Antoine Troupe

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bloc, inc. 6100 Wilshire Blvd., Suite 1100 Los Angeles, CA 90048 PHONE: 323-954-7730 FAX: 323-954-7731 Antoine Troupe Height: 5’8” Eyes: Brown Hair Color: Black Television/Film ARSENIO HALL - PRINCE CHOREOGRAPHER CHOREO: SELF JIMMY FALLON – CHRIS BROWN ASST. CHOREO CHOREO: FLII STYLZ AMERICAS BEST DANCE CREW SUPREME SOUL CHOREO: NAPPYTABS/ROSERO MCCOY MINDLESS BEHAVIOR DOCUMENTARY FEATURED STEVEN GOLDFRIED BET AWARDS PRE-SHOW – VIC MENSA DANCER CHOREO: IAN EASTWOOD BET’S SPRING BLING W/TRIPL3 THREAT TRIPL3 THREAT CHOREO: SELF Music Videos PRINCE – “BREAKFAST CAN WAIT” CHOR/DANCER DIR: ROB WITT E40, CHRIS BROWN, TI – “EPISODE” CHOR/DANCER DIR: BEN GRIFFIN DRAKE – “THE MOTTO” DANCER DIR: LAMAR TAYLOR/HYGHLEY ALLEYNE PIA MIA - “MR. PRESIDENT” DANCER DIR: _P MAT KEARNEY – “HEARTBEAT” CHOREO DIR: WILLIAM RUSSEL Live/Stage Performances PRINCE ESSENCE FESTIVAL CHOR/DANCER SELF/NICOLE KIRKLAND CEELO GREEN EURO TOUR CHOR SELF MINDLESS BEHAVIOR AATW TOUR DANCER/CAPTAIN DAVE SCOTT MINDLESS BEHAVIOR #1 GIRL TOUR DANCER/CAPTAIN DAVE SCOTT/KOLANIE MARKS PIA MIA – GUAM LIVE DANCER FLII STYLZ ROSHON (SHAKE IT UP) DANCER ROSERO MCCOY SILLY WALKS FOR HUNGER DANCER CHOR: RICH + TONE DANCE CREW CANADA TOUR DANCER SUPREME SOUL AMERICAS BEST DANCE CREW TOUR OPENER CHOR/DANCER CHOR: SELF JESSICA SANCHEZ CHOR/DANCER CHOR: SELF LIL MAMA TEEN CHOICE AWARDS PARTY DANCER SUPREME SOUL NBA ALL-STARS WEEKEND – VEGAS CHOR/DANCER TRIPLE THREAT Commercials STARBUCKS FEATURED 72ANDSUNNY Training HIP HOP, KRUMP, POPPING, JAZZ, FREESTYLE, DEBBIE ALLEN, CHAPKIS DANCE STUDIO, MILLENIUM, IDA, MOVEMENT LIFESTYLE, DEBBIE REYNOLDS, ROBERT HOFFMAN, KOLANIE MARKS, GREG CHAPKIS, NICK WILSON, Special Skills (HIP HOP, JAZZ FUNK, KRUMP, POPPIN, FLEXING), DOUBLE JOINTED SHOULDERS, FOOTBALL, BASEBALL, BASKETBALL, TRACK, RECREATIONAL ACTIVITIES, BOWLING, ROLLERBLADING, SWIMMING, BIKING, BILLIARDS .

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Wedding Ringer -FULL SCRIPT W GREEN REVISIONS.Pdf
THE WEDDING RINGER FKA BEST MAN, Inc. / THE GOLDEN TUX by Jeremy Garelick & Jay Lavender GREEN REVISED - 10.22.13 YELLOW REVISED - 10.11.13 PINK REVISED - 10.1.13 BLUE REVISED - 9.17.13 WHITE SHOOTING SCRIPT - 8.27.13 Screen Gems Productions, Inc. 10202 W. Washington Blvd. Stage 6 Suite 4100 Culver City, CA 90232 GREEN REVISED 10.22.13 1 OVER BLACK A DIAL TONE...numbers DIALED...phone RINGING. SETH (V.O.) Hello? DOUG (V.O.) Oh hi, uh, Seth? SETH (V.O.) Yeah? DOUG (V.O.) It’s Doug. SETH (V.O.) Doug? Doug who? OPEN TIGHT ON DOUG Doug Harris... 30ish, on the slightly dweebier side of average. 1 REVEAL: INT. DOUG’S OFFICE - DAY 1 Organized clutter, stacks of paper cover the desk. Vintage posters/jerseys of Los Angeles sports legends adorn the walls- -ERIC DICKERSON, JIM PLUNKETT, KURT RAMBIS, STEVE GARVEY- DOUG You know, Doug Harris...Persian Rug Doug? SETH (OVER PHONE) Doug Harris! Of course. What’s up? DOUG (relieved) I know it’s been awhile, but I was calling because, I uh, have some good news...I’m getting married. SETH (OVER PHONE) That’s great. Congratulations. DOUG And, well, I was wondering if you might be interested in perhaps being my best man. GREEN REVISED 10.22.13 2 Dead silence. SETH (OVER PHONE) I have to be honest, Doug. This is kind of awkward. I mean, we don’t really know each other that well. DOUG Well...what about that weekend in Carlsbad Caverns? SETH (OVER PHONE) That was a ninth grade field trip, the whole class went.
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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.
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Beijing's South China Sea Lawfare Strategy
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Apollo Theater Presents Breakin' Convention Festival In
Apollo Theater Presents The Critically Acclaimed Global Hip-Hop Dance Theatre Festival Breakin’ Convention Festival In Collaboration with London’s Sadler’s Wells Theatre Headline programming includes groundbreaking works from internationally renowned dance crews, a special performance by popping icon Popin’ Pete, and appearance by Hip-Hop Legend and Co-Host Biz Markie Festival Expands to Week-long Celebration to Include: Artist Talks, Workshops, Dance Master Class with Jon Boogz and Lil Buck, a Unique Art Exhibition Created by Internationally Celebrated Sculptor/Painter Carlos “Mare139” Rodriguez, and Much More October 20 – 28, 2017 (Harlem, NY – October 12, 2017) – The Apollo Theater presents the return of London’s Sadler’s Wells’ critically acclaimed international hip-hop dance theatre festival—Breakin’ Convention, one of the world’s greatest celebrations of hip-hop culture. The festival, a collaboration with London’s Sadler’s Wells and now in its third year at the Apollo, provides a platform for the Theater to celebrate its hip-hop legacy and to highlight the global impact of contemporary hip-hop culture through both mainstream and experimental dance. This year’s festival will directly address several pressing issues that are part of America’s current sociopolitical landscape through performances and accompanying events, with highlights including an artist talk with dancers Jon Boogz and Lil Buck centered on dance as a tool for social justice and prison reform. Curated and hosted by nationally recognized U.K. hip-hop emcee and theater pioneer Jonzi D, Breakin’ Convention will take over the entire Apollo building and will include performances by world renowned dance companies and local crews.
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Technical, Artistic, and Pedagogical Analysis of Mark Morris' L'allegro, Il Penseroso Ed Il Moderato Mireille Radwan Dana University of Wisconsin - Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations 5-2017 Technical, Artistic, and Pedagogical Analysis of Mark Morris' L'Allegro, Il Penseroso ed Il Moderato Mireille Radwan Dana University of Wisconsin - Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Dance Commons Recommended Citation Radwan Dana, Mireille, "Technical, Artistic, and Pedagogical Analysis of Mark Morris' L'Allegro, Il Penseroso ed Il Moderato" (2017). Theses and Dissertations. 1433. https://dc.uwm.edu/etd/1433 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. TECHNICAL, ARTISTIC, AND PEDAGOGICAL ANALYSIS OF MARK MORRIS’ L’ALLEGRO, IL PENSEROSO ED IL MODERATO by Mireille Radwan Dana A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Fine Arts in Dance at The University of Wisconsin-Milwaukee May 2017 ABSTRACT TECHNICAL, ARTISTIC, AND PEDAGOGICAL ANALYSIS OF MARK MORRIS’ L’ALLEGRO, IL PENSEROSO ED IL MODERATO by Mireille Radwan Dana The University of Wisconsin Milwaukee, 2017 Under the Supervision of Professor Marcia R. Parsons Abstract This thesis analyzes Mark Morris' choreography for pedagogical purposes. It explores Morris' technique and style by investigating one of his most acclaimed works: L'Allegro, il Penseroso ed il Moderato. Because this evening length piece offers a large selection of sections, a total of thirty-two, it provides many possibilities to investigate Morris' musicality, creative process, and style.
