Finding Queer Orientations in Tap Dance Performance
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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. -
Grades Prek - 12
For Teaching and Learning in Grades PreK - 12 New York City Department of Education New York City Department of Education • Joel I. Klein, Chancellor • Marcia V. Lyles, Deputy Chancellor for Teaching and Learning • Sharon Dunn, Senior Instructional Manager for Arts Education Dance Curriculum Development Contributing Writers Dance Organization Representatives and Reviewers Planning Co-Chairs Consultants New York City Department of Education All of the contributing writers, plus: Ann Biddle, Stories in Motion Joan Finkelstein, Director of Dance Programs, Andrew Buck, Arts Supervisor, Region 8 Leslee Asch, National Dance Institute Office of the Arts and Special Projects, Tina Curran, Language of Dance Center New York City Department of Education Eileen Goldblatt, Arts Supervisor, Region 9 Mary Barnett, Consultant Martha Hart Eddy, Center for Kinesthetic Education Mary Lisa Burns, Merce Cunningham Dance Company Jody Gottfried Arnhold, Founding Director, Kyle S. Haver, Instructional Specialist in Literacy and Humanities Mark DeGarmo, Mark DeGarmo and Dancers Dance Education Laboratory of the 92nd Street Y Barbara Gurr, Director of Visual Arts, New York City Paul King, Director of Theater Programs Daniel Gwirtzman, Daniel Gwirtzman Dance Company Department of Education Tina Ramirez, Artistic Director, Ballet Hispanico Eva Pataki, Arts Supervisor, Region 3 Joanne Robinson Hill, The Joyce Theater Laura Hymers, Trisha Brown Dance Company Leslie Hunt, Center for Arts Education Arlene Jordan, New York City Center New York City Department of Education -
Dance Prog Rams
Our Mission Statement: BALLET Res/NR: $205/$240 The Oak Lawn Park District’s Infiniti Dance Company is committed to Being the basis for all genres of dance, the correct French terms are used the art of dance. We work hard to introduce and instill just the right and their meanings explained. Classical training promotes a widened 23 amount of self-expression, discipline, and passion in each of our range of motion through the use of strictly disciplined movements and students. Whether a student is dancing for fun or planning to enter the positions. Ages 3-4 will explore more with creativity and movement with arts on a professional level, our qualified and passionate staff is here to music. Students will progress to harder steps as they get older and ad- guide you along the way. We strive for private studio quality, with af- vance in their technique. All ballet classes require students to wear a le- fordable prices in today’s struggling economy. Our goal is to allow each otard, tights, ballet skirt/form fitting shorts and ballet pink leather ballet dancer to experience the elements of dance; confidence, coordination, shoes with instep and elastic strap. No “slipper” style shoes allowed. (df) creativity, self-esteem, technique, an appreciation for music and dance, but above all HAVING FUN! DANCING FOR THE MUSICAL STAGE (D4MS) Res/NR: $205/$240 Dancing for the Musical Stage incorporates a broadway jazz style, acting Important Information: and musicality. Students will learn about new and classical musicals, · You can register at any facility in person, online, or fax in your registration. -
Transmissions and Traces: Rendering Dance
INAUGURAL CONFERENCE Transmissions and Traces: Rendering Dance Oct. 19-22, 2017 HOSTED BY THE DEPARTMENT OF DANCE Sel Fou! (2016) by Bebe Miller i MAKE YOUR MOVE GET YOUR MFA IN DANCE AT THE UNIVERSITY OF MICHIGAN We encourage deep engagement through the transformative experiences of dancing and dance making. Hone your creative voice and benefit from an extraordinary breadth of resources at a leading research university. Two-year MFA includes full tuition coverage, health insurance, and stipend. smtd.umich.edu/dance CORD program 2017.indd 1 ii 7/27/17 1:33 PM DEPARTMENT OF DANCE dance.osu.edu | (614) 292-7977 | NASD Accredited Congratulations CORD+SDHS on the merger into DSA PhD in Dance Studies MFA in Dance Emerging scholars motivated to Dance artists eager to commit to a study critical theory, history, and rigorous three-year program literature in dance THINKING BODIES / AGILE MINDS PhD, MFA, BFA, Minor Faculty Movement Practice, Performance, Improvisation Susan Hadley, Chair • Harmony Bench • Ann Sofie Choreography, Dance