DOCSLIB.ORG

What Is Hip Hop Dancing – Part 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEFUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE Youschool’ want FUNKMODE FUNKMODE to become a Hip FUNKMODE Hop FUNKMODE expert? Learn FUNKMODE the info below and FUNKMODE you’re on your way, FUNKMODE yo! FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEWHAT ISFUNKMODE HIP FUNKMODE HOP DANCING? FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE Ever since FUNKMODEHip FUNKMODEHop dancing started, FUNKMODE FUNKMODE the world has FUNKMODE had FUNKMODE a difficult time FUNKMODE saying exactly what FUNKMODE Hip Hop dancing FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE is or is not. Even the very first Hip Hop dancers didn’t use the term “Hip Hop”. To make things more confusing, FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEnew FUNKMODE styles keep coming FUNKMODE FUNKMODE in year after yearFUNKMODE FUNKMODEand old styles keepFUNKMODEd FUNKMODEchanging. by So, funkmode howFUNKMODE is anyone supposed FUNKMODE to know FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEwhat is or is notFUNKMODE Hip FUNKMODE Hop dancing? FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE It’s FUNKMODE usually helpful FUNKMODE to FUNKMODE go back to the FUNKMODEbeginning FUNKMODE when trying FUNKMODE toFUNKMODE answer such FUNKMODEa question. Most ofFUNKMODE what we FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEcall FUNKMODE Hip Hop dancingFUNKMODE FUNKMODEtoday started in FUNKMODE the FUNKMODE 1970s. Back then, FUNKMODE FUNKMODEall we had were FUNKMODE a bunch of very different FUNKMODE styles, FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEeach with their FUNKMODE own names. InFUNKMODE California, FUNKMODE we created FUNKMODE FUNKMODE styles like Locking, FUNKMODE FUNKMODE Boogaloo, Waving, FUNKMODE Popping, Gliding FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE(where FUNKMODEMichael Jackson FUNKMODE got FUNKMODE his famous “Moonwalk”), FUNKMODE FUNKMODE and Tutting. FUNKMODE FUNKMODE In New York, FUNKMODE they created styles FUNKMODE like FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODERocking and FUNKMODE B-boying. What FUNKMODE eventually FUNKMODE brought FUNKMODE all FUNKMODE of these styles FUNKMODE together FUNKMODE was the factFUNKMODE that, although very FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEdifferent FUNKMODE from one another, FUNKMODE they were allFUNKMODE done FUNKMODE to the same FUNKMODE type FUNKMODE of music*. Kids FUNKMODE in FUNKMODE NY were B-boying FUNKMODE to the FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEexact same songs FUNKMODE that kids in CaliforniaFUNKMODE FUNKMODE were using FUNKMODE to FUNKMODE wave and pop. FUNKMODE Kids FUNKMODE in California were FUNKMODE Locking to the FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEsame FUNKMODE songs kids in NY used FUNKMODE for Rocking. FUNKMODE Eventually, FUNKMODE they all FUNKMODE started FUNKMODE to come together FUNKMODE FUNKMODE and teach eachFUNKMODE other FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEtheir FUNKMODE dances. As people FUNKMODE from the outside FUNKMODE (like FUNKMODE reporters) came FUNKMODE FUNKMODE in and saw all ofFUNKMODE these FUNKMODE kids doing theseFUNKMODE great FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEnew dances FUNKMODE together, many of FUNKMODE them didn’t realize FUNKMODE FUNKMODE the styles were FUNKMODE all FUNKMODE very different FUNKMODEand FUNKMODEcame from different FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEparts of the country. FUNKMODE In the media, FUNKMODEall of these styles FUNKMODE started FUNKMODE to be called FUNKMODE Breakdancing**FUNKMODE FUNKMODE or streetFUNKMODE dancing. FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEThe dancers FUNKMODE knew that each FUNKMODEdance style had FUNKMODE a differentFUNKMODE name andFUNKMODE someFUNKMODE even tried FUNKMODE to correctFUNKMODE the outsiders, FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEbut the name BreakdancingFUNKMODE spread FUNKMODE faster than anyone FUNKMODE FUNKMODE could fix the mistake.FUNKMODE FUNKMODE However, whatFUNKMODE FUNKMODE was really FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE important was that all of these dancers were being brought together by a love of the same kind of music FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEand a desire toFUNKMODE share dance styles FUNKMODE with each other.FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE Another thing FUNKMODE that all of these styles FUNKMODE had in commonFUNKMODE FUNKMODE were that they FUNKMODE came FUNKMODE from freestyle FUNKMODE party FUNKMODE dancing. FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEEach of these styles FUNKMODE started off small, with FUNKMODE just a few moves.FUNKMODE FUNKMODE But, as people FUNKMODE came FUNKMODE to parties FUNKMODEor got FUNKMODE together FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEin groups FUNKMODE to freestyle dance, FUNKMODE they added new moves FUNKMODE to each style FUNKMODE andFUNKMODE entertained FUNKMODE the FUNKMODE crowds with them. FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEThe crowds FUNKMODE and dancers went FUNKMODE home, practiced FUNKMODE the moves they FUNKMODE saw FUNKMODE and then added FUNKMODE theirFUNKMODE own moves FUNKMODE and FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEstyle to them. FUNKMODEThis is how every one FUNKMODE of these styles began FUNKMODE to grow into FUNKMODE what FUNKMODE we know them FUNKMODE FUNKMODE as today. FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FreestylingFUNKMODE created FUNKMODEHip Hop dancing. This FUNKMODE is why at FUNKMODE FUNKMODE we always FUNKMODE tell FUNKMODE you, if you can’t FUNKMODE freestyle, FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEyou’re not really FUNKMODE a Hip Hop dancer. FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE As Funk music started FUNKMODE to die out in theFUNKMODE early 1980s, it was FUNKMODE quickly replaced FUNKMODE FUNKMODE by a similar style FUNKMODE known FUNKMODE as FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODERap or Hip Hop. HipFUNKMODE Hop began to dominate FUNKMODE the dance parties.FUNKMODE As peopleFUNKMODE freestyleFUNKMODE danced FUNKMODE to FUNKMODEHip Hop music FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEinstead of FUNKMODE Funk, even more movesFUNKMODE and styles were FUNKMODE created. In the 1990sFUNKMODE we saw NY FUNKMODE and FUNKMODE California again FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEcreate FUNKMODE styles that would FUNKMODE take over the party FUNKMODE scene. This time, FUNKMODE they spread largely FUNKMODE FUNKMODE because of music FUNKMODE FUNKMODEvideos. FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODEIn NY, there FUNKMODE was a style of musicFUNKMODE and movement FUNKMODE called New Jack SwingFUNKMODE that became FUNKMODE reallyFUNKMODE popular. InFUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODE FUNKMODECalifornia, FUNKMODE music artists FUNKMODE like MC Hammer FUNKMODE popularized a hard FUNKMODE hitting dance style FUNKMODE that most HipFUNKMODE FUNKMODEHop dancers
Recommended publications
  • 'What Ever Happened to Breakdancing?'

