Kerensa Demars Is a Dancer, Instructor and Choreographer Known for Her Unique Synthesis of Flamenco and Middle Eastern Dance
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Physical Education Dance (PEDNC) 1
Physical Education Dance (PEDNC) 1 Zumba PHYSICAL EDUCATION DANCE PEDNC 140 1 Credit/Unit 2 hours of lab (PEDNC) A fusion of Latin and international music-dance themes, featuring aerobic/fitness interval training with a combination of fast and slow Ballet-Beginning rhythms that tone and sculpt the body. PEDNC 130 1 Credit/Unit Hula 2 hours of lab PEDNC 141 1 Credit/Unit Beginning ballet technique including barre and centre work. [PE, SE] 2 hours of lab Ballroom Dance: Mixed Focus on Hawaiian traditional dance forms. [PE,SE,GE] PEDNC 131 1-3 Credits/Units African Dance 6 hours of lab PEDNC 142 1 Credit/Unit Fundamentals, forms and pattern of ballroom dance. Develop confidence 2 hours of lab through practice with a variety of partners in both smooth and latin style Introduction to African dance, which focuses on drumming, rhythm, and dances to include: waltz, tango, fox trot, quick step and Viennese waltz, music predominantly of West Africa. [PE,SE,GE] mambo, cha cha, rhumba, samba, salsa. Bollywood Ballroom Dance: Smooth PEDNC 143 1 Credit/Unit PEDNC 132 1 Credit/Unit 2 hours of lab 2 hours of lab Introduction to dances of India, sometimes referred to as Indian Fusion. Fundamentals, forms and pattern of ballroom dance. Develop confidence Dance styles focus on semi-classical, regional, folk, bhangra, and through practice with a variety of partners. Smooth style dances include everything in between--up to westernized contemporary bollywood dance. waltz, tango, fox trot, quick step and Viennese waltz. [PE,SE,GE] [PE,SE,GE] Ballroom Dance: Latin Irish Dance PEDNC 133 1 Credit/Unit PEDNC 144 1 Credit/Unit 2 hours of lab 2 hours of lab Fundamentals, forms and pattern of ballroom dance. -
American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2010 American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture Jennifer Lynn Haynes-Clark Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Haynes-Clark, Jennifer Lynn, "American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture" (2010). Dissertations and Theses. Paper 20. https://doi.org/10.15760/etd.20 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture by Jennifer Lynn Haynes-Clark A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology Thesis Committee: Michele R. Gamburd, Chair Sharon A. Carstens Priya Kandaswamy Portland State University ©2010 Abstract Belly dance classes have become increasingly popular in recent decades in the United States. Many of the predominantly white, middle-class American women who belly dance proclaim that it is a source of feminist identity and empowerment that brings deeper meaning to their lives. American practitioners of this art form commonly explain that it originated from ritual-based dances of ancient Middle Eastern cultures and regard their participation as a link in a continuous lineage of female dancers. -
Folk Dance Folk Dance Europe Asia Middle Eastern Dance Dance In
14.12.2011 Folk dance Europe • They are dances performed at social functions by • Polonez (Polish), people with little or no professional training, often to • clogging, traditional music or music based on traditional music. • English country dance, • international folk dance, Folk Dance • They are not designed for public performance or the • Irish dance, stage, although traditional folkdances may be later • Maypole dance, arranged and set for stage performances. • Morris dance, authors name and surname • Their execution is dominated by an inherited tradition • Welsh Morris Dance, rather than by innovation (although like all folk • Nordic polska dance, • Ball de bastons, traditions they do change over time) • square dance, and • New dancers often learn informally by observing • sword dance. others and/or receiving help from others. Asia Middle Eastern dance Dance in India literally "oriental dance") is the style; رﻗﺺ ﺷﺮﻗﻲ :Attan - The national dance of Afghanistan • Raqs sharqi (Arabic • • Azerbaijani dances more familiar to Westerners, performed in restaurants and cabarets • Classical dance • Kurdish dance around the world. It is more commonly performed by female • Assyrian folk dance dancers but is also sometimes danced by men. It is a solo • Kathakali improvisational dance, although students often perform • Georgian Folk Dances choreographed dances in a group. • • Mtiuluri Ottan Tullal "literally "dance of country", or "folk; رﻗﺺ ﺑﻠﺪي :Raqs baladi, (Arabic • • Bhangra a Punjabi harvest dance and music style that has become popular worldwide. dance) is the folkloric style, danced socially by men and women of • Dasi Attam all ages in some Middle Eastern countries, usually at festive • Ghoomar a traditional Bhil tribe women's folk dance of Rajasthan, India. -
