DOCSLIB.ORG

Lindy Hop and Joie De Vivre in California

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lindy Hop and Joie De Vivre in California Lindy Hop and Joie de Vivre in California by at first but soon lands work on Elliot Orchestra at the elegant the Hollywood screen. A few Sportsman's Lodge. This past years later Dean appears in a film summer the PBDA sponsored that showcases yet another New Swing Camp Catalina (see box, York import, the fabulous page 8), and its success has Whitey's Lindy Hoppers in prompted another camp scheduled Hel/zapoppin'. (co111i1111ed on page R) 1982... Dean Collins, older now but still swinging, is approached by two swing neophytes in an LA INSIDE nightclub. Jonathan Bixby and AN Axe TO GRIND Sylvia Sykes have searched out Judy Martin talks about "That vintage Lindy Dancers to learn Swing Thing" (page3 & 4) directly about the dance which has them so excited. And the rest? SAN'ORA GIBSON' Let's jam ro California to find One of New York's originals Lindy Hop - the Next Generation. (page 5) As your jet circles LA and you CAMP ANO EVENT REVIEWS ponder the confusing megalopo­ Seattle, London, California, lis, remember you have a contact Bristol (page 6. 7, 8, and 15) in the lively Lindy Hop lady from Pasadena, Erin Stevens. During SPOlLIGHt ON tHE the 80's, Erin and dance partner SVGARFOOT STOMPERS Steve Mitchell searched for origi­ The performing group of the nal Lindy Hop dancers, found London Swing Dance Society them in New York in the likes of (page 11) Al Minns and Frankie Manning, and more... and brought home style and moves for weekly Lindy Hop classes. When Steve left for Germany, Erin continued teaching NEWS FLASH Lindy Hop under the auspices of Photo and Illustration the Pasadena Ballroom Dance Contest. Association that she operates with The stakes have been raised in her sister Tami. Guest artists such the photo and illustration con­ as Frankie, Marcus Koch and test. First prize is now a FREE Barbi Kaufer, and Steve conduct WEEK IN HERRANG! (for workshops several times each 1996}, by the kind generosity of A dancer's view of California. (Illustration by Nancy and Wendy Sandburg) year to satisfy swing devotees, Sweden's Rhythm Hot Shots. which number about 350 Lindy Take a wide angle on California board, snowboard, bungee jump, Get those photos and illustra­ dancers throughout the LA area. tions of Lindy and Lindy-related - the Cosmopolitan State. Those bebop, hip-hop, Lindy Hop... wait! The 4th Saturday of each month soft ocean breezes, smog-choked Hold that rolling camera on the events, people, activities in by 8 Erin hosts Club USA Jitterbug MAY for the next and last issue freeways, snowy alpine peaks, Lindy Hop. Swing Party in Pasadena with a farmland and fairyland, rap and 1935 ... Close-up on a slim before the judging starts! live band. If you're fortunate you Judging will be done in closed Bach, glitter and grit. The largest young man's arrival in Holly­ will catch an exhibition of her trees, the oldest trees, no more wood direct from the New York ballot by attendees at the 1995 choreography by the Stepp in' Out Herrang Dance Camp - you trees. The affluence, effluence, Lindy Hop scene. His name is Dancers. The PBDA coordinates bubbling mixture of cultures. So Dean Collins and he dances a don't have to be present to win. big band music the I st and 3rd Send submissions to .P.O. Box many places to go and things to smooth Lindy style well adapted Fridays of the month with the Bill do. Surfs up! Boogie board, sail- to social dancing. He just scrapes 6008, London W2 SZY, UK. ©1995 Dancing Star Productions except where held by author (noted). All rights reserved. No part of this newsletter may be repro­ duced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. Editorial Hoppin' Volume 2 Issue 2 Letter From the Editor Dear Reader: dates. We throw it open to you, our readers. First, a goodbye. We note with regret the Should it be eg '30s (apostrophe used to hold departure of Becky Crane as Deputy Editor of the place of what's