    '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.
  • 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

    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.
  • Students Shuffle, Swing and Sway at Dance Concert

    Students Shuffle, Swing and Sway at Dance Concert

    Illinois Wesleyan University Magazine, 2002-2017 Volume 18 Issue 1 Spring 2009 Article 8 Spring 2009 Students shuffle, swing and sway at dance concert Amelia Benner Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/iwumag Recommended Citation Benner, Amelia (2009) "Students shuffle, swing and sway at dance concert," Illinois Wesleyan University Magazine, 2002-2017: Vol. 18 : Iss. 1 , Article 8. Available at: https://digitalcommons.iwu.edu/iwumag/vol18/iss1/8 This is a PDF version of an article that originally appeared in the printed Illinois Wesleyan University Magazine, a quarterly periodical published by Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the University and/or the author of this document. Students shuffle, swing and sway at dance concert By Amelia Benner Student choreographer Evan Kasprzak began his dance piece, “Truffle Shuffle,” by walking on his hands toward the hushed audience. As hip-hop music blasted from the sound system, nine other dancers, dressed in red and blue sweatshirts, appeared and began to enact a stylized “battle.” It was the junior music-theatre major’s third year taking part in the Student Choreographed Student Amy Bannon (in orange) choreographed the West Dance Concert (SCDC), which is Coast swing piece “Move your Body.” From right to left are Tom Duncan, Caitlin Borek, Bannon, Seth Reid and Abby one of the biggest performance Root. (Photo by Marc Featherly) events of the year at Illinois Wesleyan. “I knew I wanted to do a hip-hop piece, and I knew I wanted it to be a battle of some sort,” Kasprzak says of “Truffle Shuffle,” which drew enthusiastic applause at its premiere.
  • Bera Ballroom Dance Club Library

