Different Forms of Dance in the Philippines
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SAC Community Services Spring 2016 Final
SANTA ANA COLLEGE COMMUNITY SERVICES PROGRAM SPRING 2016 714-564-6594 www.sac.edu/cms Take action • Aim for success • Enroll now HOW TO REGISTER On-line Registration @ www.sac.edu/cms with your MasterCard, VISA, Discover, or American Express. FAX Registration with your credit card information. Complete the registration form on the inside back cover and FAX to (714) 564-6309. Phone Registration with your MasterCard, VISA, Discover, or American Express. Call (714) 564-6594. Mail-In Registration: Complete the registration form located on the inside back cover, include payment, and mail to: Santa Ana College Community Services Program 1530 W. 17th Street, S-203 Santa Ana, CA 92706 In-Person Registration @ Community Services Program office located in the Administration Building, room S-203. See map on page 28. Confirmation: Registration received by mail will be confirmed if you send a self-addressed stamped envelope. Registration received by phone and online will automatically receive a confirmation. If you do not receive a confirmation in 5 business days, call our office at (714) 564-6594. Non-receipt of confirmation does not warrant a refund. Refund & Transfer Policy for all events: Refund and transfer requests must be made (3) business days prior to the event less a $10 processing fee per person. Day Tours: may be cancelled up to 10 days prior to departure date less a $15 processing fee. A refund will only be issued if your space can be re-sold. You may send a substitute in place. Multi Day Tours: Travel Protection insurance is highly recommended. A refund will be issued less a $50 cancellation fee. -
Gone Dancing Competition Team Rules and Guidelines 2018-19 Season
Gone Dancing Competition Team Rules and Guidelines 2018-19 Season -Preparing a team for competition requires a commitment to extra classes and Rehearsal time. It is important that each dancer be 100% dedicated and work to the best of their ability. - The purpose of the rules and guidelines is to develop a professional environment for the progression and development of each dancer. The actions of each dancer affect the team as a whole so it is important for each dancer to be fully committed and understand what is expected of them. -The Holiday Performance and Competition Schedule will be announced in July. PLEASE BLOCK OFF THE ENTIRE WEEKEND FOR COMPETITIONS. We do not receive our routines schedule until 1 week prior to the competition dates. Weekly Requirements- Part Time Team- These teams are designed for dancers ages 5 and up who want to be part of the competition experience but cannot commit to All of the requirements of the full time team or are not technically ready for intermediate choreography. (Just because you may not be technically ready this year does not mean that after another year of working hard in all of your classes that you will not be ready the following year!) Must commit to 3 Regional Competitions. Conventions and Nationals are encouraged but not required. **Any dancer interested in becoming a part of our competition team must spend a year in a non-competition class before being considered for a team. ** Weekly class requirements: Ages 5 and up Must dance a minimum of 3 hours per week. -
In Flight: Contemporizing Winged Motifs in Philippine
IN FLIGHT: CONTEMPORIZING WINGED MOTIFS IN PHILIPPINE FOLK DANCE FOR THE CANADIAN STAGE PAULO PEREZ ALCEDO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DANCE YORK UNIVERSITY TORONTO, ONTRARIO APRIL 2021 © PAULO ALCEDO, 2021 ii Abstract This thesis is a choreographic and filmic exploration of contemporizing selected Philippine folk dances that have winged motifs. It examines dance rehearsals as a site for ethnographic research. Metaphors of birth, growth, life, immigration, struggle, failures, resilience, and hope will be manifested and expressed. The output of this research is a dance film. Titled In Flight, it critically responds to themes of isolation, limited movements, the precarity of flight, restricted travel, acts of transferring from one place to another, and the ways in which dance artists adapt to quarantined movements of life. Its aim is to identify an increased knowledge of natural movement of the avian species paralleled or in discussion with how humans translate the naturally occurring movements of birds into human expressions and dances. Keywords: Philippine folk dance, contemporizing traditional dances, winged motifs, avian species, COVID-19, isolation, precarity of flight, dance ethnography iii Dedication This thesis is dedicated to my late sister Lara. Thank you for sparking my love of dance. Thank you for your unconditional love even if it was cut short. I wish you were here to bear witness to my own flight as a dancer and now a choreographer. I also dedicate this thesis to my brother Patrick who paved the way for me to pursue my graduate studies. -
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. -
April 2012 Compass
