"Hot to Trot", Are They Refering to the Foxtrot?

Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 2 3 7:00pm to 9:00pm Theme Dance 7:00pm Merengue Practice Party 7-9pm 8:00pm Tango Free to current students Free to students 4 5 6 7 8 9 10 7pm warm up 7:00pm to 9:00pm 7:00pm WC Swing 7:00pm Foxtrot 7:00pm Cha Cha 8-9:30pm Practice Party 8:00pm Tango Competition Free to current students 11 12 13 14 15 16 17 7:00pm to 9:00pm 7:00pm Cha Cha 7:00pm Tango 7:00pm Waltz 7:00pm EC Swing Back Yard Party 8:00pm Samba 8:00pm Merengue Free to current students 18 19 20 21 22 23 24 7:00pm to 9:00pm 7:00pm Rumba 7:00pm WC Swing 7:00pm Foxtrot 7:00pm Salsa Practice Party 8:00pm Waltz 8:00pm Waltz Free to current students 25 26 27 28 29 30 31 Champangne 7:00pm to 9:00pm 7:00pm Salsa 7:00pm Cha Cha Guest party 7:00pm Merengue Young and Old Theme 8-9:30pm 8:00pm Foxtrot Public Dance Show your social graces at one of our monthly dances, complete with dance lessons, door prizes, refreshments and dancing. Private Lessons are scheduled with student. When they say, "Hot to trot", are they refering to the Foxtrot? Studio 540-409-7136 Colored classes are for group and private lesson students and will focuse on Bronze I and II Black colored classes are for private lesson students only (due to complexity) and will focus on Bronze III, IV and above. Dance Etiquette Suggestions… Gents, ask ladies that did not dance the last dance to dance… Relax frame as to keep from hurting partners… Observe line of dance as much as possible… More experienced dancers go to the outside. Newer dancers to the middle. Take ladies back to their seat… Exchange pleasantries after the dance (we clap and smile.) Don't forget a mint before the dance, its not for your benefit. Give far more complements than constructive criticisms. Leave the teaching to the teachers… What level you are dancing at might not be the same as your partners, adjust accordingly. No need to down yourself, you are fine the way you are. .

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Guide to Social Dance Etiquette
one of life’s peak experiences, a dance is only three inadvertent. You should stop dancing for a second, and Social Dance minutes long and the experience will not kill you. say “I’m sorry, but you’re holding my hand a little tightly. Could we try again?” If you receive an inconsiderate Etiquette CIRCULATING response or your partner seems unwilling to modify his In a social dance situation it is appropriate to dance with behavior, it is then appropriate to say, “thank you, but I’d a variety of people. It is generally poor dance etiquette to like to stop now.” Social dancing should never be MAY I HAVE THIS DANCE? partner up and dance with the same person all evening physically painful or dangerous. long. Naturally, some people will prefer certain dance When you ask someone to dance, be sure to make eye FLOOR CRAFT contact with your prospective partner, offer our hand, partners to others, but this should not prevent them and ask clearly, “Would you like to dance?” If your from accepting an offer to dance from a new person. If In order for a social dance to be enjoyable for all partner says yes, smile, offer your hand, and escort him the same person asks you to dance repeatedly, for several participants, it is crucial to be considerate and aware in or her onto the dance floor and into dance position. This dances in a row, it is acceptable to tell that person, “thank your floor craft. No matter how much you may want to will make your partner feel supported and at ease.
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Teaching English Through Body Movement a Pa
AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection
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Dance Etiquette Brochure
OUR PLEDGE Smoothstyle promotes joy and excellence in contemporary partner dances, particularly West Coast Swing and New York Hustle. AN We encourage diversity and strive to create an atmosphere where everyone feels welcome. ESSENTIAL GUIDE TO Partner - Dance Etiquette We pledge to give you high-quality dance lessons, social dance events, workshops, and performances. We do not tolerate harassment or discrimination. We will ensure that our dance environment is a safe and fun place for you to learn, meet people, and to express your creativity through music and movement. PARTNER DANCE TO POPULAR MUSIC (613) 291-4376 [email protected] TLDR: BE SOCIAL, BE CLEAN, www.smoothstyle.ca BE AWESOME WELCOME! BE CLEAN To be sustainable, a dance community requires Partner dancing puts you in close contact with diversity. This includes a range of levels of other people. So: ability, age groups, gender identifications, and cultural backgrounds. Shower and wear freshly laundered clothes. Apply deodorant and bring extra deodorant. We invite you to participate in the growth of Brush your teeth before dancing. If you eat our community. This means dancing with people during the evening, brush them again. who are not like you, encouraging new dancers, If you sweat, change shirts often, and avoid and modelling a friendly and inspiring vibe. sleeveless tops. Use perfume or cologne only in moderation. Tuck long hair in or wear it up so that it doesn't whip your partner's face. Dance at least 10% of your social dances with beginners. If it hurts, you're not doing it right. BE SOCIAL BE AWESOME Become a popular dance partner by mastering A dance and a friendly smile can Earn the respect of other dancers and dance this etiquette: partners in these ways: make someone's whole night special! Ask others to dance, and smile when you are Take lessons and never stop learning.
