DOCTORAL THESIS Competitive Ballroom Dancing As a Social

Total Page:16

File Type:pdf, Size:1020Kb

DOCTORAL THESIS Competitive Ballroom Dancing As a Social DOCTORAL THESIS Competitive ballroom dancing as a social phenomenon an anthropological approach Nurse, Gwendoline Award date: 2007 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 I Competitive Ballroom Dancing as a Social Phenomenon: an Anthropological Approach by Gwendoline Margot Nurse BA(Hons) MSc A thesis submitted in partial fulfilment for the degree of PhD School of Business and Social Sciences Roehampton University University of Surrey 2007 The Abstract The following investigation develops a critique of Competitive Ballroom Dancing as a social phenomenon from an anthropological perspective and that of a non-dancer. In order to do this the thesis is concerned with interrelating dance with anthropology. The concepts of how people express themselves and communicate in society provide the study with the scope to explore certain issues. The first aspect shows how a person would prepare to be a dancer in competition, this involves, among other things, learning to dance, finding a suitable partner and the overall appearance of the dancer. Secondly looking at competition, which involves sport and dance, judgement and perception of how the dancers and spectators view it. The embodied content of the competitive dancer is seen as an important issue, since it can affect how the dancers dance and how the dance is perceived, despite the fact that competitive ballroom dancing is such a highly formal, structured and rule-governed form of dance. Ritual and performance theories integrating emic and etic tendencies are juxtaposed with what appears to happen in this form of dance. In addition various types of altered state of mind are examined, in view of comments made by dancers about how they feel when dancing. Furthermore this thesis explores an understanding of how important this form of dancing is to its participants and how the activity can be a life-long pursuit whether as a dancer or subsequently as a spectator. It also illustrates the extent to which younger people enjoy an activity where there is great emphasis on being fit and how they have come to link it with sport. 2 CONTENTS Page Abstract Acknowledgements Introduction 1 Chapter One Methodology; learning to dance 7 Chapter Two Ritual 24 Chapter Three Embodied content and competition in dance 39 Chapter Four Looking for a partner 55 Chapter Five The making of the ‘Look’ 73 Chapter Six The University Dance Competitions 104 Chapter Seven Blackpool – The Dance Festival 130 Chapter Eight Transformations 158 Chapter Nine Conclusions 181 Appendix A…………..The Questionnaire Appendix B ………….The Photographs Bibliography 3 ACKNOWLEDGEMENTS I wish to express my gratitude to the following: (i ) My Director of Studies, Dr Andree Grau and my Supervisor Dr Garry Marvin for their help and encouragement. (ii) The administrative staff of the Ballroom Dance Council, in particular Mary and Dane Edwards. (iii) The staff of the two dance supply companies, Chrisanne and Dance Sports International Ltd. (iv) The Oxford teams coaches Vicky Cunniffe and Bruce Anderson, plus the members of the Oxford University Sports Dance teams. (v) Members of the Imperial College and Cambridge University Sports Dance teams for their comments. (vi) Mrs Gillian Mackenzie, the organiser of The Blackpool Dance Festival and her staff. (vii) The staff of the Learning Resources Centre, Roehampton University. (viii) The staff of the Research Office, Roehampton University. (ix) The staff and students of the Dance Department, Roehampton University, who greatly helped my transition into the dance world. (x) The staff and students of the Business, Computing and Social Science Department, Roehampton University whose resources and expertise made this thesis possible, especially to Linda Wilson of the Social Research Unit for her guidance through the many stages and paper work connected with a thesis and her unstinting willingness to help whenever she could. ( xi) Professor Martin Albrow, Wendy Booth, Professor John Eade, Jackie and Richard Ellis, Professor Graham Fennell, Diana Fowler-Wright, Professor Judith Glover, the late Pat Goode, Carlinhos de Jesus, Professor Stephanie Jordan, Kit Hallewell, Professor Dolores Koenig, Professor Gerhard Kubik, Peter Maher, the late Eric Morley, Dr Moya Malamusi, Dr Patricia Penny, Marcus Wilson-Smith, Sonnet Stanfill, Edith Turner, Sandra Walker, Dr Harriet Whitehead, Kate Williams and those, too numerous to name, whom I encountered during this voyage of discovery. (xii) Last, but not least, my husband George, for his invaluable support and encouragement. 