The Official Magazine of Sun City Lincoln Hills April 2012 Compass Chorus to Feature “Notable” Composers ... page 13 Strategic Advisory Committee Accepting Applications ... page 2 Limited Time Special Offer on Summer Concert Series ... page 5 Planning for Additional Pickleball Courts ... page 11 Association News In This Issue Board of Directors Report Activities News & Happenings ............................. 5 SCLH: A Different Kind of Wonderland Marcia VanWagner, Director, SCLH Board of Directors Advertisers’ Directory ......................................95 Association Contacts & Hours Directory ............ 94 Alice: Which way should I go? Once we know who Board of Directors Report................................... 2 Cat: That depends on where you are going. we are, then it’s on to Bucket List........................................................ 2 Alice: I don’t know where I’m going! envisioning our future. Cat: Then it doesn’t matter which way Bulletin Board ................................................. 37 What will we need to continue our finan- you go!! Lewis Carroll,1872 cial stability? How will we market our • You Are Invited ........................................... 37 Through the Looking Glass community to maintain home values in • LH Players Announce Auditions/”O’Leary’s” ..... 37 Sun City Lincoln Hills is a different this economy? How will emerging tech- Calendar of Events ..................................... 3 kind of Wonderland from Alice’s. Your nologies affect our future? How are we Chorus to Feature “Notable” Composers ........... 13 Board of Directors is committed to using our facilities and sports venues? knowing not only where we are go- Classes ............................................................ 59 The conclusions will include recommen- ing, but also how we will get there! It dations for a lifestyle appropriate for all. Club Advertisements ................................. 6-8 became clear during our election cam- The SAC will map the route, identifying Club News .................................................... -
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. -
Interweaving Indigenous Philippine Dance and Music and Western Classical Music for Recovery and Wellbeing
Creative Arts Educ Ther (2017) 3(2):47–59 DOI: 10.15212/CAET/2017/3/6 Rising After the Storm: Interweaving Indigenous Philippine Dance and Music and Western Classical Music for Recovery and Wellbeing 暴风雨后的崛起:交织菲律宾本土舞蹈、音乐和西方古典音乐 以期康复和健康 Gina Alfonso Cartwheel Foundation, Philippines Abstract Long-term recovery programs for the survivors of typhoon Haiyan – as it struck the Philippines in 2013 – were inevitably characterized by a convergence of Eastern and Western approaches to health and wellness due to the sectors involved in the process. Local community volunteers and local/international non-profit organizations joined forces to offer socio-emotional support to over 100 families of Tagbanua heritage on three islands in the area of Culion, Palawan, Philippines. This paper presents the blending of Eastern and Western perspectives on post-traumatic symp- toms, on well-being and on the human condition. The combined spirit of compassion and bayani- han (a Filipino term for togetherness in common effort) shared by the relief workers and the Tagbanua is also described. Narratives about the unexpected discovery of inherent indigenous ways of coping through dance – and a therapeutic encounter that involved a dialogue between Tagbanua and Western classical music – are highlighted as examples of the interweaving of art- based healing practices from the East and West which contributed towards recovery and the restoration of health. Keywords: Psychosocial support, Filipino psychology, Typhoon Haiyan, Philippine indigenous dance, Western classical music. 摘要 关于曾在2013年袭击菲律宾的台风海燕幸存者的长期康复计划,不可避免地表现为东 西方健康和福祉方法的融合,这是由于该计划涉及了这些内容。当地社区志愿者和当 地/国际非营利组织联合向菲律宾巴拉望和库利昂地区三个岛上的100多个塔格巴努亚土 著家庭提供心理支持。本文介绍了东西方对创伤后症状、健康状况和人类状况影响的观 点,并描述了救援人员和塔格巴努亚人分享共情和Bayanihan (菲律宾语共同和协力之 意)的精神。关于通过舞蹈应对,这种固有的土著方式的意外发现以及涉及塔格巴努亚 与西方古典音乐之间对话的治疗性相遇的叙述突出显示了东西方艺术为基础的针对康复 和福祉的健康治疗实践相互交织的案例。 关键词: 心理社会支持, 菲律宾心理学, 台风海燕, 菲律宾土著舞蹈, 西方古典音乐。 Creative Arts in Education and Therapy – Eastern and Western Perspectives – Vol. -
DVIDA American Smooth Silver Syllabus Figures
Invigilation Guidance/ DVIDA/SYLLABUS/ Current'as'of'October'15,'2015' Extracted'from: Dance$Vision$International$Dancers$Association, Syllabus$Step$List$ Revised/May/2014 Invigilation Guidance/ AMERICAN)SMOOTH) / DVIDA American Smooth Bronze Syllabus Figures *Indicates figure is not allowable in NDCA Competitions. Revised January 2014. View current NDCA List Waltz Foxtrot Tango V. Waltz Bronze I 1A. Box Step 1. Basic 1A. Straight Basic 1. Balance Steps 1B. Box with Underarm Turn 2. Promenade 1B. Curving Basic 2A. Fifth Position Breaks 2. Progressive 3A. Rock Turn to Left 2A. Promenade Turning Left 2B. Fifth Position Breaks 3A. Left Turning Box 3B. Rock Turn to Right 2B. Promenade Turning Right with Underarm Turn 3B. Right Turning Box 3. Single Corté 4. Progressive Rocks Bronze II 4A. Balance Steps 4. Sway Step 5A. Open Fan 3. Reverse Turn 4B. Balance and Box 5A. Sway Underarm Turn 5B. Open Fan with 4. Closed Twinkle 5. Simple Twinkle 5B. Promenade Underarm Turn Underarm Turn 6. Two Way Underarm Turn 6A. Zig Zag in Line 6. Running Steps 7. Face to Face – Back to Back 6B. Zig Zag Outside Partner 7. Double Corté 7. Box Step 8A. Reverse Turn Bronze III 8A. Reverse Turn 8. Twinkle 8B. Reverse Turn with 5A. Crossbody Lead 8B. Reverse Turn with 9. Promenade Twinkles Outside Swivel 5B. Crossbody Lead with Underarm Turn 10A. Turning Twinkles to 9. Right Side Fans Underarm Turn 9A. Natural Turn Outside Partner 10. Contra Rocks 6. Hand to Hand 9B. Natural Turn with 10B. Turning Twinkles to Outside 11A. Change of Places 7A. Forward Progressive Underarm Turn Partner with Underarm Turn 11B. -
