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THE MAGAZINE of INTEKNATIONAL FOLK DANCING 650 U^ ^Etk
F November 1977 r THE MAGAZINE OF INTEKNATIONAL FOLK DANCING 650 u^ ^etk. T^OHce TNE littAZIIIE OF INTEIIN tTIONtl FOLK OANCma November 1977 Vol 34, Ho. 9 TABLE OF CONTENTS OFFICIAL PUBLICATION OF THE FOLK DANCE FEDERATION OF CALIFORNIA, INC. TREASURER'S BALL.................1 EDITOR.........................Linda Horn ASSOCIATE EDITOR.................Max Horn Making a Polish Bodice...........2 DANCE RESEARCH EDITOR...Dorothy Tamburini COSTUME RESEARCH EDITOR.....Eleanor Bacon Folk Arts of Poland..............5 BUSINESS MANAGER.................Max Horn Easy Does It!....................8 NOVEMBER CONTRIBUTORS Fiesta de Sonoma.................9 Miriam Lidster Ruth Miller Vera Jones Virginia Wilder Food in the Polish Manner.......10 Mona Verzi Ruth Ruling Larry Miller_________ Vi Dexhelmer Let's do Squares................12 FEDERATION OFFICERS Polish Folk Dance...............15 (North) Dance Descriptions: PRESIDENT...................Raymond Olson ^ilald RzMzoiAJ-ilU (Poland)......18 24013 Fairlands Road, Hayward, CA 94541 Kujawiak t*3 (Poland).........20 VICE PRESIDENT..............Bruce Wyckoff TREASURER........................Al Lisin Poland, a land of Changing RECORDING SECRETARY.....Genevieve Pereira Boundaries........24 DIRECTOR OF PUBLICATIONS.........Max Horn DIRECTOR OF EXTENSION...........Walt Lang DIRECTOR OF PUBLICITY.......Leonore Fifer Kolo Kalendar...................26 HISTORIAN.....................Leona Faoro (South) Party Places....................27 PRESIDENT......................Ed Feldman Council Clips...................30 -
Navy Pier Impact Report 2016–2017
People’s Pier Partnerships Navy Pier Impact Report 2016–2017 95739_Impact Report_a7_Flipbook.indd 1 11/6/18 11:53 AM A Joint Message from Our Chairman and President Celebrating our Centennial in 2016 was so much more than just a milestone. It was a community celebration that marked the start of two incredibly productive years at Navy Pier. We have been hard at work, transforming Chicago’s lakefront treasure into a one-of-a-kind urban oasis. In 2016 alone, we welcomed a record-breaking 9.3 million guests. With more than 60 percent of guests coming from Chicago and the suburbs, the People’s Pier has been embraced by locals as their own; as a place to escape, rejuvenate, connect, be inspired and, most importantly, have fun. OUR MISSION Navy Pier is the People’s Pier, Chicago’s lakefront treasure, welcoming all and offering dynamic and eclectic experiences through partnerships and programs that inspire discovery and wonder. 2 95739_Impact Report_a5.indd 2 10/12/18 9:12 AM 70 5 3,000 businesses at the Pier including retail, nonprofits operating at the Pier people work at Navy Pier across the 70 businesses dining and entertainment Bringing our Centennial Vision to life began with public sample authentic local culinary offerings in the new Chicago dialogue and feedback from our community, partners and Food Experience. More recently, our cultural partners, Chicago William J. Brodsky stakeholders. Our growing family of donors, including Shakespeare Theater, completed the groundbreaking state-of-the- Chairman individuals, corporations and foundations, have helped us art theater, The Yard, and Chicago Children’s Museum installed achieve our ambitious goals. -
Northern Junket, Vol. 6, No. 11
\ \ Title CiNTMS \ rage i Take It Jr Leave It 1 Juvenile Delinquency & Square Hancing 2 From The Mailbox 7 Coming Events at Folk 3ance House - - 11 Irish Dancing -.-_ 12 Bayanihan Dance Group >. 