Dune Buggydune Buggy by Akwiranoron Stacey

Total Page:16

File Type:pdf, Size:1020Kb

Dune Buggydune Buggy by Akwiranoron Stacey Dune BuggyDune Buggy by Akwiranoron Stacey I bought a 1990 Toyota Tercel from a scrap yard and transformed it into a dune buggy. First I ripped of the roof, trunk and doors and cut the car in half to shorten the wheel base. Then I welded the axle back on and reconnected the brake and gas lines. I put on 18-inch wheels in place of the 14-inch wheels that it came with it to increase the clearance off the ground. Right now my dune buggy is excellent for driving on hills as an ATV. There's still a little more work to be done in the future. I want to weld on a roll cage. Akwiranoron Stacey, a Mohawk student from Kahnawake, is in Business Administration. He spends a lot of his free time working on his dune buggy. One day he would like to be self employed as a general contractor or own his own business customizing cars. POW-WOWS by Katsitsahawi Ashley Thomas Pow-wows in Kahnawake started in 1990 just after the Oka crisis. Pow-wows are gatherings that bring the people together. They are also a way of bringing non- natives and natives together. The Pow- wow starts on a Friday night where they have many Kahnawake singers entertaining the audience from 6 pm to 7pm. After that they have a traditional social for the rest of the night. The social is usually held in the longhouses but they have it so that the non-natives can see how we sing and dance. On Saturday the Pow-wow dances start around one o’clock when there is a grand entry. The grand entry is where all the dancers dance around in the arena, something like a parade. In the grand entry you have dancers from near and far: there are veterans from the military, a head and female dancer and a head veteran, someone who has been dancing in Pow-wows for a very long time. All these people dance at the beginning, followed by the dancers of all ages. Throughout the weekend the dancers all dance to win money. The categories are: fancy dancers, traditional dancers, smoke dancers, jingle dress dancers and grass dancers. The ages of the categories are: tiny tots, 6yrs-11yrs, 12yrs-17yrs, 18yrs-44yrs and the golden age. I can remember as far back as being six years old, sitting with my To:ta (grandmother), my Baba ( grandfather), and my parents at my grandparents’ craft stand. Our craft table consisted of dreamcatchers, beaded earrings, necklaces, anklets, wooden tomahawks and many more beautiful native crafts. All these crafts are handmade by my family including myself. The crafts are made with beads, leather, feathers, sinu (cat gut), and thread to name a few. We get our supplies from the pow-wows, native craft stores in Kahnawake and big name stores like Wal-Mart. Making the crafts takes a great deal of time and patience. I can remember when my To:ta and my parents first taught me how to make some of the crafts. At first it took me forever to make a dreamcatcher earring because I didn’t have patience. As I grew older it took me less and less time to make one. This is a good thing. Over the years after my Baba died, my To:ta couldn’t handle the craft stand by herself so she handed it over to my parents. I love being at the Pow-wow not just because of the craft stand but also just being there listening to the Pow-wow music and participating in the dances. It’s a very enjoyable and exhilarating experience. What I also love about the Pow- wow is the food. They serve hamburgers, hot dogs, buffalo burgers, walleye nuggets, cornbread and steak and many other traditional foods. They’re all very delicious. I especially love the fry bread and the freshly made strawberry juice. 47 During the winter is mostly when I make all my crafts with my family. When springtime comes around I am so happy because I know that the Pow-wow is just around the corner. So if you are interested in coming to watch our dancing, hear the beautiful singing, and try some food, Kahnawake Pow-wows are usually held on the second weekend in July each year. So come on out and enjoy the fun! Katsitsahawi Ashley Thomas is a Mohawk student from Kahnawake. She is currently in social studies majoring in child studies. One day she hopes to become a Mohawk teacher in her community. 