Notes of Professional Syllabus Meeting
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Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod. -
'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. -
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. -
Hip Hop Dance: Performance, Style, and Competition
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations. -
Hip Hop Terms
1 Topic Page Number General Hip Hop Definitions ………………………………………………. 3 Definitions Related to Specific Dance Styles: ♦ Breaking ………………………………………………………………………. 4 ♦ House ………………………………………………………..………………… 6 ♦ Popping / Locking …………………………………………….….……… 7 2 GENERAL • Battle A competition in which dancers, usually in an open circle surrounded by their competitors, dance their routines, whether improvised (freestyle) or planned. Participants vary in numbers, ranging from one on one to battles of opposing breaking crews, or teams. Winners are determined by outside judges, often with prize money. • • Cypher Open forum, mock exhibitions. Similar to battles, but less emphasis on competition. • Freestyle Improvised Old School routine. • Hip Hop A lifestyle that is comprised of 4 elements: Breaking, MCing, DJing, and Graffiti. Footwear and clothing are part of the hip hop style. Much of it is influenced by the original breaking crews in the 1980’s from the Bronx. Sneakers are usually flat soled and may range from Nike, Adidas, Puma, or Converse. Generally caps are worn for spins, often with padding to protect the head. To optimize the fast footwork and floor moves, the baggy pants favored by hip hop rappers are not seen. o Breaking Breakdancing. o MCing Rapping. MC uses rhyming verses, pre‐written or freestyled, to introduce and praise the DJ or excite the crowd. o DJing Art of the disk jockey. o Graffiti Name for images or lettering scratched, scrawled, painted usually on buildings, trains etc. • Hip Hop dance There are two main categories of hip hop dance: Old School and New School. • New School hip hop dance Newer forms of hip hop music or dance (house, krumping, voguing, street jazz) that emerged in the 1990s • Old School hip hop dance Original forms of hip hop music or dance (breaking, popping, and locking) that evolved in the 1970s and 80s. -
B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H
B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Hung Van Lam, hELLA HUNG and the Hung Dynasty: Agency and Social Intelligibility in Performance on the Margins Permalink https://escholarship.org/uc/item/2pb1s18d Author Woon, Christopher David Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Hung Van Lam, hELLA HUNG and the Hung Dynasty: Agency and Social Intelligibility in Performance on the Margins A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Asian American Studies by Christopher David Woon 2012 ABSTRACT OF THE THESIS Hung Van Lam, hELLA HUNG and the Hung Dynasty: Agency and Social Intelligibility in Performance on the Margins by Christopher David Woon Master of Arts in Asian American Studies University of California, Los Angeles, 2012 Professor Victor Bascara, Chair This paper is a character study of performance artist hELLA HUNG. Presented through the lens of a documentary filmmaker and confidant, an argument for the life and performances of hELLA HUNG as a boundary breaking figure who helps illuminate and reshape our societal boundaries as Asian Americans, boundaries imposed by both mainstream American society and ourselves. Significant not for his virtuosity, but rather the transitive way his performances bend and distort existing ideas of the model minority and the distorted racial and gender perceptions rooted in orientalist perceptions held by the mainstream American hegemonic forces, foundational theoretical concepts within Asian American studies. Using the archetypes of the reality show contestant, comic superhero, schizotypal/Asperger’s/autistic performance, refugee, b-boy (breakdancer), professional wrestler, minstrel, and trickster figure, to frame a series of interviews, life observance, and recorded performances in order to illuminate the way his performances break and recreate our social boundaries. -
By Ursula Kendall the Anatomy and Athleticism of a Freeze