23 Polish State Folk Ballet 24 The P»und Party 25 Contra Dance - Maiden fteel ------ 27 Square Dance - Kitty Corner -------- 28 Folk Dance - Manitou Mixer — 29 Folk Song - If My fid T«p Were A Dancing Man 30 News 32 Book Review - Spiked Boots __- 34 It's Fun To Hunt 35 lasy To Make Decorations ---- — - 43 Holiday Foo4 46 The Town Criei; 5* ******* I :0^vM^... i< k *$ R L E..A. T'B I T The longer I stay in this "business the surer I am of two things to ensure its long life and continued in- terest in it: PROPER PROGRAMMING AMD A YOUTH PROGRAM . The callers who have been active for ten or more years and are still in demand are the ones who program each of their dances so that they give something for the "hot shot" dancer; something for the "newcomer" to square dancing; and a heck of lot for the people in between who outnumber the others maybe ten to one. The dances for the in-betweens will "be a good mixture of old and traditional dances and enough of the neweir ones to keep the floor on its toes. And one thing they never are guilty of: they never deliberately try to "throw the floor". Any idiot can do that; it takes a real good caller to sense the limitations of the group and arrange or re-arrange his material accordingly. -
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 -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. -
KUJAWIAK WESELNY OD OSIECINA (Poland)
FOLK DANCE FEDERATION OF CALIFORNIA RESEARCH COMMITTEE: August/September 1969 Dorothy Tamburini KUJAWIAK WESELNY OD OSIECINA (Poland) Kujawiak Weselny Od Osiecina (Koo-Y.~!V-yahk Veh-SEHL-nee Awd Awh-SEH-chee-neh) is a Kujawiak with a fast chorus. Often a slow, tender Kujawiak has a Mazur, or, as in this dance, an Oberek as a chorus, This Kujawiak was introduced by Dr, Morley Leyton at the 1968 University of the Pacific Folk Dance Camp at Stockton, California. MUSIC: Record: Buccaneer "Polish Dances" - BC-1000, Side A, Band 7 Bruno "Polish Country Dance Party in Hi-Fi" - BR-50137, Side 2, Band 5 FORMATION: Cpls in a circle, facing LOD, W to ~~ R. f.1 has arms folded across chest, forearms _. parallel to floor; W has hands on hips. When hands are on hips, fingers are fwd, co STEPS AND Walk*, leap*, heel click STYLING: Hazur Step: Step fwd on R ft, bending knees (ct 1). Step fwd on L, bending knees a little more, but as wt is placed on L ft, start to straighten knees (ct 2). Step fwd on R with knees straight (ct 3). Next step begins fWd on L. During the slow part of the ·dance movements are stately. *Described in volumes of "Folk Dances From Near and Far" published by the Folk Dance Federation of California, Inc., 1095 Harket Street, San Francisco, California 94103, MUSIC 3/4, 3/8 PATTERN Measures 3/4 2 meas INTRODUCTION I. DIAHOND 1 )3:trs pn::gress LOD in a diamond pattern. MOve fwd diag a"!aY fro))t ptr with 3 walking steps (H-LRL, W-RLR), - 2 Close (M-R, W-L) (ct 1); hold (ct 2); keeping ft on floor, click heels together (ct 3), Do not start click before ct 3. -
Polskie Tańce Narodowe
Polskie tańce narodowe Opracowały: Anna Płoska i Olga Gracz Do wielkiej piątki polskich tańców narodowych należą: mazur, oberek, kujawiak, krakowiak, polonez. MAZUR Pochodzi z Mazowsza, a nazwa wywodzi się od mazurków, które tańczono na wiejskich zabawach. To taniec w żywym tempie i metrum 3/4 lub 3/8. W XIX wieku zaczął zdobywać popularność na dworach szlacheckich. Ważnymi elementami mazura są: swobodna gestyka rąk i głowy, improwizacyjny charakter kompozycji tańca. Za dawnych czasów przebieg mazura zależał od tancerza z pierwszej pary. Poniżej dodatkowy link do filmiku z tańcem mazur: http://www.tance.edu.pl/pl/dances/show/category/0/dance/720 OBEREK Jest to najszybszy i najbardziej skoczny polski taniec. Jego nazwa pochodzi od charakterystycznej dla niego figury - obrotów („obertas”). Pary tańczące wirują bardzo szybko wokół własnej osi. Jest tańcem wesołym, żywym, metrum 3/8. Był tańczony w różnym tempie w zależności od regionu. Mniej żwawo w Wielkopolsce i na Kujawach, a najżywiej w Krakowskiem. Poniżej dodatkowy link do filmiku z tańcem oberek: http://www.tance.edu.pl/pl/dances/show/category/0/dance/721 KUJAWIAK Jest najwolniejszym i najbardziej nastrojowym z polskich tańców narodowych, czemu zawdzięcza swoje ludowe nazwy: “śpiący” i “kolebany”. Wywodzi się z kujawskich obrzędów weselnych. Jego charakter podkreślają: kołysanie i spokojne obroty tańczących par. Tempo kujawiaka jest wolne, metrum 3/4. Poniżej dodatkowy link do filmiku z tańcem kujawiak: http://www.tance.edu.pl/pl/dances/show/category/0/dance/719 KRAKOWIAK Taniec pochodzący z okolic Krakowa, o charakterystycznym, synkopowanym rytmie, w metrum 2/4. Tańce, z których się wywodzi, posiadały swoje lokalne nazwy: mijany, dreptany, ścigany, skalmierzak, przebiegany. -
