Types of Dance Styles
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A Short Course in International Folk Dance, Harry Khamis, 1994
Table of Contents Preface .......................................... i Recommended Reading/Music ........................iii Terminology and Abbreviations .................... iv Basic Ethnic Dance Steps ......................... v Dances Page At Va'ani ........................................ 1 Ba'pardess Leyad Hoshoket ........................ 1 Biserka .......................................... 2 Black Earth Circle ............................... 2 Christchurch Bells ............................... 3 Cocek ............................................ 3 For a Birthday ................................... 3 Hora (Romanian) .................................. 4 Hora ca la Caval ................................. 4 Hora de la Botosani .............................. 4 Hora de la Munte ................................. 5 Hora Dreapta ..................................... 6 Hora Fetalor ..................................... 6 Horehronsky Czardas .............................. 6 Horovod .......................................... 7 Ivanica .......................................... 8 Konyali .......................................... 8 Lesnoto Medley ................................... 8 Mari Mariiko ..................................... 9 Miserlou ......................................... 9 Pata Pata ........................................ 9 Pinosavka ........................................ 10 Setnja ........................................... 10 Sev Acherov Aghcheek ............................. 10 Sitno Zensko Horo ............................... -
Is a Genre of Dance Performance That Developed During the Mid-Twentieth
Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. . -
Dance Brigham Young University-Idaho 2006-2007 Department of Dance
Dance Brigham Young University-Idaho 2006-2007 Department of Dance Jennifer O’ Farrell, Department Chair Wendy Bone, Shawn Fisher, Jennifer O’Farrell, Charles West Donna Checketts, Secretary (208) 436-2073 http://www.byui.edu/Dance/ The Department of Dance offers a minor in Dance. This degree is designed to allow a student to transfer to a four year program, operate a dance studio, as well as prepare to be a dance specialist in a professional, community, and church setting. The Mission of the Department of Dance is: 1. Provide opportunities for the student to develop spiritually, artisti- cally, intellectually and physically. This is accomplished through dis- cipline, the art of dance, and our desire to emphasize gospel princi- ples, personal integrity, individual enrichment and sensitivity to mul- tiple perspectives. 2. Graduates in dance will have a solid foundation preparing them to transfer to a four year program, as well as for careers in performance, choreography, teaching and service. 3. Students will learn through dance that they can become better individuals by living the restored gospel of Jesus Christ, enhancing their roles as creative and artistic individuals, church members, citi- zens and parents. 4. Our goal is to challenge students to be individual thinkers, serve the community and make artistic efforts that reflect a richly complex and diverse global perspective. 1 Dance Brigham Young University-Idaho 2006-2007 Minor In Dance- 183 MINOR REQUIREMENTS 9 credits - take all courses sem/yr plan Course # Credits Course Title -
2020 World Championships Information
UC IRVINE, BREN EVENTS CENTER HILTON COSTA MESA 100 Mesa Rd. Irvine, CA 92697 3050 Bristol St. Costa Mesa, CA 92626 Miss Dance Drill Team International Welcome To World Championships The 39th annual Miss Dance Drill Team International Prepare to compete against the best teams in the U.S. & the competition continues the legacy of Dr. Kay Teer Crawford, world! Events begin at the host hotel on Thursday 3/26, with a who founded the first “drill team” in Edinburg, TX (1928), and welcome orientation luncheon for solo title contestants (solo created MDDTUSA as the first national and international title competition begins that afternoon with adjudicated championship competition for dance teams & drill teams in preliminary interviews, modeling, and some routines). This is 1968. As the original & most prestigious dance competition in followed by a master class workshop with some of the dance the world since 1981, Miss Dance Drill Team International industry's most renowned instructors & choreographers! On World Championships is open to all international