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THE ULTIMATE VIRTUAL DANCE Experience Bringing Dance and the World Together WELCOME! REGISTRATION, RATES & REGULATIONS
Information Package THE ULTIMATE VIRTUAL DANCE Experience Bringing Dance and the World Together WELCOME! REGISTRATION, RATES & REGULATIONS VIRTUAL REGISTRATION All registrations (for both studios and individuals) for our Virtual Event are to be completed through DanceBug (www.dancebug.com). For individuals and non-Canadian studios, payment must be made via credit card though DanceBug. For Canadian studios, payments can be made via credit card through DanceBug, via E-transfer to [email protected], or via cheque made payable to On The Floor and mailed to: On The Floor 80 Rustle Woods Ave Markham, ON L6B 0V2 Additional processing fees apply to payments made via credit card through DanceBug. REGISTRATION DEADLINE June Event July Event Registration Deadline: May 15, 2021 Registration Deadline: June 15, 2021 Video Submission Deadline: Jun1, 2021 Video Submission Deadline: July 1, 2021 Airing: Week of June 22, 2021 (TBC) Airing: Week of July 22, 2021 (TBC) VIDEO SUBMISSION FORMAT Videos must be uploaded to DanceBug in .MP4 format (preferred), but .MOV files are also acceptable. Please ensure that all videos are recorded in landscape orientation only. We will not accept videos shot in portrait orientation. We accept home/studio recordings as well as videos from previous competitions, as long as they were filmed in the 2020 or 2021 season. REFUND POLICY Before you book, please make sure you understand that On The Floor operates under a strict policy of no refunds for any reason. If the event is postponed or cancelled, you will receive FULL CREDIT towards another OTF Virtual Event. Payment in FULL is due at registration - we make no exceptions. -
Grade 6 Reading Student At–Home Activity Packet
Printer Warning: This packet is lengthy. Determine whether you want to print both sections, or only print Section 1 or 2. Grade 6 Reading Student At–Home Activity Packet This At–Home Activity packet includes two parts, Section 1 and Section 2, each with approximately 10 lessons in it. We recommend that your student complete one lesson each day. Most lessons can be completed independently. However, there are some lessons that would benefit from the support of an adult. If there is not an adult available to help, don’t worry! Just skip those lessons. Encourage your student to just do the best they can with this content—the most important thing is that they continue to work on their reading! Flip to see the Grade 6 Reading activities included in this packet! © 2020 Curriculum Associates, LLC. All rights reserved. Section 1 Table of Contents Grade 6 Reading Activities in Section 1 Lesson Resource Instructions Answer Key Page 1 Grade 6 Ready • Read the Guided Practice: Answers will vary. 10–11 Language Handbook, Introduction. Sample answers: Lesson 9 • Complete the 1. Wouldn’t it be fun to learn about Varying Sentence Guided Practice. insect colonies? Patterns • Complete the 2. When I looked at the museum map, Independent I noticed a new insect exhibit. Lesson 9 Varying Sentence Patterns Introduction Good writers use a variety of sentence types. They mix short and long sentences, and they find different ways to start sentences. Here are ways to improve your writing: Practice. Use different sentence types: statements, questions, imperatives, and exclamations. Use different sentence structures: simple, compound, complex, and compound-complex. -
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mow!,'mum INN nn %AUNE 20, 1981 $2.75 R1-047-8, a.cec-s_ Q.41.001, 414 i47,>0Z tet`44S;I:47q <r, 4.. SINGLES SLEEPERS ALBUMS COMMODORES.. -LADY (YOU BRING TUBES, -DON'T WANT TO WAIT ANY- POINTER SISTERS, "BLACK & ME UP)" (prod. by Carmichael - eMORE" (prod. by Foster) (writers: WHITE." Once again,thesisters group) (writers: King -Hudson - Tubes -Foster) .Pseudo/ rving multiple lead vocals combine witt- King)(Jobete/Commodores, Foster F-ees/Boone's Tunes, Richard Perry's extra -sensory sonc ASCAP) (3:54). Shimmering BMI) (3 50Fee Waybill and the selection and snappy production :c strings and a drying rhythm sec- ganc harness their craziness long create an LP that's several singles tionbackLionelRichie,Jr.'s enoughtocreate epic drama. deep for many formats. An instant vocal soul. From the upcoming An attrEcti.e piece for AOR-pop. favoriteforsummer'31. Plane' "In the Pocket" LP. Motown 1514. Capitol 5007. P-18 (E!A) (8.98). RONNIE MILSAI3, "(There's) NO GETTIN' SPLIT ENZ, "ONE STEP AHEAD" (prod. YOKO ONO, "SEASON OF GLASS." OVER ME"(prod.byMilsap- byTickle) \rvriter:Finn)(Enz. Released to radio on tape prior to Collins)(writers:Brasfield -Ald- BMI) (2 52. Thick keyboard tex- appearing on disc, Cno's extremel ridge) {Rick Hall, ASCAP) (3:15). turesbuttressNeilFinn'slight persona and specific references tc Milsap is in a pop groove with this tenor or tit's melodic track from her late husband John Lennon have 0irresistible uptempo ballad from the new "Vlaiata- LP. An air of alreadysparkedcontroversyanci hisforthcoming LP.Hissexy, mystery acids to the appeal for discussion that's bound to escaate confident vocal steals the show. -
