DOCSLIB.ORG

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE a Call for Hip-Hop

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE a Call for Hip-Hop CALIFORNIA STATE UNIVERSITY, NORTHRIDGE A Call for Hip-Hop Based Dance Curriculum in After-school Programs for High Risk Youth A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Science in Kinesiology By Rhasaan Sherrill December 2016 The graduate project of Rhasaan Sherrill is approved: _____________________ ____________ Shana Habel Date _____________________ ____________ Dr. Paula Thomson Date _____________________ ____________ Dr. Terry Sweeting, Chair Date California State University, Northridge ii Table of Contents Signature Page ii Abstract v Chapter 1: Introduction 1 Chapter 2: Review of Literature 5 At Risk Youth 5 Decline in Physical Activity During School 5 Benefits of After School Programs 8 Social Cognitive Theory 12 Hip-Hop Dance and Cultural Implications 18 State and National Dance Standards 22 Chapter 3: Methods- Lesson Plan Format 29 Standards 29 Focus and Theme 30 Objective 30 Materials 31 Vocabulary 31 Warm-up and Cool Down 31 Exploring the Concept 32 Skill Development 32 Creating and Composing 33 Reflection 33 iii Chapter 4: Expected Results 35 Chapter 5: Discussion 36 References 39 Appendix A 46 Appendix B 97 Appendix C 98 Appendix D 100 iv Abstract A Call for Hip-Hop Based Dance Curriculum in After-school Programs for High Risk Youth By Rhasaan Sherrill Master of Science in Kinesiology An inadequate amount of physical activity has been identified as a contributing factor in obesity among American at risk youth (Trost, Rosenkranz, & Dzewaltowsk, 2008). Children who are considered at risk have the highest rates of obesity within this population. In addition to decreased levels of physical activity, at risk youth have shown difficulty in adjustment in terms of confidence, self-esteem, autonomy, and the ability to cope (Etzion & Romi, 2015). The characteristics described can result in at risk youth experiencing difficulty in functioning within their age-specific educational and social settings. Numerous v studies have reported the benefits of incorporating physical activity into school settings however, there are few studies that report the benefits of a school-based dance program to high-risk youth. Culturally relevant programs that promote self- efficacy in students have the potential to not only maintain physical activity, but improve the at risk characteristics previously mentioned (Jago, Edwards, Sebire, Cooper, Powell, Bird, Simon, Blair, 2013). This curriculum focuses on integrating the National Core Arts Standards and California Visual and Performing Arts Content Standards into a hip-hop dance class for middle school, at risk youth. The 20 lessons and accompanying video contained in this curriculum provide students with an introduction to hip-hop dance so that they will be challenged to be critical thinkers, team builders, and creative artists. There is also potential for improvement in physical fitness upon completion of the course. It is recommended that the curriculum be applied to research by implementing a pilot after-school dance program. To test the efficacy of the curriculum, areas of measurement can include: self-efficacy, physical activity levels, academic performance, and NCAS based assessments. Keywords: hip-hop, dance, at risk, curriculum, National Core Arts Standards, California Visual and Performing Arts Content Standard vi Chapter 1: Introduction Children who engage in recommended amounts of physical activity are at a decreased risk of health-related problems such as obesity, hypertension, respiratory problems, diabetes, high blood pressure, and insulin resistance (Beets, Beighle, Erwin, & Huberty, 2009; Trost, Rosenkranz, & Dzewaltowski, 2008). Despite the benefits of moderate-to-vigorous physical activity in school-aged children, a large percentage of youth in the United States do not meet recommended guidelines in physical activity. Minority students are among the highest population showing a decline in physical activity and rising health-related problems. This population is also considered high-risk. High- risk youth can be defined as students who qualify for free or reduced-cost meals during school or whose annual income falls below the federal poverty level determined by the Department of Health Care Services. In