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Amod B C End 3:39 @ 45 Rpm
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DVIDA American Smooth Silver Syllabus Figures
Invigilation Guidance/ DVIDA/SYLLABUS/ Current'as'of'October'15,'2015' Extracted'from: Dance$Vision$International$Dancers$Association, Syllabus$Step$List$ Revised/May/2014 Invigilation Guidance/ AMERICAN)SMOOTH) / DVIDA American Smooth Bronze Syllabus Figures *Indicates figure is not allowable in NDCA Competitions. Revised January 2014. View current NDCA List Waltz Foxtrot Tango V. Waltz Bronze I 1A. Box Step 1. Basic 1A. Straight Basic 1. Balance Steps 1B. Box with Underarm Turn 2. Promenade 1B. Curving Basic 2A. Fifth Position Breaks 2. Progressive 3A. Rock Turn to Left 2A. Promenade Turning Left 2B. Fifth Position Breaks 3A. Left Turning Box 3B. Rock Turn to Right 2B. Promenade Turning Right with Underarm Turn 3B. Right Turning Box 3. Single Corté 4. Progressive Rocks Bronze II 4A. Balance Steps 4. Sway Step 5A. Open Fan 3. Reverse Turn 4B. Balance and Box 5A. Sway Underarm Turn 5B. Open Fan with 4. Closed Twinkle 5. Simple Twinkle 5B. Promenade Underarm Turn Underarm Turn 6. Two Way Underarm Turn 6A. Zig Zag in Line 6. Running Steps 7. Face to Face – Back to Back 6B. Zig Zag Outside Partner 7. Double Corté 7. Box Step 8A. Reverse Turn Bronze III 8A. Reverse Turn 8. Twinkle 8B. Reverse Turn with 5A. Crossbody Lead 8B. Reverse Turn with 9. Promenade Twinkles Outside Swivel 5B. Crossbody Lead with Underarm Turn 10A. Turning Twinkles to 9. Right Side Fans Underarm Turn 9A. Natural Turn Outside Partner 10. Contra Rocks 6. Hand to Hand 9B. Natural Turn with 10B. Turning Twinkles to Outside 11A. Change of Places 7A. Forward Progressive Underarm Turn Partner with Underarm Turn 11B. -
Big Poppa Eʼs Bio Quiz!
TABLE OF CONTENTS POETRY the wussy boy manifesto! ............................................................. 1 wallflower .................................................................................... 4 frat boy ......................................................................................... 6 worm boy ..................................................................................... 9 fly boy ........................................................................................ 10 jesus moshpit .............................................................................. 12 the lonesome ballad of josephus moshpit .................................. 13 receipt found in the parking lot of super walmart ...................... 16 just take another drink ................................................................ 19 potty is pee ................................................................................. 20 the miracle corner pocket luck shot ........................................... 22 JUVENALIA minuet ........................................................................................ 23 sexuality ..................................................................................... 24 routine ........................................................................................ 25 party boy .................................................................................... 26 love poem #9 .............................................................................. 28 PROSE how to dance like a wussy -
Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay Area
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years. -
SOCIAL DANCE STUDY GUIDE.Pdf
SOCIAL DANCE STUDY GUIDE ELEMENTS OF DANCE 1. Walking- heel first 2. Chasse- step-together-step (ball of foot hits first, then close) 3. Box- combines walking and chasse 4. Rock- transfer weight to one foot, then replace weight to other foot 5. 5th Position Rock Step- As you step back for the rock step, turn the back toe out. This gives you more hip action (rumba, swing) 6. Triple Step- 3 steps to the side (step-together-step) Key: M = man W = woman R = right L = left CCW = counter clock wise FWD = forward BWK = backward Q = quick S = slow DANCE POSITIONS 1. Closed- (foxtrot, waltz, tango) Partners are very close, with the women’s L arm resting on the men’s R, the lead hand is held chin height. 2. Closed- (rumba, cha cha) less arm bend than #1, partners are about 1 foot apart. (swing) lower the lead hand to side 3. One Hand Hold- This is the open position. Hold on same side, M L in W R. 4. R Open- M R side is open and partners are side by side (his L beside her R) 5. L Open- opposite of #4. 6. Promenade- 45-degree angle, both are facing the same direction and are in side- by-side position. 7. Practice- 2-hand hold which allows you to be farther apart. CHA CHA CHA Style- International Latin Meter- 4/4 Tempo- 128 bpm Rhythm- S,S,Q,Q,Q Style- Medium tempo Latin Description- A fun, sexy, flirtatious dance. This is a spot dance using the Cuban motion, which is characteristic of bending and straightening the knees. -
Ballet Terms Definition
Fundamentals of Ballet, Dance 10AB, Professor Sheree King BALLET TERMS DEFINITION A la seconde One of eight directions of the body, in which the foot is placed in second position and the arms are outstretched to second position. (ah la suh-GAWND) A Terre Literally the Earth. The leg is in contact with the floor. Arabesque One of the basic poses in ballet. It is a position of the body, in profile, supported on one leg, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line along the body. Attitude A pose on one leg with the other lifted in back, the knee bent at an angle of ninety degrees and well turned out so that the knee is higher than the foot. The arm on the side of the raised leg is held over the held in a curved position while the other arm is extended to the side (ah-tee-TEWD) Adagio A French word meaning at ease or leisure. In dancing, its main meaning is series of exercises following the center practice, consisting of a succession of slow and graceful movements. (ah-DAHZ-EO) Allegro Fast or quick. Center floor allegro variations incorporate small and large jumps. Allonge´ Extended, outstretched. As for example, in arabesque allongé. Assemble´ Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. -
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 -
Dance Fields Conference Boa NEW
