DVIDA American Smooth Silver Syllabus Figures
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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. -
Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod. -
Amod B C End 3:39 @ 45 Rpm
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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 .................................................... -
The Frothy Band at Imminent Brewery, Northfield Minnesota on April 7Th, 7- 10 Pm
April Irish Music & 2018 Márt Dance Association Márta The mission of the Irish Music and Dance Association is to support and promote Irish music, dance, and other cultural traditions to insure their continuation. Inside this issue: IMDA Recognizes Dancers 2 Educational Grants Available Thanks You 6 For Irish Music and Dance Students Open Mic Night 7 The Irish Music and Dance Association (IMDA) would like to lend a hand to students of Irish music, dance or cultural pursuits. We’re looking for students who have already made a significant commitment to their studies, and who could use some help to get to the next level. It may be that students are ready to improve their skills (like fiddler and teacher Mary Vanorny who used her grant to study Sligo-style fiddling with Brian Conway at the Portal Irish Music Week) or it may be a student who wants to attend a special class (like Irish dancer Annie Wier who traveled to Boston for the Riverdance Academy). These are examples of great reasons to apply for an IMDA Educational Grant – as these students did in 2017. 2018 will be the twelfth year of this program, with help extended to 43 musicians, dancers, language students and artists over the years. The applicant may use the grant in any way that furthers his or her study – help with the purchase of an instrument, tuition to a workshop or class, travel expenses – the options are endless. Previous grant recipients have included musicians, dancers, Irish language students and a costume designer, but the program is open to students of other traditional Irish arts as well. -
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. -
Big Poppa Eʼs Bio Quiz!
TABLE OF CONTENTS POETRY the wussy boy manifesto! ............................................................. 1 wallflower .................................................................................... 4 frat boy ......................................................................................... 6 worm boy ..................................................................................... 9 fly boy ........................................................................................ 10 jesus moshpit .............................................................................. 12 the lonesome ballad of josephus moshpit .................................. 13 receipt found in the parking lot of super walmart ...................... 16 just take another drink ................................................................ 19 potty is pee ................................................................................. 20 the miracle corner pocket luck shot ........................................... 22 JUVENALIA minuet ........................................................................................ 23 sexuality ..................................................................................... 24 routine ........................................................................................ 25 party boy .................................................................................... 26 love poem #9 .............................................................................. 28 PROSE how to dance like a wussy -
Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
Social Tango
Social Tango Richard Powers Argentine tango has been popular around the world for over a century. Therefore it has evolved into several different forms. This doc describes social tango, sometimes called American tango. The world first saw tango when Argentine dancers brought it to Paris around 1910. It quickly became the biggest news in Paris—the 1912 Tangomania. Dancers around the world fell in love with tango and added it to their growing repertoire of social dances. When we compare 1912 European and North American tango descriptions to Argentine tango manuals from the same time, we see that the northern hemisphere dancers mostly got it right, dancing the same steps in the same style as the Argentines. Then as time went on, social dancers had no reason to change it. It wasn't broken, so why fix it? Today's social tango is essentially the continuation of the original 1912 Argentine tango. There have been a few evolutionary changes over time, like which foot to start on, but they're relatively minor compared to the greater changes that have been made to the other two forms of tango. Ironically, some people call this American Style tango. This is to differentiate it from International Style (British) tango, but it's nevertheless odd to call the nearly-unchanged original Argentine tango "American," unless one means South American. Many dancers in the world know social tango so this is worth learning. That doesn't mean it's "better" than the other forms of tango—that depends on one's personal preference. But social tango is a very useful kind of tango for dancing with friends at parties, weddings and ocean cruises. -
3671 Argentine Tango (Gold Dance Test)
3671 ARGENTINE TANGO (GOLD DANCE TEST) Music - Tango 4/4 Tempo - 24 measures of 4 beats per minute - 96 beats per minute Pattern - Set Duration - The time required to skate 2 sequences is 1:10 min. The Argentine Tango should be skated with strong edges and considerable “élan”. Good flow and fast travel over the ice are essential and must be achieved without obvious effort or pushing. The dance begins with partners in open hold for steps 1 to 10. The initial progressive, chassé and progressive sequences of steps 1 to 6 bring the partners on step 7 to a bold LFO edge facing down the ice surface. On step 8 both partners skate a right forward outside cross in front on count 1 held for one beat. On step 9, the couple crosses behind on count 2, with a change of edge on count 3 as their free legs are drawn past the skating legs and held for count 4 to be in position to start the next step, crossed behind for count 1. On step 10 the man turns a counter while the woman executes another cross behind then change of edge. This results in the partners being in closed hold as the woman directs her edge behind the man as he turns his counter. Step 11 is strongly curved towards the side of the ice surface. At the end of this step the woman momentarily steps onto the RFI on the “and” between counts 4 and 1 before skating step 12 that is first directed toward the side barrier. -
International-Standard.Pdf
IDSCA International Standard Syllabus Figures Waltz Tango Foxtrot V. Waltz QuickStep 1 Left Foot Closed Change 1 Progressive Link 1 Feather Step 1 Natural Turn 1A Quarter Turn to Right 2 Natural Turn 2 Closed Promenade 2 Reverse Turn with Feather Finish 1B Quarter Turn to Left Beginner 3 Right Foot Closed Change 3 Three Step 2 Progressive Chasse 4 Reverse Turn 4 Natural Turn 3 Forward Lock Step 5 Whisk 3 Progressive Side Step 5 Basic Weave 4 Natural Turn with Hesitation 6 Chasse from PP 4 Progressive Side Step Reverse Turn 6 Reverse Wave 5 Progressive Chasse to Right 7 Natural Hesitation Change 5 Natural Twist Turn 7 Change of Direction 6 Back Lock Intermediate 8 Progressive Chasse to Right 6 Natural Rock Turn 7 Runnung Finish 9 Back Lock 7 Natural Promenade Turn 8 Natural Spin Turn 10 Closed Impetus Bronze 11 Reverse Corte 8 Open Promenade 8 Natural Weave 2 Right Foot Forward Closed Change 9 Natural Turn & Back Lock 12 Back Whisk 9 Open Reverse Turn Partner Outside 9 Closed Impetus with Feather Finish 3 Reverse Turn 10 Tipple Chasse to Right at a Corner 13 Natural Spin Turn 10 Back Corte 4 Left Foot Forward Closed Change 11 Double Reverse Spin Full 14 Reverse Pivot 11 Left Foot Rock 12 Chasse Reverse Turn 15 Double Reverse Spin 12 Right Foot Rock 13 Natural Pivot Turn 16 Basic Weave 13 Basic Reverse Turn 14 Closed Impetus 17 Outside Change 14 Open Reverse Turn In Line with Closed Finish 15 Reverse Pivot 18 Weave from PP 15 Four Step 10 Quick Open Reverse 16 V-6 19 Open Impetus to Wing 16 Promenade Link 11 Quick Natural Weave 17 Quick -
DANCE STEPS Information Useful to Amateur Or Professional Dancers
DANCE STEPS Information useful to Amateur or Professional Dancers – Ballroom or Sequence TELEMARK: In ballroom dancing normally commenced diag. centre down LOD in Waltz, Quickstep or Foxtrot. Lady always finished square, usual amount of turn ¾ or less, can be danced. Underturned usually turning ½. OPEN TELEMARK: Man’s steps identical to above but Lady underturning to finish in Prom. Pos. In Sequence dancing alignment may vary considerably. IMPETUS TURN: In Ballroom dancing Man usually commences backing LOD with Heel Turn, turning ⅝ to R, Lady finishing square. OPEN IMPETUS TURN: Man turns R to finish in Prom. Pos. Lady’s steps similar to Impetus Turn. In Sequence dancing alignments can be taken in any direction. WING: Always commenced in Prom. Pos. Lady curving anticlockwise three steps round Man. Man very slight turn L, Lady ⅜ turn L on three curving steps. Man RF forward hesitating while Lady takes 3 steps. DOUBLE REVERSE WING: Man steps identical to Double Reverse Spin, Lady after Heel Turn takes 2 quick curving steps round Man on his L side. CLOSED WING: Commenced with partner on R side, Lady instead of curving L, steps back LF, side RF, forward LF on L side Man, Man RF forward hesitating while Lady takes the 3 steps. DOUBLE REVERSE SPIN: Man LF forward, RF to side, pivoting strongly L on toes, closing LF to RF without weight usually commenced down LOD or diag centre down LOD in Modern, amount of turn ¾ up to 1 complete turn – can vary. Lady, RF back closing LF to RF – Heel Turn, turning L, RF to side slightly back, crossing LF in front of RF, can be danced in Foxtrot, Waltz or Quickstep.