particular, African-American and Hispanic youth fall behind the rest of the country in meeting suggested levels of daily physical activity (Robinson, Kraemer, Matheson, Obarzanek, Wilson, Haskell, ... & Varady, 2008; Sharma, 2008). High inactivity levels also result in limited opportunities for physical activity when those of lower socio-economic status are exposed to unsafe and undesirable environments (Beets et al., 2009; Witt & Baker, 1997). In addition to neighborhoods not being conducive for physical activity, the quest for school districts to meet the rising demands of academic achievement through standardized testing has significantly impacted attention to quality physical education in many schools (Ahamed, MacDonald, Reed, Naylor, Liu- 1 Ambrose, & McKay, 2007; Beets et al., 2009). The rise of after-school physical activity programs provides an opportunity for high-risk students to access school facilities in a safe environment and achieve recommended levels of physical activity without compromising academics (Beets et al., 2009). Physical activity in the form of sports, fitness, and dance are characteristic of many after-school programs. In creating after-school programs for high-risk and middle school youth, programs that focus solely on physical activity are not enough to change physical activity behavior in students (Huang, Gao, Hannon, Schultz, Newton, & Jenson, 2012). On the contrary programs need to be developed to address what motivates high-risk children to engage in physical activity. The implementation of hip-hop in curriculum has shown to captivate youth due to its predominance of minorities and relevancy in youth culture (Abe, 2009; Robinson et al., 2008; Taylor & Taylor, 2004). In 2009 over 300 courses on hip-hop alone were taught in United States classrooms (Hall, 2009). In addition to developing a program geared to the population served, it is imperative that studies are founded upon theory-based curriculum especially as it refers to student motivation. The use of a theoretical framework to support the physical activities provided in after-school programs identifies determinants of physical activity (Motl, 2007). The efficacy of a program geared towards the population it serves while employing a theory-based model can only be determined through some sort of assessment tool. The National Core Arts Standard (NCAS) in dance, developed by the National Coalition for Core Arts Standards, has been widely accepted as a 2 resource in achieving dance literacy across the nation and within states (California Department of Education, 2015; NDEO, n.d). NCAS are a set of standards composed of four artistic processes (creating, performing, responding, and connecting) that enable the student to become literate in dance education. California Common Core Standards were developed to promote the highest achievement of students, by defining the knowledge, concepts, and skills that students should attain at each grade level (California Department of Education, 2016). After-school programs have proven to be successful in reducing at risk behavior in disadvantaged youth (Witt & Baker, 1997). Improvements in physical fitness, academics, and social development have been found (Beets, Beighle, Erwin, & Huberty, 2009) as well. Though research has shown the positive effects of integrating National Core Dance Standards and Common Core Standards into K-12 dance curriculum, very little research has been done on its implementation in after-school programs, and even less on hip-hop based curriculum. This project, therefore, will include the design of a hip-hop curriculum to be implemented by educators in after-school programs for middle school, disadvantaged youth. By completing the contents of this course children will be able to demonstrate the artistic processes of creating, performing, responding, and connecting as outlined in the National Core Arts Dance Standards and will integrate historical hip-hop content that continues to be prevalent in youth culture. Students will also have the opportunity to improve physical fitness through moderate-to-vigorous warm-ups and physical education lectures. 