Lindy Hop and Charleston by Adrian Freeman

Total Page：16

File Type：pdf, Size：1020Kb

American Dances Lindy Hop and Charleston By Adrian Freeman Juba (Hambone) • This dance comes from African slaves who didn’t have drums. • Their “masters” didn’t let them have drums because they could be used to communicate long distances. • Without drums, the slaves stomped their feet and slapped their arms, legs and faces to create rhythms. • After slavery was abolished, people (especially in the South) continued to do this dance. The Irish • The Irish were another important group that influenced traditional American music and dance. Black dancers imitated Irish dancers and vice versa . Eventually, the two styles mix ed and made a new dance Tap Dance • This dance comes from the African Juba dance and Irish Step-dancing. • Tap dancers create rhythms by tapping metal plates on their heels and toes. The Charleston • The Charleston is a dance-move based on African rhythms. • It is inspired by the dance-moves seen in Juba dances. Jazz Music / Jazz Dance Jazz comes from the mixture of African rhythms and European instruments. http://en.wikipedia.org/wiki/Jazz#Cool_jazz African American Step Dancing (“Stepping”) • Stepping is a dance form that comes directly from Juba dancing. • It can be influenced by break dance, military marching and tap dance. • It is common to see step dancing performed by fraternities on University campuses. JUBA Charleston Tap Jazz Music Stepping Lindy Hop Lindy Hop (Swing) • This dance comes from New York City, specifically the Harlem neighborhood. • It is a mixture of Jazz dance, Charleston , Tap dance, and other dances. • Nowadays, people dance Lindy Hop (or “Swing”) all over the world, even in Barcelona! • Every 1 st and 3 rd Sunday at 12pm in Parc de la Ciutadella: “Lindy Al Parc” – L’Associació de Swing de Barcelona www.bcnswing.org.

Copy Link

Recommended publications

Saidiya-Hartman Scenes-Of-Subjection.Pdf
Scenes ofSubjection Scenes of Subjection TERROR, SL.AVERY, AND SELF-MAKING IN NINETEENTH-CENTURY AMERICA Saidiya V. Hartman New York Oxford OXFORD UNIVERSITY PRESS 1997 'd University Press New York Auckland Bangkok Bogota Bombay BuenosAires a Cape Town Dar es Salaam Delhi Florence Hong Kong .I Knrnchi Kuala Lumpur Madras Madrid Melbourne ) City Nairobi Paris Singapore Taipei Tokyo Toronto Warsaw rociated companies in Ibudan right © 1997 by Saidiya V. Hartman led by OxfordUniversity Press, Inc. adison Avenue. New York, New York 10016 i is It registered trademark of Oxford University Press :hts reserved. No part of this publication may be reproduced, in a retrieval system, or transmitted, in anyform or by any means, mic, mechanical, photocopying. recordlng;or otherwise, It the prior permlsslon of OxfordUniversity Press. y of Congress Cataloging-ln-Publlcntlon Data IanI Saidiya V. s of subjection : terror, slavery. and self-making in enth-ccntury America I by Saidiya V. Hartman. clll.-(Racc and American culture) les index. 0-19-508983-9 (cloth) 0-1-9-508984-7 (pbk.) ivcs-i-United States-c-Soclal conditions. 2. Slaves-United States-Sociallifc and customs. wery-United States-Psychological aspects. 4. Arro-Amcricans-History-To 1863. wet (Social sciencesj-i-United Statcs-HislorY-19th century. If-HistorY-J9th century. 1. Title. II. Series. .H37 1997 0496073-dc2 I 97~5808 To Gilbert Acknowledgments Thisbookowes a greatdealto so many. TheCharlotteNewcombe Foun dation, the Rockefeller Foundation, and the University of California Humanities Research Institute provided financial support and time off, which helped in the development and completion of this project. The late GeorgeBass provided support .and enthusiasm during the early stages of the project, seeing promise when things were still quite vaguely defined.
