DOCSLIB.ORG

Square Dance Vol. 26, No. 12

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Square Dance Vol. 26, No. 12 I VOLUME 26, No. 12 EDITORS' SQUARE •41-‘ DECEMBER, 1971 THE DANCE "THE NATIONAL MAGAZINE PAGE WITH THE SWINGING LINES" Publishers and Editors Stan & Cathie Burdick Workshop Editor Willard Orlich Easy-Level Editor Bob Howell 41k, Record Reviewers Doug Edwards 2 Editors' Page Phyl & Frank Lehnert 4 Mail 6 Meanderings Feature Writers 9 Square Dance Prayer Harold & Lill Bausch 40, 10 From Dancer to General Chairman Dewey Berry 12 Legend of Gene Smith Myrtis Litman 15 How A Round Dance Is Created One of the criticisms leveled at our 17 After The Ball Is Over Editorial Assistants , life styles (young and old) these days Mary Fabik 20 Caller-Leader Directory is that we have no heroes. With instant 21 Feedback communications and widespread know- Mef Merrell 23 Square Line We think you can. The successful ledge, we know too much about pub- National Advisory Board 25 Best Club Trick caller thinks of his dancers more than lic figures and soon discover their feet 26 Dancing Tips himself, and is willing to lend a hand Edna & Gene Arnfield of clay. 27 Calling Tips on the way up the ladder to other cal- Bob Augustin It is well-known, though, that every 29 Straight Talk lers. Of course, we're talking about Al "Tex" Brownlee man or woman seeks a model, a pat- Louis Calhoun 30 Easy Level Page long-term success, not the "flash-in-the- tern, a leader, after whom to follow. Orphie Easson 33 Mix & Match pan" variety. Callers do this, too. New callers Jerry Heft 34 Is Your Computer Programmed The approach of a new year is al- turn to the experienced ones in their John Hendron for Round Dancing? ways the time for new thoughts and areas, or practice with records made Phyl & Frank Lehnert 36 Challenge Chatter beginnings. Let's make our heroes Melton Luttrell by some far-off caller whose style they ■ 38 Dandy Idea those callers and leaders who are truly Singin' Sam Mitchell 1. admire, or adopt techniques of a tra- 39 Puzzle Page working not for personal glory or Ken Oppenlander veling caller who really made the hall < 40 Ladies Choice great wealth, but for the betterment Vaughn Parrish jump. 41 Product Line of square dancing, its growth and con- Dave Taylor Do we ever look more deeply at 42 Workshop tinuation as an activity for all ages Bob Wickers these models? Do we listen to their and all types of people. .4,t; 50 Steal A Little Peek philosophies of calling and teaching? 51 News Do we watch their treatment of other SQUARE DANCE magazine is published • 52 Events callers? monthly at 216 Williams St., Huron, Ohio, 54 National Convention News by Burdick Enterprises. Second class pos- Someone has said that no man is of, 56 S/D Records tage paid at Sandusky, Ohio. Copy deadline 58 R/D Records a success until he reaches out and gives Holiday greetings to all of our rea- first of month preceding date of issue. Sub- 59 Index — 1971 himself to others, until he is truly in- ders from all of our staff. May the scription: $5.00 per year. Single copies: 50 terested in something beyond himself. New Year bring much joy and happi- cents each. Mailing address: Box 788, San- 65 Bookshelf Can you see this in the really success ness to you in all things, but especially dusky, Ohio 44870. Copyright 1971 by Bur- 67 Sign Off Word ful callers? through your dancing. dick Enterprises. All rights reserved. 68 Do-Ci-Do Dolores 3 2 "11 My blood sure boiled when I read the "Callers Questions" regarding the CLIP AND MAIL Chicago caller who suggested that the Irish Swing and other variations should C74e NEW be accepted. Thank Will for his cor- In my digesting of "Meanderings," rect reply and the judgment he used. A couple of years ago we had a SQUARE your observations on the New England Caller caught my eye. "red-hot caller" from a certain state "The Open Squares" is now in its out here and he told us that because we did not do all the gyrations and Val keep it under DANCE 23rd year (Volume number is printed variations we were behind the times. on the cover each month under name) P.O. BOX 788, SANDUSKY, OHIO 44870 and for the moment at least, we still My simple reply to him was, "No, we our hat until Xmas publish approximately 10,000 copies are behind square dancing — the way all your I Enclosed is _ ... Please send per issue (over 8,800 are paid