3 Hip-hop dance is defined as an urban dance form that includes popular styles such as popping, locking, breaking, house, grooves, and freestyle. National Core Arts Dance Standards will be defined as a set of standards composed of four artistic processes (creating, performing, responding, and connecting) that enable the student to become literate in dance education. (NDEO, n.d). The California Visual Performing Art Content Standards will be defined as a set of standards for K-8th including: artistic perception, creative expression, historical and cultural context, aesthetic valuing, and connections, relationships and application (California Department of Education, 2015The course will be geared toward middle school, entry-level dancers, however content can be modified for those with prior dance experience. The significance of this curriculum is in its appeal to enhance current physical activity programs that lack quality curriculum needed for 21st century youth while equipping students with the skills needed to be high achievers despite the statistics associated with at-risk youth. The curriculum will be composed of 20 lesson plans
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Negotiating Homelessness: Voices from Streets to Homes RESEARCH
    Negotiating Homelessness: Voices from Streets to Homes RESEARCH The Streets to Homes Follow-up Support to Immigrants and Refugees Program as delivered by COSTI Immigrant Services Written By Princie Sibanda, BSc (Hons) Econ, Cert Mgt, MPL 2008 Funding for this project was provided by The Government of Canada's Homelessness Partnership Initiative administered by the City of Toronto in collaboration with United Way Toronto through the Sharing Homelessness Innovations for Toronto (SHIFT) program. WE BELIEVE “Everyone has the right to a standard of living adequate for the health and well- being of him/herself and of his/her family, including food, clothing, housing and medical care and necessary social services, and the right to security in the event of unemployment, sickness, disability, widowhood, old age or other lack of livelihood in circumstances beyond his/her control.” THE UNIVERSAL DECLARATION OF HUMAN RIGHTS – ART. 25-1 About the author Princie Sibanda is a Social Planner and a graduate from Queens University School of Urban and Regional Planning. He has worked in international development field for almost a decade and has been a front line community worker for years, most recently as Settlement Services and Humanitarian Issues Program Coordinator at the Canadian Red Cross. He currently does private social planning consulting. Contact him at [email protected]. ©COSTI Immigrant Services North York Housing Help 1700 Wilson Avenue • Suite 114 M3L 1B2 P.O. Box 88 Toronto - Ontario Phone 416.244.0480 • Fax 416.244.0379 www.costi.org
    [Show full text]
  • Fall 2018 Contact Information
    SKYHORSE PUBLISHING Fall 2018 Contact Information Editorial, Publicity, and Bookstore and Library Sales Field Sales Force Special Sales Distribution Elise Cannon Skyhorse Publishing, Inc. Two Rivers Distribution VP, Field Sales 307 West 36th Street, 11th Floor Ingram Content Group LLC One Ingram Boulevard t: 510-809-3730 New York, NY 10018 e: [email protected] t: 212-643-6816 La Vergne, TN 37086 f: 212-643-6819 t: 866-400-5351 e: [email protected] Leslie Jobson e: [email protected] Field Sales Support Manager t: 510-809-3732 e: [email protected] International Sales Representatives United Kingdom, Ireland & Australia, New Zealand & India South Africa Canada Europe Shawn Abraham Peter Hyde Associates Thomas Allen & Son Ltd. General Inquiries: Manager, International Sales PO Box 2856 195 Allstate Parkway Ingram Publisher Services UK Ingram Publisher Services Intl Cape Town, 8000 Markham, ON 5th Floor 1400 Broadway, Suite 520 South Africa L3R 4T8 Canada 52–54 St John Street New York, NY, 10018 t: +27 21 447 5300 t: 800-387-4333 Clerkenwell t: 212-581-7839 f: +27 21 447 1430 f: 800-458-5504 London, EC1M 4HF e: shawn.abraham@ e: [email protected] e: [email protected] e: IPSUK_enquiries@ ingramcontent.com ingramcontent.co.uk India All Other Markets and Australia Penguin Books India Pvt. Ltd. General International Enquiries Ordering Information: NewSouth Books 7th Floor, Infinity Tower C Ingram Publisher Services Intl Grantham Book Services Orders and Distribution DLF Cyber City, Phase - III 1400 Broadway,
    [Show full text]
  • Funkids Amb La Black Music Big Band & Brodas Junior
    Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès.
    [Show full text]
  • Types of Dance Styles
    Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together.
    [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]
  • Antoine Troupe
    bloc, inc. 6100 Wilshire Blvd., Suite 1100 Los Angeles, CA 90048 PHONE: 323-954-7730 FAX: 323-954-7731 Antoine Troupe Height: 5’8” Eyes: Brown Hair Color: Black Television/Film ARSENIO HALL - PRINCE CHOREOGRAPHER CHOREO: SELF JIMMY FALLON – CHRIS BROWN ASST. CHOREO CHOREO: FLII STYLZ AMERICAS BEST DANCE CREW SUPREME SOUL CHOREO: NAPPYTABS/ROSERO MCCOY MINDLESS BEHAVIOR DOCUMENTARY FEATURED STEVEN GOLDFRIED BET AWARDS PRE-SHOW – VIC MENSA DANCER CHOREO: IAN EASTWOOD BET’S SPRING BLING W/TRIPL3 THREAT TRIPL3 THREAT CHOREO: SELF Music Videos PRINCE – “BREAKFAST CAN WAIT” CHOR/DANCER DIR: ROB WITT E40, CHRIS BROWN, TI – “EPISODE” CHOR/DANCER DIR: BEN GRIFFIN DRAKE – “THE MOTTO” DANCER DIR: LAMAR TAYLOR/HYGHLEY ALLEYNE PIA MIA - “MR. PRESIDENT” DANCER DIR: _P MAT KEARNEY – “HEARTBEAT” CHOREO DIR: WILLIAM RUSSEL Live/Stage Performances PRINCE ESSENCE FESTIVAL CHOR/DANCER SELF/NICOLE KIRKLAND CEELO GREEN EURO TOUR CHOR SELF MINDLESS BEHAVIOR AATW TOUR DANCER/CAPTAIN DAVE SCOTT MINDLESS BEHAVIOR #1 GIRL TOUR DANCER/CAPTAIN DAVE SCOTT/KOLANIE MARKS PIA MIA – GUAM LIVE DANCER FLII STYLZ ROSHON (SHAKE IT UP) DANCER ROSERO MCCOY SILLY WALKS FOR HUNGER DANCER CHOR: RICH + TONE DANCE CREW CANADA TOUR DANCER SUPREME SOUL AMERICAS BEST DANCE CREW TOUR OPENER CHOR/DANCER CHOR: SELF JESSICA SANCHEZ CHOR/DANCER CHOR: SELF LIL MAMA TEEN CHOICE AWARDS PARTY DANCER SUPREME SOUL NBA ALL-STARS WEEKEND – VEGAS CHOR/DANCER TRIPLE THREAT Commercials STARBUCKS FEATURED 72ANDSUNNY Training HIP HOP, KRUMP, POPPING, JAZZ, FREESTYLE, DEBBIE ALLEN, CHAPKIS DANCE STUDIO, MILLENIUM, IDA, MOVEMENT LIFESTYLE, DEBBIE REYNOLDS, ROBERT HOFFMAN, KOLANIE MARKS, GREG CHAPKIS, NICK WILSON, Special Skills (HIP HOP, JAZZ FUNK, KRUMP, POPPIN, FLEXING), DOUBLE JOINTED SHOULDERS, FOOTBALL, BASEBALL, BASKETBALL, TRACK, RECREATIONAL ACTIVITIES, BOWLING, ROLLERBLADING, SWIMMING, BIKING, BILLIARDS .
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Wedding Ringer -FULL SCRIPT W GREEN REVISIONS.Pdf
    THE WEDDING RINGER FKA BEST MAN, Inc. / THE GOLDEN TUX by Jeremy Garelick & Jay Lavender GREEN REVISED - 10.22.13 YELLOW REVISED - 10.11.13 PINK REVISED - 10.1.13 BLUE REVISED - 9.17.13 WHITE SHOOTING SCRIPT - 8.27.13 Screen Gems Productions, Inc. 10202 W. Washington Blvd. Stage 6 Suite 4100 Culver City, CA 90232 GREEN REVISED 10.22.13 1 OVER BLACK A DIAL TONE...numbers DIALED...phone RINGING. SETH (V.O.) Hello? DOUG (V.O.) Oh hi, uh, Seth? SETH (V.O.) Yeah? DOUG (V.O.) It’s Doug. SETH (V.O.) Doug? Doug who? OPEN TIGHT ON DOUG Doug Harris... 30ish, on the slightly dweebier side of average. 1 REVEAL: INT. DOUG’S OFFICE - DAY 1 Organized clutter, stacks of paper cover the desk. Vintage posters/jerseys of Los Angeles sports legends adorn the walls- -ERIC DICKERSON, JIM PLUNKETT, KURT RAMBIS, STEVE GARVEY- DOUG You know, Doug Harris...Persian Rug Doug? SETH (OVER PHONE) Doug Harris! Of course. What’s up? DOUG (relieved) I know it’s been awhile, but I was calling because, I uh, have some good news...I’m getting married. SETH (OVER PHONE) That’s great. Congratulations. DOUG And, well, I was wondering if you might be interested in perhaps being my best man. GREEN REVISED 10.22.13 2 Dead silence. SETH (OVER PHONE) I have to be honest, Doug. This is kind of awkward. I mean, we don’t really know each other that well. DOUG Well...what about that weekend in Carlsbad Caverns? SETH (OVER PHONE) That was a ninth grade field trip, the whole class went.
    [Show full text]