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Dance Syllabus
ZIMBABWE MINISTRY OF PRIMARY AND SECONDARY EDUCATION DANCE SYLLABUS FORMS 1 - 4 2015 - 2022 Curriculum Development Unit and Technical Services P.O. Box MP 133 Mount Pleasant Harare © All Rights Reserved 2015 Dance Syllabus Forms 1 - 4 ACKNOWLEDGEMENTS The Ministry of Primary and Secondary Education would like to acknowledge the following for their valued contribution in the production of this syllabus: • The National Dance Syllabus Panel • National Arts Council of Zimbabwe (NACZ) • Zimbabwe School Examinations Council (ZIMSEC) • University Representatives • Kwabatsha Dance Company • Cerea Performing Arts • United Nations Educational Scientific and Cultural Organisation (UNESCO) • United Nations Children’s Fund (UNICEF) i Dance Syllabus Forms 1 - 4 CONTENTS ACKNOWLEDGEMENTS.................................................................................................................. i CONTENTS........................................................................................................................................ii 1.0 PREAMBLE................................................................................................................................. 1 2.0 PRESENTATION OF SYLLABUS.............................................................................................. 2 3.0 AIMS............................................................................................................................................ 2 4.0 SYLLABUS OBJECTIVE...........................................................................................................
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Confluences 9
CONFLUENCES 9 Deciphering decolonisation in Dance Pedagogy in the 21st century in Cape Town, South Africa CONFLUENCES 9 Deciphering decolonisation in Dance Pedagogy in the 21st century in Cape Town, South Africa Hosted by SCHOOL OF DANCE in the FACULTY OF HUMANITIES 12 – 14 July 2017 Conference Convenor: Dr Gerard Samuel Conference Organiser: Sharon Friedman Conference Committee: Sharon Friedman, Lisa Wilson, Jacki Job Proceedings edited by: Sharon Friedman CD Rom compiled by: Dr Eduard Greyling CD Rom design: Assoc. Prof Emeritus Elizabeth Triegaardt Technical Supervisor: Shane van Rheede Published and distributed by: UCT School of Dance Woolsack Drive ROSEBANK CAPE TOWN This collection of papers has been compiled from electronic copies provided by individual authors. In order to achieve a volume speedily available to the conference, any editing and proof reading has been done in the interest of standardised formatting. Individual Contributions: © 2017 by individual contributors. Collection as a whole: © 2017 UCT School of Dance. ISBN 978-0-7992-2537-2 WELCOME LETTER Dear Delegates Central to the subject of Dance Pedagogy is the body, and for so many, violence to their dancing bodies has taken on multiple forms: systemic/institutionalised; communal or cultural; and media-related oppression et. al. On this sombre note, many of us have gathered as ‘pedagogues of hope’ to consider and learn from our peers’ experiences on what has, and can be done to rid ourselves of such subjugation and trauma. I welcome you to Confluences 9 which suggests an entry point and a deciphering, if you will, of crystalised colonialism stagnant in the 21st century.