school dance Friday 3/27, competition resumes at the host hotel in the teams, dance studios, and community dance/drill teams with morning with soloists, duet/trios, and officer routines, and youth dancers age 19 and under (This event is held moves to the Bren Center in the afternoon with some small simultaneously with U.S. Nationals). Highlights consist of team team divisions & solo title finalists. Saturday 3/28 consists of competition, U.S. national & world championship awards, and team competition, national & world championship awards, the crowning of our national/international solo title champions! special guests, and the coronation of the MDDTUSA national/ MDDT INTERNATIONAL is the original “grandmother” dance international champion solo title winners. -
Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
DVIDA American Smooth Silver Syllabus Figures
Invigilation Guidance/ DVIDA/SYLLABUS/ Current'as'of'October'15,'2015' Extracted'from: Dance$Vision$International$Dancers$Association, Syllabus$Step$List$ Revised/May/2014 Invigilation Guidance/ AMERICAN)SMOOTH) / DVIDA American Smooth Bronze Syllabus Figures *Indicates figure is not allowable in NDCA Competitions. Revised January 2014. View current NDCA List Waltz Foxtrot Tango V. Waltz Bronze I 1A. Box Step 1. Basic 1A. Straight Basic 1. Balance Steps 1B. Box with Underarm Turn 2. Promenade 1B. Curving Basic 2A. Fifth Position Breaks 2. Progressive 3A. Rock Turn to Left 2A. Promenade Turning Left 2B. Fifth Position Breaks 3A. Left Turning Box 3B. Rock Turn to Right 2B. Promenade Turning Right with Underarm Turn 3B. Right Turning Box 3. Single Corté 4. Progressive Rocks Bronze II 4A. Balance Steps 4. Sway Step 5A. Open Fan 3. Reverse Turn 4B. Balance and Box 5A. Sway Underarm Turn 5B. Open Fan with 4. Closed Twinkle 5. Simple Twinkle 5B. Promenade Underarm Turn Underarm Turn 6. Two Way Underarm Turn 6A. Zig Zag in Line 6. Running Steps 7. Face to Face – Back to Back 6B. Zig Zag Outside Partner 7. Double Corté 7. Box Step 8A. Reverse Turn Bronze III 8A. Reverse Turn 8. Twinkle 8B. Reverse Turn with 5A. Crossbody Lead 8B. Reverse Turn with 9. Promenade Twinkles Outside Swivel 5B. Crossbody Lead with Underarm Turn 10A. Turning Twinkles to 9. Right Side Fans Underarm Turn 9A. Natural Turn Outside Partner 10. Contra Rocks 6. Hand to Hand 9B. Natural Turn with 10B. Turning Twinkles to Outside 11A. Change of Places 7A. Forward Progressive Underarm Turn Partner with Underarm Turn 11B. -
2017 US OPEN Rules
US Open Swing Dance Championships/Rules & Competitions/2017v-1 2017 US OPEN Rules MISSION STATEMENT Our mission is to provide the best possible environment to showcase the highest level of competition from around the world, and thus provide the most exciting entertainment for our attendees. GENERAL RULES & INFORMATION STATEMENT OF SWING This statement of Swing is to be used to identify the presence of swing in the Swing Divisions at the US Open Swing Dance Championships. Swing is an American Rhythm Dance based on a foundation of 6-beat and 8-beat patterns that incorporate a wide variety of rhythms built on 2-beat single, delayed, double, triple, and blank rhythm units. The 6-beat patterns include, but are not limited to, passes, underarm turns, push-breaks, open-to-closed, and closed-to-open position patterns. The 8-beat patterns include, but are not limited to, whips, swing-outs, Lindy circles, and Shag pivots. Although they are not part of the foundation of the dance as stated above, 2- beat and 4-beat extension rhythm breaks may be incorporated to extend a pattern, to phrase the music, and/or to accent breaks. (For additional information, please visit http://www.nasde.net/rules.php) The objective is to provide a competitive performance venue for the various unique styles of swing that have developed across the nation to include the Carolina Shag, Dallas Push, East Coast Swing, Hand Dancing, Hollywood Swing, Houston Whip, Imperial Swing, Jive, Jitterbug, Lindy Hop, Rock-n-Roll, and West Coast Swing, to name a few. The US Open Swing Dance Championships divisions are open to a variety of Swing dances, except in Cabaret division. -
'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. -
Baint an Fheir (Haymaker 'S Jig) (Ireland)
