Hip Hop America Pdf, Epub, Ebook
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Let's Rock This Party
AAHPERD 2012 Let’s Rock This Party Susan Flynn, Gregg Montgomery and Katie Redmond [email protected] You Tube: SuzRockThisParty Funky, Fun dance activities for all ages. “Dance like nobody’s watching” Dance: Rock This Party Music: Gonna Make You Sweat-C+C Music Factory or Rock This Party by Bob Sinclair Formation: Scatter or line start when they say Everyone Dance Now 8 counts: Right hand on forehead and left arm straight behind while walking to the right 4 steps (right, left, right, together) on the 4th count clap. Then go left, left hand on forehead and right arm straight behind while walking to the left 4 steps (left, right, left together) on the 4th count clap. 4 counts: Bring arms in towards chest make a broken T (fists facing each other chest level, elbows out to side) for and pump arms forward for 4 cts 8 counts: Mash Potato: 4 cts to right 4 cts to left 4 counts: Spin on left leg while pumping arms and right leg together for 4 counts (pump 360 degrees around) 4 counts: Rock in place 4 counts: March in place Repeat dance Dance: Thriller Music: Thriller (J.D. Hughes) Formation: Scatter or line 8 cts.- Monster Claws…with hands in monster claws step forward R and hold, step forward and hold, step forward R, L, R, L 8 cts.- Slide, Shimmy, Clap…Long slide step R and while the L comes together “shimmy” shoulders (3 cts.) then clap overhead on ct. 4. Repeat to the L 8 cts.- Breast Stroke…angle step forward (to the R) R, L, R, L while doing breaststroke motions with the hands, repeat with angle steps forward (to the L) beginning with L foot, -
Music of Ghana and Tanzania
MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
DJ Skills the Rise of the Hip-Hop DJ 3
The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop. -
View Centro's Film List
About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession. -
Dance Charades Imitando Pasos De Baile
DANCE CHARADES IMITANDO PASOS DE BAILE Play your favorite music and let’s get Reproduce tu música favorita y comien- moving with this interactive dance za a moverte con este juego de baile game. Invite a family member, friend, or interactivo. Invita a un familiar, amigo o neighbor to join you for a night of fun. vecino a compartir contigo una noche de diversión. Materials/Materiales: Dance move cards Music of your Feel-good vibes Tarjetas de pasos choice Buena onda de baile Música de tu preferencia Instructions/Instrucciones: 1. Cut or tear-o! the included dance move cards. 1. Recorta o arranca las tarjetas de pasos de 2. Place the cards in a cup, jar, or small container. baile que se incluyen. 3. Take turns choosing a card and dancing the 2. Coloca las tarjetas en una taza, un frasco o un move for others to guess. recipiente pequeño. Visit www.anamasacote.com/dancecharades 3. Por turnos, cada participante elige una tarjeta to learn about the dance moves. e imita el paso de baile para que los demás adivinen cuál es. 4. Bonus: Create a solo dance choreography by dancing the moves in the order that you pick Visita www.anamasacote.com/dancecharades them from the jar. Take a video of your moves para aprender acerca de los pasos de baile. and upload it to Tik Tok! 4. Extra: Crea una coreografía de un baile solista en el que sigas los pasos según el orden en que los saques del frasco. ¡Haz un vídeo de tus pasos y súbelo a Tik Tok! Electric Slide Running Man Macarena Nae Nae Moonwalk Gangnam Style Twist Chicken Dance Single Ladies To ot sie Roll Vogue Salsa Cha Cha Carlton Grapevine Robot Merengue Bachata Ana Masacote is an award-winning Afro-Latin Ana Masacote es una galardonada especialista dance specialist who passionately believes that en danza afrolatina que cree con pasión que, a through dance, we can facilitate social change través de la danza, podemos facilitar el cambio within communities. -
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. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Arm Aitor MI 48106-1346 USA 313/761-4700 800/521-0600 V,: "he dreamed of dancing with the blue faced people ..." (Hosteen Klah in Paris 1990: 178; photograph by Edward S. Curtis, courtesy of Beautyway). THE YÉ’II BICHEII DANCING OF NIGHTWAY: AN EXAMINATION OF THE ROLE OF DANCE IN A NAVAJO HEALING CEREMONY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sandra Toni Francis, R.N., B.A., M. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
KEM.C.GUNN IK.OWENS)Kern 79
The most popular singles and tracks, acccrding to R813/110Hop iedi.4 audience impressions measured by Nielsen Broadcast Data Systems and sales datafrom a subset pane of aye RSEfil-lip-Hop stores compiled by Nie scn Souncszan.3reateSt Game, Sales and Greatest Gainer;IAErplay are awarded, respectively. tot the largest retail sales and airplay increases on the chart. Sm. Charts Lagaid for ruin od explanations. ei 2006. VNU Business Media, Inc. and Nielsen SoundScan, Inc. Allrights resene.' /JIRO TIONI-DRED lo SALES DATA COMPILED BY JUN Nelsen Nielsen 3 Snack -am P SoundSi..en 2- 2 System 41° 2006 1101. 13 &B /HIP -HOP SONGS Artist TITLE IMPRINT/PROMOTION LABEL e PRODUCER (SO I'M GONNA BE Donell Jones ' 1619EATE$T ITS Gm; DOWN Vung Joc 8 3 3 16 LAFACE/ZOEMIA 911.11011 pill0L9TNIT71 (IROBINSON,C.MOORE) Q BLOCK/BN) BOY SOUTH/ATLANTIC TIM a BOB (D JONES,T.KELLEY.B.ROBINSON) YOU Raheem DeVaughn WHAT YOU KNOW 8 55, 16 T.HUNTER (R.S.DEvAUGHN.T.HUNTER) 0 JIVE/20mA DJ TOOMP C.HARRIS,A.DAVIS.C.MAYEIELD,L.HUTSON,O.HATHAWAY) 00 GRAND HUSTLE/ATLANTIC ENOUGH CRYIN Mary J. Blige Featuring Brook-lyn ,{CANI TAKE YOU HOME Jamie Foxx - 3 ID Singer, wl-o ;s 0 J/RMG 411 R.JERKINS (M IBLIGE.R.JERKINS,S.GARRETT.S.C.CARTER) Co MATRIARN/GEFTEN/INTERSCOPE TIMBALAND (T.v.MOSLEY,S.GARRETT) set to opei Bubba Spanoot WHEN YOU'RE MAD Ne-Yo HEAT IT UP 59 I MR.COLLIPARK (W.mATHISN.CROOmS.S.ANDERSON) 00 NEW SOUTH/PURPLE RIBBONNIRGiN S.TAYLOR (S.SM1TH,S.TAYLOR) 00 DEE JAM/IONG for Mary Gucci Mane Featuring Mac Bre-Z GETT1N' SOME Shawnna Blige on GO AHEAD 57 5 6 $768 0 LATLARE/BIG -
Claimed Studios Self Reliance Music 779
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Hip Hop Dance: Performance, Style, and Competition
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations.