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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. -
Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
Dance Base 14 –16 Grassmarket, Edinburgh EH1 2JU 0131 225 5525 Dance @Dancebase.Co.Uk Dancebase.Co.Uk
AUTUM N15 GET ON BEAT Courses, drop-in classes & workshops for eve ryone 5 September – 4 December Dance Base 14 –16 Grassmarket, Edinburgh EH1 2JU 0131 225 5525 dance @dancebase.co.uk dancebase.co.uk Dance Base is a registered charity that encourages and celebrates the potential for dance in everyone. Scottish Charity SC022 512 BOARD Patron: HRH Prince Charles, Duke of Rothesay KT KG Chair Edward A Crozier Artistic Patron: Mark Morris Members Paul Blair, Cllr Catherine Fullerton, Annie Griffin, Simon Guest, Christopher Hampson, Fiona Hendry, Donna Malone, Elizabeth Mitchell Dance Base gratefully acknowledges support from: If you or your company would like to support Dance Base please contact Matt Roe, Head of Operations & Business Development on 0131 225 5525 Front cover dancer: Sau Tham (Hip Hop Intermediate) Front cover photographer: Maria Falconer Photography: Maria Falconer, Francesca Dymond Design: Emma Quinn Print: Streamline WE LCOME Contents Summer may be over, but fear not! We have an action-packed line-up of classes and workshops for you Welcome 3 this autumn. There is something for everyone as we look ahead to the festive season. Community 4 / 5 In response to overwhelming demand we have added even Professional 6 more classes to our bumper ballet offering. There will be How we do it 7 an additional Ballet Vintage class while one of the current classes progresses to Ballet Vintage Improvers and on top How to book 8 / 9 of this, we are also introducing a second Ballet Absolute Beginners class. We hope these classes will allow more Pay It Forward 10 people to discover the beauty and grace of this timeless Hires 11 dance style. -
Introduction to Latin Dance
OFFICE OF CURRICULUM, INSTRUCTION & PROFESSIONAL DEVELOPMENT HIGH SCHOOL COURSE OUTLINE Course Code 3722 Course Title Introduction to Latin Dance Department Physical Education Short Title Intro Latin Dance Course Length 2 Semesters Grade 11-12 Credits/Semester 5 Required for Graduation No Meets H.S. Grad Requirement Elective Credit Yes Meets UC “a-g” No Meets NCAA Requirement No Requirement Prerequisites 2 years physical education COURSE DESCRIPTION: This course is designed to teach students the basic elements of Latin Dance. Students will analyze dance’s role in improving and maintaining one’s health related fitness and then incorporate dance activities into their personal fitness program/plan. Students will learn basic steps as well as complex combinations in Merengue, Salsa, Bachata, and the Cha Cha. For each dance, the students will learn the historical and geographical roots, the music and the instruments associated with each one. This course will help students learn the skills of dance while improving their technique, poise, self-confidence and creative ability as well as deepening their understanding of and appreciation for the rich and colorful heritage that each dance represents. As a course involving couples’ dances, it will allow students to develop an understanding of the social etiquette involved in couples dancing. GOALS: Students need to: • Demonstrate knowledge and skills related to performance of the following dances: Merengue, Salsa, Bachata and Cha Cha. • Assess and maintain a level of physical fitness to improve health and performance. • Demonstrate knowledge of physical fitness concepts, principles, and strategies to improve health and performance in dance. • Demonstrate and utilize knowledge of psychological and sociological concepts, principles, and strategies as applied to learning and performance of Latin dance. -
Grade Dance Unit
10TH GRADE DANCE UNIT TANGO The tango is a slow, sexy dance that originated in the slums of Buenos Aires in the mid-1800s. It’s become a universal symbol of sexual tension in the movies, but most commonly, is a popular dance in ballrooms and nightclubs around the world. Although many variations of the tango exist, the most famous is still the original Argentine Tango. History of the Tango Like so many of history’s most popular and enduring dance styles, the tango’s legacy stretches back from its current cachet as a sensuous, exotic ballroom dance to its origins in the immigrant African slums of Argentina. No one knows for certain where the tango really came from, but it’s generally accepted that the word itself likely has African origins, and that it evolved from the free mixing of cultures and ethnicities in working class Buenos Aires in the mid-19th century. There, poor immigrants from Spain, Portugal, Italy, Poland, and Russia mixed and mingled with African slaves and shared their dance traditions with each other. Cuban and African musical styles and instruments were introduced, and an early style of the tango was born. Later, wealthy members of the Argentinian elite who weren’t above slumming among society’s poor introduced the dance to their own circles and eventually brought the steps and music with them to Paris, where many had moved for education and leisure travel. Unlike conservative Buenos Aires society, Parisians loved and embraced the coarse, sexual nature of the new dance. The tango craze spread throughout Europe and soon landed in London and New York. -