4 ‘I have brought you to the ring, dance according to your skill.’ William Wallace, before the Battle of Falkirk, 22 nd July 1298. 5 Introduction : The knowledge and practice of dancing may fairly be said to be as universal as any non-instinctive human activity. Yet according to a number of writers, including most notably the philosopher Graham McFee, the demand for a definition of dance is ‘neither helpful nor possible’ (McFee 1992:15). Dance has as many genres as it has names, with diverse components in any dance performance, so it is not immediately obvious how dance in general may be discussed. McFee stresses that in understanding dance it is important to distinguish between the artistic and the aesthetic judgement, the former being the search for purpose or function while the latter is concerned purely with pleasure in beauty and all things connected therewith. When one looks at ballroom dancing from an aesthetic viewpoint its main objective is to give pleasure during it to those performing and/or those who watch them, but when the purposive element is introduced in the form of competition the question of artistic function comes to light, and there is an end, an aim. It is of course possible that even in the presence of function there is an accompanying aesthetic experience for both participants and onlookers. This thesis, however, is an anthropological exercise, and has as its objective a study of the way in which dance can affect the participants. In consequence I shall not be paying much attention to the philosophical aspects of aesthetic, but rather concentrate on the examples of such writers as Adrienne Kaeppler, a dance anthropologist, who uses ‘the concept of evaluation (rather than beauty) as the basic principle of aesthetics.’ (2003:153). Included in the evaluation are the standards by which judgements are made, and these are largely determined by the cultural tradition of which they are part. I grew up in a society where dancing tended to play an important part in social life. I found myself gradually becoming interested in dancing competitions (Competitive Ballroom Dancing, CBD), but from afar. It was only in middle age that I began to realize that an anthropological approach to the subject might be rewarding. This was partly due to such programmes as Come Dancing (1949-1995) on British television. Then more recently, while living in the South Pacific, I took to watching the programme on Australian TV, where it receives a presentation of such intensity that I became progressively more intrigued by the human issues involved. After a time Australian friends and relatives recommended me to see Baz Luhrmann’s film Strictly 6 Ballroom (1992), which I did and thoroughly enjoyed. This, though ostensibly a satirical comedy, highlighted (and, as I was to find later, did not inordinately exaggerate) the part the pursuit played in the lives of its participants. I became even more eager to find out whether CBD incorporated patterns of action, which have social significance and could be extrapolated in the interpretation of various aspects of social behaviour. Ballroom (an aspect of social) dancing as we know it probably had its beginnings around the time of the Italian Renaissance. Before this, dancing for pleasure had in Western Europe been fairly spontaneous, and whatever conventions it acquired grew up through practice rather than through arbitrary regulation. ‘BD developed from the standardisation of steps by dance teachers – most of them English- in the early 20 th century’ (Buckman 1978:13). This would represent the kernel of competitive dancing as it is practised nowadays, where dancers dance some of the conventional ballroom dances in competition against other dancers. Buckman and other authorities nevertheless do acknowledge that courtiers in the 15 th century were likewise constantly competing with each other at the basse dance, a French term which refers to a group of fifteenth century dances. Usually these were dignified walking dances, moving rhythmically to music and typically following a set sequence of steps. They are considered to have been precursors of the minuet (Craine and Mackrell 2002). Contemporary CBD is where couples, and/or teams, and even towns, compete against each other mainly in two distinct styles of dance. One is Ballroom dancing, which has in the past been known as the modern or standard style, and the other is known as the Latin style. The waltz, quickstep, tango and slow foxtrot comprise the standard Ballroom repertory. Latin dancing comprises the rumba, samba, cha-cha, paso-doble and jive, of which the last-mentioned can be considered additional though it is often found in the finals.