[Show full text]
African and African-American Contributions to World Music
Portland Public Schools Geocultural Baseline Essay Series African and African-American Contributions to World Music by John Charshee Lawrence-McIntyre, Ph.D. Reviewed by Hunter Havelin Adams, III Edited by Carolyn M. Leonard Biographical Sketch of the Author Charshee Lawrence-Mcintyre is Associate Professor of Humanities at the State University of New York at Old Westbury in the English Language Studies Program. PPS Geocultural Baseline Essay Series AUTHOR: Lawrence-McIntyre SUBJECT: Music CONTENTS Content Page BIOGRAPHICAL SKETCH OF THE AUTHOR.............................................................................................. I CONTENTS ..........................................................................................................................................................II INTRODUCTION .................................................................................................................................................1 CLASSICAL AFRICA'S INFLUENCE ON OTHER CIVILIZATIONS ........................................................4 ANCIENT EGYPTIAN INSTRUMENTS .....................................................................................................................4 ANCIENT EGYPTIAN MUSIC AND FORMS .............................................................................................................8 MIGRATION AND EVOLUTION OF MUSIC THROUGHOUT CONTINENTAL AFRICA ...................12 TRADITIONAL INSTRUMENTS .............................................................................................................................14
[Show full text]
WILL MARION COOK (1869-1944): SHOWS LIST and SONGS and INSTRUMENTAL NUMBERS Peter M
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 10-17-2017 WILL MARION COOK (1869-1944): SHOWS LIST and SONGS and INSTRUMENTAL NUMBERS Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, and the Music Commons Lefferts, Peter M., "WILL MARION COOK (1869-1944): SHOWS LIST and SONGS and INSTRUMENTAL NUMBERS" (2017). Faculty Publications: School of Music. 65. http://digitalcommons.unl.edu/musicfacpub/65 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 10/17/2017 WILL MARION COOK (1869-1944): SHOWS LIST and SONGS and INSTRUMENTAL NUMBERS Peter M. Lefferts University of Nebraska-Lincoln The present material supplements my on-line document “Chronology and Itinerary of the Career of Will Marion Cook.” That put into some kind of order a number of biographical research notes, principally drawing upon newspaper and genealogy databases. It is one in a series ---“Chronology and Itinerary of the Career of”---devoted to a small number of African American musicians active ca. 1900-1950. In those other documents, compositions were interleaved with other kinds of references following a chronological sequence. Instead of doing the same for Cook, his shows and songs and instrumental numbers, spanning a creative career of almost a half century have been listed here in chronological order as a separate document.
[Show full text]
About the Syllabus Welcome to the Alterity
About the Syllabus Welcome to the Alterity in Western Music Syllabus! This syllabus was compiled and edited by musicology graduate students in the Department of Music at the University of North Carolina at Chapel Hill. This project is the result of a seminar on the philosophical concept of alterity and its relationship to Western art music from 1885 to 1945. Based on the work of scholars such as Emmanuel Levinas, Homi Bhabha, and Simone de Beauvoir, the concept of alterity can help frame how we to understand the relation between Self and Other. The syllabus is a pedagogical tool designed to provide access to the ideas discussed in the seminar beyond the walls of this university. By offering case studies from the Western musical tradition we intend to present practical examples on the different ways in which music might intersect with alterity. The three units are interconnected in that they address similar questions. At the same time, however, each unit stands on its own. There is no preferred order in which to follow the syllabus. The units can serve either as a shorter module in a longer course, or as the core of a course that could be expanded with other examples—several of which are presented in the eZine. In alphabetical order, by composer, the units focus on the following topics: 1. Antonin Dvorak’s Symphony No. 9 From the New World. This unit offers engagement with the complicated web of Othering that surrounds the work of a Czech composer written in the United States evoking African American and Native American music.