Art and Performing Arts Recommended Reading List
Read Around the Subject Art and Performing Arts Recommended Reading List The Poet X by Elizabeth Acevedo – Performing and Poetry A young girl in Harlem discovers slam poetry as a way to understand her mother's religion and her own relationship to the world. Debut novel of renowned slam poet Elizabeth Acevedo. Xiomara Batista feels unheard and unable to hide in her Harlem neighborhood. Ever since her body grew into curves, she has learned to let her fists and her fierceness do the talking. But Xiomara has plenty she wants to say, and she pours all her frustration and passion onto the pages of a leather notebook, reciting the words to herself like prayers, especially after she catches feelings for a boy in her bio class named Aman, who her family can never know about. With Mami's determination to force her daughter to obey the laws of the church, Xiomara understands that her thoughts are best kept to herself. So, when she is invited to join her school' s slam poetry club, she doesn't know how she could ever attend without her mami finding out, much less speak her words out loud. But still, she can't stop thinking about performing her poems. Because in the face of a world that may not want to hear her, Xiomara refuses to be silent Slog's Dad by David Almond - Art Do you believe there's life after death? Slog does. He reckons that the scruffy bloke sitting outside the pork shop is his dad who has come back to visit him for one last time. -
Odissi Dance
ORISSA REFERENCE ANNUAL - 2005 ODISSI DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ŎRASALILAŏ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :±08-04-58 STATESMAN őIt was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi dancing -
2021 AAU Dance National Rules Handbook
2021 AAU Dance National Rules Handbook Sports For All, Forever S Hip Hop * Jazz * Ballet * Tap * Folk * Pom * Kick * Clogging Musical Theatre|Character * Ballroom Solo,Group *Contemporary Amateur Athletic Union - 1 - 2020-2021 AAU National Dance Handbook AAU National Dance Rules and Regulations TABLE OF CONTENTS Preamble……………………………………………………………………………………………………..4 I National Sport Committee Governance and Administration ......................................................4 A. National Committee Structure and Procedures .....................................................................4 1. National Sport Chair ....................................................................................4 2. Executive Committee Composition ..............................................................4 3. National Sport Committee Composition........................................................4 4. Other Committee Positions ..........................................................................4 B. Sport Committee Meetings .....................................................................................................5 1. National Sports Committee Regular Meeting................................................5 2. Non-Regular Sport Committee Meetings .....................................................5 3. National Sport Committee Special Meetings ................................................5 5. National Sport Executive Committee Meetings............................................5 6. Agenda Additions ........................................................................................5 -
Competitive Dance Information Packet Copy
Competitive Dance Program Information Packet Mission Statement Our goals are set high and achieved through the art of dance. The dance experience promotes dedication, achievement, and the development of self-esteem, grace, poise and lasting friendships. We uphold the vision of producing performers and educators. Competitive dancers & Apprentice dancers are known as and compete as “Water Street Dance Co. We have gained recognition at many competitions the past several years, therefore we continue to use the name. However, the local Washington studio is “Just Dance.” Categories Tap, Jazz, Lyrical, Hip-Hop, Contemporary, Musical Theater and Open. Small Groups (4-9 dancers), Large Groups (10 or more). Depending on how many dancers in a group, they can also be considered Lines or Productions. Duets and Trios are also available for the more advanced/experienced dancers and must be arranged between the dancers and the teachers/choreographers. Solos are for dancers on Senior Competitive only! We do not allow student choreography (other than seniors in High School) nor dancers not willing to rehearse. Placement Dancers will be placed in only the routines and age groups that are best suitable for that individual. Not everyone is in every dance you may only end up in one or two dances. If you have been placed in too many dances, please let Gina know and she will tell you what numbers can be eliminated. This must be done as soon as you receive your placements. No later, as you are taking a spot someone else could have taken. Keep in mind if a routine is designed to be a large group, you would have to give up a small group first.