The Evolution of the Latin Dances Through the Belly Dance & Roma Cultures
American Research Journal of Humanities Social Science (ARJHSS)R) 2021 American Research Journal of Humanities Social Science (ARJHSS) E-ISSN: 2378-702X Volume-4, Issue-03, pp-51-74 www.arjhss.com Research Paper Open Access The Evolution of the Latin Dances through the Belly Dance & Roma Cultures Daniel Otero The Evolution of the Latin Dances through the Belly Dance & Roma Cultures Philosophy Club Study on the Latin Dance Evolution for the Arts, Humanities, Social Sciences, History & Sociology Inspired on the original lecture, 9 January, 2021 Futian District, Shenzhen, China 16 February, 2021 Abstract: What possibly began 2,200 years before inside the country of Egypt, made its way up the Nile River and into the mainstream lives of the people who lived under the shadow of the former and glorious Egyptian Empire. This dance created was meant to symbolize the best of femininity in every way. The Belly Dance was a rite of passage for girls going into puberty, women about to get married or who wanted to get pregnant. The dance which started in the Egyptian temples long ago, made its way onto the streets of coastal Alexandria and Cairo. The dance would go both east and west by the Eighth Century, as the Arabs dominated with their Islamic Caliphate portions of the Middle East, Northern Africa and Southern Europe. The [Belly] dance or in French, ‘Danse du ventre’ would reach the Iberian Peninsula (Portugal & Spain) sooner than later, making an enormous impact/contribution in the Arabian-Moorish and Islamic cultures. The other influence were the Roma peoples, who left Northern India 1,500 years prior and immigrated in direction towards Spain. -
AN AMERICAN BELLY DANCER by DEVON RYAN POLYNONE A
AN AMERICAN BELLY DANCER by DEVON RYAN POLYNONE A THESIS Presented to the Department of Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2012 THESIS APPROVAL PAGE Student: Devon Ryan Polynone Title: An American Belly Dancer This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the Department of Dance by: Steven Chatfield Chairperson Shannon Mockli Member Christian Cherry Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2012 ii © 2012 Devon Ryan Polynone iii THESIS ABSTRACT Devon Ryan Polynone Master of Fine Arts Department of Dance June 2012 Title: An American Belly Dancer The purpose of this research was to investigate the creative process of six professional American Belly Dancers: Shannon Conklin, Elena Villa, Lila McDaniel, TC Skinner, Manny Garcia, and Cera Byer. I took a class with each dancer, witnessed each dancer creating movement, and witnessed each dancer perform. After each experience I held discussions with each dancer. I learned that, for some of the dancers, music is everything, but for others, Belly Dance can be performed to any sound. For some of the dancers, Belly Dance is highly codified, and for others it is experimental. For some of the dancers, Belly Dance is a solo endeavor, but for others, dancing with a troupe is essential. Following these findings, I created six movement explorations – one based on each professional Belly Dancer in my study. -
Dancing the Numinous: Sacred and Spiritual Techniques of Contemporary American Belly Dancers
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2012 Dancing the Numinous: Sacred and Spiritual Techniques of Contemporary American Belly Dancers Jeana Jorgensen Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/facsch_papers Part of the Dance Commons, Folklore Commons, and the Social and Cultural Anthropology Commons Recommended Citation Jorgensen, Jeana, "Dancing the Numinous: Sacred and Spiritual Techniques of Contemporary American Belly Dancers" Journal of Ethnology and Folkloristics / (2012): -. Available at https://digitalcommons.butler.edu/facsch_papers/676 This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. DANCING THE NuminOus: SACRed AND SPIRituAL TECHniQues OF COntemPORARY AmeRICAN BellY DANCERS JEANA JORGensen PhD, Instructor of Folklore Department of Anthropology Indiana University-Purdue University Indianapolis 425 University Blvd., Cavanaugh Hall 410 Indianapolis, IN 46202, USA e-mail: [email protected] AbstRACT In this paper, I explore how contemporary American practitioners of belly dance (as Middle Eastern dance and its many varieties are often called in the English- speaking world) conceptualise not only the spiritual dimensions of their dance, but also how the very notion of performance affects sacred and spiritual dance practices. Drawing on interviews with members of this community, I describe the techniques of sacred and spiritual belly dancers, how these dancers theorise per- formance, and how the conflicts inherent to patriarchal mind-body dualism are resolved in these practices. -
Dancing the Numinous: Sacred and Spiritual Techniques of Contemporary American Belly Dancers