Dance Fields Conference April 19th – 22nd 2017 Book of Abstracts (Chronologically listed) SESSIONSPANELSPRACTICALSWORKSHOPSROUND TABLES Thursday, April 20th 10:00 – 11:30 Session I Chair: Ann R. David Michael Huxley Dance Studies in the UK 1974-1984: A historical consideration of the boundaries of research and the dancer’s voice The first Study of Dance Conference was held at the University of Leeds in 1981. The following year saw the First Conference of British Dance Scholars in London, leading to the inauguration of the Society for Dance Research and then the publication of its journal, Dance Research. Since 1984, the field of dance studies in the UK has both developed and been debated. My paper draws on archival and other sources to reconsider this period historically. With the benefit of current ideas of what constitutes dance, practice, research, and history, it is possible to consider the early years of UK Dance Studies afresh. In the twenty-first-century there are some accepted notions of dance studies. I would argue that they have established boundaries, but that these are often unstated. The period is re-examined with a view to uncovering a broader, and indeed more inclusive, idea of dance studies. In this, attention is given to the researches of practitioners in the period; both published, including in New Dance, and unpublished. Whilst recognising the significant scholarship of the period, the paper also considers the ideas that dancers gave voice to. The analysis is taken further by considering the unexamined discourses that helped enable research in dance in the UK to develop in the way it did. -
Impact Case Study (Ref3b) Page 1 Institution: De Montfort University
Impact case study (REF3b) Institution: De Montfort University Unit of Assessment: 35 – Music, Drama, Dance and Performing Arts Title of case study: Histories of Corporealities and Radical, Twentieth-century Dance Performance. 1. Summary of the impact (indicative maximum 100 words) Ramsay Burt’s research into histories of avant-garde and experimental dance performances during the twentieth- and twenty-first centuries has facilitated cultural enrichment through its impact on choreographers, dancers, dance audiences, administrators and policy makers. His publications have advanced understanding both of the general public and members of the dance industry into the ways in which dance is affected by and influenced socially and historically specific concerns or anxieties about changing notions of embodiment. He has received invitations to speak at major international dance festivals, given interviews for radio and television broadcasts, attended meetings with policy makers, and been invited to collaborate with artists involved in making new works based on historical avant-garde performances. 2. Underpinning research (indicative maximum 500 words) Since joining De Montfort in 1995, Ramsay Burt’s research has focused on ways in which radical, experimental dance since 1900 has been informed by the impact of new ways of conceptualising corporeal experience. Looking both at early modern dance and ballet (1995, 1998, 2004, 2011) and more recently at so-called postmodern (2006) and conceptual dance (2009), he has identified, within contemporary reception of some of the most challenging dance works, evidence of socially and historically specific concerns or anxieties about the changing nature of corporealities. This has been supported by grants from the British Academy (2005, 2008). -
What Are the Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright Honors College, Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright Honors College, Pace University Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Applied Behavior Analysis Commons, Arts and Humanities Commons, and the Cognitive Psychology Commons Recommended Citation Wright, Carley, "What Are The Overall Benefits of aD nce Improvisation, and How Do They Affect Cognition and Creativity?" (2018). Honors College Theses. 193. https://digitalcommons.pace.edu/honorscollege_theses/193 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright BFA Commercial Dance Major Advisor: Jessica Hendricks th nd Presenting: May 7 , Graduating: May 22 Advisor Approval Page Abstract The purpose of this thesis is to define the terms improvisation, cognition, and creativity, and therefore find the direct correlation between all three, and how they can all be involved within dance. The main intention is to determine whether or not improvisational dance can positively influence one’s creative mindset, thus improving the cognitive learning process. Furthermore, it is to discover if the development of a creative mindset can be established through dance improvisation at an early age. In this exploration, the majority of my research will come from the examination of previously conducted experiments, as well as guiding and observing an improvisation class of young adults, gaining insight simply from a dance teacher’s perspective in order to explore the idea of cognition leading to creativity through movement. -
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 -
Talking Black Dance: Inside Out
CONVERSATIONS ACROSS THE FIELD OF DANCE STUDIES Talking Black Dance: Inside Out OutsideSociety of Dance InHistory Scholars 2016 | Volume XXXVI Table of Contents A Word from the Guest Editors ................................................4 The Mis-Education of the Global Hip-Hop Community: Reflections of Two Dance Teachers: Teaching and In Conversation with Duane Lee Holland | Learning Baakasimba Dance- In and Out of Africa | Tanya Calamoneri.............................................................................42 Jill Pribyl & Ibanda Grace Flavia.......................................................86 TALKING BLACK DANCE: INSIDE OUT .................6 Mackenson Israel Blanchard on Hip-Hop Dance Choreographing the Individual: Andréya Ouamba’s Talking Black Dance | in Haiti | Mario LaMothe ...............................................................46 Contemporary (African) Dance Approach | Thomas F. DeFrantz & Takiyah Nur Amin ...........................................8 “Recipe for Elevation” | Dionne C. Griffiths ..............................52 Amy Swanson...................................................................................93 Legacy, Evolution and Transcendence When Dance Voices Protest | Dancing Dakar, 2011-2013 | Keith Hennessy ..........................98 In “The Magic of Katherine Dunham” | Gregory King and Ellen Chenoweth .................................................53 Whiteness Revisited: Reflections of a White Mother | Joshua Legg & April Berry ................................................................12