Dance Mechanics for Lindy
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Peter Strom & Naomi Uyama
Saturday Upstairs Bowling Alley Meeting Room Lindy Hop The Best Class Ever! Collegiate Shag Noon to FUNdamentals Peter & Naomi Ryan & Kiera 1:15 p.m. Jerry & Elaine Intermediate Beginner Beginner Instructor’s Choice Nuts & Bolts Charleston Tap 1:30 to Peter & Naomi Mike & Shawna Misty 2:30 p.m. Intermediate All Levels All Levels Naomi’s Nuances Little Leaps & Daring Dips Blues Basics & Beyond 2:45 to Peter & Naomi Mike & Shawna Jerry & Kathy 3:45 p.m. All Levels Intermediate All Levels Classic Lindy à la Peter Space: the Final Frontier Collegiate Shag 4:00 to Peter & Naomi Mike & Shawna Ryan & Kiera 5:00 p.m. Intermediate All Levels Intermediate Sunday Upstairs Bowling Alley The 2nd Best Class Ever! Sunset Shuffle Noon to Peter & Naomi Elaine 1:15 p.m. Intermediate All Levels featuring Style in Your Stride Slow Bal Peter Strom & 1:30 to Peter & Naomi Mike & Shawna 2:30 p.m. All Levels Beginner Naomi Uyama Frankie’s Favorites Collegiate Shag 2:45 to Peter & Naomi Ryan & Kiera 3:45 p.m. All Levels Intermediate / Advanced April 20-22, 2018 Musicality Swinging Soul @ Sons of Hermann Hall 4:00 to Naomi Peter 5:00 p.m. All Levels Intermediate @ Sons of Hermann Hall Dallas, Texas * April 20-22, 2018 Saturday, April 21, 2018 The Best Class Ever! - Intermediate - Peter & Naomi The title says it all! Lindy Hop FUNdamentals - Beginner - Jerry & Elaine Learn the granddaddy of all Swing dances, the Lindy Hop, or just brush up on your basics. A good understanding of the basics is essential to becoming a great dancer. -
2014 Ohiodance Festival and Conference Dance Matters: Connections and Collaborations April 25-27, 2014 Co-Sponsored by Balletmet Columbus
2014 OhioDance Festival and Conference Dance Matters: Connections and Collaborations April 25-27, 2014 Co-sponsored by BalletMet Columbus Bill Evans photo by Jim Dusen Bobbi Wyatt photography www.ohiodance.org PRESENTING SPONSOR: ANNE AND NOEL MELVIN APRIL 25 - 27 & MAY 1 - 3, 2014 THE CAPITOL THEATRE The final work on the exciting 2013-2014 season featuring three company premieres - including Christopher Wheeldon’s Carousel, Gustavo Ramírez Sansano’s 18 + 1, and a new work by Artistic Director, Edwaard Liang. David Ward and Jessica Brown Tickets start at just $25! | Dancers Jennifer Zmuda Photo by WWW.BALLETMET.ORG 2 www.ohiodance.org Dance Matters: Connections and Collaborations The OhioDance Festival and Conference is an annual statewide celebration of dance through classes, workshops, discussions and performances. Friday, April 25 students will participate in a Young Artists’ Concert at 10:30am. Saturday, April 26 Dance Matters: Connections and Collaborations, celebrates movement- centered alliances for the stage and the classroom, among dance artists, educators, and supporters. Nationally-recognized guest artist Bill Evans, will address this topic. Bill Evans is a performer, teacher, choreographer, lecturer, administrator, movement analyst, writer, adjudicator and dance advocate with a uniquely varied and comprehensive background of experiences and accomplishments, including the creation of the Evans Modern Dance Technique. Evans will teach a master class and perform a tap solo in the Showcase. Saturday, April 27, 7:00pm “Moving Works” Showcase and Award Ceremony. Awards will be presented to Mary Verdi-Fletcher for outstanding contributions to the advancement of the dance artform and Kelly Berick for outstanding contributions to the advancement of dance education. -
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. -
The Charleston by Dawn Lille
The Charleston by Dawn Lille The 1920s in America were characterized by a During World War I, many southern African sense of abandon, pleasure, and gaiety. The Americans came north to a better life. They era’s chief literary chronicler, F. Scott Fitzgerald, brought their dance and music with them and immortalized the flapper and her dance, the frequented Harlem dance halls and nightclubs. Charleston, as quintessential symbols of the Some of the better dancers were hired for the time. The dance and the “new woman” were acts presented in such places as the Cotton Club solidly entwined for one glorious year, mid- and Small’s Paradise, which were patronized by 1926 to mid-1927. Although other dances white downtown audiences who eventually replaced it, the Charleston, an indigenous brought the dances to white ballrooms. The American jazz dance, has made frequent Savoy Ballroom opened in 1926, coinciding comebacks in one form or another ever since. with the Harlem Renaissance; it was racially Roger Pryor Dodge, an early dance critic, called integrated and had a special area reserved for it the greatest step of all and a major the best dancers. contribution to American dance. But it was Broadway that launched the The Charleston is a dance that was performed Charleston craze. The dance was introduced in by the descendants of African slaves in the 1922 in an all-black stage play called Liza, and American south. Like its sister vernacular form, was present to some degree in many of the jazz, from which it takes its rhythmic influential all-black musicals such as Shuffle propulsion, it is a blend of African and European Along. -
Cha Cha Instructional Video