DANCING THE NuminOus: SACRed AND SPIRituAL TECHniQues OF COntemPORARY AmeRICAN BellY DANCERS JEANA JORGensen PhD, Instructor of Folklore Department of Anthropology Indiana University-Purdue University Indianapolis 425 University Blvd., Cavanaugh Hall 410 Indianapolis, IN 46202, USA e-mail: [email protected] AbstRACT In this paper, I explore how contemporary American practitioners of belly dance (as Middle Eastern dance and its many varieties are often called in the English- speaking world) conceptualise not only the spiritual dimensions of their dance, but also how the very notion of performance affects sacred and spiritual dance practices. Drawing on interviews with members of this community, I describe the techniques of sacred and spiritual belly dancers, how these dancers theorise per- formance, and how the conflicts inherent to patriarchal mind-body dualism are resolved in these practices. My purpose here is twofold: to document an emergent dance tradition and to analyse its meanings in the relevant social context. KEYWORDS: dance • belly dance • spirituality • sacred dance • feminism What is the connection between mind and body, soul and flesh? Different cultures observe differing relationships between these elements and express such relationships in myriad ways, which folklorists and anthropologists have documented in the ethno- graphic study of bodylore and folk medicine, among other genres, traditions, and forms (Desjarlais 1992; Young 1993). In this paper, I explore how contemporary American practitioners of belly dance (as Middle Eastern dance and its many varieties are often called in the English-speaking world) conceptualise not only the spiritual dimensions of their dance, but also how the very notion of performance affects sacred and spiritual dance practices. -
Belly Dance Student Guide
Find this free guide, and other resources for Belly Dance and Womanhood, at www.ShemiranIbrahim.com Photo: Meredith James Belly Dance Student Guide A comprehensive handbook to accompany your Belly Dance course – by Australia’s 2006 Student’s Choice “Teacher of the Year” Shemiran Ibrahim For more Belly Dance resources, go to www.ShemiranIbrahim.com. Contents Welcome . 3 Choosing a Belly Dance Teacher . 4 Belly Dance Principles - Lower Body . .6 Belly Dance Principles - Upper Body . .9 The Seven Movements of Belly Dance . 12 The Emotional Aspects of Learning Belly Dance . 24 Intro to the Different Styles of Belly Dance . 27 Social Traditions & Ritualistic Uses of Belly Dancing in the Middle East . 31 Ten Tips for Belly Dance Students . 33 Page 2 Copyright Shemiran Ibrahim 2007. All rights reserved. You have permission to copy and distribute this publication on the condition that it is copied as is, without alteration of content, or deletion of publisher’s name or branding. Publisher’s website and name must be clearly visible. For information and resources on Belly Dance, Womanhood and everything in between, go to www.ShemiranIbrahim.com. For more Belly Dance resources, go to www.ShemiranIbrahim.com. Welcome Hello Students! What a journey you started in taking up Belly Dancing! When women sign up for Belly Dance classes they do so for many different reasons; to get fit, to tone up, to do something different or lose weight. What most women don’t know is that they are about to open a treasure chest so deep, its goodness can enrich their lives for years to come. -
I Have Been Belly Dancing for at Least 15 Years. in Bloomington, Indiana
I have been belly dancing for at least 15 years. In Bloomington, Indiana, where I live, there are many belly dancers and dance instructors, with different interpretations of what constitutes this dance form we all love. I started dancing when I met a very nice woman who plays jazz trombone and teaches belly dance and flamenco. Originally folk dances of Middle East, Greece, and North Africa, belly dance is now a popular dance and exercise form in North America, Europe, and Asia. There are many styles of belly dance. In the United States you may find folkloric dance, “fusion” dance with hip-hop, or Bollywood, flamenco, or modern dance influences, cabaret-inspired dance, or American Tribal Style. Belly dance has health benefits—it is a dance where limbs and torso move independently so you may have to balance on one leg while moving your arms and doing a head-slide! It helps with balance, flexibility, muscle tone, but above all, it is fun to get together with fellow dancers and wear jingling hip scarves and shake out some stress. It is a low-impact exercise yet it is weight- bearing and will increase your heart rate. Belly dance practice will help loosen up shoulders and improve posture in those of us who slump forward at our desks for most of the day. Hip circles free your lower back and hip joints. You will find muscles you didn't know you had! Various claims are made as to how many calories you burn dancing--perhaps 300 calories an hour--if you are dancing very hard. -