[Show full text]
Jazz Rhythm-Generated
Created by Veronica Boccardo 2017 Rhythm-Generated Jazz Class (3-day Lesson). Overview & Context WHO are the learners? High school students Age range: 15 - 18 Skill level: Advanced WHAT, WHERE, WHEN – Context: Type or Genre of class: Jazz class Location / Situation: Dance studio In cedar Ridge HS Learning Trajectory: When does this class occur in the trajectory of a sequence of classes or term? What do you know about what student have had prior? Is there an overarching trajectory? What questions do you have? Length of the class; pacing for time available: 3 sections Day 1: Introduction into history and jazz origins Day 2: African technique class based on rhythm Day3: Technique class into technology integrated activity WHY Teaching Philosophy: Cultural responsive education: going beyond the movement and understanding where Jazz originally came from, how the importance of rhythm stays the same, and how Jazz has branched out through time. WHAT - Content & Scope: Identify the following based on the goals and culminating outcomes of the class, i.e. culminating combination or experience. Overarching Goal(s): Students will know the roots of Jazz origins and how they have evolved into different styles Concept/Theme/Focus: Students will explore how rhythm and polyrhythms can affect the relationship between music and dance Vocabulary: List specific vocabulary important or the focus for this lesson. Staccato Syncopation Polyrhythm WHAT - Equipment and Materials (include bibliography of references): List Stage 1: Identify Desired Results - WHAT See National Core Arts Standards in Dance for examples Created by Veronica Boccardo 2017 Enduring Understanding Essential Question Where did Jazz originate from? How is the rhythm in African dance similar or different from our modern day Jazz? Student Learning Standards: TEKS NCAS-Dance • 117.306 Dance, Level I c4.
[Show full text]
The Black Dancing Body: an Artistic Measure As a Cultural Protest A
DEMOCRATIC AND POPULAR REPUBLIC OF ALGERIA MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERSITY OF ABDELHAMID IBN BADIS-MOSTAGANEM FACULTY OF FOREINGN LANGUAGES THE DEPARTEMENT OF ENGLISH The Black Dancing Body: An Artistic Measure as a Cultural Protest A Case Study Dancing in Blackness 2018 by Halifu Osumare Dissertation Submitted in Partial Fulfillment for the Degree of Master in Literature and Interdisciplinary Approaches Submitted by Ellabed Zohra Djahida Jury members: Chairperson: BENMAATI Fatima Zahra Supervisor: GHERNOUT Soumia Examiner: TIGUIA Cherif 2019-2020 Dedication This work is dedicated to my beloved parents who support me during my journey To my brother and sister Many thanks and appreciations go to my best Friends Latroch Ikram & Gaafour Zahra Ines for their support and encouragements, to all my friends with no exceptions. Special thanks go to my dear friend Hamdaoui Yousra To Mrs. Halifu Osumare & Mr. Thomas DeFrantz who provided me with encouragements and help. To all the artists especially dancers and choreographers I Acknowledgments First, I thank God for giving me the strength and patient to finish this work I would like to express my sincere thanks go to my supervisor Mrs. Gherount for accepting to supervise me also for her guidance and support. I would like also to thank Mr. Tiguia and Mrs. Abdelhadi who were the inspiration of this work. Special thanks go to all my teachers in the department of English II Abstract Dance has been a significant part of African Americans life; it helped them express their emotions as well as their thoughts and ideas, for that reason this dissertation attempts to study the role of African American Dance as a tool of cultural protest.
[Show full text]
2009 Faber Catalog.Pdf
BRITISH PRINTED MUSIC PUBLISHER OF THE YEAR 2004, 2005, 2006, 2007 & 2008 About Us Faber Music Inc was founded in 1965, for the also includes a wealth of high-quality publications principal purpose of publishing the music of meeting the needs of musicians in professional, Benjamin Britten. It now enjoys a world-wide teaching and recreational environments. reputation as one of the leading independent British publishers of classical, contemporary, Faber Music’s rapidly growing media division educational, media and popular music. represents outstanding composers of music for film and television, and through its subsidiary Alongside repertory works by Vaughan Williams, Rights Worldwide Ltd offers a specialist service Holst, Britten and Arnold, its performance catalog of copyright administration to media composers features one of the most notable and envied lists and production companies. of “house” composers including Oliver Knussen, Jonathan Harvey, George Benjamin and Thomas In 2005, Faber Music bought International Music Adès. Faber Music handles the concert works Publications (the European arm of Warner Bros. of Paul McCartney, the Christmas classic ‘The Publications) and has added a large roster of Snowman’ by Howard Blake, important music names to its popular music list. In Europe, Faber theatre works such as Andrew Lloyd Webber’s represents such groups as Arctic Monkeys, Cats, and Carl Davis’s renowned scores for great Queen, Nirvana, Aerosmith and Radiohead, films of the silent era. It has also developed, and solo artists such as George Michael, Amy with a strategy founded on quality, integrity and Winehouse, Michael Buble, Kate Bush and James creativity, a superb educational music programme Blunt.
[Show full text]
SWEET SATURDAY NIGHT a Celebration of Street & Social Dance
1983-84 BROOKLYN ACAbFIViY OF Music oo35? presents SWEET SATURDAY NIGHT A Celebration of Street & Social Dance March 6 - 11, 1984 Helen Owen Carey Playhouse Production supervised by Mikki Shepard-Hemans Lenwood Sloan Rudy Stevenson Artistic Director/Choreographer Music Director Paul Sullivan Lighting Designer SWEET SATURDAY NIGHT combines the creative/choreographic talents of Arthur Hall, Mama Lu Parks, Alford Armstrong Perryman, and Lenwood Sloan. Special thanks to those individuals who assisted in the reconstruction work of certain pieces: Margot Webb, Brenda Dixon-Stowell, and Linda Goodrich. SWEET SATURDAY NIGHT is sponsored by New York Telephone. Additional funds have been provided by the National Endowment for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs. L ib 1 ,.. e i) . r. .r.e \\\ 4,.,. ... le p- - . The (Andy flop leatV4 March 6-11, 1984 tr AlloTaLN: 83-84 NIGHT SWEET SATURDAY C Street & Social Dance A Celebration of Black PART I OVERTURE Boy," Al Jarreau Recorded music "Party "Bad Boy" Luther Vandross "Jump To IL" Aretha Franklin PROLOGUE OF THE STREET THE SOUNDS & RHYTHMS Jumpers Featuring Double Dutch Rappers and cast EMERGENCE OF DRUMS OF AFRICA & BLACK DANCE IN AMERICA Afro-American Featuring Arthur Hall's Dance Ensemble OBA TALA Hall Choreography Arthur Music Traditional Drumming Hall's Afro-American Performed by Arthur Dance Ensemble DRUMA KYA Traditional Drumming Music Afro-American Performed by Arthur Hall's Dance Ensemble DANSE CONGO SQUARE Arthur Flail Choreography
[Show full text]
Juba's Dance: an Assessment of Newly Acquired Documentation
Juba’s Dance: An Assessment of Newly Acquired Documentation Stephen Johnson, University of Toronto In 1947 the dance and popular culture historian Marian Hannah Winter wrote an article called ‘Juba and American Minstrelsy,’ in which she traced– and made significant– the life of the black American dancer William Henry Lane, who performed in the United States and in Britain as ‘Juba’ during the 1840s.1 That biography portrayed a clear path of rising prominence and influence. Born in the United States, circa 1825, Juba was– according to Winter– performing in dance houses in New York City by the early 1840s, where he was described by Charles Dickens. Juba danced in competitions, variety houses, and with a new phenomenon, the minstrel show, until 1848, when he travelled to England. He appeared at Vauxhall Gardens with the minstrel troupe ‘Pell's Ethiopian Serenaders,’ where his unusual dance technique drew extravagant praise. Juba remained in England, on tour, until his early death in 1852. Prior to Winter's article, Juba was a forgotten figure, the only references to him a few lines in histories of minstrelsy.2 Winter carved out for Juba a place of importance in subsequent histories of American performance– that he provided integrity to a developing indigenous dance idiom, based on his direct links with an African-American folk culture. His active participation in the development of that idiom– to Winter, he was the progenitor of what became jazz and tap dance– re-appropriated for black cultural history what otherwise was a clear case, in American blackface minstrelsy, of theft.
[Show full text]
The Influence of Nigerian Bata Dance on Cuban Salsa by Olorunjuwon
The influence of Nigerian Bata Dance on Cuban Salsa BY Olorunjuwon, Emmanuel Oloruntoba (MATRIC NO: RUN06-07/507) A DISSERTATION SUBMITTED TO THE DEPARTMENT OF THEATRE ARTS, SCHOOL OF POST GRADUATE STUDIES, REDEEMER’S UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF MASTERS OF ARTS (M.A) IN THEATRE ARTS JUNE 2016 CERTIFICATION I certify that this project/long essay titled “THE INFLUENCE OF NIGERIAN BATA DANCE ON CUBAN SALSA” is an original work of mine and that it has not been submitted elsewhere for any degree award or certification. OLORUNJUWON EMMANUEL OLORUNTOBA (RUN 06-07/507) …………………………………….. CERTIFICATION I certify that this long essay was carried out by Olorunjuwon Emmanuel Oloruntoba with matriculation number RUN 06-07/507 of the Department Of Theatre Arts, Redeemer‟s University, Osun State. ------------------------------------ ---------------------------- Supervisor Date Dr. John Iwuh ……………………………… …………………………… Head of Department Date Prof. Ahmed Yerima ……………………… …………………… External Examiner Date Prof. Ojo Bakare DEDICATION I dedicate this project to God Almighty for giving me the strength and wisdom to carry out this research. My parents Mr. and Mrs. S.K Oloruntoba and my siblings Bamidele Oloruntoba, Christiana Oloruntoba and Dr. Ife Oloruntoba .My Mentor and guardian Prof. Ahmed Yerima. God bless you all. ACKNOWLEDGEMENTS To God almighty my strength, wisdom, creativity, rhythm and flexibility I am most grateful to you. I must thank the Head of Department, Prof Ahmed Yerima who has been a father to me. You were there for me and cared for me like your own biological son. You gave me shelter, clothes and you fed me. You never stopped making sense out of my nonsense and you encouraged me to write while others were sleeping.
[Show full text]
Piano Works by African American Composers
Piano Works by African American Composers Thomas “Blind Tom” Wiggins - Thomas Bethune (1849-1908) A blind, slave pianist, autistic savant, musical prodigy from Georgia • The Battle of Manassas (1866) • The Oliver Gallop (1860) • Water in the Moonlight (1892) • Sewing Song (1889) • Rain Storm (1865) • March Timpani (1880) • Reve Charmant (1881) • Wellenklange: Voices of the Waves (1882) Scott Joplin (1867-1917) The “King of Ragtime”, an African American composer and pianist, achieved fame for his ragtime compositions • Great Crush Collision • Something Doing (1903) • Heliotrope Bouquet (1907) March (1896) • Weeping Willow (1903) • Fig Leaf Rag 1908) • Combination March (1896) • Palm Leaf Rag (1903) • Sugar Cane (1908) • Harmony Club Waltz • The Sycamore (1904) • Sensation (1908) (1896) • The Favorite (1904) • Pine Apple Rag (1908) • Original Rags (1899) • The Cascades (1904) • Pleasant Moments 1909) • Maple Leaf Rag (1899) • The Chrysanthemum • Wall Street Rag (1909) • Swipesy Cakewalk (1900) (1904) • Solace (1909) • Peacherine Rag (1901) • Bethena (1905) • Country Club (1909) • Sunﬂower Slow Drag • Blinks’ Waltz (1905) • Euphonic Sounds (1909) (1901) • The Rosebud March • Paragon Rag (1909) • Augustan Club Waltz (1905) • Stoptime Rag (1910) (1901) • Leola (1905) • Felicity Rag (1911) • The Easy Winners (1901) • Eugenia (1906) • Scott Joplin’s New Rag • Cleopha (1902) • The Ragtime Dance 1906) (1912) • A Breeze from Alabama • Antoinette (1906) • Kismet Rag (1913) (1902) • The Nonpareil (1907) • Silver Swan Rag (1914) • Elite Syncopations
[Show full text]
"Peg Leg" Bates: Monoped Master
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 1345758 Clayton “Peg Leg” Bates: Monoped master of the art of tap dance Vaughn, Carol Blair, M.A. The American University, 1991 Copyright ©1991 by Vaughn, Carol Blair.
[Show full text]