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Street Dance Fact File
Street Dance Fact File What is Street Dance? Key Facts Street dance is an umbrella term for various dance styles that originally • Street dance styles can be improvisational and social in nature, encouraging evolved outside of dance studios in spaces such as streets, parks, interaction and contact with other dancers and spectators and in direct playgrounds, and nightclubs and which form part of hip hop culture. relation to the rhythms and styles of the music. Street dance’s earliest styles were created largely by African Americans • There is normally a ‘battle’ element central to the dance styles – competitive and later Latinos, include breaking, which was created in The Bronx, New one-upmanship which can be informal or formalised competition. York in the 1970s, whilst popping and locking originated on the West Coast during the same decade. Several other subsequent styles fall under • Still relatively young as a dance style, street dance has heavily influenced the street dance umbrella including house, hip hop, krump, turfing and popular culture and can be seen on music videos and commercials. flexing. In London, breaking, popping and locking are dominant styles. • The UK has developed a vibrant hip-hop and street dance scene with many regular battles and events. What Is Happening in Street Dance Today? Successful hip hop theatre companies include: • ZooNation, who presented the award-winning ‘Into the Hoods’ in the West End. • Boy Blue Entertainment, who won an Olivier Award for ‘Pied Piper’ and ‘Avant Garde Dance.’ • Breakin’ Convention, an annual hip-hop dance theatre festival at Sadler’s Wells in London.
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Hip Hop Dance Unit Vocabulary Battles: any level of competition where break dancers, in an open space (typically a circle) participate in quick-paced, turn based routines, whether improvised or planned. Participants vary in number and can often include "crews" or teams. Winners are determined by who exhibits the most proficient combination of moves Break Dance: (b-boying/b-girling) is a combination of funk, martial arts, gymnastics. Break dancing is done to the "break" section of the music where percussion is the strongest. Freeze: (aka Stall)-stationary power move which focuses on a pose. Most skillful freezes require suspension off the floor using specific parts of the body. Two most popular are "chair freeze" and "baby freeze Flare: common floor element when spinning on hands, legs flare up and open as spin continues. Kip up: spring like action which initiates on your back, hips roll back towards head, then body springs forward and hips lift to end standing up. Krumping: Created on streets, aggressive style of hip hop that looks like fighting, a lot of hand gestures/pushing chest out/stomping feet, and was created as a way to express yourself. Locking: sharp transition between each of multiple freezes/poses like clicks associated with door bolts. Has the effect like locking the joints (moves called skeeters/Scooby doos/stop n'go/fancies) Popping: movement with elements of mime made by flexing the muscles and joints to the beat of the music. Done with locking to create movement/stop effect. Robot: precise, isolated movements and turns that lock into place before the next movement begins.
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Dispatches from the Straight Outta Fresno Archive by the Valley Public History Initiative: Preserving Our Stories Table of Contents
Dispatches from the archives Dispatches from the Straight Outta Fresno Archive By The Valley Public History Initiative: Preserving our Stories Table Of Contents Introduction This book belongs to the authors and the public Romeo Guzmán and Sean Slusser history project Straight Outta Fresno: From Popping to B-boying and B-girling. As a courtesy do not reproduce without the consent of both. Womb Geography Monique Quintana historiapublica On the Front Porch: Deborah McCoy and Fresno Streetdance FresnoStatePublicHistory Naomi M. Bragin Straight_Outta_Fresno_VPH Defying Gravity, Breakin’ Boundaries: Tropicsofmeta.com The Rise of Fresno’s Climax Crew Sean Slusser The book and project was made possible by funding from the President’s Commission on Human Relations and Equity, College of Social Sciences, the History Department, Sociology Department, the Cross Cultural UNDERGRADUATE and Gender Center, and a Humanities for All grant STUDENT ESSAYS from California Humanities, a partner of the National Endowment for the Humanities. Visit www.calhum.org A Blaxican’s Journey through Fresno’s Racial Landscape Raymond A. Rey It Started Here: Jean Vang’s Hip-Hop Journey Roger Espinosa INTRODUCTION Geography is central to hip-hop culture. Academics and artists alike have referenced the importance of physical spaces like “the block”; “the streets”; or “the hood” as incubators for hip-hop culture. It is in these intimate spaces that working class youth of color sift through the rubble of post- industrial neglect and repurpose it into new forms of visual art, music, and dance. Nearly fifty years after hip-hop’s emergence into the public imagination, these narratives of place have been mapped onto a distinct hip-hop cartography fixated on nostalgic references to “the Bronx”; “Compton”; and “Oakland.” Cities like Fresno are rarely included in this hip-hop cartography largely because they exist outside of institutional networks like university archives, cultural philanthropy, and the music industry.
