International Choreographed Ballroom Dance Association
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Shift to Video
P A G E 6 No Classes? Shift To Video by Harold & Meredith Sears We can't go to our usual dance clubs and classes these days, but I'm keeping my hand in (or is it my foot?) with videos from YouTube and from other collections around the Web. I'll list some links below, but a simple search on the name of a rhythm, or of a specific dance figure, will turn up sites and additional links galore. Start with "waltz," "waltz telemark," "waltz styling," or "waltz four walls," and follow the links. You can easily spend a full evening and almost feel like you've been to a lesson and dance. One category of video presents showcase dances. We get to see the whole dance, from beginning to end, with- out any comment. The ballroom dancers will dance without cues. Round dancers will usually have the recorded cues. Either way, we can enjoy the big picture, the posture, the dance frame, body lines, and smooth body flow (and the music). More specifically, we can recognize some of the figures being danced. Watching figures that we know might reveal some features or details that we'd like to copy, improvements that we can make. Watching figures that we don't know can get us started toward knowing them. We often work on those sorts of details in the kitchen, our first steps toward smoother dancing. The other big category of video presents dance instruction. Here, the teachers are not presenting a dance; they are discussing and demonstrating specific steps, figures, and techniques used in dance. -
Ballroom Basics Timing/Tempo/Count/Beat Value Time – E.G
Ballroom Basics Timing/tempo/count/beat value Time – e.g. 3/4 (Waltz, Viennese Waltz), 4/4 During lessons, we discuss many of the following (most ballroom dances), 2/4 (Samba) elements of ballroom dancing. Tempo – speed of music, beats per minute (bpm), measures/bars per minute (mpm) Dance Styles Count – the timing of a dance which determines when a dancer steps in relation to the music Styles Beat value – regular rhythmic pulse in music; the o International – Standard & Latin; ISTD number of beats of music for each step, weight Syllabus change or action o American – Smooth & Rhythm Examples: Rumba – Slow, quick, quick, slow, o Nightclub dances quick, quick (SQQSQQ) – the slow is equal to Standard/Smooth – traveling dances e.g. Waltz, twice the value of a quick Viennese Waltz, Tango, Foxtrot, Quickstep Samba – the slow is equal to one beat; the quick Latin/Rhythm – spot dances e.g. Cha Cha, is a half beat Rumba, East Coast Swing, Mambo, Merengue, Recommend: count out loud or to yourself. It will West Coast Swing, Bolero, Jive, Samba help with timing and footwork Nightclub – Nightclub Two Step, Hustle, Salsa, Lindy Hop, Argentine Tango Dance positions – the relationship of the partners to each other Dance Etiquette Closed position Leading partner on and off the floor Open position Lady’s choice – dance to lady’s ability and Shadow position “closeness” Promenade Position – create Promenade Line of Dance (LOD) – fast lanes, slow lanes, position by rotating the body, not by pushing counter-clockwise with the arms, which results in breaking your Navigation – “floor crafting” frame. -
ROUND DANCE BASICS TWO STEP - PHASE I TOUCH, (Action) DIRECTIONS: - Action Touching Free Foot Toe at Supp
ROUND DANCE BASICS TWO STEP - PHASE I TOUCH, (Action) DIRECTIONS: - Action touching free foot toe at supp. foot instep. - Line Of Dance, Reverse Line Of Dance, - Other actions; (STAMP, TAP, HEEL, TOE) - Wall, Center Of Hall. (Diagonals) POINT, (Action) POSITIONS: - Action touching free ft. toe in direction indicated. - Open, Left-Open, Closed, Semi-Closed, - Apart,-, Point,-; Together,-, Touch,-; (Std. Intro.) - Butterfly, Sdcar, and Banjo. TWIRL "N". ASSUMED POSITION: - Man Fwd "n", Lady Twirls Right Face in "n". - In OPEN, if cued to face partner w/o position cue, - Twirl,-,2,-; Apt,-,Pt,-; (Frequent dance ending) - Then assumed position is BUTTERFLY. - In SEMI, if cued to face