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												  Sequence Dance ProgramSequence Dance Program © Australian Institute of Dancing Inc’ Lead Foot Level One Pattern Styling Level Follow work 1. Emmerdale Waltz 2. Catherine Waltz 3. Tango Solaire 4. Balmoral Blues C 5. Mayfair Quickstep H O I 6. Alpine Stroll C E 7. Jacqueline Cha Cha O F 8. Sally Anne Cha Cha T 9. Shadow Samba H R E 10. Shadow Salsa E 11. Rumba One D A Jetta Jive N 12. C E 13. Paso La Paz S Lead Foot Level Two Pattern Styling Level Follow work 1. New Vogue Waltz 2. Argentine Stroll 3. Crystal Blues 4. Crystal Quickstep 5. Saunter Caprice C 6. Spindle Quickstep H O I 7. Coca Bola Cha Cha C E 8. Sling Shot Cha Cha O F 9. Fiesta Samba F 10. Mambo Magic O U R 11. Rosalie Rumba D 12. Queen of Hearts Rumba A N C 13. Let’s Jive E S 14. Paso Deena © Australian Institute of Dancing Inc’ Lead Foot Level Three - Modern Waltz Rhythm Pattern Styling Level Follow work 1. Emmerdale Waltz 2. Catherine Waltz 3. Engagement Waltz 4. New Vogue Waltz 5. Opus No. 5 6. Banbury Waltz Lead Foot Level Three – Tango (Argentine) Rhythm Pattern Styling Level Follow work 1. Argentine Stroll 2. Argentine Obsession 3. Tango Solaire Lead Foot Level Three - Foxtrot Rhythm Pattern Styling Level Follow work 1. Stardust Foxtrot 2. Crystal Blues 3. Balmoral Blues 4. Saunter Caprice © Australian Institute of Dancing Inc’ Lead Foot Level Three - Quickstep Rhythm Pattern Styling Level Follow work 1. Spindle Quickstep 2. Crystal Quickstep 3.
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												  Types of Dance StylesTypes 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.
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												  Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York CityCentro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference.
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												  Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay AreaSyllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years.
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												  Dance Base 14 –16 Grassmarket, Edinburgh EH1 2JU 0131 225 5525 Dance @Dancebase.Co.Uk Dancebase.Co.UkAUTUM N15 GET ON BEAT Courses, drop-in classes & workshops for eve ryone 5 September – 4 December Dance Base 14 –16 Grassmarket, Edinburgh EH1 2JU 0131 225 5525 dance @dancebase.co.uk dancebase.co.uk Dance Base is a registered charity that encourages and celebrates the potential for dance in everyone. Scottish Charity SC022 512 BOARD Patron: HRH Prince Charles, Duke of Rothesay KT KG Chair Edward A Crozier Artistic Patron: Mark Morris Members Paul Blair, Cllr Catherine Fullerton, Annie Griffin, Simon Guest, Christopher Hampson, Fiona Hendry, Donna Malone, Elizabeth Mitchell Dance Base gratefully acknowledges support from: If you or your company would like to support Dance Base please contact Matt Roe, Head of Operations & Business Development on 0131 225 5525 Front cover dancer: Sau Tham (Hip Hop Intermediate) Front cover photographer: Maria Falconer Photography: Maria Falconer, Francesca Dymond Design: Emma Quinn Print: Streamline WE LCOME Contents Summer may be over, but fear not! We have an action-packed line-up of classes and workshops for you Welcome 3 this autumn. There is something for everyone as we look ahead to the festive season. Community 4 / 5 In response to overwhelming demand we have added even Professional 6 more classes to our bumper ballet offering. There will be How we do it 7 an additional Ballet Vintage class while one of the current classes progresses to Ballet Vintage Improvers and on top How to book 8 / 9 of this, we are also introducing a second Ballet Absolute Beginners class. We hope these classes will allow more Pay It Forward 10 people to discover the beauty and grace of this timeless Hires 11 dance style.
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												  A Traditional Viennese Waltz Sequence Dance © Bar FootworkALLES WALZER - A traditional Viennese Waltz Sequence Dance © Arranged by Shannah Birchenough & Phil Hughes 2016 Sequence Dance UK, 07712 445394 Time : 3/4 Tempo : Between 50 and 58 bpm Suggested Music : Mignonette, track 8, Ballroom Classics 1 CD : Blue Danube - Strictly Viennese Waltz - the Best of Dancesport CD, track 3 Commence in Closed Hold, Man facing, Lady backing LOD. Bar Footwork Count Pendulum to Centre & Wall - Lady's Underarm Turn to Left Side Position (LSP) 1 LF to side facing LOD, moving to C TH 1 RF draws to LF w/w facing LOD, moving to C, sway slightly to R T 2 RF almost closes to LF w/w facing LOD, moving to C, sway slightly to R T 3 2 RF to side facing LOD, moving to W TH 1 LF draws to RF w/w facing LOD, moving to W, sway slightly to L T 2 LF almost closes to RF w/w facing LOD, moving to W, sway slightly to L T 3 3 LF to side facing LOD moving to C, lift L arm & release R arm preparing to turn Lady under (Lady : TH 1 RF fwd facing C, HT, turning 1/8 R under man's arm) RF draw to LF w/w facing LOD, moving to C, turning lady under arm to R (Lady : LF moves to RF T 2 w/w, to DC, T, 1/8 R turning under man's L arm) RF almost closes to LF w/w, facing LOD, moving to C (Lady : LF almost closes w/w, fac DC, T 3 turning 1/8R under man's L arm) 4 RF to side in LSP, facing LOD, moving to Wall (Lady : LF side in LSP, facing LOD) TH 1 LF draws towards RF w/w, facing LOD, moving to Wall (Lady : RF draws to LF w/w, fac LOD) T 2 LF draws towards RF w/w, facing LOD, moving to Wall, extend R arm out to side (Lady : RF draws T 3 to LF w/w,
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												  Grade Dance Unit10TH GRADE DANCE UNIT TANGO The tango is a slow, sexy dance that originated in the slums of Buenos Aires in the mid-1800s. It’s become a universal symbol of sexual tension in the movies, but most commonly, is a popular dance in ballrooms and nightclubs around the world. Although many variations of the tango exist, the most famous is still the original Argentine Tango. History of the Tango Like so many of history’s most popular and enduring dance styles, the tango’s legacy stretches back from its current cachet as a sensuous, exotic ballroom dance to its origins in the immigrant African slums of Argentina. No one knows for certain where the tango really came from, but it’s generally accepted that the word itself likely has African origins, and that it evolved from the free mixing of cultures and ethnicities in working class Buenos Aires in the mid-19th century. There, poor immigrants from Spain, Portugal, Italy, Poland, and Russia mixed and mingled with African slaves and shared their dance traditions with each other. Cuban and African musical styles and instruments were introduced, and an early style of the tango was born. Later, wealthy members of the Argentinian elite who weren’t above slumming among society’s poor introduced the dance to their own circles and eventually brought the steps and music with them to Paris, where many had moved for education and leisure travel. Unlike conservative Buenos Aires society, Parisians loved and embraced the coarse, sexual nature of the new dance. The tango craze spread throughout Europe and soon landed in London and New York.
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												  Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950Moore 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.
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												  Rhythmical Coordination of Performers and Audience in Partner Dance: Delineating Improvised and Choreographed InteractionRhythmical coordination of performers and audience in partner dance: delineating improvised and choreographed interaction Saul Albert ([email protected]) Contents 1 Introduction 3 2 Data and methods 4 2.1 Rhythm and interaction in a Lindy hop performance .................... 4 2.2 Studying the attention structure of an audience through rhythm ............... 6 2.3 Describing varied, coupled rhythms in the performance setting ............... 7 3 Analysis 9 3.1 Choreography: reorientation to familiar movements .................... 9 3.2 Improvisation: displays of readiness to change ....................... 13 3.3 Embodied action: joint coordination of improvised movement ................ 14 4 Discussion 17 4.1 Analytic distinctions between improvisation and choreography ............... 17 4.2 Embodied rhythms as projectable, interactional resources ................. 18 4.3 Embodied action built with non-vocal resources ...................... 19 5 Conclusion 21 6 Acknowledgements 21 7 References 21 1 Abstract This paper explores rhythm in social interaction by analysing how partner dancers and audience members move together during a performance. The analysis draws an empirical distinction between choreographed and improvised movements by tracking the ways participants deal with variations in the projectability and contingencies of upcoming movements. A detailed specification of temporal patterns and relationships between rhythms shows how different rhythms are used as interactional resources. Systematic disruptions to their rhythmical
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												  Sequence Dance Festival 2021 ChildrenSequence Dance Festival 2021 Children JUVENILE ALL GIRL TWO DANCE COMPETITON (CLASS J1) LILAC WALTZ and LIBERTY TWO STEP JUVENILE BOY/GIRL TWO DANCE COMPETITION (CLASS J2) MIDNIGHT TANGO and WAVERLEY TWO STEP JUNIOR ALL GIRL TWO DANCE COMPETITION (CLASS J3) ELIZABETHAN WALTZ and RIALTO TWO STEP JUNIOR BOY/GIRL TWO DANCE COMPETITION (CLASS J4) TANGO SOLAIR and RIALTO TWO STEP UNDER 10 YEARS OPEN TWO DANCE COMPETITION (CLASS J6) VELETA and BOSTON TWO STEP 12/13 YEARS OPEN TWO DANCE COMPETITION (CLASS J7) WINDSOR GLIDE and WAVERLEY TWO STEP JUVENILE THREE DANCE COMPETITION (CLASS J8) FYLDE WALTZ, MIDNIGHT TANGO and BOSTON TWO STEP JUNIOR OPEN FOUR DANCE COMPETITION (CLASS J9) WALTZ, SAUNTER SANTARNA, TANGO SOLAIR and KENSINGTON TWO STEP JUVENILE MODERN SEQUENCE COMPETITION (CLASS J10) WOODSIDE WALTZ and QUANDO QUICKSTEP JUNIOR MODERN SEQUENCE COMPETITION (CLASS J11) HELEN BROOKE WALTZ, TANGO CALLATINA and UNIVERSAL QUICKSTEP UNDER 10 YEARS SOLO PAS DE BASQUE AND WALKS COMPETITION (CLASS J12) UNDER 10 YEARS SOLO BARS 1-4 GAINSBOROUGH GLIDE COMPETITION (CLASS J13) JUVENILE OPEN SOLO LIBERTY TWO STEP COMPETITION (CLASS J14) JUVENILE OPEN SOLO FYLDE WALTZ COMPETITION (CLASS J15) JUNIOR OPEN SOLO RIALTO TWO STEP COMPETITION (CLASS J16) JUNIOR OPEN SOLO GAINSBOROUGH GLIDE COMPETITION (CLASS J17) Sequence Dance Festival 2021 Adults BRITISH SENIOR (OVER 35'S) CLASSICAL SEQUENCE CHAMPIONSHIP (CLASS A) WALTZ, COUNTESS WALTZ, SAUNTER SANTARNA, TARANTELLA TANGO and KENSINGTON TWO STEP (Countess Waltz in semi-final and final only) BRITISH UNDER 21 YEARS
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												  Grades Prek - 12For Teaching and Learning in Grades PreK - 12 New York City Department of Education New York City Department of Education • Joel I. Klein, Chancellor • Marcia V. Lyles, Deputy Chancellor for Teaching and Learning • Sharon Dunn, Senior Instructional Manager for Arts Education Dance Curriculum Development Contributing Writers Dance Organization Representatives and Reviewers Planning Co-Chairs Consultants New York City Department of Education All of the contributing writers, plus: Ann Biddle, Stories in Motion Joan Finkelstein, Director of Dance Programs, Andrew Buck, Arts Supervisor, Region 8 Leslee Asch, National Dance Institute Office of the Arts and Special Projects, Tina Curran, Language of Dance Center New York City Department of Education Eileen Goldblatt, Arts Supervisor, Region 9 Mary Barnett, Consultant Martha Hart Eddy, Center for Kinesthetic Education Mary Lisa Burns, Merce Cunningham Dance Company Jody Gottfried Arnhold, Founding Director, Kyle S. Haver, Instructional Specialist in Literacy and Humanities Mark DeGarmo, Mark DeGarmo and Dancers Dance Education Laboratory of the 92nd Street Y Barbara Gurr, Director of Visual Arts, New York City Paul King, Director of Theater Programs Daniel Gwirtzman, Daniel Gwirtzman Dance Company Department of Education Tina Ramirez, Artistic Director, Ballet Hispanico Eva Pataki, Arts Supervisor, Region 3 Joanne Robinson Hill, The Joyce Theater Laura Hymers, Trisha Brown Dance Company Leslie Hunt, Center for Arts Education Arlene Jordan, New York City Center New York City Department of Education
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												  Example ScriptBLACKPOOL SEQUENCE DANCE FESTIVAL 2017 MONDAY 23rd OCTOBER BEST ORIGINAL SEQUENCE DANCE: FIRST PRIZE (The Competition for this dance has the authorisation of the British Dance Council) SECTION ‘A’: CLASSICAL SEQUENCE TITAN TANGO Arranged by: Andrew Davies & Clare Rushby Time: 2/4 Tempo: 32 BPM Commence in Ballroom Hold Man facing, Lady backing LOD. Mans steps described Lady dances normal counterpart unless otherwise stated. Man and Lady dance on same foot bars 7 to 10. BAR COUNT FWK 2 FWD WALKS – 1 TO 3 OPEN REVERSE TURN (PARTNER OUTSIDE) & CLOSE IN PP – 2 WALKS IN PP (LADY SWIVEL) – 2 BACKWARD WALKS & SIDE CLOSE IN PP 1 LF fwd down LOD H S RF fwd down LOD H S 2 LF fwd in CBMP commence to turn to L H Q RF to side continue to turn L BH Q LF back in CBMP down LOD, partner outside, continue to turn L BH Q RF closes to LF slightly back to end in PP facing DW against LOD (Lady facing DW) WF Q 3 LF to side to W in PP H S RF fwd & across in PP & CBMP to W (Lady LF fwd & across in PP & CBMP to W & swivel to L to face DC & extend RF to side towards W (IEB), QQ) H S 4 LF back to C in CBMP, PO (Lady RF fwd to C in CBMP OP) BH Q RF back to C, partner inline, turning slightly L (Lady turning slightly R) BH Q LF to side along LOD, pointing DW (Lady pointing DC) BH Q RF closes to LF slightly back to end in PP, facing DW WF Q OUTWARD TURN – MAN THREE FWD RUNS AND CLOSE WW (LADY TRAVELLING SOLO TURN TO L) TO LH SHADOW HOLD – 1 TO 3 ZIG ZAG TO WALL – 1 TO 3 ZIG ZAG TO CENTRE & CLOSE 5 Release hold and drop arms to side, commence to turn L, LF fwd down