missing, 19), 30's, or 30s? Hoppin: the newsletter. She offered her energy and tal­ For the first time Hoppin' is planning to ents at a critical juncture in the newsletter's have a birthday celebration! Not our first Publisher and Editor development - she will be much missed. We birthday - there was no time for such tomfool­ ery in the early startup up years. those lean and Deborah Huisken wish her the best in juggling the many demands on her time and talents. hungry years (do you hear violins playing?) If Writers In the last issue we welcomed Steve Carlan you have ideas for how we might celebrate as West Coast USA Advertising Manager. (and oh, by the way, raise some money for Simon Bell. Bob Crease. Richard Dixon, Joe You'll see the results of his and Nancy Hoppin', this non-profit making newsletter) Joseph. Gilly Love. Judy Martin. Nancy Sandburg's efforts in the following pages, hav­ send them along. We'd like to have birthday Sandburg. Porl Smith. Jess Newton. ing brought in much-needed advertising rev­ dance events all over the world or, if we were Additional Contributions enue. Good Work, team! to get really ambitions, simultaneous broad­ A reader suggests we mention Cab casts worldwide of wildly celebrating Lindy Franck Balbin, Richard Dixon. Lorenz Ilg, Calloway's appearance in the movie The 811/es Hoppers, all connected via satellite.... Perfonning World Events. Sarah Reynolds, Brothers, which is where "a lot of us younger In the UK it is planned for Saturday night, Nancy Sandburg, Wendy Sandburg, New York generation" (he wasn't really trying to remind 11 November 1995. Join in, and help us cele­ Swing Dance Society. Gabby Winkle, Jenny me of my age, was he?) first heard of him. If brate! from Sweden. you haven't seen the movie, check it out. Editorial Assistance At our last staff meeting, we had a raging dicusion about the proper designation for Simon Bell, Judy Martin. Valerie Wilson. Photo Editor Chris Batchelor Letters To the Editor Distribution Dear Hoppin'· Radio City Revels, Ca/Jin in the Sky, Gmovie Cm111try Ma11agers: Eva-Maria Schmid, Congratulations on your piece on Mickey Dee. Mm•ie, and Call of the Jitterbug. Gcnnany: Lennan Westerlund, Sweden; No one could dismiss Hoppin'· as being Kaare Dagfinn Strand Lorenz Ilg, Switzerland: Angela Andrew, UK, lightweightl When I opened the last issue, I Fyllingsdalen, Norway Nancy Sandburg. USA. Master: Craig didn't expect lessons in life as well as Lindy' Kaare - I put this question to the Hutchinson, USA; Julie Oram, Porl Smith, Mickey really sounds like some lady, one I Hoppin'·staff and they all said - "when you UK. Commercial: Dance Books Ltd., Books would like to meet. As soomeone who is ofte find out, let us know f(}o!" So how about it, Etc .. UK. Subscription: Freddie Haugan, accused of 'leading' in life as well as on the readers - anyone know a good source for the Norwav· Joe Namesnik. Switzerland: Leslie dance floor, I found Mickey's thoughts on old mol'ies? -Ed. Coombs, Melinda Comeau. Kristen Eberlein. strong women using their 'quiet power' both at Sandra Cameron Dance Studio. .!.J.S.A. home to keep their families together JillQon the Dear Hoppin'· dance tloor to keep their act together really rel­ Great magazine! Submissions: evant. More power to her elbow. Radical Lesley Benjamin Submissions forHoppin' may be sent c/o stuff, this dance thing called Lindy! Brighton, UK Dancing Star Productions. Post Office. Box Sue Milner 6008. London W2 5ZY UK, phone and fax: London, UK Dear Hoppin'· +44 171 221 8331. E-mail: Sue - ifyou want to see more of Mickey Dee. Received a copy of Hoppin' Volume 2 Issue [email protected]. Deadline for editorial check ollf Herriing this summer - she' II /Je I. I read it from cover to cover, and loved the submissions to Volume 2 Issue 3 is 8 May. teaching there (see ad. p. 13). And thanks for article by Mickey Davidson. She sounds 1995. If you want your submission to be the letter - le!ters like yours make doing this amazingly mature and I would love to meet returned, please