partner w/o position cue, ******** (HOT TIME MIXER) ******* - Then assumed position is CLOSED. BLENDING: WALK,-, (S) - Graceful transition from one position to another. - A step in line of progression taking 2 beats - In OPEN, blend to SEMI, etc. - Open, Closed, Semi-Closed.... - Other Walking steps; STRUT, STROLL, SWAGGER STARTING FOOTWORK: - WALK "N" - Take "n" walking steps. - Man's Left Foot, Lady's Right Foot. - Lead Foot, Trailing Foot RUN, (Q) - A step in line of progression taking 1 beat FREE FOOT, SUPPORTING FOOT: - RUN "N" - Take "n" running steps. - The foot that has no weight on it is the "Free Foot" - The foot that has weight is the "Supporting Foot". CIRCLE WALK AWAY or TOGETHER "N". - Walk in a circular pattern away/to partner "n" steps. CUEING PRACTICES - Cues are directed to Man's footwork CIRCLE WALK AWAY & TOGETHER;; (SS,SS) - Cues for next series of footwork occur prior to use. - 2 steps away from partner, 2 steps towards partner. -
Bolero – Introducing the “Cuban Dance of Love” Presented by TJ and Bruce Chadd
Bolero – Introducing the “Cuban Dance of Love” Presented by TJ and Bruce Chadd We are assuming that you’re teaching a group of dancers that experienced in Round Dancing through Phase III Rumba/Cha. Because of that we have left out teaching about what Round Dancing is, how cues work, lead feet, directions of dancing, positions, posture, lead and follow, etc. The Origin of Bolero: There are 2 countries that take credit for the original Bolero. In Spain in about 1780, ballet dancer Sebastiano Carezo invented the Spanish version of the Bolero, using 3/4 time music (like our waltzes). Then it was danced by either a female soloist or by a couple during ballet performances to very structured music. The Cuban Bolero uses 2/4 timing and is credited to “Pepe” Sanchez, a traveling musician in Cuba during the late 1800’s to early 1900’s. Since he composed most of his music in his head and didn’t write it down, much of his music has been lost to us. The Bolero introduced into the American Ballroom in the mid 1930’s uses 4/4 timing and has become an American Rhythm Standard Dance. 1. Choosing Music for Hash Cueing/Practice Dancing a. Listen/Feel the beat of the music --Choose music with strong downbeats --Use several different pieces of music. Since Round Dances are choreographed to all kinds of different music, we like to ensure dancers get used to that when they’re learning. We use both instrumental and vocal music and use music with a variety of different tempi for Hash Cueing/Practice. -
Introduction to International Paso Doble
International Paso Doble Introduction to International Paso Doble General Paso Doble is one of the most exciting of the Latin rhythms. It has the electric excitement of a bull fight with the man assuming the strong, powerful role of the matador and the lady, most often, portraying the cape, although she may act either role, depending upon the figure being danced. Paso Doble is different from other International Latin dances because there are separate techniques for each figure or family of figures and fewer general techniques. The most important general technique is the shaping of the man's body. The man's use of body sway emphasizes the character of the dance. The man uses body sway, in any Paso Doble step, where he feels a slight tendency to sway. By accentuating this sway the man enhances the flavor of the dance. Tempo The timing used for Paso Doble is normally 2/4 time with the first beat of each bar slightly accentuated. However, for round dance choreography, we write the cue sheets in 4/4 time. This will make the recommended speed approximately 30 measures per minute, instead of the 60 measures per minute for 2/4 timing. Phrasing Normally we count Paso Doble figures in multiples of 4 steps e.g. 4, 8, 12, 16, etc., and the man's first step normally begins with the right foot. Due to phrasing, there could be an occasional count of 2 steps. Stance The Paso Doble depicts the bullfight with the man as the matador and the lady as the cape. -
Adjudicator Principles