The Rhetoric of Italian American Identity
Fall–Winter 2011 Volume 37: 3–4 The Journal of New York Folklore Yuri Yunakov, National Heritage Fellow Rhetoric of Italian American Identity Roman Turovsky- Savchuk and Ukrainian Folk Music Remembering Jean Crandall (1964–2011) From the Director As an organization, the varieties of musical expression found The New York Folklore Society continues the New York Folk- along and encouraged by the Erie Canal, its mission of education and encouragement lore Society has sup- both past and present. “Music of the Erie of traditional arts and culture in New York. ported regular oppor- Canal” will offer scholarly presentations as Please join us in our work! tunities for profes- well as the performance and presentation Ellen McHale, Ph.D., Executive Director sional development of music. Partnering with the Erie Canal New York Folklore Society and convening on Museum in Syracuse, the conference will [email protected] specific topics. Since involve multiple venues and diverse op- www.nyfolklore.org its founding in 1944, portunities to present the musical history the Society has annually supported at least of the Erie Canal. Please visit our website, From the Editor one conference for the exploration of www.nyfolklore.org/progs/cfp-eriemusic.html, for The present issue of topics of relevance to the collecting and the Call for Proposals and for additional Voices reflects in large study of folklore in New York State. In information for attendance. part upon ethnic iden- our early years, the Society supported both A new program for the Society, the gradu- tity in New York. In a fall meeting which was held outside of ate student conferences have been held at “Ethnicity, Nostalgia, the New York tri-State region and a spring New York University (2010) and Bingham- Affirmation: The Rhet- meeting which was held in New York City. -
Tarantism and Tarantella in a Doll's House
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives SANDRA COLELLA TARANTISM AND TARANTELLA IN A DOLL’S HOUSE MASTER THESIS IBSEN STUDIES 2007 INDEX INTRODUCTION………………………………………………………………………………pg 3 CHAPTER 1 TARANTELLA IN A DOLL’S HOUSE . IBSENIAN SCHOLARS’ VIEWS..........………………………………………………...…...pg 15 CHAPTER 2 TARANTISM AND TARANTELLA. BERGSØE’S TREATISE AND THE SCANDINAVIAN STUDIES…………………………………………………….pg 31 CHAPTER 3 THE ITALIAN FOLK DANCE TARANTELLA………………………………………..….pg 45 CHAPTER 4 THE PHENOMENON OF TARANTISM. DE MARTINO’S WORKS AND THE OTHER STUDIES……………………………………………………………..…pg 55 CHAPTER 5 TARANTISM AND TARANTELLA IN A DOLL’S HOUSE . A NEW HYPOTHESIS OF INTERPRETATION……………………………………….…pg 85 CONCLUSION...………………………………………………………………………………pg 99 BIBLIOGRAPHY………………………………………………………………………....…pg 101 2 INTRODUCTION Echoes of the controversies about the meaning of the drama A Doll’s House and Nora’s character continue to reach us from 1879, the year in which Ibsen completed his probably most famous work in Amalfi. Up till now, the complexity of the characters and the wise webbing of the drama, scattered of symbolic moments, widening its study, are the cause of divergent interpretations by the scholars. An example, exemplifying for all the discussions, could be the famous problem of Ibsen’s “feminism”. In the chapter “The poetry of feminism” in her book Ibsen’s women the American scholar Joan Templeton (2001) tries to say a definitive word about the sense to attribute to the drama. She quotes an impressive series of evidences with great accuracy, coming not only from works, but also from specific events and stands of which Ibsen was protagonist, to be opposed to only one point in favour of the detractors of the feminist vision about A Doll’s House . -
Music for Dancing
