. It produces itself. Barnoy showed his choreography between 2000-2004 at Joyce SoHo, PS1, Dancenow, Galapagos, WAX. In 2005, Barnoy took a four year break from dance and moved to Miami. -
Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice. -
Music for Guitar
So Long Marianne Leonard Cohen A Bm Come over to the window, my little darling D A Your letters they all say that you're beside me now I'd like to try to read your palm then why do I feel so alone G D I'm standing on a ledge and your fine spider web I used to think I was some sort of gypsy boy is fastening my ankle to a stone F#m E E4 E E7 before I let you take me home [Chorus] For now I need your hidden love A I'm cold as a new razor blade Now so long, Marianne, You left when I told you I was curious F#m I never said that I was brave It's time that we began E E4 E E7 [Chorus] to laugh and cry E E4 E E7 Oh, you are really such a pretty one and cry and laugh I see you've gone and changed your name again A A4 A And just when I climbed this whole mountainside about it all again to wash my eyelids in the rain [Chorus] Well you know that I love to live with you but you make me forget so very much Oh, your eyes, well, I forget your eyes I forget to pray for the angels your body's at home in every sea and then the angels forget to pray for us How come you gave away your news to everyone that you said was a secret to me [Chorus] We met when we were almost young deep in the green lilac park You held on to me like I was a crucifix as we went kneeling through the dark [Chorus] Stronger Kelly Clarkson Intro: Em C G D Em C G D Em C You heard that I was starting over with someone new You know the bed feels warmer Em C G D G D But told you I was moving on over you Sleeping here alone Em Em C You didn't think that I'd come back You know I dream in colour -
Manor Primary School Music Year 1: in the Grove Overview of the Learning: All the Learning Is Focused Around One Song: in the Groove
Manor Primary School Music Year 1: In The Grove Overview of the Learning: All the learning is focused around one song: In The Groove. The material presents an integrated approach to music where games, the interrelated dimensions of music (pulse, rhythm, pitch etc.), singing and playing instruments are all linked. Core Aims Pupils should be taught How to listen to music. perform, listen to, review and evaluate music across a range of historical periods, genres, styles and To sing a range of songs song. traditions, including the works of the great composers and musicians To understand the geographical origin of the music and in which era it was composed. Learn to sing and to use their voices, to create and compose music on their own and with others, To experience and learn how to apply key musical concepts/elements, eg finding a pulse, clapping have the opportunity to learn a musical instrument, use technology appropriately and have the a rhythm, use of pitch. opportunity to progress to the next level of musical excellence To play the accompanying instrumental parts (optional). understand and explore how music is created, produced and communicated, including through the inter-related dimensions: pitch, duration, dynamics, tempo, timbre, texture, structure and To work together in a band/ensemble. appropriate musical notations. To develop creativity through improvising and composing within the song. To understand and use the first five notes of C Major scale while improvising and composing. To experience links to other areas of the curriculum To recognise the style of the music and to understand its main style indicators. -
Dorrance Dance Program
Corporate Season Sponsor: Dorrance Dance Michelle Dorrance, Artistic Director Wed, Mar 8 / 8 PM / Granada Theatre Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Irma & Morrie Jurkowitz Barbara Stupay Corporate Sponsor: The Lynda and Bruce Thematic Learning Initiative: Creative Culture ACT I Excerpts from SOUNDspace (2013)* I have had the honor of studying with and spending time with a great number of our tap masters before they passed Direction and Choreography: Michelle Dorrance, with solo away: Maceo Anderson, Dr. Cholly Atkins, Clayton “Peg- improvisation by the dancers Leg” Bates, Dr. James “Buster” Brown, Ernest “Brownie” Brown, Harriet “Quicksand” Browne, Dr. Harold Cromer, Dancers: Ephrat “Bounce” Asherie, Elizabeth Burke, Gregory Hines, Dr. Jeni Legon, Dr. Henry LeTang, LeRoy Warren Craft, Michelle Dorrance, Carson Murphy, Myers, Dr. Fayard and Harold Nicholas, Donald O’Connor, Dr. Leonard Reed, Jimmy Slyde and Dr. Prince Spencer. Leonardo Sandoval, Byron Tittle, Nicholas Van Young I would also like to honor our living masters whom I am constantly influenced by: Arthur Duncan, Dr. Bunny Briggs, *Originally a site-specific work that explored the unique acoustics of New Brenda Bufalino, Skip Cunningham, Miss Mable Lee and Dianne Walker. York City’s St. Mark’s Church through the myriad sounds and textures of the feet, “SOUNDspace” has been adapted and continues to explore what is most While we are exploring new ideas in this show, we are also beautiful and exceptional about tap dancing – movement as music. constantly mindful of our rich history. Dr. Jimmy Slyde was The creation of “SOUNDspace” was made possible, in part, by the Danspace the inspiration for my initial exploration of slide work in Project 2012-2013 Commissioning Initiative, with support from the New York socks (in the original work) and his influence continues to State Council on the Arts. -
Dorrance Dance: Jungle Blues, Three to One, Myelination
