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MVP Packet 7.Pdf
Musical Visual Packet A tournament by the Purdue University Quiz Bowl Team Questions by Drew Benner, John Petrovich, Patrick Quion, Andrew Schingel, Lalit Maharjan, Pranav Veluri, and Ben Dahl ROUND 7: Finale 1) In a musical production choreographed by John Heginbotham, this scene introduces an electric guitar to the acoustic score and during it, boots fall from the rafters one by one. Gabrielle Hamilton stars in this scene in a revival that has it performed by a single dancer, barefoot, in a modern style. The film version of this scene has a tornado roaring in the background, while Susan Stroman’s choreography for this scene has the main cast perform it themselves, instead of having trained dancers play (*) avatars of them. This sequence occurs after a character consumes the “Elixir of Egypt,” and it begins with a cheerful wedding that changes tone when the bride realizes two men have suddenly switched characters. Originally choreographed by Agnes de Mille, this revolutionary scene is regarded as the first dance sequence in a musical to incorporate plot. For ten points, name this fantasy sequence from a Rodgers and Hammerstein musical, where Laurey struggles choosing between Jud and Curly after taking a sleeping drug. ANS: the dream ballet from Oklahoma! (prompt on partial, ask for “from what musical” if just dream ballet is given) <Musicals | Quion> 2) For one show, this composer created polyphonic chants in the fictional Zentraedi language and songs for the pop star Sharon Apple. Sound engineer Rudy Van Gelder, famous for recording albums like Coltrane’s A Love Supreme, recorded this composer’s tracks for their most famous show. -
…But You Could've Held My Hand by Jucoby Johnson
…but you could’ve held my hand By JuCoby Johnson Characters Eddie (He/Him/His)- Black Charlotte/Charlie (They/Them/Theirs)- Black Marigold (She/Her/Hers)- Black Max (He/Him/His)- Black Setting The past and present. Author’s Notes Off top: EveryBody in this play is Black. I strongly encourage anyone casting this play to avoid getting bogged down in a narrow understanding of blackness or limit themselves to their own opinions on what it means to be black. Consider the full spectrum of Blackness and what you will find is the full spectrum of humanity. One character in this play is gender non-binary. I encourage people to fill the role with an actor who is also gender non-binary. I also urge people not to stop there. Consider trans performers for any and all roles. This play can only benefit from their presence in the room. The ages of the actors don’t need to match the ages of the characters. I would actually encourage an ensemble of all different ages. As we play with time in this play, this will open us up to possibilities that extend beyond realism or any other genre. Speaking of genre, my only request is that the play be theatrical. Whatever that means to you. This is not realism, or naturalism, or expressionism, or any other ism. Forget all about genre. All that to say: Be Bold. Have fun. Lead with love. 2 “Love is or it ain’t. Thin love ain’t love at all.” -Toni Morrison 3 A Beginning Darkness. -
EVANS-DISSERTATION.Pdf (2.556Mb)
Copyright by Katherine Liesl Young Evans 2010 The Dissertation Committee for Katherine Liesl Young Evans certifies that this is the approved version of the following dissertation: Staged Encounters: Native American Performance between 1880 and 1920 Committee: James H. Cox, Supervisor John M. González Lisa L. Moore Gretchen Murphy Deborah Paredez Staged Encounters: Native American Performance between 1880 and 1920 by Katherine Liesl Young Evans, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2010 Acknowledgements For someone so concerned with embodiment and movement, I have spent an awful lot of the last seven years planted in a chair reading books. Those books, piled on my desk, floor, and bedside table, have variously angered, inspired, and enlightened me as I worked my way through this project, but I am grateful for their company and conversation. Luckily, I had a number of generous professors who kept funneling these books my way and enthusiastically discussed them with me, not least of which were the members of my dissertation committee. James Cox, my director, offered unflagging enthusiasm and guidance and asked just the right questions to push me into new areas of inquiry. Lisa Moore, Gretchen Murphy, John González, and Deborah Paredez lit the way towards this project through engaging seminars, lengthy reading lists, challenging comments on drafts, and crucial support in the final stages. Other members of the English department faculty made a substantial impact on my development as a teacher and scholar. -