Recommended publications
  • Gone Dancing Competition Team Rules and Guidelines 2018-19 Season
    Gone Dancing Competition Team Rules and Guidelines 2018-19 Season -Preparing a team for competition requires a commitment to extra classes and Rehearsal time. It is important that each dancer be 100% dedicated and work to the best of their ability. - The purpose of the rules and guidelines is to develop a professional environment for the progression and development of each dancer. The actions of each dancer affect the team as a whole so it is important for each dancer to be fully committed and understand what is expected of them. -The Holiday Performance and Competition Schedule will be announced in July. PLEASE BLOCK OFF THE ENTIRE WEEKEND FOR COMPETITIONS. We do not receive our routines schedule until 1 week prior to the competition dates. Weekly Requirements- Part Time Team- These teams are designed for dancers ages 5 and up who want to be part of the competition experience but cannot commit to All of the requirements of the full time team or are not technically ready for intermediate choreography. (Just because you may not be technically ready this year does not mean that after another year of working hard in all of your classes that you will not be ready the following year!) Must commit to 3 Regional Competitions. Conventions and Nationals are encouraged but not required. **Any dancer interested in becoming a part of our competition team must spend a year in a non-competition class before being considered for a team. ** Weekly class requirements: Ages 5 and up Must dance a minimum of 3 hours per week.
    [Show full text]
  • IDO Dance Sports Rules and Regulations 2021
    IDO Dance Sport Rules & Regulations 2021 Officially Declared For further information concerning Rules and Regulations contained in this book, contact the Technical Director listed in the IDO Web site. This book and any material within this book are protected by copyright law. Any unauthorized copying, distribution, modification or other use is prohibited without the express written consent of IDO. All rights reserved. ©2021 by IDO Foreword The IDO Presidium has completely revised the structure of the IDO Dance Sport Rules & Regulations. For better understanding, the Rules & Regulations have been subdivided into 6 Books addressing the following issues: Book 1 General Information, Membership Issues Book 2 Organization and Conduction of IDO Events Book 3 Rules for IDO Dance Disciplines Book 4 Code of Ethics / Disciplinary Rules Book 5 Financial Rules and Regulations Separate Book IDO Official´s Book IDO Dancers are advised that all Rules for IDO Dance Disciplines are now contained in Book 3 ("Rules for IDO Dance Disciplines"). IDO Adjudicators are advised that all "General Provisions for Adjudicators and Judging" and all rules for "Protocol and Judging Procedure" (previously: Book 5) are now contained in separate IDO Official´sBook. This is the official version of the IDO Dance Sport Rules & Regulations passed by the AGM and ADMs in December 2020. All rule changes after the AGM/ADMs 2020 are marked with the Implementation date in red. All text marked in green are text and content clarifications. All competitors are competing at their own risk! All competitors, team leaders, attendandts, parents, and/or other persons involved in any way with the competition, recognize that IDO will not take any responsibility for any damage, theft, injury or accident of any kind during the competition, in accordance with the IDO Dance Sport Rules.
    [Show full text]
  • Dance on Screen This Page Intentionally Left Blank Dance on Screen Genres and Media from Hollywood to Experimental Art
    Dance on Screen This page intentionally left blank Dance on Screen Genres and Media from Hollywood to Experimental Art Sherril Dodds Lecturer in Dance Studies Department of Dance Studies University of Surrey © Sherril Dodds 2001 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2001 by PALGRAVE Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N. Y. 10010 Companies and representatives throughout the world PALGRAVE is the new global academic imprint of St. Martin’s Press LLC Scholarly and Reference Division and Palgrave Publishers Ltd (formerly Macmillan Press Ltd). ISBN 978-1-4039-4145-9 ISBN 978-0-230-50958-0 (eBook) DOI 10.1057/9780230509580 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Dodds, Sherril, 1967– Dance on screen : genres and media from Hollywood to experimental art / Sherril Dodds.
    [Show full text]
  • '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.