FOLK DANCE FEDERATION OF CALIFORNIA RESEARCH COMMITTEE December, 1961 Vera Jones and Wilma Andersen BAINT AN FHEIR (HAYMAKER 'S JIG) (IRELAND) Baint An Fheir (Bwint Un Air), which is best done with 5 couples, was taught by Una and Sean O'Farrell, at Uni versity of the Pacific Folk Dance Camp, Stockton, Cal'ifomia. MUSIC: Record: "Come To The Ceili", Top Rank Records of America, "Jigs", Side 2, Band 5. Also "My Ireland", Capitol T 10028, Side 2, Band 1, or any good jig. FORMATION: Longways formation of .5 cpls. M stand in one line, with hands joined, facing their ptrs who are in a similar line. M L shoulder is twd music. STEPS AND Basic Three's (Promenade) for jig: hop L (ct 6), step on R (ct 1,2), step on L (ct 3), step on R STYLING: (ct 4, 5). Next step would start with hop on R and use opp ft. This step may be done in place, moving in any direction or turning either R or L. ct: 6 1, 2 3 4, ') 6/8 ./" .; .t- ..; hop step step step L R L R Jig Step : hop L, at the same time touching R toe on floor slightly in front of L (ct 1,2,3); hop on L again, raising R in front of L leg (ct 4,5); hop on L again, bringing R back (ct 6) to step R, L, R, L (ct 1,2,3,4, hold 5,6). ct: 1,2,3 4,5 6 1 2 3 4 6/8 ..I. -
Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon. -
30Th November 2019 Dance Course in Dresden – Ballroom Dance of the 19Th Century
update 29.08.2019 27th November – 30th November 2019 Dance Course in Dresden – Ballroom dance of the 19th century This year’s focus will be on exclusive quadrilles, original couple dances of the 19th century & the Russian March - in memory of Russia Dances to be taught Bohemian Polka Quadrilles (from "The Welcome Guest", New York, 1863) The original Polka Quadrille will be danced with French and Bohemian Polka steps to the beautiful Bohemian polka music. It consists of the five quadrille figures "Serious Family Polka", "Baden Polka", "Zingara Polka", "Bohemian Polka" and "Little Jeanette Polka" with funny quadrille tours and the polka waltz. This quadrille dance - in the arrangement of 4 couples “en carré” - is a new reconstruction by Sylvia from the year 2019 and will be revived for the first time in Dresden. The original polka melodies were recorded in the usual way by our pianist Stephan Müller. Polacca Waltz Quadrille "White Dove" - symbol of peace (Arrangement by Sylvia Hartung based on original sources from 1866-1896) The framing polacca part of the quadrille consists of alternating polonaise figures according to original Polish sources from the Institute of Music and Dance, Poland and a constant glide waltz step sequence according to the step descriptions of Margitta Roséri (Leipzig 1896) and Harvey (New York, 1889). In order to let the dancer feel the difference between the glide waltz and the popular 6-step waltz, a varying waltz figure with subsequent 6-step waltz round dance (valse à trois temps) was incorporated throughout the waltz section. This created a constantly recurring system for the four quadrille figures. -
Dance Dance Brigham Young University-Idaho 2007-2008 Brigham Young University-Idaho 2007-2008 Department of Department of Dance Dance
Dance Dance Brigham Young University-Idaho 2007-2008 Brigham Young University-Idaho 2007-2008 Department of Department of Dance Dance Jennifer O’ Farrell, Department Chair Jennifer O’ Farrell, Department Chair Wendy Bone, Shawn Fisher, Jennifer O’Farrell, Charles West Wendy Bone, Shawn Fisher, Jennifer O’Farrell, Charles West Donna Checketts, Secretary (208) 496-2073 Donna Checketts, Secretary (208) 496-2073 http://www.byui.edu/Dance/ http://www.byui.edu/Dance/ The Department of Dance offers a minor in Dance. This The Department of Dance offers a minor in Dance. This degree is designed to allow a student to transfer to a four degree is designed to allow a student to transfer to a four year program, operate a dance studio, as well as prepare to year program, operate a dance studio, as well as prepare to be a dance specialist in a professional, community, and be a dance specialist in a professional, community, and church setting. church setting. The Mission of the Department of Dance is: The Mission of the Department of Dance is: 1. Provide opportunities for the student to develop spiritually, artisti- 1. Provide opportunities for the student to develop spiritually, artisti- cally, intellectually and physically. This is accomplished through dis- cally, intellectually and physically. This is accomplished through dis- cipline, the art of dance, and our desire to emphasize gospel princi- cipline, the art of dance, and our desire to emphasize gospel princi- ples, personal integrity, individual enrichment and sensitivity to mul- ples, personal integrity, individual enrichment and sensitivity to mul- tiple perspectives. tiple perspectives. 2. Graduates in dance will have a solid foundation preparing them to 2.