ROUNDALAB STANDARD Abbreviations I. INTRODUCTION
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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. -
DVIDA American Smooth Silver Syllabus Figures
Invigilation Guidance/ DVIDA/SYLLABUS/ Current'as'of'October'15,'2015' Extracted'from: Dance$Vision$International$Dancers$Association, Syllabus$Step$List$ Revised/May/2014 Invigilation Guidance/ AMERICAN)SMOOTH) / DVIDA American Smooth Bronze Syllabus Figures *Indicates figure is not allowable in NDCA Competitions. Revised January 2014. View current NDCA List Waltz Foxtrot Tango V. Waltz Bronze I 1A. Box Step 1. Basic 1A. Straight Basic 1. Balance Steps 1B. Box with Underarm Turn 2. Promenade 1B. Curving Basic 2A. Fifth Position Breaks 2. Progressive 3A. Rock Turn to Left 2A. Promenade Turning Left 2B. Fifth Position Breaks 3A. Left Turning Box 3B. Rock Turn to Right 2B. Promenade Turning Right with Underarm Turn 3B. Right Turning Box 3. Single Corté 4. Progressive Rocks Bronze II 4A. Balance Steps 4. Sway Step 5A. Open Fan 3. Reverse Turn 4B. Balance and Box 5A. Sway Underarm Turn 5B. Open Fan with 4. Closed Twinkle 5. Simple Twinkle 5B. Promenade Underarm Turn Underarm Turn 6. Two Way Underarm Turn 6A. Zig Zag in Line 6. Running Steps 7. Face to Face – Back to Back 6B. Zig Zag Outside Partner 7. Double Corté 7. Box Step 8A. Reverse Turn Bronze III 8A. Reverse Turn 8. Twinkle 8B. Reverse Turn with 5A. Crossbody Lead 8B. Reverse Turn with 9. Promenade Twinkles Outside Swivel 5B. Crossbody Lead with Underarm Turn 10A. Turning Twinkles to 9. Right Side Fans Underarm Turn 9A. Natural Turn Outside Partner 10. Contra Rocks 6. Hand to Hand 9B. Natural Turn with 10B. Turning Twinkles to Outside 11A. Change of Places 7A. Forward Progressive Underarm Turn Partner with Underarm Turn 11B. -
Definitions of Technical Terms and Fundamentals
DEFINITIONS OF TECHNICAL TERMS AND FUNDAMENTALS INTRODUCTION Even if you are not required, during your Amateur Dancesport Instructor Examination, to verbalize the exact foot position, alignment and footwork on each step, the solo demonstration of figures should be accurate in all aspects both as leader and follower. The figures must be danced as described in the Technique Books and in their entirety. You will find below, in a brief and clear manner, definitions for the technical terms used in your Technique Books (chart headings). Your Mentor will be able to explain and complete, if necessary, these definitions.-Should a question be asked during your examination concerning the following fundamentals remember at this level a simple answer is required. Bear in mind that <showing it> is always stronger than words alone. If you forget, for example the description of CBMP, go on and show a figure, or move, using CBMP. Understanding the fundamentals will strengthen and develop the knowledge and required skills you need as a dance instructor. BALLROOM (STANDARD) I.S.T.D. The Ballroom Technique FEET POSITIONS: - The direction (or position) of one foot in relation to the other at the end of a step (for example; the leg swings forward to end to a side position). CBMP: - (Contrary Body Movement Position) The position attained when either foot is placed on or across the line of the supporting foot, either in front or behind to maintain body line (It is therefore a foot position). CBMP is used on outside partner steps, in line with partner and in promenade position. -
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. -
Chapter 4 Creolized Dance Music Text: Robin Moore Instructor’S Manual: Sarah J
Chapter 4 Creolized Dance Music Text: Robin Moore Instructor’s Manual: Sarah J. Bartolome All activities are keyed as follows: AA = All ages E = Elementary (particularly grades 3–6) S = Secondary (middle school and high school, grades 7–12) C/U = College and university Chapter 4 Vocabulary merengue, merengue típico, güira, marímbula, tambora, paseo, cuerpo, jaleo, apambichao, son, verso, canto, montuno, tres, tresero, martillo, bongsero, timbales, socialism, Cold War, plena, panderetas, panderos, seguidor, segunda, requinto, soneos, salsa, salsa dura, cáscara, salsa romántica, salsa monga, timba Exploring Traditional and Commercial Merengue (AA) Compare a traditional merengue with a commercially recorded merengue. 1. Watch the video of La India Canela performing merengue típico, available at http://www.folkways.si.edu/explore_folkways/video_caribbean.aspx. 2. Have students identify the instruments they see and hear. 3. Have students also watch the video of Johnny Ventura performing “Merenguero Hasta la Tambora,” available on YouTube at http://www.youtube.com/watch?v=7XzINu2ee4A. 4. Compare the two merengues. Draw students’ attention to differences in instrumentation and the commercialization of the latter performance. Exploring Merengue through Dance (AA) Learn the simple merengue dance movement. 1. Search on YouTube for an instructive video if you are not familiar with the basic step-together movement associated with merengue. One such video is available at http://www.youtube.com/watch?v=on4V1KN_Iuw. 2. Either teach the students yourself or learn with them as you watch the video. 3. Dance along to a recording of merengue, either in lines or in pairs as students are comfortable. Exploring Merengue: Form (A) 1. -
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. -
Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward -
Introduction to Latin Dance
OFFICE OF CURRICULUM, INSTRUCTION & PROFESSIONAL DEVELOPMENT HIGH SCHOOL COURSE OUTLINE Course Code 3722 Course Title Introduction to Latin Dance Department Physical Education Short Title Intro Latin Dance Course Length 2 Semesters Grade 11-12 Credits/Semester 5 Required for Graduation No Meets H.S. Grad Requirement Elective Credit Yes Meets UC “a-g” No Meets NCAA Requirement No Requirement Prerequisites 2 years physical education COURSE DESCRIPTION: This course is designed to teach students the basic elements of Latin Dance. Students will analyze dance’s role in improving and maintaining one’s health related fitness and then incorporate dance activities into their personal fitness program/plan. Students will learn basic steps as well as complex combinations in Merengue, Salsa, Bachata, and the Cha Cha. For each dance, the students will learn the historical and geographical roots, the music and the instruments associated with each one. This course will help students learn the skills of dance while improving their technique, poise, self-confidence and creative ability as well as deepening their understanding of and appreciation for the rich and colorful heritage that each dance represents. As a course involving couples’ dances, it will allow students to develop an understanding of the social etiquette involved in couples dancing. GOALS: Students need to: • Demonstrate knowledge and skills related to performance of the following dances: Merengue, Salsa, Bachata and Cha Cha. • Assess and maintain a level of physical fitness to improve health and performance. • Demonstrate knowledge of physical fitness concepts, principles, and strategies to improve health and performance in dance. • Demonstrate and utilize knowledge of psychological and sociological concepts, principles, and strategies as applied to learning and performance of Latin dance. -
Negotiating the Self Through Flamenco Dance
Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 12-2009 Embodied Identities: Negotiating the Self through Flamenco Dance Pamela Ann Caltabiano Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Part of the Anthropology Commons Recommended Citation Caltabiano, Pamela Ann, "Embodied Identities: Negotiating the Self through Flamenco Dance." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/anthro_theses/33 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN CALTABIANO Under the Direction of Emanuela Guano ABSTRACT Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot- ic” passion. INDEX WORDS: Gender, Dance, Flamenco, Identity, Exoticism, Embodiment, Performance EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN -
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. -
Bera Ballroom Dance Club Library
BERA BALLROOM DANCE CLUB LIBRARY Video Instruction DANCE TITLE ARTIST Style LEVEL 1 American Style Exhibition Choreography Cha Cha Powers & Gorchakova VHS Cha Cha 2 American Style Beginning Rumba & Cha Cha Montez VHS Rumba & Cha Beg 3 American Style Intermediate Cha Cha Montez VHS Cha Cha Int 4 American Style Advanced I Cha Cha Montez VHS Cha Cha Adv 5 American Style Advanced II Cha Cha Montez VHS Cha Cha Adv 6 International Style Cha Cha Ballas VHS Cha Cha 10 American Style Beginning Tango Maranto VHS Tango Beg 11 American Style Intermediate Tango Maranto VHS Tango Int 12 American Style Advanced I Tango Ballas VHS Tango Adv 13 American Style Advanced II Tango Maranto VHS American Tango Adv 14 Advanced Tango American Style Techniques & Principles Kloss VHS American Tango Adv 21 Waltz Vol I International Style Technique & Principles Puttock VHS Int Waltz 22 Waltz International Style Standard Technique Veyrasset &Smith VHS Int Waltz 23 American Style Beginning Waltz Maranto VHS Waltz Beg 24 American Style Intermediate Waltz Maranto VHS Waltz Int 25 American Style Advanced I Waltz Maranto VHS Waltz Adv 26 American Style Advanced II Waltz Maranto VHS Waltz Adv 27 Waltz Vol 1 – Beginner Austin VHS Waltz Beg 30 American Style Beginners Viennese Waltz Maranto VHS Viennese Waltz Beg 31 American Style Intermediate Viennese Waltz Maranto VHS Viennese Waltz Int 32 International Style Advanced I Viennese Waltz Veyrasset &Smith VHS Viennese Waltz Adv 33 Viennese Waltz International Style Standard Technique Veyrasset &Smith VHS Int Viennese 40 International