Film, Creative Technologies Clemmensen • Dave Covey • Melanye White Dixon Pedagogy, Movement Analysis Karen Eliot • Hannah Kosstrin • Crystal Michelle History, Theory, Literature Perkins • Susan Van Pelt Petry • Daniel Roberts Music, Production, Lighting Mitchell Rose • Eddie Taketa • Valarie Williams Norah Zuniga Shaw Application Deadline: November 15, 2017 iii DANCE STUDIES ASSOCIATION Thank You Dance Studies Association (DSA) We thank Hughes, Hubbard & Reed LLP would like to thank Volunteer for the professional and generous legal Lawyers for the Arts (NY) for the support they contributed to the merger of important services they provide to the Congress on Research in Dance and the artists and arts organizations. -
Schooltime Performance Series Beats, Rhymes and Tap Shoes
teacher resource guide schooltime performance series beats, rhymes and tap shoes with Maurice Chestnut about the performance Explosive, rhythmic, soulful, and beautiful. Lincoln Center’s Jazz for Young People (JFYP) program. and Midnight Marauders. ATCQ’s debut was heralded Beats, Rhymes and Tap Shoes with Maurice Chestnut is For Lincoln Center’s JALCYO (Jazz at Lincoln Center as groundbreaking and revolutionary. They brought an innovative journey through tap dance, celebrating Youth Orchestra) programs, he is an instructor and a laid-back, playful element to rap while widening the the music of the seminal rap group A Tribe Called Quest. ensemble leader. For Jazz House Kids, a New Jersey vocabulary and emotional landscape that rappers Created by Newark, New Jersey native and dance community arts organization dedicated to educating could inhabit. They did not have a tough-guy image impresario Maurice Chestnut, and with musical direction children through jazz, he is also a drum instructor and compared to other groups and hip-hop artists at the by Jerome Jennings, this interactive performance highlights ensemble leader. At NJPAC, Jennings is a teen mentor, time. The group was having fun and didn’t seem to the jazz sampling that is part of A Tribe Called Quest’s ensemble coach and drum instructor. take themselves too seriously in songs like “I Left DNA. The performance by tap dancers and a live band As a drummer, he has performed at every major jazz My Wallet in El Segundo.” The group also brought will also explore the social issues of today, which are club in the New York City area: the Village Vanguard, in samples from jazz, R&B, and rock artists—like Lou present in the songs of this classic hip-hop unit. -
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. -
Dance (DANS) 1
Dance (DANS) 1 DANS-133 Barre Fitness 1-1.5 Units DANCE (DANS) 36-54 hours activity; 36-54 hours total This is a course combining ballet barre techniques, core strength and DANS-101 Muscle and Tension Release Techniques 0.5-1.5 Units stabilization, flexibility and conditioning techniques that help to improve 18-54 hours activity; 18-54 hours total the dance technique for dancers of any dance genre. Floor and barre' This course teaches the athlete/ dancer / mover the proper maintenance exercises are designed to enhance the dancer's agility, technique and of the body to ensure longevity and greater movement ability. Emphasis overall fitness. Exercises and concepts presented in this course will will be on foam roller techniques (self myofascial release) and stretching enhance the performance skills of any student or athlete. techniques but will cover general performance recovery topics and may Transfers to both UC/CSU incorporate other mind-body modalities. Cross-listed with PHYE-101. DANS-134 Ballet Level I 1-1.5 Units Transfers to both UC/CSU 36-54 hours activity; 36-54 hours total DANS-127 World Dance Forms 1-1.5 Units The Ballet level I course introduces the first time ballet student to the 36-54 hours activity; 36-54 hours total history of ballet, the introductory vocabulary, foot and arm positioning, This dance course is a survey of various World Dance forms with proper alignment, and basic barre, center and locomotor ballet revolving course content, for example; Traditional Japanese, Afro-Haitian, movements. Irish dance, Hula. Transfers to both UC/CSU Transfers to both UC/CSU DANS-134B Ballet II 1-1.5 Units DANS-128A Salsa and Latin Social Dance I 1-1.5 Units 36-54 hours activity; 36-54 hours total 36-54 hours activity; 36-54 hours total Recommended Preparation: Previous basic ballet experience. -
Lindy Hops Another Ocean - Singapore Swings!