Chapter Music for Dancing 4 FOCUS Western Dance Music World Dance Music POINTS Estampie Balinese Gamelan Dance Suite Tibetan Buddhist Skeleton Dance Waltz Italian Saltarello Ballet African Ritual Dances Square Dance Celtic Reel Dance, the art form that finds its expression through bodily movement, has been an inspiration for music from ancient times to the present. Whether music was the cata- lyst for dance or whether dance existed before music is a question that may never be answered definitively, but since such a large portion of the music in existence is dance music it deserves our attention and a thoughtful examination. The written record of dance is not as old as the written record of music. The earli- est descriptive texts on dance date from the fifteenth century. Understandable manu- scripts of music date from nearly a thousand years earlier. References to dance are as old as Old Testament Bible stories and the ancient Greeks wrote of dance, but what the movements that constituted those dances looked like is lost to us. Understanding what the dances looked like or how they were performed is not our purpose in studying them in a music class, rather, we will be examining dance music for its musical con- tent, such as its form and rhythmic characteristics, and its purpose in a social context. RHYTHM AND METER IN DANCE MUSIC Any discussion of dance must begin with rhythm since that musical element is the foundation of dance. As was mentioned in Chapter 1, rhythm is the aspect of music that animates it, makes it feel like it is alive and vibrant. -
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Eastern European Modernism: Works on Paper at the Columbia University Libraries and The Cornell University Library Compiled by Robert H. Davis Columbia University Libraries and Cornell University Library With a Foreword by Steven Mansbach University of Maryland, College Park With an Introduction by Irina Denischenko Georgetown University New York 2021 Cover Illustration: No. 266. Dvacáté století co dalo lidstvu. Výsledky práce lidstva XX. Věku. (Praha, 1931-1934). Part 5: Prokroky průmyslu. Photomontage wrappers by Vojtěch Tittelbach. To John and Katya, for their love and ever-patient indulgence of their quirky old Dad. Foreword ©Steven A. Mansbach Compiler’s Introduction ©Robert H. Davis Introduction ©Irina Denischenko Checklist ©Robert H. Davis Published in Academic Commons, January 2021 Photography credits: Avery Classics Library: p. vi (no. 900), p. xxxvi (no. 1031). Columbia University Libraries, Preservation Reformatting: Cover (No. 266), p.xiii (no. 430), p. xiv (no. 299, 711), p. xvi (no. 1020), p. xxvi (no. 1047), p. xxvii (no. 1060), p. xxix (no. 679), p. xxxiv (no. 605), p. xxxvi (no. 118), p. xxxix (nos. 600, 616). Cornell Division of Rare Books & Manuscripts: p. xv (no. 1069), p. xxvii (no. 718), p. xxxii (no. 619), p. xxxvii (nos. 803, 721), p. xl (nos. 210, 221), p. xli (no. 203). Compiler: p. vi (nos. 1009, 975), p. x, p. xiii (nos. 573, 773, 829, 985), p. xiv (nos. 103, 392, 470, 911), p. xv (nos. 1021, 1087), p. xvi (nos. 960, 964), p. xix (no. 615), p. xx (no. 733), p. xxviii (no. 108, 1060). F.A. Bernett Rare Books: p. xii (nos. 5, 28, 82), p. -
Blaising Star
ANNUAL CONVENTION, NIAGARA FALLS, CANADA - OCT. 31, NOV. 1-2 (Details In Enclosed Flier) Vl'!UIi1€: 8 1986 Number 4 Message From The President BLAISING STAR I J :ll hOllored to serv>:: ~JS Pr eSidenT o f !FJ\F,'; III.] ~) l t 1Sl)urg'l Pe nnsyivanliJ, 1$ one of til (~ rial Ion '·, r : -, 'y rll O S~ Sin ce re thanks to Tt10S{-~ VV i'j O :ldve l-:d !) pd ITlost dynamiC centers of ethniC activity, and the ItaliAn ?Jtltreli (,r otflervvlSC extended best IN;sl1l:~:.> . i '1(lPP l'la' ·.:U!1!lriu,lliV IS weli represented by an uul starldllig i()CiJ' I '.: 'In i· ve up to lour expressions u t co n fldenc'.: d an L E~ t rr)L. :J r0, I CiH'1pagnoll VVe owe d deot of gratitude to our· pas t prc~;ld (m1'-, Anl'Jn\-j 'lie perfor mers,' is tile BI31sIng Star who have laid 2 firm foundation from \r,hlch we be~;!1l Bla !se Pall lll!, ,I ve!·sdirie teac her, ci·wreographer and ,'lIS cJd'~llillstrdtl()n I tlilV'.o been with tile Federal lOt' p()rf ~) r ' ~ w r Bldlse studied profeSSional danCing al rlF: SIfl Clc Its inceptlOll and am most sinc(~rely and v',ry University:)! Plllsbu ryll and ilis training rncluc:Jed serlousi-y- dedicated to preservrng that part of till" ballet and folk danCing He minoreli :n italian Bialst: /.\meIICal) heritage which IS Italian I feel that IFAFA utilizes a perceptive If1tultion anci keen cr·eaTlve iIlslght h as arrived at a pOint where past experience perillits when researching and learnrng Italian !ulk dances.