Researching History, Making a Dance Extended Pathway
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
Advanced Jazz Dance History
Advanced Jazz Dance History DEFINITION: Jazz dance is identifiable by its syncopated rhythms (accenting the offbeat) and isolated moving body parts. Jazz styles include movements that are sharp or smooth, fast or slow, exaggerated or subtle. BRIEF HISTORY: Jazz dance reflects the American historical events, cultural changes, ethnic influences and especially the evolution of music and social dances. The essence of jazz dance is its bond to jazz music. Jazz dance was born out of the combination of African and European influences. When the African slaves were brought to America, with them came the syncopated rhythms that were inherent among African folk songs and dances. As some of the white plantation owners observed and participated in the songs and dances, they added new ideas and styles to the dance steps which were influenced from folk dances from their European homelands. The popularity of jazz grew out of the plantation and into traveling entertaining groups called minstrel shows. During the Roaring Twenties, dance halls became a popular hangout for the young and spirited. In the 1930’s, Blues became the new sound of the 1930’s and was heard in great symphonic jazz orchestras such as Duke Ellington and Louis Armstrong. This was the swing era, and dance interpreted the energy with the vigorous lindy hop, jitterbug and boogie woogie dances. Fred Astaire and Ginger Rogers starred in films that promoted jazz. Ballroom dance evolved into its own distinct dance form. In the 1940's, with the onset of World War II, the popularity of jazz dance enjoyed in the dance halls diminished. -
Hip Hop Terms
1 Topic Page Number General Hip Hop Definitions ………………………………………………. 3 Definitions Related to Specific Dance Styles: ♦ Breaking ………………………………………………………………………. 4 ♦ House ………………………………………………………..………………… 6 ♦ Popping / Locking …………………………………………….….……… 7 2 GENERAL • Battle A competition in which dancers, usually in an open circle surrounded by their competitors, dance their routines, whether improvised (freestyle) or planned. Participants vary in numbers, ranging from one on one to battles of opposing breaking crews, or teams. Winners are determined by outside judges, often with prize money. • • Cypher Open forum, mock exhibitions. Similar to battles, but less emphasis on competition. • Freestyle Improvised Old School routine. • Hip Hop A lifestyle that is comprised of 4 elements: Breaking, MCing, DJing, and Graffiti. Footwear and clothing are part of the hip hop style. Much of it is influenced by the original breaking crews in the 1980’s from the Bronx. Sneakers are usually flat soled and may range from Nike, Adidas, Puma, or Converse. Generally caps are worn for spins, often with padding to protect the head. To optimize the fast footwork and floor moves, the baggy pants favored by hip hop rappers are not seen. o Breaking Breakdancing. o MCing Rapping. MC uses rhyming verses, pre‐written or freestyled, to introduce and praise the DJ or excite the crowd. o DJing Art of the disk jockey. o Graffiti Name for images or lettering scratched, scrawled, painted usually on buildings, trains etc. • Hip Hop dance There are two main categories of hip hop dance: Old School and New School. • New School hip hop dance Newer forms of hip hop music or dance (house, krumping, voguing, street jazz) that emerged in the 1990s • Old School hip hop dance Original forms of hip hop music or dance (breaking, popping, and locking) that evolved in the 1970s and 80s. -
Performing Tango on the Double Bass
Performing Tango on the Double Bass: A Performance guide to Andrés Martín’s Tres Tangos para Duo de Contrabajos by Darren Cueva A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2018 by the Graduate Supervisory Committee: Catalin Rotaru, Chair Frank Koonce Rodney Rogers ARIZONA STATE UNIVERSITY May 2018 ! ABSTRACT Tres Tangos para Duo de Contrabajos (Three Tangos for Double Bass Duet) is a three- movement set written by Andrés Martín and commissioned by Darren Cueva specifically for this document and accompanying performance project. This piece blends tango with Western art music in a style often referred to as “nuevo tango” (new tango) which was popularized by Astor Piazzolla. This research paper will serve as a performance aid for those wishing to present tango