Creating Authentic Movemeant Narratives for Community
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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. -
'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. -
Garage House Music Whats up with That
Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM. -
2018/19 Hip Hop Rules & Regulations
2018/19 Hip Hop Rules for the New Zealand Schools Hip Hop Competition Presented by the New Zealand Competitive Aerobics Federation 2018/19 Hip Hop Rules, for the New Zealand Schools Hip Hop Championships © New Zealand Competitive Aerobic Federation Page 1 PART 1 – CATEGORIES ........................................................................................................................................................ 3 1.1 NSHHC Categories .............................................................................................................................................. 3 1.2 Hip Hop Unite Categories .................................................................................................................................. 3 1.3 NSHHC Section, Division, Year Group, & Grade Overview ................................................................................ 3 1.3.1 Adult Age Division ........................................................................................................................................ 3 1.3.2 Allowances to Age Divisions (Year Group) for NSHHC ................................................................................ 4 1.4 Participation Limit .............................................................................................................................................. 4 Part 2 – COMPETITION REQUIREMENTS ........................................................................................................................... 5 2.1 Performance Area ............................................................................................................................................. -
How Breakdancing Taught Me to Be a Technical Artist
How breakdancing taught me to be a technical artist Robbert-Jan Brems Technical Artist Codemasters Hello ladies and gentlemen, my name is Robbert-Jan Brems. I'm currently technical artist at Codemasters and here to present you my talk : “How breakdancing taught me to be a technical artist” I only have been working as a professional technical artist in the video game industry for just over a year, but I have been breakdancing for almost nine years, and dancing for almost seventeen. The reason I am telling you this will become more apparent later on. Just out of curiosity, are there any breakdancers in this room? Well, the good news is that you do not need any breakdance related experiences to understand this talk. The main reason why I wanted to do this talk was because I have the feeling that as a person it is really easy to be looking through the same window as everybody else. What I mean with that is when we follow the same route to find knowledge as everybody else, we end up knowing the same things while missing out on other potentially important knowledge. By telling you my life story as a breakdancer and a game developer I want to illustrate how I reflect the knowledge that I obtained through breakdancing to my profession as a technical artist. So, the goal of my talk is to hopefully inspire people to start looking for knowledge by looking at learning from a different perspective. Once upon a time ... I started dancing when I was around 7 years old. -
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. -
Into the Vibe of House Dance
Into the Vibe of House Dance New social dances have always influenced stage dance—here’s one film that takes you into clubs where House style creates communities of creative individuals who “check their bodies at the door” by Waeli Wang Check Your Body at the Door is a documentary that serves a slice of the underground- club House dance scene in the 1990s, following New York City club dancers into “the vibe.” Dance scholar and producer Sally R. Sommer describes “the vibe” as “a communal force, a feeling, a rhythm that is created by the mix of dancers, the balance of loud music, the effects of darkness and light, the energy. Everything interlocks to produce a powerful sense of liberation.” Reflecting the principle of community built on diversity, this vibe is continually described by dancers in the film as a utopian escape from the nine-to-five grind of their everyday lives. Dance comes first for these beautiful creatures of the night, as the film explores a world where clubs are their sanctuaries. House dance is an electric style of dance formed in the underground scene by its community of dancers. These dancers didn’t train in traditional dance studios but rather at home, in the club, or in an elevator, Brahms “Bravo” LaFortune does in the film. Wherever there is a modicum of space, you dance. Serving as the central narrator, master House dancer Archie Burnett recounts how he practiced in the same spot in front the mirror of his family living room until he wore a hole into the rug. -
SESSION HANDOUT Latin Pop