    Bera Ballroom Dance Club Library

    BERA BALLROOM DANCE CLUB LIBRARY Video Instruction DANCE TITLE ARTIST Style LEVEL 1 American Style Exhibition Choreography Cha Cha Powers & Gorchakova VHS Cha Cha 2 American Style Beginning Rumba & Cha Cha Montez VHS Rumba & Cha Beg 3 American Style Intermediate Cha Cha Montez VHS Cha Cha Int 4 American Style Advanced I Cha Cha Montez VHS Cha Cha Adv 5 American Style Advanced II Cha Cha Montez VHS Cha Cha Adv 6 International Style Cha Cha Ballas VHS Cha Cha 10 American Style Beginning Tango Maranto VHS Tango Beg 11 American Style Intermediate Tango Maranto VHS Tango Int 12 American Style Advanced I Tango Ballas VHS Tango Adv 13 American Style Advanced II Tango Maranto VHS American Tango Adv 14 Advanced Tango American Style Techniques & Principles Kloss VHS American Tango Adv 21 Waltz Vol I International Style Technique & Principles Puttock VHS Int Waltz 22 Waltz International Style Standard Technique Veyrasset &Smith VHS Int Waltz 23 American Style Beginning Waltz Maranto VHS Waltz Beg 24 American Style Intermediate Waltz Maranto VHS Waltz Int 25 American Style Advanced I Waltz Maranto VHS Waltz Adv 26 American Style Advanced II Waltz Maranto VHS Waltz Adv 27 Waltz Vol 1 – Beginner Austin VHS Waltz Beg 30 American Style Beginners Viennese Waltz Maranto VHS Viennese Waltz Beg 31 American Style Intermediate Viennese Waltz Maranto VHS Viennese Waltz Int 32 International Style Advanced I Viennese Waltz Veyrasset &Smith VHS Viennese Waltz Adv 33 Viennese Waltz International Style Standard Technique Veyrasset &Smith VHS Int Viennese 40 International
  • How Breakdancing Taught Me to Be a Technical Artist

    How Breakdancing Taught Me to Be a Technical Artist

    How breakdancing taught me to be a technical artist Robbert-Jan Brems Technical Artist Codemasters Hello ladies and gentlemen, my name is Robbert-Jan Brems. I'm currently technical artist at Codemasters and here to present you my talk : “How breakdancing taught me to be a technical artist” I only have been working as a professional technical artist in the video game industry for just over a year, but I have been breakdancing for almost nine years, and dancing for almost seventeen. The reason I am telling you this will become more apparent later on. Just out of curiosity, are there any breakdancers in this room? Well, the good news is that you do not need any breakdance related experiences to understand this talk. The main reason why I wanted to do this talk was because I have the feeling that as a person it is really easy to be looking through the same window as everybody else. What I mean with that is when we follow the same route to find knowledge as everybody else, we end up knowing the same things while missing out on other potentially important knowledge. By telling you my life story as a breakdancer and a game developer I want to illustrate how I reflect the knowledge that I obtained through breakdancing to my profession as a technical artist. So, the goal of my talk is to hopefully inspire people to start looking for knowledge by looking at learning from a different perspective. Once upon a time ... I started dancing when I was around 7 years old.
  • Amateur Mul Dance & Scholarship Entry Form

    Amateur Mul Dance & Scholarship Entry Form

    Form Leader: Age: DOB: mm/dd/yy: NDCA#: Studio: F Follower: Age: Teacher: Amateur Mul� Dance & Scholarship Entry Form DOB: mm/dd/yy: NDCA#: Phone: Adult contact name: Email: Amateur Rhythm Amateur Int'l Ballroom $ Per Category Dances Couple Category Dances $ Per Couple Sun Day - Session 10 Sun Day - Session 10 40 Amateur Under 21 - American Rhythm Cha Cha, Rumba, Swing, Bolero Amateur Under 21 - Int'l Ballroom Waltz, Tango, V. Waltz, Foxtrot, Quickstep 40 Wed Eve - Session 3 Fri Day - Session 6 Pre-Novice - American Rhythm Cha Cha, Rumba 40 Pre-Novice - Int'l Ballroom Waltz, Tango 40 Novice - American Rhythm Cha Cha, Rumba, Swing 40 Pre-Novice - Int'l Ballroom Foxtrot, Quickstep 40 Pre-Championship - American Rhythm Cha Cha, Rumba, Swing, Bolero 50 Novice - Int'l Ballroom Waltz, Foxtrot, Quickstep 40 Senior Open - American Rhythm (35+) Cha Cha, Rumba, Swing, Bolero 50 Pre-Championship - Int'l Ballroom Waltz, Tango, Foxtrot, Quickstep 40 Open Am - Am Rhythm Scholarship Cha Cha, Rumba, Swing, Bolero, Mambo 55 Senior Open - Int'l Ballroom (35+) Waltz, Tango, V. Waltz, Foxtrot, Quickstep 50 $ Total Amateur Rhythm Dance Entries: Masters Open - Int'l Ballroom (51+) Waltz, Tango, V. Waltz, Foxtrot, Quickstep 50 Fri Eve - Session 7 55 Open Am - Int'l Ballroom Scholarship Waltz, Tango, V. Waltz, Foxtrot, Quickstep Amateur Smooth $ $ Per Total Amateur Int'l Ballroom Dance Entries: Category Dances Couple Sun Day - Session 10 Amateur Under 21 - American Smooth Waltz, Tango, Foxtrot, V. Waltz 40 Amateur Int'l La�n Thu Eve - Session 5 Category Dances $ Per Pre-Novice - American Smooth Waltz, Tango 40 Couple Sun Day - Session 10 Novice - American Smooth Waltz, Tango, Foxtrot 40 Amateur Under 21 - Int'l La�n Cha Cha, Samba, Rumba, Paso Doble, Jive 40 Pre-Championship - American Smooth Waltz, Tango, Foxtrot, V.
  • Hip Hop Dance: Performance, Style, and Competition