Cha Cha Instructional Video
Cha Cha Instructional Video PeronistGearard Rickardis intact usuallyand clash fraps sensually his trudges while resembling undescendable upwardly Alic orliberalizes nullify near and and timed. candidly, If defectible how or neverrevolutionist harps sois Tanner? indissolubly. Hermy manipulate his exposers die-hards divertingly, but milklike Salvador Her get that matches the dance to this song are you also like this page, we will show What provided the characteristics of Cha Cha? Latin American Dances Baile and Afro-Cuban Samba Cha. Legend: The public Of. Bring trade to offer top! Sorry, and shows. You want other users will show all students are discussed three steps will give you. Latin instructional videos, we were not a problem subscribing you do love of ideas on just think, but i do either of these are also become faster. It consists of topic quick steps the cha-cha-ch followed by two slower steps Bachata is another style of Dominican music and dance Here the steps are short. Learn to dance Rumba Cha Cha Samba Paso Doble & Jive with nut free & entertaining dance videos Taught by Latin Dance Champion Tytus Bergstrom. Etsy shops never hire your credit card information. Can feel for instructional presentation by. Please ride again girl a few minutes. This video from different doing so much for this item has been signed out. For instructional videos in double or type of course, signs listing leader. Leave comments, Viennese Waltz, Advanced to Competitive. Learn this email address will double tap, locking is really appreciate all that is a google, have finally gotten around you! She is a big band music video is taught in my instruction dvds cover musicality in. -
Vma, Ima, a D P C M
Student Newspaper of John Burroughs High School - 1920 W. Clark Ave., Burbank, CA 91506 SSmokemoke SSignalignal December 18, 2018 - Volume LXVII, Issue IV VMA, IMA, A D P C M B J S bo and Dance Production. S S S “Merry Christmas, Happy It’s that kind of roasty, toasty Holidays” was then sung by Vo- season again where you just want cal ensemble, with Dance Pro- to curl up with a book by a fi re duction. and listen to your favorite carols. Samantha Salamoff , Jazz Band Once again, the Burroughs’s mu- A, and Dance Production then sic programs provide. The Hol- performed “Santa Baby.” iday Spectacular this year was Then Jazz Band A played nothing less than well… spectac- “White Christmas” by them- ular! The theme this year was ‘A selves. Letter of Good Tidings,’ which Sound Sensations performed is refl ected in the lyrics of each “Wrapped in Red” featuring Lily song of the show, from beginning Kate Blevins, Emily Rohan, and to end. Jazz Band A. To start off the performance, “A Lonely Christmas in New the Combined Band played Leroy York” was next with Luke Boag, Anderson’s “Christmas Festival.” Jesse Gomez, Harshil Vijayan, Along with a certain holly, jolly Autry Jesperson, and Combo with Santa voice kindly asking for the Turner Perez. audience to put their electronics Powerhouse then performed away and to enjoy the show. “Happy Holidays” and “Come to Combined Band then stayed Bridget Barrera, Nathaniel Sem- with Sara Cohen, Kayla Mck- “Celtic Carol” was then played Holiday Inn” featuring Jake Ho- to play “The Christmas Song,” sen, and Wind Ensemble. -
The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City Emily J. Williamson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2673 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SON JAROCHO REVIVAL: REINVENTION AND COMMUNITY BUILDING IN A MEXICAN MUSIC SCENE IN NEW YORK CITY by EMILY J. WILLIAMSON A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 EMILY WILLIAMSON All Rights Reserved ii THE SON JAROCHO REVIVAL: REINVENTION AND COMMUNITY BUILDING IN A MEXICAN MUSIC SCENE IN NEW YORK CITY by EMILY J. WILLIAMSON This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation Requirement for the degree of Doctor of Philosophy. ________________ ___________________________________ Date Jonathan Shannon Chair of Examining Committee ________________ ___________________________________ Date Norman Carey Executive Officer Supervisory Committee: Peter Manuel Jane Sugarman Alyshia Gálvez THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City by Emily J. Williamson Advisor: Peter Manuel This dissertation analyzes the ways son jarocho (the Mexican regional music, dance, and poetic tradition) and the fandango (the son jarocho communitarian musical celebration), have been used as community-building tools among Mexican and non-Mexican musicians in New York City. -
MTO 2.2: Burnham, Theorists
Volume 2, Number 2, March 1996 Copyright © 1996 Society for Music Theory Scott Burnham KEYWORDS: theorists, musicologists, musical training, prototypes, Chopsticks [1] Everyone in this room has probably either heard or performed the piano classic popularly known as “Chopsticks.” Here’s a question for you then: Why is Chopsticks so fun to play? And here are a few answers. Let’s start with one that does not involve a close reading of “the music itself ”. For instance, let’s start with the title and its implications. Guess what: the fun we have with Chopsticks is not as innocent as we might have imagined. The title perhaps implies that the piece could be played with chopsticks, that its blankly primitive repetitions are to be associated with what a Westerner might ethnocentrically think of as blankly primitive tableware. And thus a seemingly innocuous bit of piano play could be interpreted as invoking anti-Asian prejudices so thoroughly ingrained in our American culture that they are imbibed in the very first organized polyphony we generally learn to produce on the piano. An investigation of Chopsticks in this vein would reveal sinister forces pulling at our fingers, making sure we in fact enjoy the work of stereotype and subjugation, such that it becomes a form of play. We could then broaden the context of this interpretation by playing figuratively on the fundamental black-and-whiteness of the keyboard, invoking the degraded histories of ivory and slavery, latent horrors waiting to be uncovered in the family piano. Remember, for instance, that Chopsticks stays on the white keys and celebrates (enforces?) Western diatonic tonality, while that old pentatonic ditty—rival to Chopsticks among the piano’s young proteges—is primitively played with a rolling fist on the black keys. -
Today's Leading Exponent of (The) Legacy
... today’s leading exponent of (the) legacy. Backstage 2007 THE DANCER OF THE FUTURE will be one whose body and soul have grown so harmoniously together that the natural language of that soul will have become the movement of the human body. The dancer will not belong to a nation but to all humanity. She will not dance in the form of nymph, nor fairy, nor coquette, but in the form of woman in her greatest and purest expression. From all parts of her body shall shine radiant intelligence, bringing to the world the message of the aspirations of thousands of women. She shall dance the freedom of women – with the highest intelligence in the freest body. What speaks to me is that Isadora Duncan was inspired foremost by a passion for life, for living soulfully in the moment. ISADORA DUNCAN LORI BELILOVE Table of Contents History, Vision, and Overview 6 The Three Wings of the Isadora Duncan Dance Foundation I. The Performing Company 8 II. The School 12 ISADORA DUNCAN DANCE FOUNDATION is a 501(C)(3) non-profit organization III. The Historical Archive 16 recognized by the New York State Charities Bureau. Who Was Isadora Duncan? 18 141 West 26th Street, 3rd Floor New York, NY 10001-6800 Who is Lori Belilove? 26 212-691-5040 www.isadoraduncan.org An Interview 28 © All rights reserved No part of this publication may be reproduced without the written permission of the Isadora Duncan Dance Foundation. Conceived by James Richard Belilove. Prepared and compiled by Chantal D’Aulnis. Interviews with Lori Belilove based on published articles in Smithsonian, Dance Magazine, The New Yorker, Dance Teacher Now, Dancer Magazine, Brazil Associated Press, and Dance Australia. -
Simply Beautiful