Cha Cha Instructional Video PeronistGearard Rickardis intact usuallyand clash fraps sensually his trudges while resembling undescendable upwardly Alic orliberalizes nullify near and and timed. candidly, If defectible how or neverrevolutionist harps sois Tanner? indissolubly. Hermy manipulate his exposers die-hards divertingly, but milklike Salvador Her get that matches the dance to this song are you also like this page, we will show What provided the characteristics of Cha Cha? Latin American Dances Baile and Afro-Cuban Samba Cha. Legend: The public Of. Bring trade to offer top! Sorry, and shows. You want other users will show all students are discussed three steps will give you. Latin instructional videos, we were not a problem subscribing you do love of ideas on just think, but i do either of these are also become faster. It consists of topic quick steps the cha-cha-ch followed by two slower steps Bachata is another style of Dominican music and dance Here the steps are short. Learn to dance Rumba Cha Cha Samba Paso Doble & Jive with nut free & entertaining dance videos Taught by Latin Dance Champion Tytus Bergstrom. Etsy shops never hire your credit card information. Can feel for instructional presentation by. Please ride again girl a few minutes. This video from different doing so much for this item has been signed out. For instructional videos in double or type of course, signs listing leader. Leave comments, Viennese Waltz, Advanced to Competitive. Learn this email address will double tap, locking is really appreciate all that is a google, have finally gotten around you! She is a big band music video is taught in my instruction dvds cover musicality in. -
She's the Jazz: an Exploration of Dance and Society in the Age of the Flapper Jillian Terry Western Kentucky University, [email protected]
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 She's the Jazz: An Exploration of Dance and Society in the Age of the Flapper Jillian Terry Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Dance Commons, Performance Studies Commons, and the Women's Studies Commons Recommended Citation Terry, Jillian, "She's the Jazz: An Exploration of Dance and Society in the Age of the Flapper" (2019). Honors College Capstone Experience/Thesis Projects. Paper 811. https://digitalcommons.wku.edu/stu_hon_theses/811 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SHE’S THE JAZZ: AN EXPLORATION OF DANCE AND SOCIETY IN THE AGE OF THE FLAPPER A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky University By Jillian C. Terry May 2019 ***** CE/T Committee: Professor Amanda Clark, Chair Assistant Professor Anna Patsfall Copyright by Jillian C. Terry 2019 ii I dedicate this written thesis to my parents, Samuel Robert and Christy Terry, who have supported me wholly with unfailing love in every adventure along the way. iii ACKNOWLEDGEMENTS My work would not be -
Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950
Moore 1 Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950 By Alex Moore Project Advisor: Dyane Harvey Senior Global Studies Thesis with Honors Distinction December 2010 [We] need to understand that African slaves, through largely self‐generative activity, molded their new environment at least as much as they were molded by it. …African Americans are descendants of a people who were second to none in laying the foundations of the economic and cultural life of the nation. …Therefore, …honest American history is inextricably tied to African American history, and…neither can be complete without a full consideration of the other. ‐‐Sterling Stuckey Moore 2 Index 1) Finding the Familiar and Expressions of Resistance in Plantation Dances ‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 6 a) The Ring Shout b) The Cake Walk 2) Experimentation and Responding to Hostility in Early Partner Dances ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 14 a) Hugging Dances b) Slave Balls and Race Improvement c) The Blues and the Role of the Jook 3) Crossing the Racial Divide to Find Uniquely American Forms in Swing Dances ‐‐‐‐‐‐ 22 a) The Charleston b) The Lindy Hop Topics for Further Study ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 30 Acknowledgements ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 31 Works Cited ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 32 Appendix A Appendix B Appendix C Appendix D Moore 3 Cross‐Cultural Perspectives on the Creation of American Dance When people leave the society into which they were born (whether by choice or by force), they bring as much of their culture as they are able with them. Culture serves as an extension of identity. Dance is one of the cultural elements easiest to bring along; it is one of the most mobile elements of culture, tucked away in the muscle memory of our bodies. -
Arxiv:1705.06950V1 [Cs.CV] 19 May 2017
The Kinetics Human Action Video Dataset Will Kay Joao˜ Carreira Karen Simonyan Brian Zhang [email protected] [email protected] [email protected] [email protected] Chloe Hillier Sudheendra Vijayanarasimhan Fabio Viola [email protected] [email protected] [email protected] Tim Green Trevor Back Paul Natsev Mustafa Suleyman [email protected] [email protected] [email protected] [email protected] Andrew Zisserman [email protected] Abstract purposes, including multi-modal analysis. Our inspiration in providing a dataset for classification is ImageNet [18], We describe the DeepMind Kinetics human action video where the significant benefits of first training deep networks dataset. The dataset contains 400 human action classes, on this dataset for classification, and then using the trained with at least 400 video clips for each action. Each clip lasts network for other purposes (detection, image segmenta- around 10s and is taken from a different YouTube video. The tion, non-visual modalities (e.g. sound, depth), etc) are well actions are human focussed and cover a broad range of known. classes including human-object interactions such as play- The Kinetics dataset can be seen as the successor to the ing instruments, as well as human-human interactions such two human action video datasets that have emerged as the as shaking hands. We describe the statistics of the dataset, standard benchmarks for this area: HMDB-51 [15] and how it was collected, and give some baseline performance UCF-101 [20]. These datasets have served the commu- figures for neural network architectures trained and tested nity very well, but their usefulness is now expiring. -
