Dce 202 Hu.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
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. -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
Lh/1/0512 Lindy Hop – Rules
LH/1/0512 LINDY HOP – RULES 1. INTRODUCTION 1.1 In all items, not regulated separately in the following, the appropriate conditions stipulated by the WRRC especially in the Tournament Rules shall be applicable. 1.2 Lindy Hop must remain free to allow evolution of the dance. Lindy Hop is danced to Swing music. Lindy Hop is based on 6 and 8 counts. Lindy Hop belongs to Lindy Hoppers. Lindy Hop shall give priority to musical interpretation There are NO syllabus for Lindy Hop 1.3 All competitors in WRRC tournaments must arrive and report to the tournament directors at least one hour prior to the beginning of the event. The specific required arrival time shall be stated in the tournament announcement. 1.4 The concept for Lindy Hop events arranged within the World Rock ‘n’ Roll Confederation is a smaller form of event where the audience, the dancers and the dance should be in focus. The competition should be arranged in a social context, the audience, participators and officials should have the possibility to dance and enjoy the spirit of Lindy Hop. There is no need for a huge arena like concepts and in coherence with Lindy Hop spirit the event can be arranged in Clubs, Theaters and smaller forms of arenas where the audiences can come close to the dancers and the joy and happiness that the dance spreads. The events should preferably be arranged together with other type of Swing dances. 1.5 LINDY HOP TOURNAMENTS Age Age music music music (bars/min) Duration of Duration of Speed of the the of Speed Juniors 8-17 1:30 50 Main Class Min. -
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. -
Balboa West Coast 6:30 Pm to 7:30 Pm a Closed Position Dance of RUEDA This Style of Swing Is California’S Official State Dance $18 Per Person Quick and Fancy Footwork
Erin and Tami are sisters who have co-owned and operated PBDA since 1983, making this our 37th year! If you have never danced Swing before, start here! Calling all hepcats! This is the original 1930s ”Savoy” style Swing – This 6-count style of Swing was all the rage in the ’40s Join our classes and enjoy our Saturday night up-tempo with Charleston movements, kicks, and character – and ’50s – up-tempo with an easy basic step. Swing dances featuring some of the best it’s the most show-stopping style! This dance is still very popular the world over. Swing bands in the country. Instructor: Erin Stevens Instructor: Tami Stevens It’s a proven fact that dancing promotes health Saturday Mornings ADVANCED STEPS & STYLINGS Monday Nights Sunday Afternoons and happiness – come join the fun! Starting: Feb. 22nd Saturday Afternoons Starting: Feb. 24th Starting: Feb. 23rd Six Week Series – $90 Starting: Feb. 22nd Six Week Series – $90 SAVE THE DATE…on Memorial Day Six Week Series – $90 LEVEL I: 10:00 am to 11:00 am Six Week Series – $90 LEVEL I: 7:15 to 8:15 pm LEVEL I: 4:15 pm to 5:15 pm Weekend, May 23–24, we will be hosting LEVEL II: 11:00 am to 12:00 pm LEVEL III: 12:00 pm to 1:00 pm LEVEL II: 8:15 to 9:15 pm LEVEL II: 5:15 pm to 6:15 pm Instructor: Tami Stevens a Swing Camp in honor of World Lindy Easy dips and flourishes to finish Hop Day (and Frankie Manning’s birthday). -
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. -
Brochure Zap Ado Films Et Musiques
A la médiathèque Hélène Oudoux, tu peux : Le Zapping des Ados - emprunter des livres, revues, CD et DVD ; - consulter des documents sur place ; - venir travailler seul ou en groupe ; - te rendre à l’espace multimédia pour surfer sur Internet ; Vendredi 22 février 2013 - participer à des animations tout au long de l’année. _______________________________________________ Médiathèque Hélène Oudoux Danse et films musicaux Allée Albert Thomas 01.60.11.04.21 Mardi : 15h – 18h Mercredi : 10h – 18h Vendredi : 15h – 20h Samedi : 10h -18h _______________________________________________ Consultez le portail des médiathèques de Massy ! Rendez-vous sur le site de la ville http://www.ville-massy.fr La consultation des documents est libre et gratuite. Pour emprunter les documents (pendant 4 semaines), il faut être inscrit. La carte de lecteur permet d’emprunter dans les deux médiathèques. Pour les moins de 14 ans : gratuit De 14 ans à 18 ans : 3,29 € si l’on veut emprunter des CD, DVD et autres documents multimédia. Pour s’inscrire il faut : 1 justificatif de domicile de moins de 3 mois 1 pièce d’identité 1 autorisation parentale pour les moins de 18 ans Médiathèque Hélène Oudoux NOTES De la danse a n’en plus finir ! NOTES Voici une sélection de quelques fictions et documentaires sur la danse que tu peux retrouver à la médiathèque Hélène Oudoux. • La danse Bollywood • Le Hip Hop Om Shanti Om Réalisateur : Farah Khan Turn it loose : l’ultime battle Acteurs : Shilpa Shetty, Amitabh Bachchan, Salman Kahn Réalisateur : Alastair Siddons Année de production : 2008 Acteurs : Ronnie Abaldonado, Hong10, Lilou, Durée : 2h50 RoxRite, Taisuke Année de production : 2010 Durée : 1h37 Synopsis Synopsis « Dans les années 70, Om Prakash Makhija (Shah Rukh Khan) est un "junior artist", c’est à dire un figurant. -
2018/19 Hip Hop Rules & Regulations