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Dance History Timeline
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The Circulation of Popular Dance on Youtube
Social Texts, Social Audiences, Social Worlds: The Circulation of Popular Dance on YouTube Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alexandra Harlig Graduate Program in Dance The Ohio State University 2019 Dissertation Committee Harmony Bench, Advisor Katherine Borland Karen Eliot Ryan Skinner Copyrighted by Alexandra Harlig 2019 2 Abstract Since its premiere, YouTube has rapidly emerged as the most important venue shaping popular dance practitioners and consumers, introducing paradigm shifts in the ways dances are learned, practiced, and shared. YouTube is a technological platform, an economic system, and a means of social affiliation and expression. In this dissertation, I contribute to ongoing debates on the social, political, and economic effects of technological change by focusing on the bodily and emotional labor performed and archived on the site in videos, comments sections, and advertisements. In particular I look at comments and fan video as social paratexts which shape dance reception and production through policing genre, citationality, and legitimacy; position studio dance class videos as an Internet screendance genre which entextualizes the pedagogical context through creative documentation; and analyze the use of dance in online advertisements to promote identity-based consumption. Taken together, these inquiries show that YouTube perpetuates and reshapes established modes and genres of production, distribution, and consumption. These phenomena require an analysis that accounts for their multivalence and the ways the texts circulating on YouTube subvert existing categories, binaries, and hierarchies. A cyclical exchange—between perpetuation and innovation, subculture and pop culture, amateur and professional, the subversive and the neoliberal—is what defines YouTube and the investigation I undertake in this dissertation.
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RED BULL DANCE YOUR STYLE COMES to DENVER APRIL 5, 2020 at SUMMIT 1902 Blake St, Denver, CO 80202
RED BULL DANCE YOUR STYLE COMES TO DENVER APRIL 5, 2020 AT SUMMIT 1902 Blake St, Denver, CO 80202 ALL STYLES STREET DANCE COMPETITION HOLDS QUALIFYING EVENT IN DENVER BEFORE HEADING TO WASHINGTON, D.C., FOR A NATIONAL FINALS WEEKEND For Tickets and more information, please visit: http://bit.ly/DYSDENVER Photographer Credit: Little Shao, Red Bull Media House DENVER, CO – February 21, 2020 - One-on-one all styles street dance competition, Red Bull Dance Your Style, returns with a full 2020 calendar and full-fledged tour, including a stop in Denver on April 5th, 2020 at Summit, before heading to the World Finals. The premiere dance competition brings together the best artists in the U.S. across hip-hop, popping, waacking, locking, krumping, house, and flexing, to celebrate freedom of expression through dance and provide the street dancers a new platform to showcase their individuality and creativity. Riding on the heels of an explosive 2019 season, the 2020 Denver qualifying round of Dance Your Style marks the first time that the competition will come through Colorado. Following the same rules as previous years, the audience at the Denver event will decide which dancers advance to the National Finals Weekend in Washington, D.C. on April 21st-25th. From there, the winning dancers will advance to the Red Bull Dance Your Style World Final taking place on October 17th, 2020 in Johannesburg, South Africa. Hosted by breaker legend and Red Bull BC One All Star Ronnie Abaldonado and music provided Denver’s DJ A-L, Denver’s qualifying event will feature a mix of local and national dancers competing to wow the crowd, battling to unexpected music – the track-list is not revealed to the performers ahead of time – creating a spontaneous and exciting event.
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Pass the Flow: the Subcultural Practice of Liquid Dance
PASS THE FLOW: THE SUBCULTURAL PRACTICE OF LIQUID DANCE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY IN DANCE by David F. Heller December 2018 Examining Committee Members: Dr. Sherril Dodds, Advisory Chair, Boyer College of Music and Dance Dr. Kariamu Welsh, Boyer College of Music and Dance Dr. Nancy Morris, Media and Communications Dr. Larisa Kingston Mann, External Examiner, Media and Communications © Copyright 2018 by David Francis Heller All Rights Reserved ii ABSTRACT This dissertation explores how the subcultural practice of liquid dance emerged from US rave culture and continues to sustain itself and evolve in today’s era of social media and EDM festival culture. I draw upon the concept of flow as a lens to trace the historical, aesthetic, digital, social and subcultural trajectory of liquid dance. I analyze how this subculture continues to evolve through individual practice, as well as how dance is shared through online and live dance exchange. My dissertation consists of seven chapters that provide both academic and practitioner perspectives of liquid dance. My research methods combine a multidisciplinary approach to implementing semi-structured interviews, participant observation, and digital archival research. My fieldwork consists of interviewing fourteen liquid practitioners, as well as conducting ethnographic research at an EDM festival where liquid dancers annually attend and participate. The purpose of this project is twofold. One, to contribute new knowledge to the field of dance studies on the specific dance genre of liquid, which up until now has not been documented in this field.
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