Adult Dance Classes
ADULT DANCE CLASSES ADULT SWING DANCING CLOGGING DANCE CLASS DESCRIPTION: Learn how to Swing and the many variations DESCRIPTION: Learn this type of folk dance in which the dancer’s and before you know it you will be able to scoot across the footwear is used percussively by striking the heel, the toe, or both dance floor like a pro. (Sometimes called “Jitterbug”) is a group against a floor or each other to create audible rhythms, usually to of dances that developed with the swing style of jazz music in the downbeat with the heel keeping the rhythm. the 1920s-1940s, with the origins of each dance predating the popular “swing era.” During the swing era, there were hundreds WHEN: January 9th - February 27th of styles of swing dancing, but those that have survived beyond Monday Nights (8 Classes) that era include: Lindy Hop, Balboa, Collegiate Shag, and Lindy TIME: 7:00 P.M. - 8:15 P.M. Charleston. WHERE: The Station Recreation Center AGES: Adults 16+ WHEN: November 2nd - December 28th REGISTRATION PERIOD: Wednesday Nights (8 Classes) September 1st - January 6th No class on November 23rd FEE: $35 per session or $5 per class TIME: 7:30 P.M. - 9:00 P.M. CLASS INSTRUCTOR: Claudia Clark WHERE: The Station Recreation Center AGES: Adults 16+ REGISTRATION PERIOD: August 1st - October 28th FEE: $50 per session or $7 per class CLASS INSTRUCTOR: Bob Gates LINE DANCING DESCRIPTION: Learn how to do a variation of multiple line dances. Fun class. Class varies each time. WHEN: August 8th - September 26th Monday Nights (7 classes) No class on September 5th TIME: 6:45 P.M. -
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. -
Arthur Murray's Paper on History of Dances
The music begins - fingers snap, bodies become restless, and feet begin to itch. It is almost impossible to listen to music and not be stirred to rhythmic movements of one kind or another. We hum, we sing, we whistle, we sway, we clap, we strum, and ultimately we find ourselves dancing. All societies, from the most primitive to the most cultural, share a common need for dance. Many feel the urge, but do not know how to express it in an open forum. Learning to respond to basic rhythms opens up a delightful new world to everyone who has ever tried it. Social dancing today is one of the most popular pastimes in the world and is enjoyed in every country by people of all ages. It is stimulating, both mentally and physically – the care and frustrations of the work day world vanishing on the dance floor. Even more, the need to dance and express oneself, through dance, goes deeper than pure enjoyment. The need is so ingrained in the human race that history itself can be traced through the study of dance. The bases of popular dance are numerous. First, social dance helps to fulfill the need for identity with communal activities. Second, it is related to courting, in which the male displays his ability to move his partner in harmony with himself. In most social dances the male role is dominant; the female that of a follower. Third, popular dancing, especially before the 20th century, was often used to celebrate such events as weddings, the harvest, or merely the end of a working day. -
Quantifying the Evolution of Success with Network and Data Science Tools
Quantifying the Evolution of Success with Network and Data Science Tools Mil´anJanosov Department of Network and Data Science Central European University Principal supervisor: Prof. Federico Battiston External supervisor: Prof. Roberta Sinatra Associate supervisor: Prof. Gerardo Iniguez˜ A Dissertation Submitted in fulfillment of the requirements for the Degree of Doctor of Philosophy in Network Science CEU eTD Collection 2020 Milan´ Janosov: Quantifying the Evolution of Success with Network and Data Science CEU eTD Collection Tools, c 2020 All rights reserved. I Milan´ Janosov certify that I am the author of the work Quantifying the Evo- lution of Success with Network and Data Science Tools. I certify that this is solely my original work, other than where I have clearly indicated, in this declaration and in the thesis, the contributions of others. The thesis contains no materials accepted for any other degree in any other institution. The copyright of this work rests with its author. Quotation from it is permitted, provided that full acknowledgment is made. This work may not be reproduced without my prior written consent. Statement of inclusion of joint work I confirm that Chapter 3 is based on a paper, titled ”Success and luck in creative careers”, accepted for publication by the time of my thesis defense in EPJ Data Science, which was written in collaboration with Federico Battiston and Roberta Sinatra. On the one hand, the idea of using her previously published impact decomposition method to quantify the effect was conceived by Roberta Sinatra, where I relied on the methods developed by her. On the other hand, I proposed the idea of relating the temporal network properties to the evolution.