include a stamped self­ worthwhile. Ed. her! So very warm and compassionate. addressed envelope. We reserve the right to Also liked the article by Tayo Ajibade, a trib­ edit articles for length, clarity. and readability. Dear Hoppin'· ute to Cab Calloway! I used to dance to his This newsletter is a tremendous asset and vehi­ band so often between the time I was "16 and Advertising: cle for the Lindy Hop. I'd like to help you out 21 "1 Also, his sister Blanche's band, and Glen Managa. UK: Rebecca Thomas. +44 171 403 with adertising because I care a lot about the Miller, The Dorsey Brothers, Stan Kenton, and 3982. West Coa.w. USA: Steve Carlan.+ I dance and I like what you're doing with the dozens of others in that Big Band Era. Really 805 964 920 I. Rates available on request - 1nagazine. brought back a lot of memories. Cab could deadline for space reservations for Volume 2 Steve Carlan sing 'Scat' that was fabulous and was a terrific Issue 3 is 25 May 1995. Santa Barbara. CA entertainer. You are doing a wonderful job with your Dear Hoppin'· publication of Hoppin·. Murt Chartrand ©1995 Dancing Star Productions except where indi­ I am a very big fan of Lindy Hop.
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]
  • Test out the Floor S
    THE FLURRY SUNDAY — DANCE SESSIONS 9AM — 6PM FEB 19, 2012 DANCE VENUES Saratoga City Center City Center F City Center City Center City Center (Rm D) Hilton Hilton Music Hall Meeting Room 1 Meeting Room 2 Room A Room B/C F Rosenberg Hall Melita Ballroom Gallery 9- -9 9:00-10:00 (DM) 9:00-10:00 (GMF) 9:00-10:00 (E) SACRED CIRCLE 9:15-10:00 (DMF) HULA HOOPING MUSIC FOR A DANCES For EVERYONE! QUIET MORNING ZUMBA® 9:30-10:45 (IB) Penny Wilson DANCE JAM Elizabeth McGovern Paul Cronin & Friends Maria Panayotou ZESTY CONTRAS 10- -10 10:00-11:15 (DX) For BEGINNERS 10:00-11:00 (DMF) 10:00-11:15 (NM) Casey Carr, AGE 8-80 MORNING SET DANCES with 10:15-11:15 (NM) 10:15-11:15 (IBS) 10:15-11:00 (IB) Gigue-a-Bit MORNING WEST COAST EASY FOOT DANCES For ALL SWING DANCE UNIQUE FORMS Will Mentor, Annie Fred Park, WALTZING SWING WORKSHOP PERCUSSION Brian Perkins The Irregulars & The Hedonists 11- Red Hen Stringband Bare Necessities Tango Fusion -11 Dance Company 11:00-12:15 (IM) Stop by the 11:15-12:30 (NM) 11:15-12:15 (DF) DANCES of 11:15-12:30 (DS) BLUES and FAMILY DANCE MAINLAND NEWER CONTRAS DanceFlurry 11:30-12:45 (DM) 11:30-12:45 (DM) GREECE 11:30-12:45 (IM) AWESOME SINGING WEST COAST AROUND THE WORLD Susan Petrick, IRISH SET DANCES: Organization SWING Peter, Paul Fotia Hellenic 12 12- ENGLISH DANCES: SQUARES Society Atlantic Crossing Irish Squares - GLORIOUS TUNES Ralph Sweet, Don Young’s & George Table Swing Mix Ron & Marie Bruschi, Robin Hayden, Hodgson, Lowman, Triptych For Spare Parts Siegel, Kirk, Douglas 12:30–1:30 (DF) 12:30-2:00 (DM) 12:45-2:00
    [Show full text]
  • Mark III Owners Manual
    MESA-BOOGIE MARK III OPERATING INSTRUCTIONS MESA ENGINEERING CONGRATULATIONS! You've just become the proud owner of the world's finest guitar amplifier. When people come up to compliment you on your tone, you can smile knowingly ... and hopefully you'll tell them a little about us! This amplifier has been designed, refined and constructed to deliver maximum musical performance of any style, in any situation. And in order to live up to that tall promise, the controls must be very powerful and sophisticated. But don't worry! Just by following our sample settings, you'll be getting great sounds immediately. And as you gain more familiarity with the Boogie's controls, it will provide you with much greater depth and more lasting satisfaction from your music. THREE MODES For approximately twelve years, the evolution of the guitar amplifier has largely been pioneered by MESA-Boogie. The Original Mark I Boogie was the first amplifier to offer successful lead enhancement. Then the Mark II Boogie was the first amplifier to introduce footswitching between lead and rhythm. Now your new Mark III offers three footswitchable modes of operation: Rhythm 1, Rhythm 2 and Lead. Rhythm 1 is primarily for playing bright and sparkling clean (although a little crunch is available by running the Volume at 10). You might think of Rhythm 1 as "the Fender mode”. Rhythm 2 is mainly for crunch chords, chunking metal patterns and some blues (but low settings of the Volume 1 will produce an alternate clean sound that is very fat and warm). Think of Rhythm 2 as "the Marshall mode".