Teaching English Through Body Movement a Pa
AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection -
Tango Fundamentals (Year-1) - Course Syllabus
Tango Fundamentals (Year-1) - Course Syllabus The course aims to provide a solid foundation in the key elements of Argentine Tango in an enjoyable sociable environment. The first ten weeks concentrates on how to lead and follow the fundamental steps of Tango to enable you to quickly get dancing. Once completed you will be able to move on to follow the full year-1 syllabus. During the full course you will learn • how to lead or follow this improvised dance (there are no long set sequences) • how to execute turns, pivots, ochos and cross steps • some fun easy ‘foot and leg play’ – paradas (blocks) and barridas (sweeps) • to develop musicality in the dance, and how to adjust the elements of Tango to suit the different musical styles found on a typical Buenos Aires dance floor. We will focus on developing skills so that you can enjoy dancing at a Tango social event (called a milonga) and to be able improvise the dance with any partner – wherein lies the pleasure of dancing Tango. There will be time to practice what you have learnt both in the class and also at optional prácticas (practice sessions) on Sunday evenings at Martlesham Leisure. The first 10 week term What is Argentine Tango? – the nature of dance and the music and the improvisation which makes it so different from other dances. The Connection: how to ‘connect’ with your partner and its importance for leading and following. Walking: Walking in ‘two-track’ with your partner in an open embrace (‘parallel system’) Leading and following side-steps Dancing the pauses in the music More -
International Dance Conservatory – Ballroom Program
INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM YEAR FALL SPRING Year 1 Latin Ballroom School Figures Latin Ballroom School Figures (Bronze level) (Silver & Gold levels) Standard Ballroom School Figures Standard Ballroom School Figures (Bronze level) (Silver & Gold levels) Year 2 Latin Technique 1 Latin Technique 2 Latin Ballroom 1 Latin Ballroom 2 Standard Technique 1 Standard Technique 2 Standard Choreography 1 Standard Choreography 2 Year 3 American Smooth 1 American Smooth 2 Student Choreography 1 Student Choreography 2 Advanced Ballroom Technique 1 Advanced Ballroom Technique 2 Year 4 Business of Ballroom Intro to Ballroom Instruction Advanced Choreography 1 Advanced Choreography 2 INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM Advanced Ballroom Technique 1 & 2 This is an advanced class that focuses on the body mechanics, timing, footwork, partnering, style, expression, and emotion of many Ballroom & Latin dances. Students will continue to develop a deeper understanding of the techniques and stylings of each dance. Students will apply this training in the demonstration of their Latin, Ballroom, and Smooth competition routines. Advanced Choreography 1 & 2 This is an advanced class that focuses on learning open choreography in many Ballroom and Latin Dances. Students will experience this creative process first hand and apply their technique to this choreography. Students will perform these open routines with attention to technical proficiency and embodying the character of each dance. American Smooth 1 & 2 This is an advanced class that focuses on learning open choreography in all four American Smooth Ballroom Dances - Waltz, Tango, Foxtrot, & Viennese Waltz. Students will be prepared to compete in all four dances at the Open Amateur Level. -
Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950
Moore 1 Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950 By Alex Moore Project Advisor: Dyane Harvey Senior Global Studies Thesis with Honors Distinction December 2010 [We] need to understand that African slaves, through largely self‐generative activity, molded their new environment at least as much as they were molded by it. …African Americans are descendants of a people who were second to none in laying the foundations of the economic and cultural life of the nation. …Therefore, …honest American history is inextricably tied to African American history, and…neither can be complete without a full consideration of the other. ‐‐Sterling Stuckey Moore 2 Index 1) Finding the Familiar and Expressions of Resistance in Plantation Dances ‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 6 a) The Ring Shout b) The Cake Walk 2) Experimentation and Responding to Hostility in Early Partner Dances ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 14 a) Hugging Dances b) Slave Balls and Race Improvement c) The Blues and the Role of the Jook 3) Crossing the Racial Divide to Find Uniquely American Forms in Swing Dances ‐‐‐‐‐‐ 22 a) The Charleston b) The Lindy Hop Topics for Further Study ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 30 Acknowledgements ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 31 Works Cited ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 32 Appendix A Appendix B Appendix C Appendix D Moore 3 Cross‐Cultural Perspectives on the Creation of American Dance When people leave the society into which they were born (whether by choice or by force), they bring as much of their culture as they are able with them. Culture serves as an extension of identity. Dance is one of the cultural elements easiest to bring along; it is one of the most mobile elements of culture, tucked away in the muscle memory of our bodies. -