SESSION HANDOUT Latin Pop Lindsey Taylor Zumba Education Specialist, USA SESSION HANDOUT Presenter LINDSEY TAYLOR [email protected] Schedule 5 min – Welcome 55 min – Breakdown 55 min – Master Class 5 min – Wrap Up (Total: 2 hours) Session Objective Learn some of the basic, simple and fun movements of the hot pop rhythms. Instructors can use these movements to go along the exciting music that the popular Latin artists release in their classes. Not only are we going to focus on the basic movements, but the feeling and attitude that should accompany this style of music and dancing. History & Background RICKY MARTIN Born in San Juan, Puerto Rico… Ricky Martin began his career as a young member of the group Menudo. Once he reached the age limit of 18 years old, he went out on his own and became a hot solo artist. His first hit song to reach the ears of the US market was Livin La Vida Loca. Ricky Martin was credited to bringing a growing Latin cultural influence into the mainstream of American pop music. ENRIQUE IGLESIAS Was born in Madrid, Spain to famous singer, Julio Iglesias. While his father was away performing, he secretly pursued a career in music. He borrowed money from his nanny and recorded a demo with one Spanish song and two English songs. He took this demo to his father’s former publicist who promoted the demo CD under the stage name Enrique Martinez. Eventually, his hard work and determination paid off as he is now considered one of the best selling Latin artist of all time. -
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. -
Breakdancing Cal History at Shaw University in Raleigh, North Carolina
breakdancing cal history at Shaw University in Raleigh, North Carolina. ing encouraged sensational movements such as multiple Brawley wrote several religious texts, including a book on spins while balanced on the head, back, or one hand. evangelism entitled Sin and Salvation, and edited the Bap- Dancing “crews” met on street corners, subway stations, tist Tribune and The Evangel. Brawley died on January 13, or dance floors to battle other groups with virtuosity, style, 1923, ending a long career in the ministry, education, pub- and wit determining the winner. Breakdancing came to be lishing, and writing. divided into several classifications of movement, including “breaking” (acrobatic flips and spins with support by the See also Baptists head and arms, with the shoulders as a point of balance), “uprock” (fighting movements directed against an oppo- nent), “webbo” (extravagant footwork that connected ■■Bibliography breaking movements), and “electric boogie” (robotlike dancing movements borrowed from mime). The electric Jackson, J. H. A Story of Christian Activism: The History of the National Baptist Convention, USA, Inc. Nashville, Tenn.: boogie style, reminiscent of a long tradition of eccentric Townsend, 1980. African-American dances, developed in Los Angeles con- Pegues, A. W. Our Baptist Ministers and Schools. Springfield, current with electronically produced disco music. In this Mass.: Wiley & Co., 1892. Reprint, New York: Johnson Re- style dancers typically appeared to be weightless and rub- print Corp., 1970. ber limbed, performing baffling floating walks, precise Simmons, William J. Men of Mark. 1887. Reprint. New York: body isolations, and pantomimed robotic sequences. This Ayer, 1968. form includes the “moonwalk,” popularized on national Washington, James Melvin. -
New Bass Genres Press Release
FOR IMMEDIATE RELEASE BEATPORT IS EXPANDING ITS BASS GENRES Beatport introduces 140 / Deep Dubstep / Grime, Bass / Club, and Breaks / Breakbeat / UK Bass to its genre pages. BERLIN, DE - February 4th, 2021 - Beatport, the world's number one destination for electronic music, has just announced that it will be introducing two new genres to the store — 140 / Deep Dubstep / Grime and Bass / Club, while also updating its current Breaks sections to Breaks / Breakbeat / UK Bass. By launching these three new and remodeled genre pages on the store, Beatport will give artists, distributors, and labels a new home where their distinct sounds can thrive amongst more like-minded tunes with their own genre page, Top 100 charts, dedicated playlists, store spotlights, a dedicated section in Beatport LINK, and more. To make this expansion possible and help further improve Beatport’s user experience, its Leftfield House / Techno and Leftfield Bass sections will cease to exist. Releases on the Leftfield pages will be recategorized amongst these three new genre sections. We are confident that this change will bring a clearer classification of sounds and greater representation to bass music communities. Represented by labels like DUPLOC, White Peach, Deep Medi Musik, and acts such as Sicaria Sound, Hypho, and Teffa, the new 140 / Deep Dubstep / Grime categorization will host the sonic creations that call back the origins of the Dubstep genre and continue to innovate 140 BPM sound system culture worldwide. Speaking on the importance of distinguishing the two sides of dubstep, DUPLOC's label owner Pieter Grauwels said: "It is fair to say that after the 2010 era, the 'heavy' and 'deep' sides of dubstep have been strongly separated, especially in terms of the communities surrounding the two sides.