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Gender and Dance in Modern Iran 1St Edition Ebook Free
GENDER AND DANCE IN MODERN IRAN 1ST EDITION PDF, EPUB, EBOOK Ida Meftahi | 9781317620624 | | | | | Gender and Dance in Modern Iran 1st edition PDF Book Burchell, C. The John F. Retrieved September 6, Like other sectors of society during Reza Shah's rule, however, women lost the right to express themselves and dissent was repressed. In , the ban on women was extended to volleyball. Mediterranean delight festival. During the rule of Mohammad Khatami , Iran's president between and , educational opportunities for women grew. The Telegraph. Women have been banned from Tehran's Azadi soccer stadium since Khomeini led protests about women's voting rights that resulted in the repeal of the law. A general trend in these writings has been to link the genealogy of whirling dervish ceremonies—which are performed in Turkey today by Mevlevi-order dervishes— to Iranian mysticism described in Persian poetry. Neil Siegel. Figure 1. It ana- lyzes the ways in which dancing bodies have provided evidence for competing representations of modernity, urbanity, and Islam throughout the twentieth century. Because the first Pahlavi Shah banned the use of the hijab, many women decided to show their favor of Khomeini by wearing a chador, thinking this would be the best way to show their support without being vocal. Retrieved March 12, Archived from the original on February 23, Anthony Shay and Barbara. Genres of dance in Iran vary depending on the area, culture, and language of the local people, and can range from sophisticated reconstructions of refined court dances to energetic folk dances. Khamenei called for a ban on vasectomies and tubal ligation in an effort to increase population growth.
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An Investigation Into Circle Dance As a Medium to Promote Occupational Well-Being Ana Lucia Borges Da Costa
AN INVESTIGATION INTO CIRCLE DANCE AS A MEDIUM TO PROMOTE OCCUPATIONAL WELL-BEING ANA LUCIA BORGES DA COSTA A thesis submitted in partial fulfilment of the requirements of the University of Bolton for the degree of Doctor of Philosophy November 2014 Table of Contents Table of figures .............................................................................................. 7 Acknowledgements ...................................................................................... 9 Dedication ...................................................................................................... 10 PhD Thesis Abstract ................................................................................... 11 Prologue ......................................................................................................... 13 Chapter 1 Introduction ............................................................................... 15 1.1 Contextualising circle dance ......................................................16 1.2 Motivation for conducting the investigation ..........................19 1.3 The rationale for the investigation ............................................19 1.4 Research questions .......................................................................22 1.5 Structure of the thesis ..................................................................23 Chapter 2 Occupational therapy, circle dance and well- being .... 26 2.1 The conceptual foundation of occupational therapy ..............27 1.1.1 Defining occupational therapy
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Directory of Contact Information Now Available on Resident Website Rooting for Spring Colony Thrives in Montgomery Mutual's Be
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Circle Dance and Dance Therapy for Talented Children with Disadvantages and Special Needs
Borbáth, K. (2021). Circle Dance and Dance Therapy for Talented Children with Disadvantages and Special Needs. Tánc és Nevelés. Dance and Education, 2(1), 135–147. DOI: https://doi.org/10.46819/TN.2.1.135-147 CIRCLE DANCE AND DANCE THERAPY FOR TALENTED CHILDREN WITH DISADVANTAGES AND SPECIAL NEEDS Katalin Borbáth, pedagogical psychologist, circle dance instructor, Ph.D. student, at the University of Pécs Abstract At the meeting points of different cultures, a unique quality is born. That is what we can experience when sacred round dance, dance therapy, and talent development meet and overlap. The study aims to present a project operated by the Budapest 10th district Edu- cational Consultant Team with the support of the Hungarian National Talent Program. The program, named Square-Dance-Theatre-Scene, was started as an ex- periment, integrating 12–14-year-old students, including psychologists, drama ex- perts, art therapists, dance therapists, and dance teachers. In the paper, a sacred dance therapeutic workshop is described and analyzed, which was a part of this broader talent management program. The workshop was preceded by an outline of the underlying tripartite theoretical background: The sacred dance workshop’s group dynamics are analyzed with dance and movement therapy methods. The ar- chaic roots of sacred dance related to the therapeutic approach are also displayed. Finally, a SWOT-type summary of the work process is given, including both the project’s strengths and weaknesses. Keywords: talent development, sacred dance, circle dance, dance therapy 1. INTRODUCTION The Square-Dance-Theatre-Scene project started at the Pedagogical Professional Ser- vice in the 10th district in Budapest, in the 2015/2016 school year, after winning the support of the Hungarian Talent Program (hereinafter referred to as HTP).