    [Show full text]
  • The THREE's a CROWD
    The THREE’S A CROWD exhibition covers areas ranging from Hong Kong to Slavic vixa parties. It looks at modern-day streets and dance floors, examining how – through their physical presence in the public space – bodies create temporary communities, how they transform the old reality and create new conditions. And how many people does it take to make a crowd. The autonomous, affect-driven and confusing social body is a dynamic 19th-century construct that stands in opposition to the concepts of capitalist productivity, rationalism, and social order. It is more of a manifestation of social dis- order: the crowd as a horde, the crowd as a swarm. But it happens that three is already a crowd. The club culture remembers cases of criminalizing the rhythmic movement of at least three people dancing to the music based on repetitive beats. We also remember this pandemic year’s spring and autumn events, when the hearts of the Polish police beat faster at the sight of crowds of three and five people. Bodies always function in relation to other bodies. To have no body is to be nobody. Bodies shape social life in the public space through movement and stillness, gath- ering and distraction. Also by absence. Regardless of whether it is a grassroots form of bodily (dis)organization, self-cho- reographed protests, improvised social dances, artistic, activist or artivist actions, bodies become a field of social and political struggle. Together and apart. ARTISTS: International Festival of Urban ARCHIVES OF PUBLIC Art OUT OF STH VI: SPACE PROTESTS ABSORBENCY
    [Show full text]
  • 2021 AAU Dance National Rules Handbook
    2021 AAU Dance National Rules Handbook Sports For All, Forever S Hip Hop * Jazz * Ballet * Tap * Folk * Pom * Kick * Clogging Musical Theatre|Character * Ballroom Solo,Group *Contemporary Amateur Athletic Union - 1 - 2020-2021 AAU National Dance Handbook AAU National Dance Rules and Regulations TABLE OF CONTENTS Preamble……………………………………………………………………………………………………..4 I National Sport Committee Governance and Administration ......................................................4 A. National Committee Structure and Procedures .....................................................................4 1. National Sport Chair ....................................................................................4 2. Executive Committee Composition ..............................................................4 3. National Sport Committee Composition........................................................4 4. Other Committee Positions ..........................................................................4 B. Sport Committee Meetings .....................................................................................................5 1. National Sports Committee Regular Meeting................................................5 2. Non-Regular Sport Committee Meetings .....................................................5 3. National Sport Committee Special Meetings ................................................5 5. National Sport Executive Committee Meetings............................................5 6. Agenda Additions ........................................................................................5
    [Show full text]
  • Competitive Dance Information Packet Copy
    Competitive Dance Program Information Packet Mission Statement Our goals are set high and achieved through the art of dance. The dance experience promotes dedication, achievement, and the development of self-esteem, grace, poise and lasting friendships. We uphold the vision of producing performers and educators. Competitive dancers & Apprentice dancers are known as and compete as “Water Street Dance Co. We have gained recognition at many competitions the past several years, therefore we continue to use the name. However, the local Washington studio is “Just Dance.” Categories Tap, Jazz, Lyrical, Hip-Hop, Contemporary, Musical Theater and Open. Small Groups (4-9 dancers), Large Groups (10 or more). Depending on how many dancers in a group, they can also be considered Lines or Productions. Duets and Trios are also available for the more advanced/experienced dancers and must be arranged between the dancers and the teachers/choreographers. Solos are for dancers on Senior Competitive only! We do not allow student choreography (other than seniors in High School) nor dancers not willing to rehearse. Placement Dancers will be placed in only the routines and age groups that are best suitable for that individual. Not everyone is in every dance you may only end up in one or two dances. If you have been placed in too many dances, please let Gina know and she will tell you what numbers can be eliminated. This must be done as soon as you receive your placements. No later, as you are taking a spot someone else could have taken. Keep in mind if a routine is designed to be a large group, you would have to give up a small group first.
    [Show full text]
  • Burn the Floor
    The International Ballroom Dance Sensation BURN THE FLOOR PERTH REGAL THEATRE Bookings: www.ticketek.com.au Thursday April 10 7.30pm Wednesday April 16 7.30pm Friday April 11 7.30pm Thursday April 17 7.30pm Saturday April 12 2.00pm & 8.00pm Friday April 18 5.00pm Sunday April 13 5.00pm Saturday April 19 2.00pm & 8.00pm Tuesday April 15 7.30pm Sunday April 20 5.00pm Years before Dancing with the Stars and So You Think You Can Dance turned ballroom dancing into must- see TV, one sizzling show was setting stages ablaze around the globe. BURN THE FLOOR, the electrifying Latin and Ballroom dance spectacular that has thrilled audiences in more than 30 countries, brings the fire and passion of their live performances for a strictly limited season in Perth in April 2014. Now in its 15th year, with four ensembles performing around the world at any one time, BURN THE FLOOR is the ultimate high-voltage dance experience exploding with Jaw-dropped choreography, heart-pounding music and break taking moves. Perth’s own Jason GilKison, the star Artistic Director of Burn The Floor is bringing his global ballroom dancing phenomenon bacK home. Peta Roby, who danced with Jason for 35 years becoming the undefeated World, British and International Latin Dance champions, is the Associate Producer. Starring 18 international performers including the ‘current’ World Ballroom Champion Joanne Clifton from England and Strictly Come Dancing BBC stars Janette Manrara, Kevin Clifton, Karen Hauer and AlJaz SKorJanec. Vocalists include amazing American Idol star “Baby V”, Vonzell Solomon and continuing the Perth invasion will include West Australian Dance Champions Megan Wragg and Jemma Armstrong.