    [Show full text]
  • IDO Dance Sports Rules and Regulations 2021
    IDO Dance Sport Rules & Regulations 2021 Officially Declared For further information concerning Rules and Regulations contained in this book, contact the Technical Director listed in the IDO Web site. This book and any material within this book are protected by copyright law. Any unauthorized copying, distribution, modification or other use is prohibited without the express written consent of IDO. All rights reserved. ©2021 by IDO Foreword The IDO Presidium has completely revised the structure of the IDO Dance Sport Rules & Regulations. For better understanding, the Rules & Regulations have been subdivided into 6 Books addressing the following issues: Book 1 General Information, Membership Issues Book 2 Organization and Conduction of IDO Events Book 3 Rules for IDO Dance Disciplines Book 4 Code of Ethics / Disciplinary Rules Book 5 Financial Rules and Regulations Separate Book IDO Official´s Book IDO Dancers are advised that all Rules for IDO Dance Disciplines are now contained in Book 3 ("Rules for IDO Dance Disciplines"). IDO Adjudicators are advised that all "General Provisions for Adjudicators and Judging" and all rules for "Protocol and Judging Procedure" (previously: Book 5) are now contained in separate IDO Official´sBook. This is the official version of the IDO Dance Sport Rules & Regulations passed by the AGM and ADMs in December 2020. All rule changes after the AGM/ADMs 2020 are marked with the Implementation date in red. All text marked in green are text and content clarifications. All competitors are competing at their own risk! All competitors, team leaders, attendandts, parents, and/or other persons involved in any way with the competition, recognize that IDO will not take any responsibility for any damage, theft, injury or accident of any kind during the competition, in accordance with the IDO Dance Sport Rules.
    [Show full text]
  • 1996 Commencement Program
    Morehead State University Class of 1996 Spring Commencement Saturday, May 11, 1996 r•] Academic Costumes The wearing of academic costumes is a custom that goes back to the Middle Ages. Since the early European and English universities were founded by the church, the students and teachers were required to wear distinctive gowns at all times. Although the custom was brought to this country in Colonial days, the requirement for students was soon dropped. The custom for professors was confined to special occasions such as graduating exercises and inaugurations of new presidents. With the increase in the number of educational institutions and the development of new subject-matter fields, some confusion arose in time about the type of gown and the specific color co denote various degrees. To introduce desirable uniformity and set up a clearing house for new developments, a commission representing leading American colleges produced The Intercollegiate Code in 1895. ln 1932, a national committee of the American Council on Education revised this code into The Academic Costume Code. It was revised in 1959. Although not obligatory, most of the educational institutions in the country follow it in awarding their degrees, earned and honorary. The most significant part of the academic dress is the hood. The color of its velvet border indicates the academic field, and it is lined with the color or colors of the institution granting the degree. The hoods of those receiving a Master of Arts or an honorary degree of Doctor of Letters have those same color indications, but each successively higher degree carries with it a longer hood.