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Folk Dancer Online the Magazine of World Dance and Culture
ISSN 2368-7134 Folk Dancer Online The Magazine of World Dance and Culture PUBLISHED BY THE ONTARIO FOLK DANCE ASSOCIATION VOLUME 47 NUMBER 4 October 2016 Folk Dancer Online Proofreaders Editor ............ Dorothy Archer ...............Rachel Gottesman Production ........... Bev Sidney To contact the Editor, or to send calendar ................Carole Greenberg Advertising .... Paula Tsatsanis items, articles and other magazine content: .................Adam Kossowski Dance Calendar...Terri Taggart [email protected] ................Shirley Kossowski Distribution..........Judy Deri Folk Dancer Online (formerly Folk Dancer/the Ontario FolkDancer) is the magazine of the Ontario Folk Dance Association. We publish five issues per year (Feb. 1, Apr. 1, June 1, Oct. 1 and Dec. 1). All rights reserved. Material may be reproduced with written permission of the editor, provided that magazine and author are acknowledged. Opinions expressed in this magazine are those of the individual author and do not reflect the views of the Folk Dancer Online and its staff or the Ontario Folk Dance Association and its Board of Directors. DEADLINE: All materials must be received, by e-mail or postal mail, six weeks prior to publication. Deadline for the December 1, 2016 issue is October 15. Visit OFDA’s Website Web Design: Noemi Adorjan for local information and links to other www.ofda.ca [email protected] dance-related sites. Web Maintenance: Helen Winkler Ontario Folk Dance Association(OFDA) is a non-profit organization. Established in 1969, incorporated
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DANCE ETIQUETTE Aria Nosratinia INTRODUCTION Dance Etiquette Is a Set of Guidelines That Help Us Navigate the Social Dimensions of Dancing
ELEMENTS OF DANCE ETIQUETTE Aria Nosratinia INTRODUCTION Dance etiquette is a set of guidelines that help us navigate the social dimensions of dancing. Why do we care about dance etiquette? Because it is nice to know how to go about in the dancing circles. It makes the difference between having a happy or unhappy dancing experience, the difference between people wanting, or not wanting to dance with you. WHAT TO WEAR? Protocol: Dancing has its own culture. If you want to join a group of dancers and enjoy their company, it is a good idea to follow the accepted costumes of their dance group. One of the ways you get accepted into a group is by the way you're dressed. How formally should we dress at a dance? The general rule is this: the more formal the dance, the more formal the outfit. For example, if you are invited to a formal charity ball, anything less than a tuxedo for men or ball gown for women would be inappropriate. On the other hand, at a dance lesson at your local studio, there is usually no need to dress formally. A little common sense goes a long way. Also, if in doubt, follow the crowd! See what others do and follow suit. If all else fails, you can always ask the dance organizers about the dress code. Below I give a guideline and explanation for dress code, which you may see on invitations and announcements, as well as a general idea of what to wear at different dance venues. • White tie: White tie is the most formal category of dressing.
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Thank You for Choosing Eleone Dance Unlimited Where the Dancers “Move Beyond Boundaries”
Shawn-Lamere Williams, Director Eleone DANCE UNLIMITED www.eleonedance.org Phone: 215-271-8128 Fax: 215-271-8090 [email protected] Dress Code & Dance Etiquette Thank you for choosing Eleone Dance Unlimited where the Dancers “Move Beyond Boundaries” Ballet & Jazz (ages 5 & 6): black leotard, pink tights, pink ballet slippers, black jazz shoes Ballet (Girls): black leotard, suntan tights and suntan canvas ballet shoes. Ballet (Boys): white leotard, black tights with black canvas ballet shoes. Modern (Girls): black leotard, suntan tights (or one piece body tights with straps) Modern (Boys): black leotard, black tights or jazz pants Jazz (Girls): black leotard, suntan tights (or one piece body tights with straps), and black jazz shoes Jazz (Boys): black leotard, black tights or jazz pants, and jazz shoes Hip-Hop (boys & girls): loose fitting clothing, sweat suits or pant and sneakers. No clothing sagging off the body or big names written on the dancer’s rear end. Pointe (Girls): black leotard, suntan tights and Pointe Shoes (suggested brands are Bloch, Capezio, Grishko, and Russian Pointe Shoes). All dancers must have their pointe shoes during class. Adult Classes: loose fitting clothing. Jazz shoes for Adult Jazz Class. Note: In Advanced Ballet Classes (ages 9 to 13 and 14 to 17) some dancers might be asked to take class in their pointe shoes. All dance Attire can be purchased at Baums, 106 S 11th St, Philadelphia, PA 19107 (215-923-2244); Body Dreams/Avenue of The Arts Dancewear, 1129 S Broad St, Philadelphia, PA 19147 (215-467-1677); and The Rosin Box, 2050 Sansom St, Philadelphia, PA 19103 (215-569-9134) All Dancers must arrive to class on time.
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