DANCESPORT ADJUDICATING PRINCIPLES Developed by DSA Accreditation Commission DSA – Adjudicating Principles Version 2019 Page 1 Adjudicating Principles Index Chapter 1. Introduction 3. Aims of the Manual 4. Structure and Perspective 5. Technical Assessments 8. Chapter 2. Ethics and Conduct of Adjudicators 9. Roles and Responsibilities 9. Mentors 10. Chairman of Adjudicators 12. Scrutineers 12. Licensing Requirements 14. Adjudicators Code of Conduct 15. Adjudicator Dress Code 18. Rules Interpretation 18. Rule Enforcement 19. Chapter 3. Marking Requirements—Adjudicator Cards 21. Obligations -- requirements of Skating System 21. “N” Marking procedure 23. Sample Adjudicator Cards 25. Chapter 4. Scrutineering – The Skating System explained 27. Chapter 5. Assessment of Competitors 30. Priorities of Assessment 31. Technical Merit as a Basis for Adjudicating 33. Chapter 1. Introduction The cliché “It takes two to Tango” (or any other dance within the confines of DanceSport) identifies the activity as a “Team Sport”. In this respect DanceSport differs from most other “Team Sports” in so much as a successful partnership, IRRESPECTIVE OF WHETHER IT BE IN Standard, Latin American or New Vogue, is expected to produce, as a general principle, a single entity “performance”, whereas in Team DSA – Adjudicating Principles Version 2019 Page 2 Sports generally, success is dependent upon a combination of the individual (and generally singular) activities of the team members. As well, within the realms of “Team Sports”, DanceSport is unique in so much as results are determined directly by the collective marks of the Adjudicators as opposed to “point scoring definitive actions” by individual team members. The role of the DanceSport Adjudicator differs considerably from that of the “judgement” role of the sports Referee or Umpire whose concern is primarily with the “rules of play” whereas the marks of the DanceSport Adjudicator (and ultimately the collective marks of the panel) directly indicate an assessment of the particular competitive performances. -
Roundalab Abbreviations for Cue Sheets Compiled by Annette Woodruff
Roundalab Abbreviations for Cue Sheets Compiled by Annette Woodruff For use by choreographers when creating cue sheets. Also for use by dancers when trying to “decipher” cue sheets. 1-9 one through nine, etc. dr door outsd outside strll stroll 1/2 half DRC Diagonal Reverse Line of ovr over swch switch 1/4 quarter Dance and Center of Hall PD Paso Doble swd sideward 2x, 3x.... twice, 3 times, etc. drg drag Ph I...Ph VI Phase I...Phase 6 swhrt sweetheart abt about DRW Diagonal Reverse Line of plc place swvl swivel ack acknowledge Dance and Wall pos position sync syncopation/syncopated acrs across dwn down prep prepare/preparation TAMP Tamara [Position] adj adjust elev elevation prog progressive tch touch adv advance, advanced ESCP Escort [Position] PROM Promenade [Position] tele telemark amer American falwy fallaway prom promenade TG Tango approx approximately fc face prtzl pretzel thru through apt apart FCG Facing [Position] pt point thrwy throwaway arg Argentine fig figure ptr partner tim time arnd around fin finish PU Pickup [Position] tog together awy away flk flick pu pickup trans transition bal balance flr flare pvt pivot trav traveling bas basic fnc fence Q quick [as used in timing] trl trail bball basketball frnt front qk quick [not used in timing] trn turn bdy body fshtl fishtail QS Quickstep trpl triple BFLY Butterfly [Position] FT Foxtrot qtr quarter TS Two Step bhd behind ft foot R right twd toward BJO Banjo [Position] fthr feather R/D Round Dance/Dancing twkl twinkle bk back fwd forward RAL ROUNDALAB twrl twirl BL Bolero [Position] -
Cue Sheet Writing & Reading, This ½ Meas Is Not Carried Over and Meas 16 Starts Anew
CINDERELLA PAGE 1 of 3 BY: Curt & Tammy Worlock, 3613 Citrus Tree Court, Plant City, FL 33566 (813)-431-3235 MUSIC: “Cinderella” by Steven Curtis Chapman CD: Steven Curtis Chapman - This Moment Track #3 SEQUENCE: Intro, A, B, A (9-18), B, Inter, A (9-18), B (1-15 ½), Ending RELEASED: January 2017 WEB SITE: www.curtandtammy.com E-MAIL: [email protected] SPEED: Speed to 28mpm RHYTHM: Hesitation/Canter Waltz PHASE: VI FOOTWORK: Described for M - W opp (or as noted) (Dedicated to our 2 beautiful daughters Mandi & Kasandra married 10/22/2016, and getting married 3/18/2017 respectively.) INTRO 1 - 4 WAIT; SIDE SWAY EACH WAY; WALTZ AWAY w/LOCK; AND TOGETHER TO BFLY; ------ 1 - Wait 1 meas in BFLY POS M FCING WALL lead foot free for both; 1--4-- 2 - Sd L sway R drawing R to L no weight,-,-, sd R sway L drawing L to R no weight,-,-; 1--4-6 3 - Trng LF releasing lead hands fwd L LOD,-,-, bringing trailing hands thru twd LOD cont slight LF trn sd & fwd R,-, lk LIB of R to OPEN POS LOD V-Shape back to back; 1--4-6 4 - Fwd R starting to pull back joined trail hands trng RF,-,-, cont RF trn sd L LOD,-, cl R to L to BFLY WALL; PART A 1 - 4 ROLL 3 TO ½ OPEN; OPEN IN & OUT RUN;; CHAIR & SLIP; 1--4-6 1 - Fwd L LOD comm LF trn,-,-, fwd R cont LF trn,-, sd & fwd L LOD as you scoop up ptr w/R arm under W’s L arm; 1--4-6 2 - Thru R comm RF trn,-,-, fwd & sd L cont RF trn as you scoop up ptr with your L arm under W’s R arm,-, cont RF trn sd & fwd R LOD (thru L comm slight RF trn,-,-, fwd R between M’s feet cont RF trn,-, sd & fwd L) to V-SHAPE LEFT HALF -
Grade 4 LIVE Arts with Terrance Littletent: Aboriginal Dance
Strand: Dance Level: Grade 4 Content: 45 minute broadcast + Grade 4 LIVE Arts with Terrance hands-on activity Littletent: Aboriginal Dance Terrance Littletent, Grass Dancer and world renowned Hoop Dancer, will lead students through Grass Dance steps and movements. Terrance will engage students through storytelling, demonstrations, and student practice. Students will learn about the evolution of Grass Dancing from historical to contemporary, and gain skill and knowledge in basic traditional and contemporary Grass Dance steps and movements. Both girls and boys will be encouraged to personalize their movements as every Pow Wow Dancer does. The main objectives are to learn timing and rhythm, how to move with the beat of the drum, and how to showcase space and symmetry with the body. Students with previous experience in Aboriginal Dance may choose to focus on their style of choice, such as jingle dress style or fancy dance style. Terrance's Hoop Dancing will also be showcased with a performance! As a dancer from Saskatchewan, Terrance will share how his dances are specific to the First Nations people of our province. This program is suited not only for Arts Education but Physical Education as well. Please see page 2 for a Pre-Broadcast Activity, and pages 6-18 for a selection of Teacher Guided Post-Broadcast Activities. These activities will give students the opportunity to apply what they have learned during the broadcast and to further their learning. About the Artist Curriculum Aims & Goals Terrance Littletent is a member of the Kawacatoose Creative/Productive: Cree Nation and was born and raised in Regina. -
ROUNDALAB STANDARD Abbreviations I. INTRODUCTION
ROUNDALAB STANDARD Abbreviations I. INTRODUCTION & CHANGES INTRODUCTION: Purpose of Abbreviations: To reduce the size of words, without confusing the reader, and to conserve space within the body of the cue sheet. The following guidelines apply to the usage of abbreviations and punctuation. The format of the title reflects the status of the descriptions or definitions that follow: Approved Standard - Boldface Type Tentative Standard - Underlined and preceded by a single asterisk [*]. On ROUNDALAB Teaching Videos [RTVs] - Preceded by a number sign [#]. Copies of the following additional manuals, booklets, ROUNDALAB Teaching Videos [RTVs], Digital Video Discs [DVDs], and Figure Video Software [FVS] may be purchased from: ROUNDALAB PO Box 1928 Auburn, ME 04211 PHONE: 877 Y I DANCE [877-943-2623] US/CANADA 207-904-0220 all other countries WEBSITE: www.roundalab.org E-MAIL: [email protected] • Phase Booklets – Phases I through VI • Glossary • Abbreviations Booklet • Index for Glossary & Phase Booklets • Listing of Phase Rated Actions, Movements and Figures by Rhythm Booklet • Listing of Phase Rated Actions, Movements and Figures by Phase Booklet • Cueing Guidelines • Cue Sheet Writing Guidelines • New Round Dance Leaders Manual - Phase I / II • Teaching Manuals for Phase III and IV • Preliminary Foot Movements & Positions/Dance Positions/Walks in all Rhythms Booklet • Callers Manual for Using Rounds in the Square Dance Program • ROUNDALAB Teaching Videos [RTVs] • Instructional Digital Video Discs [DVDs] [Phase I through Phase VI and Addendum] • Figure Video Software [FVS] Because of changes over time as well as differences of interpretation, inconsistencies may appear between the ROUNDALAB Teaching Videos [RTVs], Digital Video Discs [DVDs], Figure Video Software [FVS] and the ROUNDALAB Phase Booklets. -
Special Dances with Rounds –
ROUND DANCE IN YOUR OWN HOME BY YOURSELF DANCE TO CUERS FROM AROUND THE US AND CANADA NOTE: There has been at least one instance where an event was “Zoom Bombed.” Therefore, many organizers have asked that meeting information not be posted on social media. Contact individual cuers if you wish to be placed on their mailing lists. - FOR NEW VIRTUAL ZOOM DANCERS - Check out https://www.youtube.com/watch?v=aq6h0_70wUA for Darren Gallina’s Virtual 2 couple square dancing introduction. See http://www.squaredancecalgary.com/virtual/virtual-intro/ for links to YouTube videos to prepare you for virtual square dancing. Recommend joining Facebook Virtual Square Dances group and Square Dance Flyers group to have access to the most up-to-date information. You will want to download & install Zoom the first time before a dance. * Windows Computer: https://zoom.us/client/latest/ZoomInstaller.exe * iPad: https://itunes.apple.com/us/app/id546505307 * Android tablet: https://play.google.com/store/apps/details… * Other: https://zoom.us/download - SPECIAL DANCES WITH ROUNDS – THURSDAY, DECEMBER 25 AT 8:00 PM CST – Holiday Reading, 1 hour Rounds and Square Dance Caller Jim Smith, Cuer Judy Keller, Buena Park, CA https://us02web.zoom.us/j/81273531756?pwd=VG9FYnp3SnN4alVPNEpGdy9aRXFzdz09++Meeting+ID% 3A+812+7353+1756+Passcode%3A+030271 Info [email protected] FRIDAY, DECEMBER 25 AT 6:00 PM CST - CHRISTMAS DAY ROUND DANCE PARTY Cuer: Sandra Dee Kremer, Millbrae, CA - Gold Coast Rounds Join us for round dancing on Christmas Day - Phase II, III & IV Cha, Rumba, -
Newsletter & Annual Appeal 2016
Newsletter & Annual Appeal Connecting and Inspiring Through Traditional Music and Dance 2016 HOW DID WE GET HERE? It’s almost time for the CELEBRATING 30 YEARS OF GATHERING COMMUNITY 30th Annual Flurry Festival! Three decades ago, the first TOGETHER, THE FLURRY FESTIVAL COMMITTEE IS Flurry got underway with three dance halls, a few PLANNING A SUPER EXCITING LINEUP OF EVENTS FOR workshops, 30 performers, and 300 dancers for a one-day THIS SPECIAL FESTIVAL WEEKEND, February 17-19, 2017. event. The festival has become a well-known, 3-day event You can count on our usual wide array of programming - a with 5000 participants from all over the country; and our 17 magical weekend of music, concerts, jam sessions, singing, year-round dance series and special events have also grown stories, dancing, and family friendly events from many in number, location and dance type. All of this is brought to North American and international traditions. It's a you by an extraordinary community of dedicated volunteers celebration of diversity, and a joyous age-integrated union of who work with a small, part-time staff. We are very all who come, from toddlers to nonagenarians. fortunate, and very grateful to have so many talented people involved — and to have so many supportive participants. Dance instruction is available for beginner level on up. No need to bring a partner, just come have fun! Don't dance? WHERE ARE WE GOING? We are constantly NO PROBLEM! We offer a mind- boggling array of mindful of the need to continue to build the future of sessions for instrumentalists, singers, concert and storytelling the organization and sustain the events that are so listeners.