    [Show full text]
  • 2017 US OPEN Rules
    US Open Swing Dance Championships/Rules & Competitions/2017v-1 2017 US OPEN Rules MISSION STATEMENT Our mission is to provide the best possible environment to showcase the highest level of competition from around the world, and thus provide the most exciting entertainment for our attendees. GENERAL RULES & INFORMATION STATEMENT OF SWING This statement of Swing is to be used to identify the presence of swing in the Swing Divisions at the US Open Swing Dance Championships. Swing is an American Rhythm Dance based on a foundation of 6-beat and 8-beat patterns that incorporate a wide variety of rhythms built on 2-beat single, delayed, double, triple, and blank rhythm units. The 6-beat patterns include, but are not limited to, passes, underarm turns, push-breaks, open-to-closed, and closed-to-open position patterns. The 8-beat patterns include, but are not limited to, whips, swing-outs, Lindy circles, and Shag pivots. Although they are not part of the foundation of the dance as stated above, 2- beat and 4-beat extension rhythm breaks may be incorporated to extend a pattern, to phrase the music, and/or to accent breaks. (For additional information, please visit http://www.nasde.net/rules.php) The objective is to provide a competitive performance venue for the various unique styles of swing that have developed across the nation to include the Carolina Shag, Dallas Push, East Coast Swing, Hand Dancing, Hollywood Swing, Houston Whip, Imperial Swing, Jive, Jitterbug, Lindy Hop, Rock-n-Roll, and West Coast Swing, to name a few. The US Open Swing Dance Championships divisions are open to a variety of Swing dances, except in Cabaret division.
    [Show full text]
  • 2013 Commencement Program
    Morehead State University Class of 2013 Spring Commencement Saturday, May 11, 2013 AUNIVERSITY The Program Spring Commencement Saturday, May 11, 2013, 10 a.m. Academic-Athletic Center ➔ Processional ........................... Pomp and C ircumstance by Elgar Dr. Eunbyol Ko, Piano C .2 ii ~ Special Music ... ... ...................... .. ...... Mr. Will Young .;! '- [_del~I ➔ 0 ~_7 ~ ~ ~ National Anthem . ..... ........... ..... .. .. MSU C hamber Singers ~ Wimir by Fmncis Sco11 Key Or. G reg Detweiler, Conducror Music by Darmon Meador Dr. Eunbyol Ko, Piano Opening of Ceremony ................. ............... M s. Barb Lewis Grand Marshal and Mace Bearer Welcome and Introductions ....................... Dr. Wayne 0. Andrews Presid enr Special Music .................................... MSU Concert Choir D r. Greg D etweiler, Conducror Choose Something Like A Star .. ................. Dr. Eunbyol Ko, Piano Presentation of Ho norary Docroral Degree ... .... ......Mr . John Merchanr C hair, MSU Board of Regen rs D1: David Adair, Honorary Doctor ofScience Response ........................ .. ............ Dr. D avid Adair - ·- ·- ·- ·-·- ·- ·- ·- ·- ·- ·- ·-· U.S.60 ·- ·- ·- ·- ·-·-·-·-·- ·- ·- ·- ·- Commencement Address ......... .... ....... Mr. Logan Higginborham Srudenr Represcncarivc Safery Notices Ti., ensure your safety during roday's ceremony, please take note of the following: Remarks .... .............. .......... ........ .. President Andrews I. Smoking, lighters and open flames are not permitted in the arena ar any time. 2. Locate your nearesr exit. In the unlikely evenc of an emergency, follow rhe direcciom of the event staff and ushers. Do nor follow che police, they will be going co rhc scene of the emergency. You will be direcred co a safe area away from che arena. Presentation of Candidates for Degrees .... .. ..... ....... Dr. Karla Hughes Provost Dr. Clarenda Phillips Interim Associate Vice Presidenr for Academic Affairs/Academic Programs Dr. Roger McNeil Dean, College of Science and Technology Dr.