48 BBBBeeeeeeiiiiiinnnnnnggg ggg IIIIIIddddddeeeeeennnnnnttttttiiiiiiccccccaaaaaalll lll By Katsithawi Ashley Thomas In youth we dressed the same, Friends and relatives called us by the wrong name. We would resent being called “Hey Twin.” An identity crisis we feared within. As teenagers we made the big transition. To prove we were unique we favored a division. Different classrooms, different clothes, Sometimes different clothes we chose. But we both knew no matter how different we tried to be, We still loved sharing our similarities. It seems without realizing why, Our lives run parallel as the years go by. We know what is on each other’s mind. We dial the phone at the same time We share all our emotions and tell each other our darkest secrets, This is just typical for identical twins. Sometimes I wonder about all the identical twins in existence, For each twin, physically and mentally there is so little distance. Yet we have the gift of separate lives to lead, This was our destiny since the implanted seed. With the love and support of my identical sister, Life for me is all the richer. So for her there is me and for me there is her, Another life we would never prefer. The affection my sister and I feel is a gift from the creator That no one can steal. And while I write these words I can guarantee that My identical sister is thinking of me! 49 Gender Roles among the Iroquois By Katsithawi Ashley Thomas Since around the 1800’s women and men have been “doing gender,” especially the Iroquoian people. Hundreds of years ago women and men had certain gender roles to follow. Men went out and hunted, they were the warriors and did more of the activities outdoors. Women on the other hand stayed at the longhouse (An Iroquoian home made of wood that had a fire pit and beds made out of wood. The longhouse held up to six families.) took care of the children, cooking, preparing the food, and making all the clothing for the family. Today, it is different; men and women try to share the responsibilities evenly among themselves although there are a lot of men and women who are very old fashioned, especially the older generation. The difference in the gender roles among the Iroquois in terms of power authority, agriculture and the children is that there is more equality nowadays. Iroquoian woman had a great amount of authority and power in the community. Since the Iroquois are a matriarchal society, the women are the more dominant gender. “In the Iroquois community, women were the keepers of the culture. They were responsible for defining the political, social, spiritual, and economic norms of the tribe.” (Iroquois Democracy.) Warner (1925) states, “In the Iroquoian political system, women possessed an unusual amount of power. All the male delegates to the ruling of councils of the Iroquois nation were designated by senior women in the clan or tribe.” There are four different clans: bear, wolf, turtle and snipe. Women were the clan mothers in the longhouse, while men were the chiefs. Clan mothers’ roles were to make sure everything was running smoothly in the community. They were to make sure that all the families in their clan had enough food and that the family was able to survive during the winter. “Clan mothers, the leaders of the clan, select the council members or chiefs, and have veto power over the men’s decisions” (Carnegie museums.) The clan mothers were also in charge of putting together all the festivals and ceremonies for the community. Some of these festivals were Corn-Planting festival, Strawberry festival, and Maple festival. These festivals were to celebrate corn, maple and strawberries and at the same time pray that there would be a good harvest for the years to come. There was also the false face ceremony “Various masks are carved by dancers and used in longhouse ceremonies in order to ward off spirits who cause sickness or to cure those people who are already afflicted,”(Warner.P.146) This is why the false face ceremonies are held each year. Women also appointed men to be chiefs in the community. Chiefs took care of all the politics among the tribe and the confederacy. Men did the traveling to other communities to talk about land claims and other political issues, and also some issues concerning the white people. Men were also the warriors of the tribe; women were not allowed to fight for the community, they were told that they had to stay home and watch 50 over the reserve. Not all men went out and fought for the tribe; the medicine men, the elders and those men that were too weak to go out and fight were told to stay home. The people had great respect for those men that went out and fought for the welfare of the community. A man who gained great respect among the tribe became the war chief. Since the women had a lot of power, the family name was passed on through them instead of the father.
Recommended publications
  • A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond
    A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond If you walk on and on, you get to your destination. If you question much, you get your information. If you do not sleep and idle, you preserve your life! (Maung Htin Aung 1959:87) So go the three lines of wisdom offered to the lazy student Maung Pauk Khaing in the well- known eponymous folk tale. A group of impoverished village youngsters, led by their teacher Daw Khin Thida, adapted the tale in 2007 in their first attempt to perform a play. From a well-to-do family that does not understand her philanthropic impulses, Khin Thida, an English teacher by profession, works at her free school in Insein, a suburb of Yangon (Rangoon) infamous for its prison. The shy students practiced first in Burmese for their village audience, and then in English for some foreign donors who were coming to visit the school. Khin Thida has also bought land in Bagan (Pagan) and is building a culture center there, hoping to attract the street children who currently pander to tourists at the site’s immense network of temples. TDR: The Drama Review 53:1 (T201) Spring 2009. ©2009 New York University and the Massachusetts Institute of Technology 93 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram.2009.53.1.93 by guest on 02 October 2021 I first met Khin Thida in 2005 at NICA (Networking and Initiatives for Culture and the Arts), an independent nonprofit arts center founded in 2003 and run by Singaporean/Malaysian artists Jay Koh and Chu Yuan.
    [Show full text]
  • IDO Dance Sports Rules and Regulations 2021
    IDO Dance Sport Rules & Regulations 2021 Officially Declared For further information concerning Rules and Regulations contained in this book, contact the Technical Director listed in the IDO Web site. This book and any material within this book are protected by copyright law. Any unauthorized copying, distribution, modification or other use is prohibited without the express written consent of IDO. All rights reserved. ©2021 by IDO Foreword The IDO Presidium has completely revised the structure of the IDO Dance Sport Rules & Regulations. For better understanding, the Rules & Regulations have been subdivided into 6 Books addressing the following issues: Book 1 General Information, Membership Issues Book 2 Organization and Conduction of IDO Events Book 3 Rules for IDO Dance Disciplines Book 4 Code of Ethics / Disciplinary Rules Book 5 Financial Rules and Regulations Separate Book IDO Official´s Book IDO Dancers are advised that all Rules for IDO Dance Disciplines are now contained in Book 3 ("Rules for IDO Dance Disciplines"). IDO Adjudicators are advised that all "General Provisions for Adjudicators and Judging" and all rules for "Protocol and Judging Procedure" (previously: Book 5) are now contained in separate IDO Official´sBook. This is the official version of the IDO Dance Sport Rules & Regulations passed by the AGM and ADMs in December 2020. All rule changes after the AGM/ADMs 2020 are marked with the Implementation date in red. All text marked in green are text and content clarifications. All competitors are competing at their own risk! All competitors, team leaders, attendandts, parents, and/or other persons involved in any way with the competition, recognize that IDO will not take any responsibility for any damage, theft, injury or accident of any kind during the competition, in accordance with the IDO Dance Sport Rules.
    [Show full text]
  • Dance, Senses, Urban Contexts
    DANCE, SENSES, URBAN CONTEXTS Dance and the Senses · Dancing and Dance Cultures in Urban Contexts 29th Symposium of the ICTM Study Group on Ethnochoreology July 9–16, 2016 Retzhof Castle, Styria, Austria Editor Kendra Stepputat Copy-editors Liz Mellish Andriy Nahachewsky Kurt Schatz Doris Schweinzer ICTM Study Group on Ethnochoreology Institute of Ethnomusicology, University of Music and Performing Arts Graz Graz, Austria 2017 Symposium 2016 July 9–16 International Council for Traditional Music Study Group on Ethnochoreology The 29th Symposium was organized by the ICTM Study Group on Ethnochoreology, and hosted by the Institute of Ethnomusicology, University of Music and Perfoming Arts Graz in cooperation with the Styrian Government, Sections 'Wissenschaft und Forschung' and 'Volkskultur' Program Committee: Mohd Anis Md Nor (Chair), Yolanda van Ede, Gediminas Karoblis, Rebeka Kunej and Mats Melin Local Arrangements Committee: Kendra Stepputat (Chair), Christopher Dick, Mattia Scassellati, Kurt Schatz, Florian Wimmer Editor: Kendra Stepputat Copy-editors: Liz Mellish, Andriy Nahachewsky, Kurt Schatz, Doris Schweinzer Cover design: Christopher Dick Cover Photographs: Helena Saarikoski (front), Selena Rakočević (back) © Shaker Verlag 2017 Alle Rechte, auch das des auszugsweisen Nachdruckes der auszugsweisen oder vollständigen Wiedergabe der Speicherung in Datenverarbeitungsanlage und der Übersetzung vorbehalten. Printed in Germany ISBN 978-3-8440-5337-7 ISSN 0945-0912 Shaker Verlag GmbH · Kaiserstraße 100 · D-52134 Herzogenrath Telefon: 0049 24 07 / 95 96 0 · Telefax: 0049 24 07 / 95 96 9 Internet: www.shaker.de · eMail: [email protected] Christopher S. DICK DIGITAL MOVEMENT: AN OVERVIEW OF COMPUTER-AIDED ANALYSIS OF HUMAN MOTION From the overall form of the music to the smallest rhythmical facet, each aspect defines how dancers realize the sound and movements.
