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THE MAGAZINE of INTEKNATIONAL FOLK DANCING 650 U^ ^Etk
F November 1977 r THE MAGAZINE OF INTEKNATIONAL FOLK DANCING 650 u^ ^etk. T^OHce TNE littAZIIIE OF INTEIIN tTIONtl FOLK OANCma November 1977 Vol 34, Ho. 9 TABLE OF CONTENTS OFFICIAL PUBLICATION OF THE FOLK DANCE FEDERATION OF CALIFORNIA, INC. TREASURER'S BALL.................1 EDITOR.........................Linda Horn ASSOCIATE EDITOR.................Max Horn Making a Polish Bodice...........2 DANCE RESEARCH EDITOR...Dorothy Tamburini COSTUME RESEARCH EDITOR.....Eleanor Bacon Folk Arts of Poland..............5 BUSINESS MANAGER.................Max Horn Easy Does It!....................8 NOVEMBER CONTRIBUTORS Fiesta de Sonoma.................9 Miriam Lidster Ruth Miller Vera Jones Virginia Wilder Food in the Polish Manner.......10 Mona Verzi Ruth Ruling Larry Miller_________ Vi Dexhelmer Let's do Squares................12 FEDERATION OFFICERS Polish Folk Dance...............15 (North) Dance Descriptions: PRESIDENT...................Raymond Olson ^ilald RzMzoiAJ-ilU (Poland)......18 24013 Fairlands Road, Hayward, CA 94541 Kujawiak t*3 (Poland).........20 VICE PRESIDENT..............Bruce Wyckoff TREASURER........................Al Lisin Poland, a land of Changing RECORDING SECRETARY.....Genevieve Pereira Boundaries........24 DIRECTOR OF PUBLICATIONS.........Max Horn DIRECTOR OF EXTENSION...........Walt Lang DIRECTOR OF PUBLICITY.......Leonore Fifer Kolo Kalendar...................26 HISTORIAN.....................Leona Faoro (South) Party Places....................27 PRESIDENT......................Ed Feldman Council Clips...................30 -
Navy Pier Impact Report 2016–2017
People’s Pier Partnerships Navy Pier Impact Report 2016–2017 95739_Impact Report_a7_Flipbook.indd 1 11/6/18 11:53 AM A Joint Message from Our Chairman and President Celebrating our Centennial in 2016 was so much more than just a milestone. It was a community celebration that marked the start of two incredibly productive years at Navy Pier. We have been hard at work, transforming Chicago’s lakefront treasure into a one-of-a-kind urban oasis. In 2016 alone, we welcomed a record-breaking 9.3 million guests. With more than 60 percent of guests coming from Chicago and the suburbs, the People’s Pier has been embraced by locals as their own; as a place to escape, rejuvenate, connect, be inspired and, most importantly, have fun. OUR MISSION Navy Pier is the People’s Pier, Chicago’s lakefront treasure, welcoming all and offering dynamic and eclectic experiences through partnerships and programs that inspire discovery and wonder. 2 95739_Impact Report_a5.indd 2 10/12/18 9:12 AM 70 5 3,000 businesses at the Pier including retail, nonprofits operating at the Pier people work at Navy Pier across the 70 businesses dining and entertainment Bringing our Centennial Vision to life began with public sample authentic local culinary offerings in the new Chicago dialogue and feedback from our community, partners and Food Experience. More recently, our cultural partners, Chicago William J. Brodsky stakeholders. Our growing family of donors, including Shakespeare Theater, completed the groundbreaking state-of-the- Chairman individuals, corporations and foundations, have helped us art theater, The Yard, and Chicago Children’s Museum installed achieve our ambitious goals. -
University of California, Los Angeles. Department of Dance Master's Theses UARC.0666
http://oac.cdlib.org/findaid/ark:/13030/c8833tht No online items Finding Aid for the University of California, Los Angeles. Department of Dance Master's theses UARC.0666 Finding aid prepared by University Archives staff, 1998 June; revised by Katharine A. Lawrie; 2013 October. UCLA Library Special Collections Online finding aid last updated 2021 August 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections UARC.0666 1 Contributing Institution: UCLA Library Special Collections Title: University of California, Los Angeles. Department of Dance Master's theses Creator: University of California, Los Angeles. Department of Dance Identifier/Call Number: UARC.0666 Physical Description: 30 Linear Feet(30 cartons) Date (inclusive): 1958-1994 Abstract: Record Series 666 contains Master's theses generated within the UCLA Dance Department between 1958 and 1988. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Conditions Governing Reproduction and Use Copyright of portions of this collection has been assigned to The Regents of the University of California. The UCLA University Archives can grant permission to publish for materials to which it holds the copyright. All requests for permission to publish or quote must be submitted in writing to the UCLA University Archivist. Preferred Citation [Identification of item], University of California, Los Angeles. Department of Dance Master's theses (University Archives Record Series 666). UCLA Library Special Collections, University Archives, University of California, Los Angeles. -
Northern Junket, Vol. 6, No. 11