    [Show full text]
  • Lh/1/0512 Lindy Hop – Rules
    LH/1/0512 LINDY HOP – RULES 1. INTRODUCTION 1.1 In all items, not regulated separately in the following, the appropriate conditions stipulated by the WRRC especially in the Tournament Rules shall be applicable. 1.2 Lindy Hop must remain free to allow evolution of the dance. Lindy Hop is danced to Swing music. Lindy Hop is based on 6 and 8 counts. Lindy Hop belongs to Lindy Hoppers. Lindy Hop shall give priority to musical interpretation There are NO syllabus for Lindy Hop 1.3 All competitors in WRRC tournaments must arrive and report to the tournament directors at least one hour prior to the beginning of the event. The specific required arrival time shall be stated in the tournament announcement. 1.4 The concept for Lindy Hop events arranged within the World Rock ‘n’ Roll Confederation is a smaller form of event where the audience, the dancers and the dance should be in focus. The competition should be arranged in a social context, the audience, participators and officials should have the possibility to dance and enjoy the spirit of Lindy Hop. There is no need for a huge arena like concepts and in coherence with Lindy Hop spirit the event can be arranged in Clubs, Theaters and smaller forms of arenas where the audiences can come close to the dancers and the joy and happiness that the dance spreads. The events should preferably be arranged together with other type of Swing dances. 1.5 LINDY HOP TOURNAMENTS Age Age music music music (bars/min) Duration of Duration of Speed of the the of Speed Juniors 8-17 1:30 50 Main Class Min.
    [Show full text]
  • San Diego's Queen of the Boogie Woogie
    by Put Kramer Sue Palmer Sun Diego's Qaeen of Boogie Woogie rflhirty years in lhe mustc Sue's first professional I indrrt.y is a long time band was in Tobacco Road, for any performer, particular- a band she formed with well ly for blues artists and espe- known jazz and swing bass cially for women blues per- player Preston Coleman. formers. For Sue Palmer, the Over the next 15 years, the "Queen of Boogie Woogie," band played regular gigs at it's been a star-studded blues the Belly Up Tavern in So- career with many rewards lano Beach. Of Coleman she and awards. The swing, blues says, "Working with Preston and boogie-woogie piano was like going to college to player has toured the world learn my craft. He was the and played music festivals real thing - a man who was throughout the U.S. and Eu- a fantastic performer and ar- rope as the pianist for blues ranger and was kind and gen- diva Candye Kane. But it's erous with us." her solo and band recording While fronting Tobacco as Sue Palmer and Her Mo- Road, Sue met Candye Kane tel Swing Orchestra that have and soon after the two be- generated the most awards. gan collaborating on music. Her fourth release, Sophisti- Later, Sue was invited to join cated Lady won an Interna- Kane's band as piano player tional Blues Challenge Award which led to world tours for "Best Self Produced CD" through the '90s playing club in 2008, her third release, dates and festivals in Canada, Live at Dizzy's won "Best Australia, France, Holland, Blues Album 200212003" the Netherlands and United and her solo piano album, States.
    [Show full text]
  • Balboa West Coast 6:30 Pm to 7:30 Pm a Closed Position Dance of RUEDA This Style of Swing Is California’S Official State Dance $18 Per Person Quick and Fancy Footwork
    Erin and Tami are sisters who have co-owned and operated PBDA since 1983, making this our 37th year! If you have never danced Swing before, start here! Calling all hepcats! This is the original 1930s ”Savoy” style Swing – This 6-count style of Swing was all the rage in the ’40s Join our classes and enjoy our Saturday night up-tempo with Charleston movements, kicks, and character – and ’50s – up-tempo with an easy basic step. Swing dances featuring some of the best it’s the most show-stopping style! This dance is still very popular the world over. Swing bands in the country. Instructor: Erin Stevens Instructor: Tami Stevens It’s a proven fact that dancing promotes health Saturday Mornings ADVANCED STEPS & STYLINGS Monday Nights Sunday Afternoons and happiness – come join the fun! Starting: Feb. 22nd Saturday Afternoons Starting: Feb. 24th Starting: Feb. 23rd Six Week Series – $90 Starting: Feb. 22nd Six Week Series – $90 SAVE THE DATE…on Memorial Day Six Week Series – $90 LEVEL I: 10:00 am to 11:00 am Six Week Series – $90 LEVEL I: 7:15 to 8:15 pm LEVEL I: 4:15 pm to 5:15 pm Weekend, May 23–24, we will be hosting LEVEL II: 11:00 am to 12:00 pm LEVEL III: 12:00 pm to 1:00 pm LEVEL II: 8:15 to 9:15 pm LEVEL II: 5:15 pm to 6:15 pm Instructor: Tami Stevens a Swing Camp in honor of World Lindy Easy dips and flourishes to finish Hop Day (and Frankie Manning’s birthday).
    [Show full text]
  • Marcina Kasiny Oleśnica – 04
    TURNIEJ TAŃCA NOWOCZESNEGO o Puchar Wójta Gminy Oleśnica Marcina Kasiny Oleśnica – 04. lutego 2018 r. /niedziela/ 1. Organizator: 2. Współorganizatorzy: Polski Związek Tańca Freestyle Gmina Oleśnica Szkoła Tańca JAST JAST Atan Gminny Ośrodek Kultury Oleśnica 3. Termin imprezy: 04.02.2018 (niedziela) 4. Miejsce: Gminna Hala Sportowa, ul. Wileńska 32, 56 – 400 Oleśnica 5. Cele: - Popularyzacja i propagowanie tańca nowoczesnego. - Integracja Grup Tanecznych oraz instruktorów tańca. - Rywalizacja Fair Play oraz wspólna zabawa uczestników. - Wyłonienie najlepszych zespołów w poszczególnych kategoriach. - Promocja Gminy Oleśnica. - Promocja rywalizacji tanecznej wśród dzieci i młodzieży Gminy Oleśnica. 6. Komisja sędziowska: 5 licencjonowanych sędziów PZTF i skrutiner PZTF. 7. Kategorie wiekowe: Organizator zastrzega sobie możliwość połączenia kategorii wiekowych i dyscyplin tanecznych w przypadku 4 i mniej zespołów. 7 lat i młodsi (rocznik 2011 i młodsi 9 lat i młodsi (roczniki 2009 i młodsi) 11 lat i młodsi (roczniki 2007 i młodsi) 15 lat i młodsi (rocznik 2003 i młodsi) 16 lat i starsi (2002 i starsi) 31 lat i starsi (1987 i starsi) O przynależności do kategorii wiekowej w III, II i I lidze decyduje wiek najstarszego zawodnika – z tolerancją do 1 osoby. W Ekstralidze decyduje wiek najstarszego zawodnika UWAGA! W III, II i I lidze możliwe jest tańczenie jednej albo dwóch prezentacji przez ten sam zespół (oznacza to również, że jeden tancerz może występować w dwóch różnych zespołach danego klubu). Nazwa zespołu tańczącego dwie prezentacje musi kończyć się cyfrą 1 albo 2, np. JAST 1 i JAST 2 - nr 1 oznacza pierwszą prezentację w kolejności, nr 2 – drugą. 8. Muzyka: III , II i I Liga - muzyka własna do 3 min.
    [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]