Syllabus of Dance Descriptions
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2014 – Final – 08/03/2014 ` In Memoriam Susan Cashion 1942 – 2013 Susan Cashion, a former Stanford University dance director was a key figure in the development of the Mexican folkloric dance movement in California The Pasadena, California, native spent more than 30 years teaching Mexican, Latin American and modern dance at Stanford. She founded or helped found a string of folkloric companies in the San Francisco Bay Area that inspired similar organizations up and down the state. In 1969, Cashion and longtime partner Ramón Morones co-founded Los Lupeños de San José, which in its heyday in the 1970s enjoyed a reputation as the elite folkloric dance group in California, on par with professional companies in Mexico. In 1980 Cashion received an award from the Mexican government “for significant contributions to the culture and teaching of Mexican folklore in the United States of America.” Susan was on the Stockton Folk Dance Camp faculty five times – 1971, 1972, 1984, 1989 and 1990. Narcisco “Pampa” Cortés 1946 – 2014 At the beginning of the 1970s, Juan Carlos Copes, a big name in tango at that time, arrived one night at Caño 14 in Buenos Aires, one of the most famous places to hear and see tango. There he discovered Pampa Cortés. From that time on, Pampa was a member of his company and ultimately became the Assistant Choreographer. He was the youngest performer in all the companies in which he danced and he danced in many. In Argentina, he founded his own company, Ballet Pampa. -
Inventaire De La Cartographie De La Danse
La danse aux quatre coins du pays: Inventaire de la cartographie de la danse canadacouncil.ca canadacouncil.ca Étude carto- • graphique conseildesarts.ca de la danse au Canada Pour obtenir plus de précisions veuillez vous adresser au : Service de la recherche et de l'évaluation 150 rue Elgin Case postale 1047 Ottawa (Ontario) Canada K1P 5V8 613-566-4414 / 1-800-263-5588 poste 4526 [email protected] Téléc. 613-566-4390 www.conseildesarts.ca Également disponible sur Internet à l’adresse www.conseildesarts.ca/publications_f. Publication is also available in English Page couverture : Le Continental XL, chorégraphie de Sylvain Émard, coproduction de Sylvain Émard Danse et du Festival TransAmériques, en coprésentation avec le Quartier des spectacles. 200 danseurs amateurs ont participé à cette festive danse en ligne. Photo : Robert Etcheverry 2011. Table des matières Préface 1 Introduction ...................................................................................................................................................................... 1 2 Aperçu des résultats ...................................................................................................................................................... 6 3 Danses autochtones .................................................................................................................................................... 12 4 Danses africaines, latino-américaines et caribéennes ................................................................................. -
The Male Dancer in the Middle East and Central Asia
Claremont Colleges Scholarship @ Claremont Pomona Faculty Publications and Research Pomona Faculty Scholarship 1-1-2006 The aleM Dancer in the Middle East and Central Asia Anthony Shay Pomona College Recommended Citation Shay, Anthony. “The aleM Dancer in the Middle East and Central Asia,” Dance Research Journal 38, nos. 1 & 2 (Winter, 2006), pp. 137-162. This Article is brought to you for free and open access by the Pomona Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pomona Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Male Dancer in the Middle East and Central Asia Anthony Shay That night ‘Abdi Jan’s troupe had been called so that the harem occupants could watch the show. Of course, you remember ‘Abdi well. Let me, nonetheless, give you a description of his looks. He was a lad of about twelve or thirteen, with large black eyes, languid and incredibly beautiful and attractive. His face was tanned and good-looking, his lips crimson, and his hair black and thick. Renowned throughout the town, the boy had a thousand adoring lovers. Being a dancer, however, he was unworthy of being anyone’s beloved. (Taj Al-Sultana 1993, 163) ithin this quotation the reader may find a rich description of historical and even W contemporary Middle Eastern attitudes toward dance and male dancers in par- ticular, penned from a native point of view.1 In this article I address those attitudes, but more importantly challenge several cherished, long-held assumptions and theoretical stances expressed by native elites and Westerners interested in Middle Eastern dance and dancers.