\ \ Title CiNTMS \ rage i Take It Jr Leave It 1 Juvenile Delinquency & Square Hancing 2 From The Mailbox 7 Coming Events at Folk 3ance House - - 11 Irish Dancing -.-_ 12 Bayanihan Dance Group >. 23 Polish State Folk Ballet 24 The P»und Party 25 Contra Dance - Maiden fteel ------ 27 Square Dance - Kitty Corner -------- 28 Folk Dance - Manitou Mixer — 29 Folk Song - If My fid T«p Were A Dancing Man 30 News 32 Book Review - Spiked Boots __- 34 It's Fun To Hunt 35 lasy To Make Decorations ---- — - 43 Holiday Foo4 46 The Town Criei; 5* ******* I :0^vM^... i< k *$ R L E..A. T'B I T The longer I stay in this "business the surer I am of two things to ensure its long life and continued in- terest in it: PROPER PROGRAMMING AMD A YOUTH PROGRAM . The callers who have been active for ten or more years and are still in demand are the ones who program each of their dances so that they give something for the "hot shot" dancer; something for the "newcomer" to square dancing; and a heck of lot for the people in between who outnumber the others maybe ten to one. The dances for the in-betweens will "be a good mixture of old and traditional dances and enough of the neweir ones to keep the floor on its toes. And one thing they never are guilty of: they never deliberately try to "throw the floor". Any idiot can do that; it takes a real good caller to sense the limitations of the group and arrange or re-arrange his material accordingly. -
The Role of Dance in Haitian Vodou Dancing, Along with Singing And
The Role of Dance in Haitian Vodou Camille Chambers, University of Florida Dancing, along with singing and drumming, is a fundamental part of Haitian Vodou ritual ceremonies. Just as how the songs and the drums have a spiritual function and reflect a creolized heritage, dance holds a similar value in Vodou. As a religion that is kinesthetic in nature, dance is part of the physical manifestation of serving the lwa. Dance is not only an important part of Haitian Vodou but also of Haitian culture, in which there are two types of dance: secular and sacred (Dunham 1947: 15). For the purpose of this paper, the sacred dance will be addressed. Many anthropologists have studied ritual dances in the African diaspora of the Caribbean. Through the studies of dance in Haitian Vodou, the connection to spirituality and memory provided to the community through dance and music in Vodou ceremonies is evident. The community is a key element in Vodou ceremonies. Hebblethwaite argues that Vodou songs are important because they are the “living memory of a Vodou community” (2012: 2). Dance holds the same importance in preserving this “living memory.” Vodou songs educate about the lwa and the philosophy of Vodou and they signal the transitions between phases of the ceremony. Dance in Vodou also educates about the lwa and philosophy and through careful study of the different dances, one may also understand how dances change in the different phases of the ceremony. Before getting into the study of dances, the importance of drums must be addressed. Wilcken (2005) describes the drums as providing the fuel and guidance to the dance participants. -
Katherine Mansfield Gurdjieff's Sacred Dance
Katherine Mansfield and Gurdjieff’s Sacred Dance James Moore First published in Katherine Mansfield: In From the Margin edited by Roger Robinson Louisiana State University Press, 1994 The facts are singular enough: Katherine Mansfield, a young woman who could scarcely walk or breathe, absorbed in sacred dances that lie on the very cusp of human possibility. Some ideal of inner conciliation—neighbourly to the dancers’ purpose there— seems to have visited Katherine almost precociously. At twenty, she had written, “To weave the intricate tapestry of one’s own life, it is well to take a thread from many harmonious skeins—and to realise that there must be harmony.” i The tapestry she had achieved in the ensuing years had been a brave one: on a warp of suffering she had imposed a woof of literary success. Slowly, implacably, her body but not her spirit of search had failed her, and in her final extremity she arrived at a resolution: “Risk! Risk anything!” 2 So determined, she entered the gates of the Château du Preiuré, at Fontainbleau-Avon, on Tuesday, October 17, 1922, and there, at George Ivanovitch Gurdjieff’s Institute for the Harmonious Development of Man, she lived out her last, intense three months. There, on January 9, 1923, she died. Katherine Mansfield and Gurdjieff’s Sacred Dance. Copyright © James Moore 1994, 2006. 1 www.Gurdjieff-Biblography.com No one imagines that Mansfield’s fundamental significance lies outside her oeuvre, her individuality, and her life’s full spectrum of personal relationships; no one would claim some mystical apotheosis at Fontainebleau that overrode all that. -
Europeanfolkdanc006971mbp.Pdf
CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life. -
Teaching English Through Body Movement a Pa
AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection -
Nordic Roots Dance Kari Tauring - 2014 "Dance Is a Feature of Every Significant Occasion and Event Crucial to Tribal Existence As Part of Ritual