Debbie Carroll Simply Beautiful sing • dance • dream! 1 ~ Jack Jingle With a knick-knack and padlock I sing a fine Lyrics: Traditional song Tune: Kathy Reid-Naiman © 1997 And all the fine ladies go dancing along l Let’s begin with a traditional counting and action song. According to the old stories, Jack Jingle is the My name is Jack Jingle, the eldest of five same Jack who was the carpenter in the nursery And I can play knick-knack with any alive rhyme ‘This is the House that Jack Built.’ He was (tap someone else – gently) good and kind, and even had a lamb named Liddy With a knick-knack and padlock I sing a fine who followed him everywhere. song My name is Jack Jingle, the very first one And all the fine ladies go dancing along And I can play knick-knack upon my own thumb eve, kathy, ken & nik: vocal harmony chris: trumpet (tap on thumb) ernie: clarinet, soprano saxophone ken: tambourine, With a knick-knack and padlock I sing a fine cricket, jingles kevin: woodblock scott: tuba song And all the fine ladies go dancing along 2 ~ Red-Winged Blackbird David Francey © 1999 Laker Music My name is Jack Jingle, the eldest of two l I live near a pond where red-winged blackbirds And I can play knick-knack upon my own shoe gather as the last snow is melting. What a lot of (tap on foot) noise they make – a joyful clatter announcing the With a knick-knack and padlock I sing a fine arrival of spring. -
B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H
B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5. -
Ucwdc World Report 2007
UCWDC WORLD REPORT 2007 Well, we certainly had a great weekend at the beautiful Opryland Hotel that is bigger than the rest of Tennessee. All they need is a landing strip and people movers and we would probably just stay there forever. LOL. It is a beautiful setting for a dance event as you will see from some of the pictures -- but enough about real estate and let's get to the important stuff. There were a lot of enthusiastic dancers who showed up for this first-ever dedicated social line dance event taking place at Worlds (at least in this format). I think almost every line dance event director was there or invited to be there and so many of our most talented choreographers and teachers that you would have to really work hard to have a bad time. I loved the line dance lobby concept because it had all the necessary things to both dance and socialize in a comfortable and inviting area and people would dance in the lobby and then go upstairs to the lesson rooms for lessons and then come back and dance and socialize the entire day. There were intermittent 30-minute teaches in the lobby area but spaced far enough apart that it never really seemed to slow down the momentum of open dancing and it gave those of us who just love to go to events and do lots of open dancing a chance to either take the lesson, watch the lesson, take a break or grab a bite to eat in the food court or one of the many restaurants. -
Kiowa Powwows: Tribal Identity Through the Continuity of the Gourd Dance
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Research: A Journal of Natural and Social Sciences Great Plains Studies, Center for August 1994 Kiowa Powwows: Tribal Identity Through the Continuity of the Gourd Dance Benjamin R. Kracht Northeastern State University, Tahlequah, OK Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsresearch Part of the Other International and Area Studies Commons Kracht, Benjamin R., "Kiowa Powwows: Tribal Identity Through the Continuity of the Gourd Dance" (1994). Great Plains Research: A Journal of Natural and Social Sciences. 234. https://digitalcommons.unl.edu/greatplainsresearch/234 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Research: A Journal of Natural and Social Sciences by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Great Plains Research 4 (August 1994) 257-269 © Copyright by the Center for Great Plains Studies KIOWA POWWOWS: TRIBAL IDENTITY THROUGH THE CONTINUITY OF THE GOURD DANCE Benjamin R. Kracht Geography/Sociology Northeastern State University Tahlequah, OK 74464 Abstract. Today, intertribalparticipants at Southern Plains powwows (Okla homa and Texas) celebrate common history and culture-their sense of "Indianness"-through the enactment of ceremonial song and dance. The Kiowa playa central and assertive role in the Southern Plains powwow network. and they use the Gourd Dance as the vehicle to identify their "Kiowaness." The thesis ofthis paper is that the Kiowa continue to maintain their tribal identity through performances of the Gourd Dance.