    [Show full text]
  • An Analysis of the Religious Belief Characteristics of Southeast Asian Dance
    2020 3rd International Conference on Interdisciplinary Social Sciences & Humanities (SOSHU 2020) An Analysis of the Religious Belief Characteristics of Southeast Asian Dance Feirui Li Guangxi University For Nationalities, Guangxi, Nanning, 530006, China Keywords: Southeast asian dance, Religious beliefs, Thailand Abstract: The dances in Southeast Asia are colorful and can be divided into four major dance systems: Buddhism, Puppet, Hinduism and Islam. The four major dance systems are influenced by India's two epics. In some Southeast Asian countries, such as Thailand and Vietnam, their religious culture is closely linked to dance arts. Strong religious culture permeates dance music, style and dance vocabulary. Based on the analysis of Southeast Asian dance art, this paper takes Thai dance art as an example to further elaborate its religious and cultural charm. 1. Introduction Engels said that religion, like philosophy, is a “higher, i.e. more far from the material economic foundation of ideology” [1]. However, as an ideology, it not only experienced the process of development and processing, but also developed independently according to its own laws. Religious culture and dance culture. Asean art, as a new breakthrough in Chinese art research, is very research-oriented [2]. Southeast Asia is made up of Vietnam, Laos, Cambodia, Thailand, Indonesia and other countries. Due to geographical and religious reasons, Southeast Asian countries represented by Indonesia, Thailand and Myanmar live alone in dance culture and are relatively developed [3]. Dances in Southeast Asia have strong religious color of Buddhism and Hinduism. As a result, the dance branches in Southeast Asia present four major dance departments, namely puppet dance department, Hindu dance department, Buddhist dance department and Islamic dance department.
    [Show full text]
  • Connecting Through Dance
    Connecting Through Dance: The Multiplicity of Meanings of Kurdish Folk Dances in Turkey Mona Maria Nyberg Thesis submitted in partial fulfillment of the M.A. degree Department of Social Anthropology, University of Bergen Spring 2012 The front page photograph is taken by Mona Maria Nyberg at a Kurdish wedding celebration. The women who are dancing in the picture are not informants. II Acknowledgements While studying for an exam during my time as a bachelor student, I read a work by Professor Bruce Kapferer which made me reconsider my decision of not applying for the master program; I could write about dance, I realized. And now I have! The process has been challenging and intense, but well worth it. Throughout this journey I have been anything but alone on this, and the list of persons who have contributed is too long to mention. First of all I need to thank my informants. Without you this thesis could not have been written. Thank you for your help and generosity! Especially I want to thank everyone at the culture centers for allowing me do fieldwork and participate in activities. My inmost gratitude goes to two of my informants, whose names I cannot write out of reasons of anonymity - but you know who you are. I want to thank you for allowing me into your lives and making me part of your family. You have contributing to my fieldwork by helping me in in innumerous ways, being my translators – both in terms of language and culture. You have become two of my closest friends.