Nordic Roots Dance Kari Tauring - 2014 "Dance is a feature of every significant occasion and event crucial to tribal existence as part of ritual. The first thing to emphasize is that early dance exists as a ritual element. It does not stand alone as a separate activity or profession." Joan Cass, Dancing Through History, 1993 In 1989, I began to study runes, the ancient Germanic/Nordic alphabet system. I noticed that many rune symbols in the 24 Elder Futhark (100 ACE) letters can be made with one body alone or one body and a staff and some require two persons to create. I played with the combination of these things within the context of Martial Arts. In the Younger futhark (later Iron Age), these runes were either eliminated or changed to allow one body to create 16 as a full alphabet. In 2008 I was introduced to Hafskjold Stav (Norwegian Family Tradition), a Martial Arts based on these 16 Younger Futhark shapes, sounds and meanings. In 2006 I began to study Scandinavian dance whose concepts of stav, svikt, tyngde and kraft underpinned my work with rune in Martial Arts. In 2011/2012 I undertook a study with the aid of a Legacy and Heritage grant to find out how runes are created with the body/bodies in Norwegian folk dances along with Telemark tradition bearer, Carol Sersland. Through this collaboration I realized that some runes require a "birds eye view" of a group of dances to see how they express themselves. In my personal quest to find the most ancient dances within my Norwegian heritage, I made a visit to the RFF Center (Rådet for folkemusikk og folkedans) at the University in Trondheim (2011) meeting with head of the dance department Egil Bakka and Siri Mæland, and professional dancer and choreographer, Mads Bøhle. -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. -
Arizona Dance E-Star
Arizona Dance e-Star Arizona Dance e-Star a publication of the Arizona Dance Coalition Volume 2, Issue 10 November 2012 Dear Readers, November promises to be interesting with the elections and !anksgiving. We can only hope that the arts continue be a driving force in Arizona and that we have stronger support for the arts from our communities and elected o#cials. !is will be necessary in order to attract more grant monies from those who can give and believe the arts positively in$uence our economy (jobs), our intelligence (education) and our wellbeing (lifestyle). !e article on page 13 speaks to this topic and is written by Roberto Bedoya, Executive Director of the Tucson Pima Arts Council. November marks Bedoya's 6th year with TPAC. !e Member Spotlight shines on AZDance Group and Kenda Newbury (pg 12). Kenda's contribution to dance and working with children and adults with Table of Contents disabilities is signi"cant. !e Photo of the Month is of the Calendar of Events . .. .. .. .. .. .. .. .. .. .. .. .. .. 2-7 Terpsicore Dance Company—pronounced Terp%si% CORE— to bring attention to a dancer's "core." Master Classes & Workshops. .. .. .. .. .. .. .. .. .. 8 !is November we can be thankful that there are so many Auditions .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8 events where we can celebrate DANCE. Project Dance ADC Member Announcements .. .. .. .. .. .. .. .. 9 Phoenix (pg 4) is one event where participants will actually Regional News . .. .. .. .. .. .. .. .. .. .. .. .. .. 10-11 discuss feeling blessed to dance. !e month begins with Photo of the Month . .. .. .. .. .. .. .. .. .. .. .. .. .11 leftover Halloween/Vampires performances and ends with Member Spotlight: AZDance Group . .. .. .. .. .12 the beginnings of !e Nutcracker season! Inbetween we Article: Arts Boon or Drain?. -
KUJAWIAK WESELNY OD OSIECINA (Poland)
FOLK DANCE FEDERATION OF CALIFORNIA RESEARCH COMMITTEE: August/September 1969 Dorothy Tamburini KUJAWIAK WESELNY OD OSIECINA (Poland) Kujawiak Weselny Od Osiecina (Koo-Y.~!V-yahk Veh-SEHL-nee Awd Awh-SEH-chee-neh) is a Kujawiak with a fast chorus. Often a slow, tender Kujawiak has a Mazur, or, as in this dance, an Oberek as a chorus, This Kujawiak was introduced by Dr, Morley Leyton at the 1968 University of the Pacific Folk Dance Camp at Stockton, California. MUSIC: Record: Buccaneer "Polish Dances" - BC-1000, Side A, Band 7 Bruno "Polish Country Dance Party in Hi-Fi" - BR-50137, Side 2, Band 5 FORMATION: Cpls in a circle, facing LOD, W to ~~ R. f.1 has arms folded across chest, forearms _. parallel to floor; W has hands on hips. When hands are on hips, fingers are fwd, co STEPS AND Walk*, leap*, heel click STYLING: Hazur Step: Step fwd on R ft, bending knees (ct 1). Step fwd on L, bending knees a little more, but as wt is placed on L ft, start to straighten knees (ct 2). Step fwd on R with knees straight (ct 3). Next step begins fWd on L. During the slow part of the ·dance movements are stately. *Described in volumes of "Folk Dances From Near and Far" published by the Folk Dance Federation of California, Inc., 1095 Harket Street, San Francisco, California 94103, MUSIC 3/4, 3/8 PATTERN Measures 3/4 2 meas INTRODUCTION I. DIAHOND 1 )3:trs pn::gress LOD in a diamond pattern. MOve fwd diag a"!aY fro))t ptr with 3 walking steps (H-LRL, W-RLR), - 2 Close (M-R, W-L) (ct 1); hold (ct 2); keeping ft on floor, click heels together (ct 3), Do not start click before ct 3.