PHOTO BY MATT MURPHY DORRANCE DANCE: JUNGLE BLUES, THREE TO ONE, MYELINATION Thursday, March 14, 2019, at 7:30pm Tryon Festival Theatre PROGRAM DORRANCE DANCE: JUNGLE BLUES, THREE TO ONE, MYELINATION DANCERS Ephrat “Bounce” Asherie Christopher Broughton Elizabeth Burke Warren Craft Brittany DeStefano Michelle Dorrance Claudia Rahardjanoto Byron Tittle Matthew “Megawatt” West Nicholas Van Young MUSICIANS Donovan Dorrance Aaron Marcellus Gregory Richardson Nicholas Van Young Warren Craft Michelle Dorrance, artistic director Donald Borror, executive director Christopher Marc, production manager/sound engineer Tina Huang Abrams, company manager Nicholas Van Young, associate artistic director Olivia Maggi, assistant to the artistic director Elizabeth Burke, rehearsal director Donovan Dorrance, music director Kathy Kaufmann, lighting designer Serena Wong, lighting supervisor Diego Quintanar, technical director/assistant stage manager Margaret Selby, Selby/Artists Management, artist representative 2 JUNGLE BLUES (2012) Michelle Dorrance, choreography Christopher Broughton, solo improvisation Kathy Kaufmann, lighting design Amy Page, costume design Fred “Jelly Roll” Morton: Jungle Blues Courtesy of Edwin H Morris & Company, A Division of MPL Music Publishing, INC. (ASCAP) Full company, with solos by: Claudia Rahardjanoto Elizabeth Burke and Nicholas Van Young Michelle Dorrance and Warren Craft Byron Tittle Christopher Broughton THREE TO ONE (2011) Michelle Dorrance, choreography Kathy Kaufmann, lighting design Michelle Dorrance and Mishay Petronelli, costume design Richard D James: Nannou Published By: BMG Blue (BMI) obo Chrysalis Music Ltd; Used by permission. All rights reserved. Thom Yorke: A Rat’s Nest Courtesy of Kobalt Music Performers: Michelle Dorrance Byron Tittle Matthew “Megawatt” West The creation of Three to One was made possible, in part, by the Danspace Project 2010-2011 Commissioning Initiative with support from the Jerome Foundation. -
An African American Experience with Race, Racism, and the White Aesthetic in Dance
Final I Just Want to Get My Groove On: An African American Experience with Race, Racism, and the White Aesthetic in Dance by Tracey Owens Patton, Ph.D. Director of African American & Diaspora Studies and Associate Professor, Department of Communication & Journalism The University of Wyoming Tracey Owens Patton ([email protected] ) is Director of African American & Diaspora Studies as well as an Associate Professor of Communication in the Department of Communication and Journalism at The University of Wyoming. She earned her Ph.D. in Communication at the University of Utah. Her area of specialization is critical cultural communication and rhetorical studies. Her work is strongly influenced by critical theory, cultural studies, womanist theory, and rhetorical theory. She has authored a number of academic articles on topics involving the interdependence between race, gender, and power and how these issues interrelate culturally and rhetorically in education, media, and speeches. Dr. Patton presents her research at numerous academic conferences, and has published extensively in academic journals and books. Abstract Dance, like other sports, operates through the frame of cultural identity. However, while there may be freedom in bodily movement, the body is constrained when it comes to who is able to dance. Oftentimes dancers do not fit into a certain racial aesthetic. Using an autoethnographic approach, examples in this paper stretch over three decades to examine the question of race, power, and White aesthetic. The personal narratives shared are through the lens of an African American, non-professional dancer whose dance experiences have been solely in largely White homogenous dance studios or companies (an earlier version of this paper was presented in 2011 at the National Council for Black Studies conference in Cincinnati, Ohio. -
Madonna - 1982 - 2009 : the Lyrics Book - 1 SOMMAIRE
Madonna - 1982 - 2009 : The Lyrics Book - www.madonnalex.net 1 SOMMAIRE P.03 P.21 P.51 P.06 P.26 P.56 P.09 P.28 P.59 P.10 P.35 P.66 P.14 P.40 P.74 P.15 P.42 P.17 P.47 Madonna - 1982 - 2009 : The Lyrics Book - www.madonnalex.net 2 ‘Cause you got the best of me Chorus: Borderline feels like I’m going to lose my mind You just keep on pushing my love over the borderline (repeat chorus again) Keep on pushing me baby Don’t you know you drive me crazy You just keep on pushing my love over the borderline Something in your eyes is makin’ such a fool of me When you hold me in your arms you love me till I just can’t see But then you let me down, when I look around, baby you just can’t be found Stop driving me away, I just wanna stay, There’s something I just got to say Just try to understand, I’ve given all I can, ‘Cause you got the best of me (chorus) Keep on pushing me baby MADONNA / Don’t you know you drive me crazy You just keep on pushing my love over the borderline THE FIRST ALBUM Look what your love has done to me 1982 Come on baby set me free You just keep on pushing my love over the borderline You cause me so much pain, I think I’m going insane What does it take to make you see? LUCKY STAR You just keep on pushing my love over the borderline written by Madonna 5:38 You must be my Lucky Star ‘Cause you shine on me wherever you are I just think of you and I start to glow BURNING UP And I need your light written by Madonna 3:45 Don’t put me off ‘cause I’m on fire And baby you know And I can’t quench my desire Don’t you know that I’m burning