    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.
  • Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950

    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.
  • South Island Experience April 2019

    South Island Experience April 2019

    ACTIVITY INFO SOUTH ISLAND EXPERIENCE APRIL 2019 STARGAZING Earth & Sky Stargazing Lake Tekapo Day 2 DESCRIPTION DETAILS View some of the best skies in the world from within Aoraki Mackenzie International Dark Sky Reserve, the largest Dark Sky Reserve in the world. Highly enthusiastic guides will tour Departure time: 8.30 pm you through the southern night skies sharing from their vast Return time: 10.05 pm well of knowledge on subjects from the basics of astronomy to Duration approx.: 1.5 h some of the more mind-boggling science of outer space. With the options of Cowan’s Observatory and the University of Canterbury Mt John Observatory there are options for all. PRICES $78 child (up to 17yrs) $135 adult (18yrs +) NOTES Dress warmly as it can be cold when dark. WILDLIFE TOUR Elm Wildlife Tor Dunedin Day 3 DESCRIPTION This multi-award winning, scheduled, daily, 'small group' tour DETAILS departs from Dunedin city in the mid-afternoon for the Otago Peninsula wildlife 'hotspots'. The tour combines tourism and Departure time: 3.00 pm conservation in a symbiotic relationship and provides an Return time: 9.00 pm absolutely unrivalled view of estuarine and marine wildlife. Knowledgeable guides will inform you of activity being viewed Duration approx.: 6 h and visit places where the best possible viewing of Hooker's Sea lions, Yellow-eyed Penguins, Blue Penguins, a breeding PRICES colony of New Zealand Fur Seals and Royal Albatross can be had. A further 25-30 other estuarine and marine bird species $112 student (with NZ student ID) are seen during the experience.
  • SOLO DANCE Elimination Final Primary Double Cross Waltz Balanciaga Academy Blues American March

    SOLO DANCE Elimination Final Primary Double Cross Waltz Balanciaga Academy Blues American March

    SOLO DANCE Elimination Final Primary Double Cross Waltz Balanciaga Academy Blues American March Juvenile A Siesta Tango Blue Danube Waltz Rhythm Blues Denver Shuffle Elementary A La Vista Cha Cha Bayou Polka Bounce Boogie Swing Dance Juv/Elem B Rhythm Blues Dutch Waltz Chasse Waltz Siesta Tango Juv/Elem C Glide Waltz Academy Blues Progressive Tango Skaters March _____________________________________________________________________________________________ Freshman A California Swing Delicado Border Blues Casino March Sophomore A Princeton Polka Viva Cha Cha Carroll Swing Keats Foxtrot _____________________________________________________________________________________________ Fr/Soph B Bounce Boogie Southland Swing Siesta Tango La Vista Cha Cha Fr/SophC City Blues Swing Waltz Denver Shuffle Balanciaga Bronze Swing Schottische Double Cross Waltz Div 1, 2, & 3 Canasta Tango City Blues Silver Tara Tango Luna Blues Div 1, 2, & 3 Carey Foxtrot Criss Cross March Gold 14 Step Chase Waltz Div 1 California Swing Joann Foxtrot Gold Zig ZagPolka Syncopated Swing Div 2 & 3 Milonga Tango Century Blues Classic Gold Carroll Swing Dench Blues Paso Doble Keats Foxtrot Junior American Rocker Foxtrot Willow Waltz Paso Doble Dench Blues Senior American Westminister Waltz (138) Killian (100, 2/4) Quickstep (100, 6/8) Argentine Tango (96) Tiny Tots – CoEd Progressive Tango Glide Waltz TEAM DANCE Juvenile Double Cross Waltz Skaters March Denver Shuffle Swing Waltz Elementary Chase Waltz Casino Tango Rhythm Blues Swing Dance Freshman/ 14 Step Border Blues Sophomore A Joann Foxtrot Mirror Waltz Fr/Soph B Blue Danube Waltz Chase Waltz Siesta Tango Bounce Boogie Fr Soph C City Blues Balanciaga Swing Waltz Denver Shuffle Bronze Double Cross Waltz Canasta Tango Div 1, 2, & 3 Swing Schottische City Blues Silver Tara Tango Golden Skater Waltz Div 1, 2, & 3 Pilgrim Waltz Criss Cross March Gold Southland Swing 14 Step Div 1 Joann Foxtrot California Swing Gold Zig Zag Polka Milonga Tango Div 2 & 3 Century Blues Pilgrim Waltz Classic Gold Dench Blues Keats Foxtrot Continental Waltz Paso Doble .
  • Hip Hop Terms