subscrip- it should be done." As a matter of fact, You're sure to please gift subscriptions tions). I had to tell the caller not to teach non- dancing friends with a gift sub- I to: As I remember, Charley Baldwin standard basics. In spite of it, he at- wription to SQUARE DANCE NAME noted in his 20th edition the circula- tempted to teach two-week dancers Magazine. Here is a gift that I tion of the Caller is 8,700 (approx.). Tea Cup Chain just to show how good brings them the news, the fea- ADDRESS He far exceeds us in pages and page he was. You can imagine the result. tures, the workshop material, the I CITY STATE ZIP size and does have a wonderful maga- Funny enough he went home with his record reviews, a n d countless ( ) 1 Year — $3.00 ( ) 2 Years — $6.00 "tail between his legs." zine, other things that will make square I We're faced with a problem of Maybe I'm mean but I sure enjoy NAME dancing more enjoyable. Fill out I adding more pages, going to a larger Will's little gimmick to clobber dancers ADDRESS who insist on doing the non-standard the special coupon at right and size, (which our dancers don't want) CITY STATE ZIP or something. basics. mail today. A gift card will he I )1 Year — $3.00 ( ) 2 Years — $6.00 I'm waiting to see if the Post Office Art & Blanche Shepherd sent in your name. seriously intends to put us all out of Christchurch, New Zealand Gift Card To Read From: business with their tentative rate in- At present we are spending several GIVE I creases of 2 to 5 cents per copy after weeks in California and thoroughly en- MY NAME the freeze goes off in November before joying every opportunity we have to ADDRESS making a final decision. dance with new groups. There's one CITY STATE ZIP You do have a fine magazine. Keep thing they do which particularly im- SQUARE DANCE 1 up the good work. You seem to be pressed us. Instead of the old banner progressing very well in size and ad- stealing routine, which at times creates vertising from the days of the Amer- some sticky problems when all clubs ican Squares. do not participate or when a group MAGAZINE Louis Rumbaugh from a considerable distance steals a Lynwood, Cal. banner which may be away from home I'm late with my subscription re- a long time before enough people with GIFT newal and I hope that you can send enough time can go to retrieve it, they me an October Issue so that I won't conceived the idea of getting a badge miss anything! of the club when a square or more has It was a pleasure to be able to meet visited. These badges are then pinned SUBSCRIPTIONS you at the National. to a travel banner which the club takes Special price for new subscriptions only. I have thoroughly enjoyed this first with them when they go visiting. What year of your magazine. You always a wonderful record of many happy ONE YEAR (12 ISSUES) $3.00 seem to have something for everyone. evenings. Perhaps other places do the TWO YEARS (24 ISSUES)$6,00 I find the record reviews especially same thing, but it's the first time we've valuable to me as a -caller. Of course heard of the idea. Canadian and Foreign add 50c Will Orlich's sections are always out- Best wishes for the continued suc- a year posfag• standing. Keep up the good work. cess of SQUARE DANCE. Bill Wright Vic & Wynne Mahler MAIL COUPON TODAY! San Antonio, Tx Savannah, Georgia 4 Isn't it interesting to note that BILL Traveling south on 1-75, you'll see FOLDS is the man who PAYS THE signs below Louisville that say: "Do BILLS for the Michigan Square Dance not exit without ten cents in coin. No Convention. And Jim Doe (not John) change made." Gosh, doesn't that re- III is chairman of the same convention mind you of some small rooms you've for 1972. Alan Mann (Montreal) claims visited in your own travels where by STAN BURDICK he gets his name called out at dances you've been more than chagrined be- more than anyone else. (Al-Mann left, cause you haven't a thin dime on your etc....) person. It's known as the dime-less ••• sensation. ••• I was feeling a little humble, ab- We're thankful there are no calling sorbed in my own thoughts, when contests held formally today as they Further along on 1-75, above Nash- Gordon called my name over the P.A. were formerly held, but each fall at ville, there's a stretch of alternate system and I looked up in surprise. the fairgrounds in Canton, Ohio, there highway where a rash of 20-ft.