By Ursula Kendall Consult with a physician and/or qualified personnel before executing any training, exercise, cheer or dance movements and/or techniques. See disclaimer on page 7. The information shown is general and not complete in instruction. See qualified and credentialed guidance with any technique. For most African Americans in dance team I have witnessed competing, Heavy D, Digital Underground and other amazing artists in that era to the passion is there but technique is lacking. The technique is lacking give you more than the 3-point turns or the ‘crotch down walk’ into due to the neglect of participating in classes for hip hop technique. positions which is NOT footwork or a transition. In addition, teams Another problem is that teams are hiring or assigning coaches or should not limit their levels movement to just up and down but by inexperienced choreographers who are uneducated regarding the involving the entire space around them for movement. different forms of hip hop movements therefore unable to prepare the A great hip hop routine has leveled movements and musicality. There team for more challenging stylized movements. In my opinion, this is routine shows a beat for everything and takes advantage of utilizing the unfortunate as black music and let movement speak from Americans had a The Anatomy and Athleticism of A Freeze there. Janet Jackson is a perfect historical example for stylized arms, heads and dominance in this Use the glutes, quads and hamstring muscles for body placement. Be inspired from some form of dance genre. straight leg extensions of her earlier works in music and videos, In the art of hip hop you have Strong hip flexors come into plays for actually flexibility such as Rhythm Nation or The Pleasure be willing to get down and of movement and ending body placement Principle, to direct you in unique ways to dirty. -
Dispatches from the Straight Outta Fresno Archive by the Valley Public History Initiative: Preserving Our Stories Table of Contents
Dispatches from the archives Dispatches from the Straight Outta Fresno Archive By The Valley Public History Initiative: Preserving our Stories Table Of Contents Introduction This book belongs to the authors and the public Romeo Guzmán and Sean Slusser history project Straight Outta Fresno: From Popping to B-boying and B-girling. As a courtesy do not reproduce without the consent of both. Womb Geography Monique Quintana historiapublica On the Front Porch: Deborah McCoy and Fresno Streetdance FresnoStatePublicHistory Naomi M. Bragin Straight_Outta_Fresno_VPH Defying Gravity, Breakin’ Boundaries: Tropicsofmeta.com The Rise of Fresno’s Climax Crew Sean Slusser The book and project was made possible by funding from the President’s Commission on Human Relations and Equity, College of Social Sciences, the History Department, Sociology Department, the Cross Cultural UNDERGRADUATE and Gender Center, and a Humanities for All grant STUDENT ESSAYS from California Humanities, a partner of the National Endowment for the Humanities. Visit www.calhum.org A Blaxican’s Journey through Fresno’s Racial Landscape Raymond A. Rey It Started Here: Jean Vang’s Hip-Hop Journey Roger Espinosa INTRODUCTION Geography is central to hip-hop culture. Academics and artists alike have referenced the importance of physical spaces like “the block”; “the streets”; or “the hood” as incubators for hip-hop culture. It is in these intimate spaces that working class youth of color sift through the rubble of post- industrial neglect and repurpose it into new forms of visual art, music, and dance. Nearly fifty years after hip-hop’s emergence into the public imagination, these narratives of place have been mapped onto a distinct hip-hop cartography fixated on nostalgic references to “the Bronx”; “Compton”; and “Oakland.” Cities like Fresno are rarely included in this hip-hop cartography largely because they exist outside of institutional networks like university archives, cultural philanthropy, and the music industry. -
TEACHER STUDY GUIDE 2019/2020 SEASON School Shows: Oct
TEACHER STUDY GUIDE 2019/2020 SEASON School Shows: Oct. 30 - Nov. 1, 2019 10:00 & 11:45 AM Discovery Theater Public Show: November 2, 2019 7:30 PM Atwood Theater n Curriculum Connections n Activities for the Classroom n Learning Resources n Theatre Etiquette n Performance Background Alaska Junior Theater n 430 W 7th Ave, Suite 30 n Anchorage, AK 99501 P 907-272-7546 n F 907-272-3035 n www.akjt.org Curriculum Standards laska Junior Theater is a private, nonprofit organization that has been bringing the best in professional theatre from around the world to Alaska’s Ayoung audiences since 1981. Each year, more than 40,000 students attend a variety of live performances at the Alaska Center for the Performing Arts. For many students, our school show presentations are their only exposure to live performing arts. Each show we present has a strong educational component, and are linked to Alaska Content Standards. Alaska Junior Theater also offers teacher and student workshops, study guides and classroom transportation to our performances. We are committed to keeping ticket prices low, allowing children of all financial levels to experience live professional theatre. Our low educational ticket price of Discovery Theatre, ACPA $8 covers only half our costs of presenting shows. To subsidize the remaining $8 of each ticket, we actively fundraise and rely on the support of corporations, foundations and individuals. In addition, we fundraise to offer full scholarships to students with financial need. Alaska Junior Theater asked area teachers to review our 2019/2020 performances for direct connections to Alaska Content Standards. -
Anatomy of Martial Arts: an Illustrated Guide to the Muscles Used in Key Kicks, Strikes and Throws
Table of Contents Title Page Dedication PART 1: OVERVIEW INTRODUCTION ANATOMY AND MARTIAL ARTS LINES OF POWER FOR MOVEMENT: KINETIC CHAINS CONSEQUENCE OF IMPACT AND MISUSE STEROIDS THE PHYSICS BEHIND A HIGH-ENERGY STRIKE HOW TO USE THIS BOOK PART 2: TECHNIQUES HAND STRIKES & BLOCKS FRONT PUNCH REVERSE PUNCH PALM HEEL LEAD-HAND BACK KNUCKLE KNIFEHAND CHOP FRONT ELBOW DOWNWARD BLOCK UPPER BLOCK IN-TO-OUT BLOCK OUT-TO-IN BLOCK PALM HEEL BRICK BREAK HANDSTAND BRICK BREAK KICKS KNEE LIFT KICK LOW SCOOP KICK FRONT SNAP KICK FRONT THRUST KICK ROUNDHOUSE KICK AXE KICK IN-TO-OUT CRESCENT OUT-TO-IN CRESCENT SIDE KICK BACK KICK JUMPING ROUNDHOUSE KICK SPINNING HEEL KICK LOW SPINNING HEEL KICK THROWS STOMACH THROW MAJOR OUTER REAP MINOR OUTER REAP FORWARD BODY DROP SHOULDER THROW SNAPOVER SWEEPING HIP THROW RICE BALE THROW FRONT FIREMAN’S THROW GROUNDWORK GUARD SCARF HOLD SIDE MOUNT BRIDGE & SHRIMP SINGLE-LEG TAKEDOWN DOUBLE-LEG TAKEDOWN ROLLS & FALLS FORWARD ROLL BACKWARD ROLL BACK FALL SIDE FALL FACE FALL AIR FALL WEAPONS SHINAI STRIKE CANE THRUST TONFA THRUST SHORT STICK STRIKE APPENDIX 1: INSTRUCTIONS FOR MARTIAL ARTS-SPECIFIC EXERCISES APPENDIX 2: MUSCLES (ALPHABETIZED) & THEIR MOVEMENTS APPENDIX 3: MUSCLE ACTIONS BY JOINT GLOSSARY INDEX ABOUT THE AUTHORS ABOUT THE MODELS Copyright Page This book is dedicated with humble appreciation to Dr. Ken Kyungho Min, founder of the University of California at Berkeley’s Martial Arts Program (UCMAP). It was Dr. Min’s encouragement to explore all aspects of martial arts that made this book possible. PART 1: OVERVIEW INTRODUCTION Welcome to The Anatomy of Martial Arts: An Illustrated Guide to the Muscles Used in Key Kicks, Strikes and Throws. -
Visit Us Online At
This study guide was designed to help teachers prepare their classes to see a performance of BREAK! The Urban Funk Spectacular The guide describes the history of the company and includes a series of discussion questions, some activities you may want to do with your class as well as a few terms to remember. We hope it will be useful, and that you and your class find this performance both entertaining and educational. Visit us online at www.breakshow.com WHAT IS URBAN DANCE? URBAN DANCE or STREET DANCING, as we know it today involves Locking, Popping, Breaking, street style jazz and other forms of dance that developed out of urban culture rooted in American cities. It is deeply connected to Hip-Hop music and has become accepted as a legitimate art form seen across the world on television, videos and on theatrical stages as well as utilized in choreography by major dance companies. Locking Locking style involves a “clown look” fun movements like “the funky chicken” and other comedy moves. This was a dance style that was originally a “goof” dance or a “mistake” that became a media sensation with early 1970 TV shows based on unique characters and style. Some teachers out there might remember charactors like Re-Run! The significance of “Locking” was that it was the first style of Urban Dance gathering media attention. Robotics and Electric Boogaloo This style of dance became popular with the electronic funk sound and drum beat in songs in 70’s and 80’s. Many of you might have seen videos of “Michael Jackson’s Dancing Machine” and other Robotic dances of that era! WHAT IS BREAK DANCE? Although the exact beginning of Break dance is unclear, it seems to have emerged as a style of street dance during the 1970's.