    [Show full text]
  • Circassian Customs & Traditions
    Circassian Customs & Traditions АДЫГЭ ХАБЗЭ 1 Circassian Customs & Traditions Amjad M. Jaimoukha [compiler, editor, translator] АДЫГЭ ХАБЗЭ Жэмыхъуэ Амджэд (Амыщ) In English and Circassian (supplementary) Centre for Circassian Studies 2014 2 Circassian Customs & Traditions Circassian Culture & Folklore Second edition 2014 First published 2009 © 2014 Amjad Jaimoukha All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. 3 Contents Introduction 5 1. Birth 10 2. Christening 15 3. Upbringing 17 4. Courtship and Marriage 28 5. Divorce and Bigamy 62 6. ‘In sickness and in health’ 63 7. Death and Obsequies 70 8. Greetings and Salutes 80 9. The Circassian Code of Chivalry 83 • Respect for Women and Elders 84 • Blood-revenge 86 • Hospitality and Feasts 89 Appendices 1. Proverbs and Sayings on Circassian Customs and Traditions 115 2. Proverbs and Sayings Associated with Hospitality Traditions 141 References and Bibliography 162 4 Introduction IRCASSIAN customs and social norms are enshrined in an orally- C transmitted code called ‘Adige Xabze’—‘Circassian Etiquette’ [«адыгэ хабзэ»]. This rigid and complex system of morals had evolved to ensure that strict militaristic discipline was maintained at all times to defend the country against the many invaders who coveted Circassian lands. In addition, social niceties and graces greased the wheels of social interaction, and a person’s good conduct ensured his survival and prosperity. The Xabze served as the law for ad hoc courts and councils set up to resolve contentious cases and other moot issues, and pronounce binding judgements.
    [Show full text]
  • Special Editions; Institute for Balkan Studies SASA
    http://www.balkaninstitut.com Serbian A cademy of Sciences and • Department of History, University of Arts, I nstitute for Balkan Studies, California, Santa Barbara Belgrade ( special editions No 39) Prosveta, Export-Import Agency, Belgrade Editors i n chief: • N ikola Tasid, corresponding member, Serbian Academy of Sciences and Arts • D uSica StoSid, director Prosveta, Export-Import Agency Editorial b oard: • R adovan Samard2id, full member, Serbian Academy of Sciences and Arts • D imitrije Dordevic, full member Serbian Academy of Sciences and Arts • I van Ninid publishing manager Prosveta, Export-Import Agency Secretary: • D r. Milan St. Protid, fellow Serbian A cademy of Sciences and Arts, Institute for Balkan Studies The p ublication was financially supported by the "Republidka Zajednica nauke Srbije" http://www.balkaninstitut.com MIGRATIONS I N BALKAN HISTORY BELGRADE 1 989 http://www.balkaninstitut.com £33/ И*1 CIP - К аталогизација у публикацији Народна библиотека Србије, Београд 325.1 ( 497) (082) MIGRATIONS i n Balkan History / [urednik Ivan Ninic]. - Beograd: Srpska akademija nauka i umetnosti, 1989. - 171 стр. : 24 cm ПК:. a Миграције - Балканско полуострво - Зборници ISBN 8 6-7179-006-1 http://www.balkaninstitut.com ■1130 M l CONTENTS Radovan S amardzic Dimitrije D jordjevid PREFACE 7 Mark. R Stefanovich ETHNICITYND A MIGRATION IN PREHISTORY 9 Nikola T asic PREHISTORIC M IGRATION MOVEMENTS HEIN T BALKANS 29 Robert F rakes THE I MPACT OF THE HUNS IN THE BALKANS I N LATE ANTIQUE HISTORIOGRAPHY 3 9 Henrik B irnbaum WAS T HERE A SLAVIC LANDTAKING OF T HE BALKANS AND, IF SO, ALONG WHAT R OUTES DID IT PROCEED? 47 Dragoljub D ragojlovid MIGRATIONS O F THE SERBS IN THE MIDDLE A GES 61 BariSa K rekic DUBROVNIK A S A POLE OF ATTRACTION AND A P OINT OF TRANSITION FORHE T HINTERLAND POPULATION INHE T LATE MIDDLE AGES 67 Dragan.