Load more

Recommended publications
  • 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.
    [Show full text]
  • …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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • AMNH Digital Library
    ANTHROPOLOGICAL PAPERS OF THE American fluseum of Natural History. Vol. XI, Part X. DANCES AND SOCIETIES OF THE PLAINS SHOSHONE. BY ROBERT H. LOWIE. NEW YORK: Published by Order of the Trustees. 1915. DANCES AND SOCIETIES OF THE PLAINS SHOSHONE. By ROBERT H. LOWIE. 803 PREFACE. From the beginning it had been intended to include those Shoshonean tribes who had been more or less affected by the culture of the Plains in the present survey of the military societies of that area. Accordingly, I devoted a portion of the summer of 1912 to seeking relevant data from the Comanche, Southern Ute, and Wind River Shoshone. The Comanche were visited in the vicinity of Lawton, Oklahoma; the Southern Ute at Navaho Springs and Ignacio, Colorado; the Shoshone at Wind River, Wyoming. In 1914, a brief visit was paid to the Ute of Whiterocks, Uintah Reservation, Utah. While the information is meager for all of the tribes concerned, I feel reasonably sure that this is largely due to the relative simplicity of Sho- shonean culture and that the essential features of the Ute and Wind River dances are correctly represented. I am much less confident as regards the Comanche, who proved poor, and in part very unwilling, informants. For the pictures of the Bear dance, as well as for innumerable courtesies during my brief stay at Navaho Springs, I feel under deep obligations to Mr. and Mrs. Charles D. Wagner. March, 1915. 805 CONTENTS. PAGE. PREFACE . 805 COMANCHE DANCES . 809 DANCES AND SOCIETIES OF THE WIND RIVER SHOSHONE . 813 THE YELLOW NOSES AND THE LOGS .
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Fitness Walk
    Winter Spring 2021 Volume 43, Issue 1 NEWTON PARKS, RECREATION & CULTURE Ruthanne Fuller, Mayor Mark Kelly, Special Needs Director Nicole Banks, Commissioner of Parks, Recreation & Culture Karen Peirce, Associate Director Newton Parks, Recreation & Culture, 246 Dudley Road, Newton MA 02459 • (617) 796-1538 Athletes Increase Strength & Resilience in Historic Year The global pandemic, which will define 2020 and be written about in textbooks for perpetuity, has included enough adversity to make all of us want to say good rid- dance to this challenging year. Through all the trials and tribulations, we have learned so much about our ath- letes, staff and volunteers as well as our community sup- porters – and that’s been a good thing. Our athletes have gained and displayed incredible strength and resilience over the last ten months. They have become experts at Zoom and video conferencing. They have been flexible and quick to adjust to our recre- Tim White played Santa at our holiday dance. ation programs and events being online. They have sup- ported one another, stayed connected while apart and have shown incredible perseverance. Since March 23, our staff and volunteers have stepped up to the plate day in and day out. By year end, they will have helped facilitate over 480 different recreation programs. Their dedication to our athletes and ability to come up with creative programming has been outstand- ing and heartwarming. Our program is forever grateful for everyone that has run programs for us during these unprecedented times. Dale Llichtenstein helped lead our AU Hanukkah celebration. With decreased revenue streams from programs and As we enter 2021, Covid 19 numbers are at record highs yet events, we have needed the City of Newton, our families promising vaccines have been approved.
    [Show full text]