idioms on the double bass in addition to a more detailed guide to performing Tres Tangos by Martín. To give context to performers, this survey begins with a brief history of the tango and the life and stylistic developments of Astor Piazzolla. Various music and dance styles that contributed to early tango include, milonga, habanera, and tango andalúz. The resulting tango was popularized as a music and dance style in the early twentieth century. Astor Piazzolla brought the tango to the concert hall after studying composition with acclaimed professor Nadia Boulanger. His new tango style merged traditional tango, classical composition, and jazz music, which he was exposed to after his family moved from Argentina to New York. Tres Tangos was modeled after the style of Piazzolla. -
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. -
Style Machines
MERL – A MITSUBISHI ELECTRIC RESEARCH LABORATORY http://www.merl.com Style Machines Matthew Brand Aaron Hertzmann MERL NYU Media Research Laboratory 201 Broadway 719 Broadway Cambridge, MA 02139 New York, NY 1003 [email protected] [email protected] TR-2000-14 April 2000 Abstract We approach the problem of stylistic motion synthesis by learning motion patterns from a highly varied set of motion capture sequences. Each sequence may have a distinct choreography, performed in a distinct style. Learning identifies common choreographic elements across sequences, the different styles in which each element is performed, and a small number of stylistic degrees of freedom which span the many variations in the dataset. The learned model can synthesize novel motion data in any interpolation or extrapolation of styles. For example, it can convert novice ballet motions into the more graceful modern dance of an expert. The model can also be driven by video, by scripts, or even by noise to generate new choreography and synthesize virtual motion-capture in many styles. In Proceedings of SIGGRAPH 2000, July 23-28, 2000. New Orleans, Louisiana, USA. This work may not be copied or reproduced in whole or in part for any commercial purpose. Permission to copy in whole or in part without payment of fee is granted for nonprofit educational and research purposes provided that all such whole or partial copies include the following: a notice that such copying is by permission of Mitsubishi Electric Information Technology Center America; an acknowledgment of the authors and individual contributions to the work; and all applicable portions of the copyright notice. -
Social Media Analytics for Youtube Comments: Potential and Limitations1 Mike Thelwall
Social Media Analytics for YouTube Comments: Potential and Limitations1 Mike Thelwall School of Mathematics and Computing, University of Wolverhampton, UK The need to elicit public opinion about predefined topics is widespread in the social sciences, government and business. Traditional survey-based methods are being partly replaced by social media data mining but their potential and limitations are poorly understood. This article investigates this issue by introducing and critically evaluating a systematic social media analytics strategy to gain insights about a topic from YouTube. The results of an investigation into sets of dance style videos show that it is possible to identify plausible patterns of subtopic difference, gender and sentiment. The analysis also points to the generic limitations of social media analytics that derive from their fundamentally exploratory multi-method nature. Keywords: social media analytics; YouTube comments; opinion mining; gender; sentiment; issues Introduction Questionnaires, interviews and focus groups are standard social science and market research methods for eliciting opinions from the public, service users or other specific groups. In industry, mining social media for opinions expressed in public seems to be standard practice with commercial social media analytics software suites that include an eclectic mix of data mining tools (e.g., Fan & Gordon, 2014). Within academia, there is also a drive to generate effective methods to mine the social web (Stieglitz, Dang-Xuan, Bruns, & Neuberger, 2014). From a research methods perspective, there is a need to investigate the generic limitations of new methodological approaches. Many existing social research techniques have been adapted for the web, such as content analysis (Henrich & Holmes, 2011), ethnography (Hine, 2000), surveys (Crick, 2012; Harrison, Wilding, Bowman, Fuller, Nicholls, et al. -
