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MARCH 2017 (412) 373-2101 OUR 105th YEAR MON-FRI 1PM-10PM 260 STUDIOS WORLDWIDE FACEBOOK.COM/DANCEPITTSBURGHEAST www.dancepittsburgheast.com Sun Mon Tue Wed Thu Fri Sat Our Friends 27& Family open28 house 1 2 3 7:15 PM event is coming up on April 21st;7:30 PMtalk 6:45 PM 8:00 PM STUDIO WORKSHOP 6:45 PM STUDIO WORKSHOP FULL BRONZE POLKA to your teacher today to sign up for BRONZE IV BRONZE I &II INTRO TO FOX TROT STUDIO your dances andSALSA for the party commit- Cha Cha 8:00 PM CLOSED QUICKSTEP 7:30 PM Q&A CLASS tee!... Showcase is June 3rd at the 8:15 PM 8:15 PM STUDIO WORKSHOP 8:45 PM 8:45 PM Edgewood CountryBIV & Club; SI ask usSILVER about WEST COAST STUDIO PRACTICE Dinner Dance ticketsV.WALTZ and PerformanceSAMBA SWING Packages! PARTY PARTY 6 7 8 9 10 11 8:00 PM 7:15 PM MANAGER SARAH 7:30 PM 6:45 PM FULL BRONZE STUDIO WORKSHOP 6:45 PM STUDIO WORKSHOP SLEVINSKI BRONZE IV POLKA BRONZE I &II ADAM & GEOFF’S STUDIO BOLERO Quickstep NC 2STEP 8:00 PM CLOSED OUR STAFF HUSTLE 7:30 PM Q&A CLASS ADAM 8:15 PM 8:15 PM STUDIO WORKSHOP 8:45 PM GEOFF BIV & SI SILVER WEST COAST 8:45 PM TUNISIA STUDIO CHA CHA WALTZ SWING PRACTICE PARTY PARTY 12 13 14 15 16 17 18 7:15 PM 7:30 PM 6:45 PM 8:00 PM STUDIO WORKSHOP 6:45 PM STUDIO WORKSHOP BRONZE IV FULL BRONZE POLKA MEDALIST BRONZE I &II ADAM & GEOFF’S WALTZ WALTZ SWING 8:00 PM STUDIO SESSIONS HUSTLE ARE IN 7:30 PM Q&A CLASS CLOSED 8:15 PM 8:15 PM STUDIO WORKSHOP 8:45 PM GREEN BIV & SI SILVER WEST COAST 8:45 PM PRACTICE FOX TROT BOLERO SWING STUDIO PARTY PARTY 19 20 21 22 23 24 25 7:15 PM 7:30 PM 6:45 PM 8:00 PM STUDIO WORKSHOP SESSIONS 6:45 PM STUDIO WORKSHOP BRONZE IV FULL BRONZE POLKA BRONZE I &II FOR ALL ADAM & GEOFF’S SWING CHA CHA 8:00 PM STUDIO LEVELS HUSTLE 7:30 PM Waltz Q&A CLASS CLOSED ARE IN 8:15 PM 8:15 PM STUDIO WORKSHOP BLACK 8:45 PM BIV & SI SILVER WEST COAST 8:45 PM SAMBA SWING SWING STUDIO PRACTICE PARTY PARTY 26 27 28 29 30 31 1 7:15 PM 7:30 PM 6:45 PM 8:00 PM STUDIO WORKSHOP 6:45 PM STUDIO WORKSHOP BRONZE IV FULL BRONZE POLKA BRONZE I &II ADAM & GEOFF’S STUDIO TANGO CLOSED HUSTLE 8:00 PM STUDIO HUSTLE HUSTLE 7:30 PM CLOSED 8:15 PM Q&A CLASS 8:15 PM STUDIO WORKSHOP 8:45 PM BIV & SI SILVER WEST COAST 8:45 PM WALTZ TANGO SWING STUDIO PRACTICE PARTY PARTY .

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Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro 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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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.
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A Study of the Rap Music Industry in Bogota, Colombia by Laura
The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia by Laura L. Bunting-Hudson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Laura L. Bunting-Hudson All Rights Reserved ABSTRACT The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia Laura L. Bunting-Hudson How do rap artists in Bogota, Colombia come together to make music? What is the process they take to commodify their culture? Why are some rappers able to become socially mobile in this process, while others are less so? What is technology’s role in all of this? This ethnography explores those questions, as it carefully documents the strategies utilized by various rap groups in Bogota, Colombia to create social mobility, commoditize products and to create a different vision of modernity within the hip-hop community, as an alternative to the ideals set forth by mainstream Colombian society. Resistance Art Poetry (RAP), is said to have originated in the United States but has become a form of international music. In conducting ethnographic research from December of 2012 to October 2014, I was able to discover how rappers organize themselves politically, how they commoditize their products and distribute them to create various types of social mobilities. In this dissertation, I constructed models to typologize rap groups in Bogota, Colombia, which I call polities of rappers to discuss how these groups come together, take shape, make plans and execute them to reach their business goals.
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2018/19 Hip Hop Rules & Regulations
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Dance Division Rules and Categories
Dance Division Rules Dance entries must be video recorded and last approximately three minutes or less in length. 1. Judges reserve the right to move an entry to the appropriate category or disqualify the entry if rules are not followed. 2. If the Veteran sings at any time during the act, the entry will be disqualified. Any vocal singing needs to be placed under a music category. (Audio tracks containing vocals are allowed.) 3. Dance entries will be judged based on the dance style and steps incorporated in the performance as opposed to the style or type of music selected. 4. Whole-body (head to toe) video recording for dance entries is necessary. Video recording can include close-ups of the body and/or feet but whole body view of the movement should be included as well. 5. Entries MAY NOT be expanded with non-eligible Veterans or any other individual unless it is a partner dance where the partner is necessary to perform the dance movements. It should be noted that although the National Veterans Creative Arts Program recognizes the therapeutic value of participation of staff, volunteers and ineligible Veterans in groups, it is essential in keeping with the fairness of the competition that only eligible Veteran inpatients or outpatients are competing against each other. 6. The CD accompaniment of the dance division entries are required to be included with each dance entry form in order for the entry to be considered for possible inclusion in the Festival show, should the entry place first in the national competition. However, an entry may win a first place without the CD accompaniment included.
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Salsa Hustle
DECEMBER 2018 (412) 373-2101 OUR 106th YEAR MON-FRI 1PM-10PM 260 STUDIOS WORLDWIDE FACEBOOK.COM/DANCEPITTSBURGHEAST www.dancepittsburgheast.com Sun Mon Tue Wed Thu Fri Sat 2 3 4 5 6 7 8 8:00 PM 7:15 PM 11:30 PM 7:30 PM 7:30 PM 7:30 PM ALL LEVELS STUDIO WORKSHOP ADVANCED ASSOC. BRONZE TECHNIQUE & STYLE WEST COAST INTRO. TO LATIN STUDIO VARIATIONS ARM-STYLING TANGO SWING 8:00 PM 12:15 PM TANGO CLOSED BRONZE I INTRO. LATIN 8:15 PM 8:45 PM 8:15 PM 8:15 PM WALTZ SATURDAY NIGHT SILVER II & III BIV & SI FULL BRONZE Festival 8:45 PM DANCE PARTY V.WALTZ RUMBA RUMBA PRACTICE w/ A & A PARTY PARTY 8p to 10:30p 10 11 12 13 14 15 9 7:30 PM 7:15 PM 11:30 AM 8:00 PM MANAGER 7:30 PM 7:30 PM INTRO. TO STUDIO WORKSHOP ADVANCED ASSOC. BRONZE ALL LEVELS SARAH TECHNIQUE & STYLE WEST COAST VARIATIONS WEST COAST LATIN SLEVINSKI FOOTWORK SALSA 8:00 PM TECHNIQUE RUMBA SWING BRONZE I OUR STAFF 8:15 PM 8:45 PM 8:15 PM 8:15 PM SALSA 12:15 PM ADAM SILVER II & III WORKSHOP ALEXA BIV & SI FULL BRONZE Festival 8:45 PM INTRO. TO CRIS RUMBA CHA CHA HUSTLE PRACTICE TUNISIA PARTY SALSA & PARTY MERENGUE PARTY 21 16 17 18 19 20 22 8:00 PM 7:30 PM OPEN 7:30 PM 7:30 PM ALL LEVELS OPEN ASSOC. BRONZE TECHNIQUE & STYLE VARIATIONS INTRO. TO for personal MEDALIST FRAME Waltz STUDIO lessons all FOX TROT QUICKSTEP lessons all CLOSED SESSIONS ARE IN 8:15 PM 8:45 PM afternoon 8:15 PM 8:15 PM SILVER II & III GREEN BIV & SI FULL BRONZE HOLIDAY Closed after CHA CHA FOX TROT V.
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Notes on the Detroit Hustle. the Detroit Hustle Is a Social Dance and a Line Dance
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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.
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1970S DISCO HUSTLE Richard Powers
1970s DISCO HUSTLE Richard Powers DISCO STEPS American Hustle (also called The Hustle, New York Toe Hustle, Lindy Hustle and Easy Hustle) Man: Taps L foot to the L without weight (or tap in place, or tap crossing behind) Close L to R with weight Tap to the R side without weight Close R to L with weight Step L Step R Woman steps opposite, beginning R. Last 3 steps can be done in place, forward or backward, as needed. Latin Hustle (also called The Hustle, Latin-Swing, New York Hustle and Manhattan Spanish Hustle) Man: Tap L foot to the L without weight (or tap in place, or tap crossing behind) Close L to R with weight Quick step back R, quick close L to R with weight Step forward R Step L Step R Count 1 2 3 and 4 5 6. Woman steps opposite, beginning R. Last 3 steps can be done in place, forward or backward, as needed. 4-count Hustle (also called Street Hustle, Disco Merengue and Merengue Hustle) Man rocks back L Step forward R Step L Step R Woman steps opposite, beginning R. Last 3 steps can be done in place, forward or backward, as needed. Betty Lee’s variation: The first (rock) step is done quickly, with the fourth step done slower. Randy Deats’ variation: The first and fourth steps are done quickly, resulting in 3-count timing, very similar to 1980s (today’s) Hustle. Count and 1 2 3 and 1 2 3. 2 Proportion of 1970s Disco steps described in 35 Disco books, 1976-1980 6-count Latin Hustle (22 descriptions) touch - step - triple step - walk - walk other Latin Hustle variations 6-count American Hustle (13) touch - step - touch - step - walk - walk Continental and other variations 6-count Disco Swing (9) triple step - triple step - rock - step 4-count Hustle (6) (today’s Bugg and Disco Merengue) rock - step - walk - walk 4-count New York Hustle (4) touch - step - touch - step Tango Hustle (4) Promenades, kicks and dips Salsa Hustle (4) a 4-Count, 3-Step Walking Hustle 3-count Hustle (almost today’s Hustle) (2) Others (2) Note: The names of these steps weren’t standardized.
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Attracting and Keeping Members and Volunteers
Make Monthly Social Dances Start each social dance with a one-hour dance lesson taught by a local professional. Provide one or more special, clearly marked tables for singles. Provide dance hosts and hostesses to dance with single ladies and gentlemen. Have the Hospitality Committee greet everyone as they enter and make them feel welcome. Introduce new members when they join the chapter and encourage other members to introduce themselves to new members and ask them for a dance. Have the Hospitality Committee take new members around and introduce them to other members. Seat new members at a table with especially selected members who will encourage the new members to participate in the dancing and to interact with others. Provide a program that includes mixers, line dancing and exhibitions. Maintain a record of the birthdays of members and announce their birthday at the appropriate monthly dance and sing “Happy Birthday.” Give free admission to the monthly dance in the member’s birthday month. Obtain donations of door prizes from local businesses and award them at various times during the evening. Each year present a series of theme dances with suitable decorations, costume contests, etc. and recognize the board member or committee responsible. Give free admission to those who bring a guest who joins USA DANCE that evening. Play a changing selection of music and ask members to suggest specific music they like, perhaps via a periodic survey of attendees. Consider having a special event each quarter, perhaps in the four months that have a fifth Saturday, and include something extra such as a dinner, a band, showcases, a fund raising silent auction or special door prizes donated by area businesses.
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D2class Schedule September 2021
CLASS SCHEDULE D2 OCTOBER 2021 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY Sept 26 27 28 29 30 Oct 1 2 Studio A Studio A Studio A Studio A Studio A Studio A Studio A Cuban Salsa with Hip Hop with Dyllon Hip Hop with Dyllon Breakdance with Jhaymee Salsa with Patrick & Scarlet Salsa with Patrick & Scarlet Salsa with Patrick & Scarlet Karlos & Sara 3:15 Mini Hip Hop 3:15 Mini Hip Hop 4:00 Kids Breakdance 6:30 Booty Camp 6:30 Salsa 2 11:00 Salsa 1 12:30 Beginners Cuban Salsa 4:00 Kids Hip Hop 4:00 Kids Hip Hop 7:30 Ladies Body 7:30 Salsa 3 12:00 Beginner Body Salsa with Patrick & Scarlet 2:00 Intermediate Cuban Salsa 5:00 Teen Hip Hop 5:00 Teen Hip Hop & Arm Styling Movement & Shines 6:30 Body Movement 8:30 Ladies Shines On2 Salsa with Patrick & Scarlet Salsa with Patrick & Scarlet 7:30 Shines + Studio B 6:30 Salsa 3 6:30 Intermediate 8:30 Mambo 3 Studio B 7:30 Choreo Class Body Movement Studio B Bachata & Brazilian Zouk 7:30 Intermediate Shines On2 Bellydance with Carla with Javi & Carla 8:30 Dance of the Month: Studio B West Coast Swing 2:30 Bellydance Beginners 5:30 Bachata Flow Latin Hustle with Michael & Amy Studio B Salsa, Bachata & Brazilian 6:45 Brazilian Zouk 2 6:30 WCS Fundamentals Salsa with Patrick & Scarlet Zouk with Javi & Carla 8:00 Brazilian Zouk 1 7:30 WCS Beyond 6:30 Salsa 1 6:30 Salsa Fundamentals 7:30 Salsa 2 7:30 Bachata Flow 8:30 Brazilian Zouk 1 3 4 5 6 7 8 9 Studio A Studio A Studio A Studio A Studio A Studio A Studio A Cuban Salsa with Hip Hop with Dyllon Hip Hop with Dyllon Breakdance with Jhaymee Salsa
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Styles of Dance!
Name: _____________________________________________________ Date: _______ Styles Of Dance! 1 2 T B 3 A R S 4 5 F N E W A L T Z 6 T O G A I 7 8 R X L O C K I N G B A T I G O 9 10 D R D N J L 11 I P O P P I N G A L T T S Z Y 12 I C T Z W 13 C O N T E M P O R A R Y O N P O 14 15 C H A C H A S D L A 16 B A L L E T S 17 I M P R O V I S A T I O N Across 17. The process of spontaneously creating movement. 4. A smooth, progressive dance characterized by 5. A ballroom dance in triple time (3/4) performed Development of movement material is facilitated long, continuous flowing movements across the dance by a couple, who turn rhythmically round and round as through a variety of creative explorations including floor. It is danced to big band (usually vocal) music. they progress around the dance floor. body mapping through time, levels, shape and The dance is similar in its look to waltz, although the dynamics. rhythm is in a 4/4. 7. A style of funk dance, which is today also associated with hip hop. The name is based on the Down 6. Can be another term for folk dance, or sometimes concept of freezing from a fast movement and "locking" 1.
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