2018/19 Hip Hop Rules for the New Zealand Schools Hip Hop Competition Presented by the New Zealand Competitive Aerobics Federation 2018/19 Hip Hop Rules, for the New Zealand Schools Hip Hop Championships © New Zealand Competitive Aerobic Federation Page 1 PART 1 – CATEGORIES ........................................................................................................................................................ 3 1.1 NSHHC Categories .............................................................................................................................................. 3 1.2 Hip Hop Unite Categories .................................................................................................................................. 3 1.3 NSHHC Section, Division, Year Group, & Grade Overview ................................................................................ 3 1.3.1 Adult Age Division ........................................................................................................................................ 3 1.3.2 Allowances to Age Divisions (Year Group) for NSHHC ................................................................................ 4 1.4 Participation Limit .............................................................................................................................................. 4 Part 2 – COMPETITION REQUIREMENTS ........................................................................................................................... 5 2.1 Performance Area ............................................................................................................................................. -
MUSICIANS· ETUDE Tic [Eb on Choral Literature Yilu'~E Offices, Bryn Mawr', Pa
#n /ht/) #Joue ... .. Ability and Training Ezio Pinza "Your Musical Dawn Is at Hand" Boris Goldovsky Security for Music Teachers James Francis Cooke Midland Makes Its Own Music T. Gordon Harrington Gershwin Is Here to Stay Mario Braggiotti The Healthy Habit of Doubting Jan Smeterlin \ Ten Years at Tanglewood Ralph Berkowitz Who Are the World's Greatest Piano Teachers? Doron K. Antrim . LeTTeRS 1.' 0 1.' D E EDITOR Articles that it is. Dear Sir: I love your August Sybil Mac DOl/aid antatas and Oratorios issue. It alone is worth the price Memphis, Tenn; SATB Unleu Otherwise Indicated of a two-year subscription! Each article is stimulating, and after Class Instruction Dear Sir : For man y years, I reading them I have the same en- have been an interested reader and LENT thusiasm and stimulus that I have user of the ETUDE. I ha ve found ~ PENITENCE, PAROON AND PEACE (Advent and general,Sop. orI.., after attending a summer short I SOp Alto, Ten., Bar., Bar., 35 min.l Maunder 411401491.71 the articles recently have been ex- BEHOLD THE CHRIST (Holy Week or. genera Nevin ., 432-40168 $.75 course with an artist teacher. tremely stimulating. I also use the 40 rnin.) ....•...•......•.... Bass 20 min.) n PENITENCE PAROON AND PEACE (SSA, Sop., Alto, 35 mln.l Thanks so much! '" Maunder·Warhurst 411-40053.71 ETUDE La lend out to various ~ CALVARY ILent nr Easter, Ten., Bar., 'Sheppard 412-40061 .75 Mrs. C. P. Fishburne students, which they seem to enjoy 1 h ) Stainer 432·40128 .75 .n SEVEN LAST WOROS OF CHRIST (Sop., Ten., B!r., Eng.& la!.tert, 45'inl Walterboro, South Carolina CRUCIFIXION ITen., Bass, our 0 b rn 432.40L29 .60 § " OubOls·Douty411-401711~ immensely. -
Arizona Dance E-Star
Arizona Dance e-Star Arizona Dance e-Star a publication of the Arizona Dance Coalition Volume 2, Issue 10 November 2012 Dear Readers, November promises to be interesting with the elections and !anksgiving. We can only hope that the arts continue be a driving force in Arizona and that we have stronger support for the arts from our communities and elected o#cials. !is will be necessary in order to attract more grant monies from those who can give and believe the arts positively in$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?. -
Urban Street Dance Department
Urban Street Dance Department Divisions and Competition Rules Break Dance Division Urban Street Dance Division Implemented by the WADF Managing Committee January 2020 Artistic Dance Departments, Divisions and Competition Rules WADF Managing Committee Nils-Håkan Carlzon President Irina Shmalko Stuart Saunders Guido de Smet Senior Vice President Executive Secretary Vice President Marian Šulc Gordana Orescanin Roman Filus Vice President Vice President Vice President Page 2 Index Artistic Dance Departments, Divisions and Competition Rules Urban Street Dance Department Section G-2 Urban Street Dance Division Urban Street Dance Competitions Urban Street Urban Street Dance is a broad category that includes a variety of urban styles. The older dance styles that were created in the 1970s include up-rock, breaking, and the funk styles. At the same time breaking was developing in New York, other styles were being created in California. Several street dance styles created in California in the 1970s such as roboting, bopping, hitting, locking, bustin', popping, electric boogaloo, strutting, sac-ing, and dime-stopping. It is historically inaccurate to say that the funk styles were always considered hip-hop. "Hip-Hop Dance" became an umbrella term encompassing all of these styles. Tempo of the Music: Tempo: 27 - 28 bars per minute (108 - 112 beats per minute) Characteristics and Movement: Different new dance styles, such as Quick Popping Crew, Asian style, African style, Hype Dance, New-Jack-Swing, Popping & Locking, Jamming, etc., adding creative elements such as stops, jokes, flashes, swift movements, etc. Some Electric and Break movements can be performed but should not dominate. Floor figures are very popular but should not dominate the performance.