INSIDE Information and Handouts to Get You Ready for VICTORY DANCE
This section is part of a full NEW VICTORY® SCHOOL TOOL® Resource Guide. For the complete guide, including information about the NEW VICTORY Education Department, check out: NewVictory.org/SchoolTool INSIDE Information and handouts to get you ready for VICTORY DANCE COMMON CORE STANDARDS What is VICTORY DANCE? Reading: 9 Writing: 5 Speaking and Listening: 1; 2; 5 Language: 1; 2; 4; 5 The New Victory Theater is thrilled to present VICTORY DANCE! Every summer, VICTORY DANCE celebrates the incredible artistry and diversity of NYC dance with performances specifically curated NEW YORK STATE STANDARDS The Arts: 1; 2; 3; 4 for young audiences which features a cross-section of highly English Language Arts: 1; 3; 4 accomplished and internationally recognized New York-based companies. BLUEPRINT FOR THE ARTS Dance: Dance Making Developing Dance Literacy Making Connections “a powerhouse of dancers who represent the unique heartbeat of NYC” We are thrilled to welcome you to this season of Victory Dance, The New Victory Theater’s annual dance series. This summer’s twelve New York City-based dance companies showcase an incredible range of dance and the power it has to transform space. All three programs feature a powerhouse of dancers who represent the unique heartbeat of NYC. Program A includes the inventive Pilobolus, the melodic feet of Ayodele Casel, bold moves from the Stephen Petronio Company and the joyous bounciness of Eva Dean Dance. Program B fuses modern, contemporary and flamenco dance to create a passionate combination that includes the iconic Paul Taylor’s Company B, the perspective-bending Seán Curran Company, the audacious Davalois Fearon and A Palo Seco Company who storm the stage with strength and grace. -
Curriculum Kindergarten-Grade 8
NEPTUNE TOWNSHIP SCHOOL DISTRICT Dance Curriculum Kindergarten-Grade 8 NEPTUNE TOWNSHIP SCHOOL DISTRICT Office of the Superintendent 60 Neptune Blvd. Neptune, NJ 07753-4836 July 31, 2019 Document C1#1 NEPTUNE TOWNSHIP BOARD OF EDUCATION Dorothea L. Fernandez, President Laura G. Granelli, Vice President Brady M. Connaughton Nicole M. Green Jerome H. Hubbard Jason A. Jones Mark A. Matson Michelle A. Moss Donna Puryear Antonio Lopez, Neptune City Rep. SCHOOL DISTRICT ADMINISTRATION Tami R. Crader, Ed.D. Superintendent of Schools Matthew Gristina, Ed.D. Assistant Superintendent of Schools Peter J. Leonard Business Administrator/Board Secretary Peter I. Bartlett Assistant Business Administrator/Assistant Board Secretary Sally A. Millaway, Ed.D. Director for Curriculum, Instruction & Assessment Kathleen M. Skelton Director of Special Services Lakeda Demery-Alston Supervisor of Humanities & ESL Charles Kolinofsky Supervisor of Data & Information Kathleen M. Thomsen Supervisor of Early Childhood Education ELEMENTARY SCHOOL ADMINISTRATION Principals Lori B. Burns, Ed.D., Early Childhood Center Joshua Loveland, Gables James M. Nulle, Green Grove Mark K. Alfone, Ed.D., Midtown Community Janelle Williams, Shark River Hills Jerard L. Terrell, Ed.D., Summerfield MIDDLE SCHOOL ADMINISTRATION Arlene M. Rogo, Ed.D., Principal Thomas Decker, Vice Principal Michael V. Smurro, Vice Principal HIGH SCHOOL ADMINISTRATION Jennifer C. Joseph, Principal Titania M. Hawkins, Ed.D., Vice Principal Kevin McCarthy, Vice Principal James H. Whitson, Vice Principal Richard Arnao, Administrator for Athletic & Co-Curricular Activities DEPARTMENT CHAIRPERSONS Kelly Baldino Juan Beltran Dawn Reinhardt Nicole Sanyigo Tara L. Stephenson Karen Watt Hillary L. Wilkins NEPTUNE TOWNSHIP SCHOOL DISTRICT THEATRE ARTS K-8 CURRICULUM Table of Contents Acknowledgements....................................................................................................... -
Street Dance Stories
Örebro University School of Humanities, Education and Social Sciences May 2013 STREET DANCE STORIES: Finding health and identity through dancing MA thesis Journalism Connected Supervisors: Joel Rasmussen and Fredrik Sturzenbecker Author: Anette Bodén Abstract Dancing is for many considered something embarrassing in today’s society and male dancers often face prejudices. Street dance is one dance style that is often perceived as masculine and can thus be seen as a safe haven for male dancers. However, the popularity in street dance is also vast in female dancers. Health benefits of dancing have been well researched, though not in street dance. This study explores health and identity issues in street dance, portrayed and studied through personal stories of four street dancers. The purpose of the study is twofold, on a journalistic part it is to tell the stories of four people’s personal experiences of street dance, thus spreading the image of dancers and highlighting some of the health and gender issues that street dance can bring. On the theoretical part the purpose is to thematise and analyse the same stories. The interviewees were selected by convenience samples, two male and two female street dancers strategically chosen for their expertise in the culture, different experiences and backgrounds, making an interesting journalistic selection. Through thematic analysis, the in-depth interviews show that the interviewed men and women talk about street dance in similar ways. They all describe the style in terms as ‘hard-hitting’, ‘explosive’, and ‘expressive’, and as masculine or gender neutral. The men chose street dance because it was the only dance style considered accepted. -
Electrodance As a “Being-Together”
ElectroDance as a “being -together” New forms of mediatization in the communication of youth styles Antonio Cambra González , PhD Candidate PhD Supervisor: Prof. Dr. Roger Martinez Sanmartin Internal Evaluator: Dr. Israel Rodríguez Giralt External Evaluator: Dr. Josep Lluís Fecé Gomez Open University of Catalonia/Universitat Oberta de Catalunya (UOC) Doctoral Program: Doctorate in Information and Knowledge Society Date: July 14 th 2015 TABLE OF CONTENTS :: Preface :: .............................................................................................................i PART I _ Communication, media technologies and youth cultures :: 1 :: Stepping into the realm of communication...................................................1 On the newness of new media......................................................................................1 Understandings of communication...............................................................................6 Communication ideals across time and space ............................................................12 The quest for humanness in communication ........................................................14 The salience of socio-technical mediums ..............................................................16 New media as interfaces.......................................................................................18 The corporate background of new (and prior) media practices............................22 The increasing mediatization of contemporary social life...........................................24 -
Between Commercial Dance and Dance in Higher Education
UNIVERSITY OF CALIFORNIA, IRVINE Bridging the Gap: Between Commercial Dance and Dance in Higher Education THESIS submitted in part partial satisfaction of the requirements for the degree of MASTER OF FINE ARTS in Dance by Christian John-Devi Vincent Thesis Committee: Associate Professor Loretta Livingston, Chair Professor Mary Corey Assistant Professor Sheron Wray 2015 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©!2015!Christian!John1Devi!Vincent! ! DEDICATION) ) ! TO!! ! ! Manzella!Vincent,!Benjamin!Vincent!and!Benjamin!Vincent!Jr.! ! ! in!recognition!of!their!love!and!continued!support.! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ) ii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv ABSTRACT!OF!THESIS v INTRODUCTION 1 CHAPTER!1:!!THE!FOUNDATIONAL!FORMS!OF!COMMERCIAL!DANCE! 5 ! CHAPTER!2:!!SPECIALTY!SKILLS!AND!SUPPLEMENTAL!CLASSES!FOR! 17 THE!COMMERCIAL!DANCER! ! CHAPTER!3:!!FEMININITY!AND!MASCULINITY!IN!COMMERCIAL!DANCE! 28 ! CHAPTER!4:!!THE!USE!OF!HAIR,!HEELS,!AND!THE!FACE!IN! 44 COMMERCIAL!DANCE! ! CONCLUSIONS ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ) ) iii ACKNOWLEDGEMENTS) I!would!like!to!express!my!sincerest!appreciation!to!all!the!dance!teachers,!professors! and!educators!that!have!taken!a!genuine!interest!in!my!education!and!improvement!over! the!years.! I!thank!the!dance!professionals!Carmit!Bachar,!Brian!Friedman,!Lauren!Gaul,!JoAnn! Hunter,!Scott!Jovavich,!Lisa!Lindholm,!Terry!Lindholm,!Rhonda!Miller,!Elizabeth!(Liz)! Ramos,!Desmond!Richardson,!Jamal!Sims,!Jamal!Story,!and!Charlie!Sutton!for!taking!part!in!