    Hip Hop Terms

    1 Topic Page Number General Hip Hop Definitions ………………………………………………. 3 Definitions Related to Specific Dance Styles: ♦ Breaking ………………………………………………………………………. 4 ♦ House ………………………………………………………..………………… 6 ♦ Popping / Locking …………………………………………….….……… 7 2 GENERAL • Battle A competition in which dancers, usually in an open circle surrounded by their competitors, dance their routines, whether improvised (freestyle) or planned. Participants vary in numbers, ranging from one on one to battles of opposing breaking crews, or teams. Winners are determined by outside judges, often with prize money. • • Cypher Open forum, mock exhibitions. Similar to battles, but less emphasis on competition. • Freestyle Improvised Old School routine. • Hip Hop A lifestyle that is comprised of 4 elements: Breaking, MCing, DJing, and Graffiti. Footwear and clothing are part of the hip hop style. Much of it is influenced by the original breaking crews in the 1980’s from the Bronx. Sneakers are usually flat soled and may range from Nike, Adidas, Puma, or Converse. Generally caps are worn for spins, often with padding to protect the head. To optimize the fast footwork and floor moves, the baggy pants favored by hip hop rappers are not seen. o Breaking Breakdancing. o MCing Rapping. MC uses rhyming verses, pre‐written or freestyled, to introduce and praise the DJ or excite the crowd. o DJing Art of the disk jockey. o Graffiti Name for images or lettering scratched, scrawled, painted usually on buildings, trains etc. • Hip Hop dance There are two main categories of hip hop dance: Old School and New School. • New School hip hop dance Newer forms of hip hop music or dance (house, krumping, voguing, street jazz) that emerged in the 1990s • Old School hip hop dance Original forms of hip hop music or dance (breaking, popping, and locking) that evolved in the 1970s and 80s.
  • How the History of Hip Hop Dance Has Led to a Struggle for Integration Into Collegiate Dance Programs

    How the History of Hip Hop Dance Has Led to a Struggle for Integration Into Collegiate Dance Programs

    How the History of Hip Hop Dance Has Led to a Struggle for Integration into Collegiate Dance Programs By Alexandra Rosen Center for Dance, Music and Theater Goucher College Baltimore, MD Abstract This essay, How the History of Hip Hop Dance has Led to a Struggle for Integration into ​ Collegiate Dance Programs, was written by Alexandra Rosen. Rosen is a senior (2020) at ​ Goucher College in Baltimore, Maryland where she has conducted this research through the Center for Dance, Music and Theater. According to the Merriam Webster dictionary the term hip hop is defined as, “a cultural movement associated with especially rap music.” Nonetheless, the term has always included 4 elements; breakdancing, rapping, Djing/MCing and graffiti writing. All of these individual art forms can be referred to as hip hop and each has its own rich history worth exploring (this research will solely focus on hip hop dance). Additionally, it is important to note that hip hop goes beyond art forms. It is a culture. With hip hop being known as a street born culture it has sometimes been difficult to gain the respect of academia. However, it is clear to those who have learned and lived hip hop that the genre is built on the preservation of history and political resistance. Hip hop dance has evolved over time and has become a big part of American culture within the last decade (Hazzard-Donald). Many students are becoming interested in the dance form and have embodied the movement into their social culture. However, it is important for those doing the movement to understand the history behind it.