    [Show full text]
  • Music, Dance and Swans the Influence Music Has on Two Choreographies of the Scene Pas D’Action (Act
    Music, Dance and Swans The influence music has on two choreographies of the scene Pas d’action (Act. 2 No. 13-V) from Tchaikovsky’s Swan Lake Naam: Roselinde Wijnands Studentnummer: 5546036 BA Muziekwetenschap BA Eindwerkstuk, MU3V14004 Studiejaar 2017-2018, block 4 Begeleider: dr. Rebekah Ahrendt Deadline: June 15, 2018 Universiteit Utrecht 1 Abstract The relationship between music and dance has often been analysed, but this is usually done from the perspective of the discipline of either music or dance. Choreomusicology, the study of the relationship between dance and music, emerged as the field that studies works from both point of views. Choreographers usually choreograph the dance after the music is composed. Therefore, the music has taken the natural place of dominance above the choreography and can be said to influence the choreography. This research examines the influence that the music has on two choreographies of Pas d’action (act. 2 no. 13-V), one choreographed by Lev Ivanov, the other choreographed by Rudolf Nureyev from the ballet Swan Lake composed by Pyotr Ilyich Tchaikovsky by conducting a choreomusicological analysis. A brief history of the field of choreomusicology is described before conducting the analyses. Central to these analyses are the important music and choreography accents, aligning dance steps alongside with musical analysis. Examples of the similarities and differences between the relationship between music and dance of the two choreographies are given. The influence music has on these choreographies will be discussed. The results are that in both the analyses an influence is seen in the way the choreography is built to the music and often follows the music rhythmically.
    [Show full text]
  • Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009
    http://oac.cdlib.org/findaid/ark:/13030/c8c24wzf No online items Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009 Preliminary processing by Andrea Wang; fully processed by Mike D'Errico in 2012 in the Center for Primary Research and Training (CFPRT), with assistance from Jillian Cuellar; machine-readable finding aid created by Caroline Cubé. The processing of this collection was generously supported by Arcadia funds. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2012 The Regents of the University of California. All rights reserved. Lewis Segal Collection of Dance 1890 1 and Theater Materials, 1902-2011; Bulk, 1970-2009 Descriptive Summary Title: Lewis Segal Collection of Dance and Theater Materials Date (inclusive): 1902-2011; Bulk, 1970-2009 Collection number: 1890 Collector: Segal, Lewis Extent: 24 record cartons (24 linear ft.) Abstract: Lewis Segal is a performing arts critic who has written on various topics related to the performing arts, from ballet to contemporary dance and musicals. He began working as a freelance writer in the 1960s for a number of publications, including the Los Angeles Times, Performing Arts magazine, the Los Angeles Free Press, Ballet News, and High Performance magazine. He joined the staff of the Los Angeles Times in 1976. From 1996 to 2008 he held the full-time position of chief dance critic, writing full features and reviews on dance companies and performing arts organizations from around the world.
    [Show full text]
  • SCORCH Southport 2017
    DIFFERENT DANCE STYLES Welcome TAUGHT MANY VARIED AND For over 10 years Ceroc have been hosting huge, fun-filled dance EXCITING WORKSHOPS OVER 50 weekenders that attract between 1000-2200 guests. To get that many HOURS OF FREESTYLE DIFFERENT like minded people continually congregating on dance weekenders ROOMS PLAYING VARIED STYLES is a testimony to the passion of our dance community. The Scorch weekender is the weekender of the year for so many OF MUSIC TEACHERS FROM ALL of you! Everyone from far and wide attends for their dance fuelled OVER THE UK & ABROAD summer vacation and nobody leaves disappointed. DJ’S FROM FAR & WIDE LARGE Our weekender ethos as ever is to ensure we provide something GATHERING OF CEROC TEACHERS for everyone; from beginner to advanced dancers and from the MASSAGE SWIMMING WORKSHOP dedicated dance addicts to the social butterflies who love the fun! DVDS TO TAKE HOME WCS There are over 40 classes scheduled including different dance styles and 4 rooms for freestyle offering various genres of music to appeal MASTERCLASSES SELECTION OF to everyone. DANCE SHOES AND CLOTHING We recognise the importance of Blues and Tango at Southport and ON SALE ON LINE BOOKING have consequently dedicated Lunars to these styles of dancing every WITH IMMEDIATE CONFIRMATION evening with exceptional feedback from our members. GENDER CONTROLLED BOOKING At Southport you will find the pub is the daytime freestyle hub, so if you want to step away from classes for a while, socialise or relax then SYSTEM pop into the pub where we are hosting 24 hour freestyle and alfresco dancing in the sunshine....