    [Show full text]
  • Preliminary Pages
    ! ! UNIVERSITY OF CALIFORNIA ! RIVERSIDE! ! ! ! ! Tiny Revolutions: ! Lessons From a Marriage, a Funeral,! and a Trip Around the World! ! ! ! A Thesis submitted in partial satisfaction ! of the requirements! for the degree of ! ! Master of !Fine Arts ! in!! Creative Writing ! and Writing for the! Performing Arts! by!! Margaret! Downs! ! June !2014! ! ! ! ! ! ! ! Thesis Committee: ! ! Professor Emily Rapp, Co-Chairperson! ! Professor Andrew Winer, Co-Chairperson! ! Professor David L. Ulin ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright by ! Margaret Downs! 2014! ! ! The Thesis of Margaret Downs is approved:! ! !!_____________________________________________________! !!! !!_____________________________________________________! ! Committee Co-Chairperson!! !!_____________________________________________________! Committee Co-Chairperson!!! ! ! ! University of California, Riverside!! ! !Acknowledgements ! ! Thank you, coffee and online banking and MacBook Air.! Thank you, professors, for cracking me open and putting me back together again: Elizabeth Crane, Jill Alexander Essbaum, Mary Otis, Emily Rapp, Rob Roberge, Deanne Stillman, David L. Ulin, and Mary Yukari Waters. ! Thank you, Spotify and meditation, sushi and friendship, Rancho Las Palmas and hot running water, Agam Patel and UCR, rejection and grief and that really great tea I always steal at the breakfast buffet. ! Thank you, Joshua Mohr and Paul Tremblay and Mark Haskell Smith and all the other writers who have been exactly where I am and are willing to help. ! And thank you, Tod Goldberg, for never being satisfied with what I write. !Dedication! ! ! For Misty. Because I promised my first book would be for you. ! For my hygges. Because your friendship inspires me and motivates me. ! For Jason. Because every day you give me the world.! For Everest. Because. !Table of Contents! ! ! !You are braver than you think !! ! ! ! ! ! 5! !When you feel defeated, stop to catch your breath !! ! ! 26! !Push yourself until you can’t turn back !! ! ! ! ! 40! !You’re not lost.
    [Show full text]
  • Alexandra Shulman on Handbags
    MAGAZINE MAGAZINE SPRING 2020 ISSUE 62 Salvador Dalí His fiery love for Gala Christo He has it wrapped Alexandra Shulman on handbags Pierre Soulages Red hot and SPRING 2020 William Dalrymple Ekow Eshun Christian Louboutin ISSUE 62 AN ENTIRELY NEW CLASS OF YACHT COMING SOON EXPERIENCE THE EXCEPTIONAL® PRINCESSYACHTS.COM _0036J_X95 Pinball DPS FC 490x320-B3.indd All Pages 24/01/2020 10:43 AN ENTIRELY NEW CLASS OF YACHT COMING SOON EXPERIENCE THE EXCEPTIONAL® PRINCESSYACHTS.COM _0036J_X95 Pinball DPS FC 490x320-B3.indd All Pages 24/01/2020 10:43 The Amelia Island Auction Fernandina Beach Golf Club Florida Thursday 5 March 2020 11am Motorcars from the Estate of Dean S. Edmonds Jr. Including 1962 Aston Martin DB4 Series 4 GT-Engined Saloon Estimate: $900,000 - 1,100,000 Enquiries: Rupert Banner +1 212 461 6515 [email protected] bonhams.com/motoring ContentsIssue 62 32 18 Photographed by Milton H.Greene © 2020 Joshua Greene /archiveimages.com © 2020 Joshua Greene Photographed by Milton H.Greene 5 Editor’s letter and contributors Features Columns 18 Leading lady 40 The marque of a winner 6 News and The actress Diahann Carroll broke In the 1880s, the internal combustion forthcoming highlights boundaries. Tanya Dukes talks to engine was invented in Germany – Diahann’s daughter about a legend twice. Richard Williams traces the 15 Inside Bonhams of screen and song. journey of Mercedes-Benz from Molly Ott Ambler, Bonhams’ new motoring pioneer to ruling the Head of Impressionist & Modern Art 22 Wrap star racetrack. for the Americas, tells Lucinda Bredin He started with a few tin cans, but about her journey into art.