Lindy Hops Another Ocean - Singapore Swings! The Lindy Hop world's newest dance troupe - Singapore's Babybugs. Can you spot the teacher? (Photo courtesy of Sing Lim) S ing Lim.formerly of Chas" and "Rock and Roll WHAT IS LE Roe? Jiuerbugs in London, we111 Flying Rhyrhm Medley" and "Wonderful INSIDE Christine Keeble fills in some Home to Singapore after many Waltzes". There are dance stu of the details (page 7) years of happy hopping. Four dios and teachers, but none of AN Axe TO GRIND months after she leji, she writes to Tayo Ajibade shares her them have heard of Lindy Hop. EVERYBODY'S DOING IT Hoppin'. Not satisfied with the lack of thoughts on the changing rela tionship between music and Louise Thwaite on women's Swing, I decided to find my own clothes in the '20s (pages 8 & 9) Yes, Lindy does it again. Not crowd and work on them first! dance (page 3) content with conquering the LADY HOP DAY, STOCKHOLM SWEDISH SONG LIST Atlantic, Lindy has now made the JR.LADYBUGS(BABYBUGS?) Some women get together to You asked for it! A list of very Hop to Singapore. Inspired by Zoots and danceable slow-tempo songs, per Spangles' work with the Kent develop their dancing (page 4) SINGAPORE DOESN'T SWING (YET) fect for beginners (page 10) Youth Group, I approached my EVENT REVIEWS There is a fairly dedicated alma mata, the Singapore Girls Dance World '95 in London. ESTONIA SWINGS! dance scene in Singapore, but it is School (SGS). The teacher in Workshops in Moers, Germany We did say everybody'sdoing predominantly ballroom/social charge of dance, Mrs. -
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. -
What Is Ottawa Valley Step Dancing? This Is a Canadian Dance Form That Is Found Predominantly in Ontario, Canada
~Julie Fitzgerald ~ Online Step Dance Lessons Everything You Need to Know About Ottawa-Valley Step Dancing! What is Ottawa Valley Step Dancing? This is a Canadian dance form that is found predominantly in Ontario, Canada. Many decades ago, lumberjacks would finish their work with a night of music and dancing. Since many of these workers were immigrants from Europe, they brought with them their traditional dance styles. These styles are mixed with French-Canadian and tap dancing to create a unique style now known as Ottawa Valley Step Dance. For those who have never heard of or seen this style of dance, it is best described as a mix of Irish and tap dancing. It is an entertaining, aggressive dance style where your feet lift quite high off the floor, and your arms are not restricted to only being at the side. Most commonly, steps are danced to a clog, jig, or reel. However, you can step dance to almost any song you want! Please see the article http://www.fiddle.on.ca/fiddle/valley.htm for a detailed history of Ottawa Valley Step Dancing. What are the different dances within Ottawa-Valley step dancing? The most popular dances are the Waltz Clog, the Clog, the Jig, and the Reel. The waltz clog is in ¾ time; the clog in 4/4 time; the jig in 6/8 time; and the reel in 4/4 time. Generally a full dance routine combines several of these dances together, starting with the slowest speed, and gradually increasing in tempo. Therefore, a full routine would start with a clog or a waltz clog, then a jig, and ends with a reel. -
History of Social Dancing at Oregon State University
History of Social Dancing at Oregon State University by Davis Weymann A PROJECT submitted to Oregon State University University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Chemical Engineering (Honors Scholar) Presented May 8th, 2015 Commencement June 2015 AN ABSTRACT OF THE THESIS OF Davis Weymann for the degree of Honors Baccalaureate of Science in Chemical Engineering presented on May 8th, 2015. Title: History of Social Dancing at Oregon State University. Abstract approved: ______________________________________________________ Catherine Dark This paper presents a brief history of social dance at Oregon State University (OSU) and discusses its key elements and context. Social dance has been part of campus life at OSU since the university was founded. Initially, dance was a social activity and means to interact with others, but as social practices change it became an end in itself for communities focused on the enjoyment of dancing. The popularity of different styles, prominence in daily student life, and the social roles of social dance have all changed throughout OSU’s history. Social dance has been shaped by changes within society and popular culture, but instruction and organization by students and faculty have been the most important influences within OSU. The goal of this paper is to provide historical context that will allow for greater understanding and appreciation of social dance by OSU students, faculty, and alumni. Key Words: Social Dance, Oregon State University,