    [Show full text]
  • Saturday June 17, 2017 Free Slow Dance Lesson : 7:30 to 8:30 by Andrew Little, Former Instructor U C Ballroom Dance Club (See Lesson Sign up Sheet)
    when : Saturday June 17, 2017 free slow dance lesson : 7:30 to 8:30 by Andrew Little, former instructor U C Ballroom Dance Club (see lesson sign up sheet) party $5 : 8:30 to 11:30 where : Calgary Tennis Club , 1445 16 St SW members and guests of members welcome Music (not just slow), Cash Bar, Socializing & Nibbles What! "Can't handle" Slow Dance? Your gym teacher could have taught this dance, but she was afraid to, because it was . too hot, too suggestive, too romantic. This is the essential dance for power ballads, for grads, for weddings, and for that hot date. This slow social dance is not ballroom, not Waltz, not Foxtrot, not Two Step. This dance is easy to learn, to lead and to follow. Easy to make your own. It's flexible and can be formal or casual, social or intimate. The simplest dance you'll ever learn. You'll never be nervous about slow dancing again. Think of the music of . sam smith stay with me eric clapton layla joe cocker you are so beautiful destiny's child second nature brian adams everything I do celine dion where does my heart beat now berlin take my breath away celine dion beauty and the beast gloria estafan hold me thrill me kiss me eric clapton tears in heaven celine dion if we could start over chris de burgh lady in red Lesson Sign Up Sheet when : Saturdy June 17, 2017 free slow dance lesson : 7:30 to 8:30 Andrew Little, former instructor U C Ballroom Dance Club party $5 : 8:30 to 11:30 where : Calgary Tennis Club, 1445 16 St SW members and guests of members welcome The Lesson: we'd like at least the first 12 men and 12 women to sign up for the 7:30 lesson to insure we have a workable group.
    [Show full text]
  • The Separation of Music and Dance in Translocal Elina Djebbari Contexts
    the world of music (new series) ISSN 0043-8774 is indexed and abstracted in the world • Arts and Humanities Citation Index® • Current Contents®/Arts & Humanities of music (new series) vol. 9 (2020) 2 h Kendra Stepputat and Elina Djebbari, The Separation of Music a journal of the department of musicology and Dance in Translocal Contexts of the georg august university göttingen h Elina Djebbari, Temporalities of Appropriation of Salsa Music and series) (new music of world the Dance in Benin: A Choreomusical Approach Choreomusicology II h Kendra Stepputat, Tango Musicality and Tango Danceability: Translocality | Local Ontologies Reconnecting Strategies in Current Cosmopolitan Tango Argentino Practice h Made Mantle Hood and Sydney Hutchinson, Beyond the Binary of Choreomusicology: Moving from Ethnotheory Towards Local Ontologies h Sydney Hutchinson, Dancing lo típico: A Choreomusical Perspective on Merengue h Made Mantle Hood, Separating Intertwined Traditions into 9 (2020) 2 (2020) 9 Balinese Music and Dance VWB – Verlag für Wissenschaft und Bildung ISSN 0043-8774 ISBN 978-3-86135-925-8 the world of music (new series) the world of music (new series) a journal of the department of musicology of Editor: Birgit Abels the georg august university göttingen Co-editor: Barbara Titus Book reviews editor: Eva-Maria A. van Straaten ORDER FORM ship to: VWB – Verlag für Wissenschaft und Bildung Recording reviews editor: Rehanna Kheshgi Amand Aglaster Advisory Board: P.O.Box 11 03 68 • 10833 Berlin • Germany Linda Barwick. Professor and Associate Dean (Research), Sydney Conservatorium of Music, The University of Subscription order: phone +49-[0]30-251 04 15 • fax +49-[30]-251 11 36 Sydney, Australia www.vwb-verlag.com • e-mail: [email protected] Dan Bendrups.
    [Show full text]