Dance (DANS) 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Funkids Amb La Black Music Big Band & Brodas Junior
Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès. -
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. -
'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. -
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. -
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. -
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 ............................................................................................................................................. -
Official Rules & Regulations of Hip Hop International Crews of 5-9
Official Rules & Regulations of Hip Hop International Crews of 5-9 Crewmembers Amended and effective as of January 1, 2017 The Official Rules and Regulations Manual of Hip Hop International contains the participant eligibility/entry requirements, standard procedures and the rules and regulations for competing in the Hip Hop Dance Championships presented by Hip Hop International (HHI) and its affiliates in the USA and Worldwide. Hip Hop Dance Championships Hip Hop International’s Hip Hop Dance Championships are competitive dance events that provide dancers with opportunities to showcase the artistry and technique of Hip Hop dance and street dance, nationally and internationally, with the chance for television and media exposure and prestigious national and world championship titles. Crews showcase their ultimate works of skill and performance in a choreographed routine. Creativity, showmanship and artistic freedom are always encouraged provided integrity, good taste and safety are not compromised. Hip Hop Dance Defined There is no one definition to describe hip hop dance. Hip hop dance is a fusion of street dance disciplines and cultural interpretations that capture the look, attitude, posture, music and elements of the urban environment to make it uniquely hip hop. Hip hop dance is continuously transforming and redefining itself with each new generation of dancers. A Winning Hip Hop Dance Routine The highest scoring hip hop dance routine according to Hip Hop International contains a variety of street dance styles, showmanship, original signature moves, engaging music and a demonstration of continuous and uninterrupted complete body (head to toe) hip hop dance choreography without overuse of gymnastic; cheer, acrobatics or overly dangerous moves. -
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. -
Hip Hop Dance: Performance, Style, and Competition
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations. -
Folk Dance Remixed Tour Pack 2020
Tour Pack 2020 In partnership with Folk Dance Remixed is a performance and workshop concept for the great outdoors that is inclusive, accessible, funky and fabulously fun! Celebrating iconic English dance and fusing it with contemporary street styles, we remix the dance with the fresh flavour of today’s hip-hop beats and traditional folk tunes. Performance and Participation We offer professional performances and interactive workshops for all ages. We’re flexible. We can tailor our work to suit your event. Talk to us! Step Hop House – performance: Folk and Street Dance like you’ve never seen it before! A fresh, quirky, colourful and magical collision of traditional and Hip Hop dance and music: a high-energy, theatrical professional performance (30mins) offering a unique remix of Maypole, Clogging, Ceilidh, Street, House and Breakdance with a hint of African & Bollywood.... to a live soundtrack of fiddle, bass, percussion & beat boxing. Performed by a diverse cast of 6 dancers and 3 musicians. Street Dance the Maypole - workshops: Take part in creating wraps ‘n ripples mixed with waves ‘n breaks around a contemporary designed, bespoke ribboned, 12-foot freestanding maypole. A chance for participants to learn a funky routine to live music, mixing it with classic maypole moves, such as the Chrysanthemum Wrap and the Twister. Ceilidh Jam – workshops & social dance: Getting your crowd up and DANCING! Musicians from our show band create a foot stomping, beat boxing big sound to get you on your feet for a funked up, unique, folky, social dance -
Volve: New Works Festival Returns for Season 41 Winter Series
Hubbard Street Dance Chicago’s danc(e)volve: New Works Festival Returns for Season 41 Winter Series Evening Showcases New Work by Hubbard Street Company Artists Alice Klock, Florian Lochner and Rena Butler For immediate release October xx, 2018 • High resolution photos available here Media contact • Francesca Kielb/Nick Harkin, Carol Fox and Associates, 773.327.3839 • [email protected] • [email protected] CHICAGO – After Hubbard Street Dance Chicago’s danc(e)volve: New Works Festival was met with positive reviews during Season 39 in 2016 - 17, Artistic Director Glenn Edgerton is bringing the innovative idea back as Hubbard Street Dance Chicago’s own Alice Klock, Florian Lochner and Rena Butler construct impressive new work specifically created for their fellow company members. The program will premiere at the Harris Theater for Music and Dance in Millennium Park (205 East Randolph Street) on Thursday, December 6 at 7:30 p.m., followed by performances Saturday, December 8 at 8 p.m. and Sunday, December 9 at 3 p.m. “Alice, Florian and Rena are some of the best dancers in the business, but they also demonstrate strong individual artistic points of view as choreographers,” said Edgerton. “Alice put together an amazing piece a few years ago, but I’m equally looking forward to seeing what Florian and Rena can create. Aside from having distinct and innovative choreographic visions, they also have a canny sense of how to best utilize the individual talents of their fellow company members.” The three-part danc(e)volve features: 2019 Hubbard Street Choreographic Fellow Rena Butler’s III.Third; 2019 Choreographic Fellow Florian Lochner’s piece Das Feld, which highlights a unique sound score; and a new piece entitled Fold Me by Hubbard Street's 2017 Choreographic Fellow Alice Klock, one of Dance Magazine’s 25 to Watch for 2018. -
Streetdance and Hip Hop - Let's Get It Right!
STREETDANCE AND HIP HOP - LET'S GET IT RIGHT! Article by David Croft, Freelance Dance Artist OK - so I decided to write this article after many years studying various styles of Street dance and Hip Hop, also teaching these styles in Schools, Dance schools and in the community. Throughout my years of training and teaching, I have found a lack of understanding, knowledge and, in some cases, will, to really search out the skills, foundation and blueprint of these dances. The words "Street Dance" and "Hip Hop" are widely and loosely used without a real understanding of what they mean. Street Dance is an umbrella term for various styles including Bboying or breakin (breakin is an original Hip Hop dance along with Rockin and Party dance – the word break dance did not exist in the beginning, this was a term used by the media, originally it was Bboying. (Bboy, standing for Break boy, Beat boy or Bronx boy)…….for more click here Conquestcrew Popping/Boogaloo Style was created by Sam Soloman and Popping technique involves contracting your muscles to the music using your legs, arms, chest and neck. Boogaloo has a very funky groove constantly using head and shoulders. It also involves rolling the hips and knees. Locking was created by Don Campbell. This involves movements like wrist twirls, points, giving himself “5”, locks (which are sharp stops), knee drops and half splits. (Popping/Boogaloo and Locking are part of the West Coast Funk movement ). House Dance and Hip Hop. With Hip Hop coming out of the East Coast (New York) and West Coast Funk from the west (California) there was a great collaboration in cultures bringing the two coasts together.