    [Show full text]
  • Handmad So Fabri Hair Roller N Hea Roller an Hair
    Wash and Care: Safety Notice: Machine wash in a laundry bag or knotted Our products have an inner layer of PCM pillowcase. and should not be heated prior to use. Lay flat to air dry. Plastic snap pieces can become a choking hazard if placed in the mouth. Keep away from children and pets. You can use styling gels with our products. Wipe with a damp cloth between washing On occasion, through normal usage, a to reduce product buildup. snap may disengage or break completely Do not store satin products with Velcro to from your roller. Should this happen please avoid snags. contact us at [email protected]. In most instances we can replace a broken snap. We require that you send your original roller/bun to us. We will pay postage for returning your roller to you after we replace your snaps. Handmad So Fabri Hair Roller N Hea Roller an Hair Bun You can slide all of your hair around and How Our Rollers Work My Easy Curls Rollers completely cover the roller or leave Our rollers are equipped with Phase Wind small section of slightly damp hair part of the roller showing and wear as a Change Material (PCM). Essentially, it’s around each roller and snap the ends fashion accessory. Secure with bobby pins heat managing fabric. This unique material together. if needed. oers both an extra layer of durability for our handmade rollers and draws excess Continue winding small sections of hair One inch and One-one-half inch rollers are heat from your hair into the roller.
    [Show full text]
  • The Migrant Surge and the Border Mess
    EARNING YOUR TRUST, EVERY DAY. 04.24.21 VOLUME 36 NUMBER 8 THE “IT JUST FEELS NICE AFTER A YEAR OF THIS. … WE’RE ALMOST THROUGH.” —EMERGING FROM A PANDEMIC, P. 38 P. PANDEMIC, A FROM —EMERGING THROUGH.” ALMOST WE’RE … THIS. OF AFTER YEAR NICE A FEELS JUST “IT MIGRANT SURGE AND THE BORDER MESS P. 44 FEATURES 04.24.21 VOLUME 36 NUMBER 8 58 REFUGEES’ GAMBIT Top chess players from Iran are seeking asylum elsewhere, following a long history of chess talent using international events to escape persecution at home by Emily Belz 38 44 52 HOPE AFTER A PANDEMIC BORDER BACKTRACKING COURTING CHRISTIANS Following a year of coronavirus The U.S.-Mexico border isn’t open, In Israel’s battle to form a coalition lockdowns, illness, and death, but a migrant surge and a mishmash government, the spotlight turns to Americans rejoice at a vaccine and of messages and policies ethnic Aramean Christians long little steps back to normal living have created another crisis overlooked by Jewish politicians by WORLD reporters by Sophia Lee by Mindy Belz HOLLIE ADAMS/GETTY IMAGES 04.24.21 WORLD DEPARTMENTS 04.24.21 VOLUME 36 NUMBER 8 5 MAILBAG 6 NOTES FROM THE CEO 68 A scene from the Netflix Korean drama series Crash Landing on You Dispatches Culture Notebook 11 NEWS ANALYSIS 21 MOVIES & TV 65 EDUCATION Major League Baseball’s The Falcon and the VIEWERS foray into voting law Winter Soldier, The Map 67 LIFESTYLE debates of Tiny Perfect Things, CONNECT TO Roe v. Wade, Sound of 68 MEDIA 13 BY THE NUMBERS Metal, The Professor K-DRAMA Broadcasting clean, and the Madman romantic fun, K-drama 14 HUMAN RACE EMOTIONALLY grows in popularity in 26 BOOKS EVEN IF the United States 15 QUOTABLES 28 CHILDREN’S BOOKS THEY DON’T 16 QUICK TAKES Voices 30 Q&A UNDERSTAND Ze’ev Chafets 8 Joel Belz IT ALL.
    [Show full text]