Rhythmical Coordination of Performers and Audience in Partner Dance: Delineating Improvised and Choreographed Interaction
Rhythmical coordination of performers and audience in partner dance: delineating improvised and choreographed interaction Saul Albert ([email protected]) Contents 1 Introduction 3 2 Data and methods 4 2.1 Rhythm and interaction in a Lindy hop performance .................... 4 2.2 Studying the attention structure of an audience through rhythm ............... 6 2.3 Describing varied, coupled rhythms in the performance setting ............... 7 3 Analysis 9 3.1 Choreography: reorientation to familiar movements .................... 9 3.2 Improvisation: displays of readiness to change ....................... 13 3.3 Embodied action: joint coordination of improvised movement ................ 14 4 Discussion 17 4.1 Analytic distinctions between improvisation and choreography ............... 17 4.2 Embodied rhythms as projectable, interactional resources ................. 18 4.3 Embodied action built with non-vocal resources ...................... 19 5 Conclusion 21 6 Acknowledgements 21 7 References 21 1 Abstract This paper explores rhythm in social interaction by analysing how partner dancers and audience members move together during a performance. The analysis draws an empirical distinction between choreographed and improvised movements by tracking the ways participants deal with variations in the projectability and contingencies of upcoming movements. A detailed specification of temporal patterns and relationships between rhythms shows how different rhythms are used as interactional resources. Systematic disruptions to their rhythmical -
Grades Prek - 12
For Teaching and Learning in Grades PreK - 12 New York City Department of Education New York City Department of Education • Joel I. Klein, Chancellor • Marcia V. Lyles, Deputy Chancellor for Teaching and Learning • Sharon Dunn, Senior Instructional Manager for Arts Education Dance Curriculum Development Contributing Writers Dance Organization Representatives and Reviewers Planning Co-Chairs Consultants New York City Department of Education All of the contributing writers, plus: Ann Biddle, Stories in Motion Joan Finkelstein, Director of Dance Programs, Andrew Buck, Arts Supervisor, Region 8 Leslee Asch, National Dance Institute Office of the Arts and Special Projects, Tina Curran, Language of Dance Center New York City Department of Education Eileen Goldblatt, Arts Supervisor, Region 9 Mary Barnett, Consultant Martha Hart Eddy, Center for Kinesthetic Education Mary Lisa Burns, Merce Cunningham Dance Company Jody Gottfried Arnhold, Founding Director, Kyle S. Haver, Instructional Specialist in Literacy and Humanities Mark DeGarmo, Mark DeGarmo and Dancers Dance Education Laboratory of the 92nd Street Y Barbara Gurr, Director of Visual Arts, New York City Paul King, Director of Theater Programs Daniel Gwirtzman, Daniel Gwirtzman Dance Company Department of Education Tina Ramirez, Artistic Director, Ballet Hispanico Eva Pataki, Arts Supervisor, Region 3 Joanne Robinson Hill, The Joyce Theater Laura Hymers, Trisha Brown Dance Company Leslie Hunt, Center for Arts Education Arlene Jordan, New York City Center New York City Department of Education -
28Th November – 1St December 2018 Dance Course in Dresden - Ballroom Dances of the 19Th Century
update 20.01.2018 28th November – 1st December 2018 Dance Course in Dresden - Ballroom dances of the 19th century This year’s focus will be on couple dances in quadrilles, choreographed dances, lead and follow in free dances Dances to be taught Quadrille „Sleigh Bell Polka“ (Philadelphia, 1866) This polka-quadrille fits well the winter season. It consist 5 figures with beautiful quadrille figures in polka tempo and the polka waltz. It was published by Professor C. Brooks in Philadelphia in 1866 and became one oft he favorite dances at balls in North America and Europe. Quadrille „Strauss Quadrille“ Quadrille with polka, varsovienne, schottisch, mazurka, galop, waltz The favourite dances of the 19th century have been incorporated in this quadrille, containing 6 figures. Its enjoyment is further enhanced by the melodies composed by the members of the Strauss family. The figures are: La Bohémienne (dance: polka, music: „Fashion Polka“ by Josef Strauss), La Varsovienne (dance: varsovienne, music: „La Varsoviana“ by Johann Strauss the father), La Rhénane (dance: schottisch /Rheinländer polka, music: „Frühlingsluft Rheinländer“ by Josef Strauss), La Parisienne (dance: mazurka waltz and redowa, music: „Frauenherz“ by Josef Strauss), La Britannique (dance: galop, music: „Wien über alles“ by Eduard Strauss) and La Viennoise (dance: waltz, music: „Viennese Blood“ by Johann Strauss the son). They will be taught in accordance with the research into the original sources on step technique and figure set-up. Valse Russe „La Czarine“ (Paris 1857/ New York 1860) La Czarine is a Russian waltz, choreographed by Société Académique des Professeurs de Danse in Paris in 1857. Originating from the French ballroom, the dance records show several variations of this Russian waltz between 1860 and 1883.