Lien Khuc Nhac Remix Root Folder
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Ubisoft out to Get Smartphone Users Dancing 11 June 2014
Ubisoft out to get smartphone users dancing 11 June 2014 could best match moves set to a Lady Gaga song. Smartphones act as controllers tracking how well players copy moves in game video streamed over the Internet to Web browsers in computers, tablets, or smart televisions. During the briefing, the game was displayed on a huge theater screen. Dancers perform at Ubisoft's 'Just Dance 2015' at the annual E3 video game extravaganza in Los Angeles on June 10, 2014 French video game star Ubisoft wants smartphone users to get up and dance. A test version of hit franchise "Just Dance" that can be played just about anywhere using smartphones as controllers should be released on a small scale Dancers perform Ubisoft's 'Just Dance 2015' at the for testing later this year. annual E3 video game extravaganza in Los Angeles on June 10, 2014 If "Just Dance Now" resonates, it will eventually be released as a free application for smartphones powered by Apple or Google-backed Android operating systems. Altman said the game has handled a simulation of 20,000 people taking part in one game, making it "We've seen the casual games market evolve and conceivable that an audience at a stadium concert a huge explosion on mobile," Just Dance executive could face off on footwork during a song if an artist producer Jason Altman said at an E3 video game put the technology in place for a show. extravaganza that continues here through Thursday. "This is a huge opportunity to bring 'Just Dance' out of the living room and into the world at large," "We think the opportunity is enormous." Altman said. -
6 Steps to a Radio-Ready Song by Graham Cochrane
RecordingRevolution.com 6 Steps To A Radio-Ready Song by Graham Cochrane Thank you for downloading this guide! As a singer/songwriter myself, I know the goal of every musician in the home studio is to start creating killer songs - songs that sound so good they could be played on the radio, TV, or just about anywhere. You probably have great song ideas already but simply aren’t able to get your recordings to translate from your head to the real world and sound professional. I’m here to help you with that. In this brief guide I’m going to walk you through the 6 steps that every radio-ready song must go through in order to sound its best. Even if your music will never be heard on the radio, you still want it to sound good enough to hang with “the big boys and girls”. My promise to you is that after reading this guide, you’ll know exactly what it takes to get the best sounding recordings in your home studio and you’ll be motivated to get back to work and start creating your best music yet. Ready to get started? Let’s dive in Graham Cochrane (Founder, RecordingRevolution.com) RecordingRevolution.com STEP 1: Lyrics & Melody The best recordings in the world start long before the recording phase. They begin with great lyrics and killer melodies. The best vocal microphone in the world is useless if the song you’re singing has a boring or hard to remember melody, cumbersome lyrics, and overall bad flow. -
Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J
Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J. Johnson and Allegra Fuller Snyder July 1999 Council on Library and Information Resources Washington, D.C. ii About the Contributors Catherine Johnson served as director for the Dance Heritage Coalition’s Access to Resources for the History of Dance in Seven Repositories Project. She holds an M.S. in library science from Columbia University with a specialization in rare books and manuscripts and a B.A. from Bethany College with a major in English literature and theater. Ms. Johnson served as the founding director of the Dance Heritage Coalition from 1992 to 1997. Before that, she was assistant curator at the Harvard Theatre Collection, where she was responsible for access, processing, and exhibitions, among other duties. She has held positions at The New York Public Library and the Folger Shakespeare Library. Allegra Fuller Snyder, the American Dance Guild’s 1992 Honoree of the Year, is professor emeritus of dance and former director of the Graduate Program in Dance Ethnology at the University of California, Los Angeles. She has also served as chair of the faculty, School of the Arts, and chair of the Department of Dance at UCLA. She was visiting professor of performance studies at New York University and honorary visiting professor at the University of Surrey, Guildford, England. She has written extensively and directed several films about dance and has received grants from NEA and NEH in addition to numerous honors. Since 1993, she has served as executive director, president, and chairwoman of the board of directors of the Buckminster Fuller Institute. -
CDS Boston News Spring 2021
CDS Boston News The Newsletter of the Country Dance Society, Boston Centre Spring 2021 Boston Playford VirtuBall – Saturday March 6th Save the date: Saturday, March 6th at 7:30pm (doors (COVID restrictions permitting). We’ll also have photo open 7:15pm) for a virtual version of our annual memories of previous balls. Boston Playford Ball, on the traditional “first Saturday Watch your email (for CDSBC members), our website after the first Friday” in March! (https://www.cds-boston.org/), and our Facebook page Last year we celebrated 40 years of the Boston (https://www.facebook.com/cds.bostoncentre ) for Playford Ball, at what ended up being our last dance more information and how to register. together. This year our ball will be a little different since we can’t be together in person, but we can be together online, and geography is no barrier this time for our further away friends. Barbara Finney, Compere*, is preparing a wonderful evening of entertainment for you, with music by members of Bare Necessities – Kate Barnes and Jacqueline Schwab, and Mary Lea * compere Cambridge English Dictionary: noun [ C ] Participants at the 2020 Boston Playford Ball. Photo by Jeffrey Bary UK/’köm.peər/ US/’ka:m.per/ (US emcee) a person whose job is to introduce performers in a television, radio, or stage show: He started his career as a TV compere. Also in this issue: National Folk Organization Hosts Virtual Conference for 2021 ................................. p.5 About CDS Boston Centre .............................................. p.2 Philippe Callens Passes ................................................. p.5 Save the Date: 2021 Annual General Meeting ..................... p.2 Virtual Events Listings .................................................. -
Digitalbeing: Visual Aesthetic Expression Through Dance
DigitalBeing – Using the Environment as an Expressive Medium for Dance Magy Seif El-Nasr Thanos Vasilakos Penn State University University of Thessaly [email protected] [email protected] Abstract Dancers express their feelings and moods through gestures and body movements. We seek to extend this mode of expression by dynamically and automatically adjusting music and lighting in the dance environment to reflect the dancer’s arousal state. Our intention is to offer a space that performance artists can use as a creative tool that extends the grammar of dance. To enable the dynamic manipulation of lighting and music, the performance space will be augmented with several sensors: physiological sensors worn by a dancer to measure her arousal state, as well as pressure sensors installed in a floor mat to track the dancers’ locations and movements. Data from these sensors will be passed to a three layered architecture. Layer 1 is composed of a sensor analysis system that analyzes and synthesizes physiological and pressure sensor signals. Layer 2 is composed of intelligent systems that adapt lighting and music to portray the dancer’s arousal state. The intelligent on-stage lighting system dynamically adjusts on-stage lighting direction and color. The intelligent virtual lighting system dynamically adapts virtual lighting in the projected imagery. The intelligent music system dynamically and unobtrusively adjusts the music. Layer 3 translates the high-level adjustments made by the intelligent systems in layer 2 to appropriate lighting board, image rendering, and audio box commands. In this paper, we will describe this architecture in detail as well as the equipment and control systems used. -
Wreaths to Remember Page 8
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Movement Research: Exploring Liminality of Dance
Lawrence University Lux Lawrence University Honors Projects 6-2020 Movement Research: Exploring Liminality of Dance Michele D. Haeberlin Lawrence University Follow this and additional works at: https://lux.lawrence.edu/luhp Part of the Arts and Humanities Commons © Copyright is owned by the author of this document. Recommended Citation Haeberlin, Michele D., "Movement Research: Exploring Liminality of Dance" (2020). Lawrence University Honors Projects. 149. https://lux.lawrence.edu/luhp/149 This Honors Project is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence University Honors Projects by an authorized administrator of Lux. For more information, please contact [email protected]. Movement Research: Exploring Liminality of Dance Michele D. Haeberlin Advisor Professor Paek Lawrence University May 2020 Acknowledgements I cannot possibly count all the wonderful people who have helped contribute to this in such a small space, but to those who have made space to dance in such a time as this- my sincere gratitude. Every single person who sent in a video has an important role in this project becoming what it is, and it would not be the same without all of your beautiful submissions. To everyone at Movement Research thank you for allowing me to play and explore dance in an environment as wonderfully dynamic as New York City with you. A heartfelt thank you to George and Marjorie Chandler, of the Chandler Senior Experience Grant, who helped me achieve my dreams. Amongst the many givers to my project’s completion would be my wonderful friends who have bounced ideas for me and kept me sane mentally- Amanda Chin and Rebecca Tibbets. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing.