Lindy Hoppers Sweep the Jive Joint
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31, 1-January Heritage Newsletter 2019
Heritage Newsletter California African-American Genealogical Society January 2019 Volume 31, Number 1 Ten Issues Published Annually CHARLOTTA SPEARS BASS ISSN 1083-8937 She was a feminist, an activist, an educator, the first California African American Genealogical Society African-American woman to own and operate a P.O. Box 8442 newspaper in the United States (1912-1951), the first Los Angeles, CA 90008-0442 African-American woman to be a jury member in the Los Angeles County Court and the first African- General Membership Meetings American woman to be nominated for U.S. Vice Third Saturday monthly,10:00A.M. (dark July & August) President (Progressive Party). Born Charlotta Amanda Spears in Sumter, South Carolina in 1874, Mayme Clayton Library and Museum (MCLM) she moved to Rhode Island where she worked for the 4130 Overland Ave., Culver City, CA 90230-3734 Providence Watchman newspaper for ten years, and (Old Culver City Courthouse across from VA building) in 1910 moved to Los Angeles where she sold subscriptions for the Eagle, a black newspaper 2019 Board of Directors founded by John Neimore in 1879. The Eagle, a Elected Officers twenty-page weekly publication with a staff of 12 and Cartelia Marie Bryant– President circulation of 60,000, was the largest African- Ron Batiste– First Vice President American newspaper on the West Coast by 1925. Norma Bates – Second Vice President/Membership Ronald Fairley – Corresponding Secretary When Neimore became ill, he entrusted the operation Christina Ashe– Recording Secretary of the Eagle to Spears, and upon his death, she Shirley Hurt – Treasurer subsequently bought the newspaper for fifty dollars in Charles Hurt – Parliamentarian an auction and became the owner. -
Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
Post-World War II Jazz in Britain: Venues and Values 19451970
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre). -
SOCIAL DANCE STUDY GUIDE.Pdf
SOCIAL DANCE STUDY GUIDE ELEMENTS OF DANCE 1. Walking- heel first 2. Chasse- step-together-step (ball of foot hits first, then close) 3. Box- combines walking and chasse 4. Rock- transfer weight to one foot, then replace weight to other foot 5. 5th Position Rock Step- As you step back for the rock step, turn the back toe out. This gives you more hip action (rumba, swing) 6. Triple Step- 3 steps to the side (step-together-step) Key: M = man W = woman R = right L = left CCW = counter clock wise FWD = forward BWK = backward Q = quick S = slow DANCE POSITIONS 1. Closed- (foxtrot, waltz, tango) Partners are very close, with the women’s L arm resting on the men’s R, the lead hand is held chin height. 2. Closed- (rumba, cha cha) less arm bend than #1, partners are about 1 foot apart. (swing) lower the lead hand to side 3. One Hand Hold- This is the open position. Hold on same side, M L in W R. 4. R Open- M R side is open and partners are side by side (his L beside her R) 5. L Open- opposite of #4. 6. Promenade- 45-degree angle, both are facing the same direction and are in side- by-side position. 7. Practice- 2-hand hold which allows you to be farther apart. CHA CHA CHA Style- International Latin Meter- 4/4 Tempo- 128 bpm Rhythm- S,S,Q,Q,Q Style- Medium tempo Latin Description- A fun, sexy, flirtatious dance. This is a spot dance using the Cuban motion, which is characteristic of bending and straightening the knees. -
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. -
Illstyle and Peace Study Guide
STUDY GUIDE Illstyle and Peace Productions Useful Vocabulary and Terms to Share Break beat: The beat of the most danceable section of a song. Popping: A street dance style based upon the Additional Resources technique of quickly contracting and relaxing muscles to cause a jerk in the dancer’s body Johan Kugelberg, Born in the Bronx; a visual record Locking: A dance style relying on perfect timing and of the early days of hip hop NYPL link frequent “locking” of limbs in time with music. 6 step: A basic hip-hop move in which the dancer’s Jeff Chang , Can’t Stop, Won’t Stop NYPL link arms support the body which spins in a circle above the floor. Eric Felisbret, Graffiti New York NYPL link Downrock: All breakdance moves performed with a part of the body (other than the feet) is in Bronx Rhymes interactive map contact with the floor. http://turbulence.org/Works/bronx_rhymes/what.html Smithsonian article on birth of hip-hop: http://invention.smithsonian.org/resources/online_arti Background Information for Students cles_detail.aspx?id=646 There are four essential elements of hip-hop: 5 Pointz, New York Graffiti Mecca: http://5ptz.com/ DJing: The art of spinning records and using two turn- NY Times Articles on 5 Pointz: tables to create your own instrument. http://goo.gl/i1F2I0 Also the art of touching and moving records with your hands. http://goo.gl/kOCFnv Breakdancing: A style of dancing that includes gymnastic moves, head spins, and backspins. Young 5Pointz Buzzfeed article with photos: people who were into dancing to the “breaks” at Bronx http://goo.gl/1ItqX9 parties started calling themselves B-boys and B-girls, and their style of dancing came to be known as NY Times Article on Taki183, one of the first taggers breakdancing. -
MUSICIANS· ETUDE Tic [Eb on Choral Literature Yilu'~E Offices, Bryn Mawr', Pa
#n /ht/) #Joue ... .. Ability and Training Ezio Pinza "Your Musical Dawn Is at Hand" Boris Goldovsky Security for Music Teachers James Francis Cooke Midland Makes Its Own Music T. Gordon Harrington Gershwin Is Here to Stay Mario Braggiotti The Healthy Habit of Doubting Jan Smeterlin \ Ten Years at Tanglewood Ralph Berkowitz Who Are the World's Greatest Piano Teachers? Doron K. Antrim . LeTTeRS 1.' 0 1.' D E EDITOR Articles that it is. Dear Sir: I love your August Sybil Mac DOl/aid antatas and Oratorios issue. It alone is worth the price Memphis, Tenn; SATB Unleu Otherwise Indicated of a two-year subscription! Each article is stimulating, and after Class Instruction Dear Sir : For man y years, I reading them I have the same en- have been an interested reader and LENT thusiasm and stimulus that I have user of the ETUDE. I ha ve found ~ PENITENCE, PAROON AND PEACE (Advent and general,Sop. orI.., after attending a summer short I SOp Alto, Ten., Bar., Bar., 35 min.l Maunder 411401491.71 the articles recently have been ex- BEHOLD THE CHRIST (Holy Week or. genera Nevin ., 432-40168 $.75 course with an artist teacher. tremely stimulating. I also use the 40 rnin.) ....•...•......•.... Bass 20 min.) n PENITENCE PAROON AND PEACE (SSA, Sop., Alto, 35 mln.l Thanks so much! '" Maunder·Warhurst 411-40053.71 ETUDE La lend out to various ~ CALVARY ILent nr Easter, Ten., Bar., 'Sheppard 412-40061 .75 Mrs. C. P. Fishburne students, which they seem to enjoy 1 h ) Stainer 432·40128 .75 .n SEVEN LAST WOROS OF CHRIST (Sop., Ten., B!r., Eng.& la!.tert, 45'inl Walterboro, South Carolina CRUCIFIXION ITen., Bass, our 0 b rn 432.40L29 .60 § " OubOls·Douty411-401711~ immensely. -
Black Dance Stories Presents All-New Episodes Featuring Robert
Black Dance Stories Presents All-New Episodes Featuring Robert Garland & Tendayi Kuumba (Apr 8), Amy Hall Garner & Amaniyea Payne (Apr 15), NIC Kay & Alice Sheppard (Apr 22), Christal Brown & Edisa Weeks (Apr 29) Thursdays at 6pm EST View Tonight’s Episode Live on YouTube at 6pm EST Robert Battle and Angie Pittman Episode Available Now (Brooklyn, NY/ March 8, 2021) – Black Dance Stories will present new episodes in April featuring Black dancers, choreographers, movement artists, and creatives who use their work to raise societal issues and strengthen their community. This month the dance series brings together Robert Garland & Tendayi Kuumba (Apr 8), Amy Hall Garner & Amaniyea Payne (Apr 15), NIC Kay & Alice Sheppard (Apr 22), Christal Brown & Edisa Weeks (Apr 29), and Robert Battle & Angie Pittman (Apr 1). The incomparable Robert Garland (Dance Theatre of Harlem) and renaissance woman Tendayi Kuumba (American Utopia) will be guests on an all-new episode of Black Dance Stories tonight, Thursday, April 8 at 6pm EST. Link here. Robert Battle, artistic director of Alvin Ailey American Dance Theater, and Angie Pittman, Bessie award- winning dancer, joined the Black Dance Stories community on April 1. In the episode, they talk about (and sing) their favorite hymens, growing up in the church, and the importance of being kind. During the episode, Pittman has a full-circle moment when she shared with Battle her memory of meeting him for the first time and being introduced to his work a decade ago. View April 1st episode here. Conceived and co-created by performer, producer, and dance writer Charmaine Warren, the weekly discussion series showcases and initiates conversations with Black creatives that explore social, historical, and personal issues and highlight the African Diaspora's humanity in the mysterious and celebrated dance world. -
Frankie Manning: Ambassador of Lindy Hop Free
FREE FRANKIE MANNING: AMBASSADOR OF LINDY HOP PDF Frankie Manning,Cynthia R. Millman | 312 pages | 28 Sep 2008 | Temple University Press,U.S. | 9781592135646 | English | Philadelphia PA, United States Frankie Manning - Wikipedia N o one has contributed more to the Lindy Hop than Frankie Manning -- as a dancer, innovator and choreographer. For much of his lifetime he was an unofficial Ambassador of Lindy Hop. Once again, since the swing dance revival that started in the s, Frank Manning was a driving force worldwide with his teaching, choreography and performance. His own love of swing music and dancing was contagious as his dazzling smile. History African Roots Reading. F rankie Manning started dancing in his early teens at a Sunday afternoon dance at the Alhambra Ballroom in Harlem to the music of Vernon Andrade. From there he moved on to the Rennaissance Ballroomwhich had an early Frankie Manning: Ambassador of Lindy Hop dance for older teens with the live swing music of the Claude Hopkins Orchestra. Finally, Frankie "graduated" to the Savoy Ballroomwhich was known for its great dancers and bands. Competitive as well as gifted, Manning, became a star in the informal jams in the " Kat's Korner " of Frankie Manning: Ambassador of Lindy Hop Savoy, frequently won the Saturday night contests, and was invited to join the elite Clubwhose members could come to the Savoy Ballroom daytime hours to practise alongside the bands that were booked at the Savoy. F Frankie Manning: Ambassador of Lindy Hop Manning's dancing stood out, even among the greats of the Savoy Ballroom, for its unerring musicality. -
The Dance-In and the Re/Production of White Corporeality Anthea Kraut, University of California, Riverside
The Dance-In and the Re/production of White Corporeality Anthea Kraut, University of California, Riverside Abstract This essay examines the figure of the “dance-in,” a stand-in who dances in place of a star prior to filming, focusing on two women who acted as surrogates and dance coaches for the mid-twentieth century white film star Betty Grable: a white woman named Angie Blue and an African American woman named Marie Bryant. Bringing together film studies theories of indexicality, performance studies theories of surrogation, and critical race theories of flesh and body, I argue that the dance-in helps expose how the fiction of white corporeality as a bounded and autonomous mode of being is maintained. Keywords: dance-in, white corporeality, surrogation, indexicality, Betty Grable, Angie Blue, Marie Bryant In 1935, the Los Angeles Times ran a seventy-word article under the headline “Dance Stand-In,” explaining a new phenomenon in Hollywood: “Stand-ins,” persons who take the places of stars while the cameras are being properly focused, have become an accepted fact around the studio sets. Now comes Shirley Temple, youngest star of them all, with a new kind of stand-in – a dance stand-in. Marilyn Harper, one of the Meglin Kiddies, is Shirley’s dance stand-in. Marilyn goes through all the terpsichorean motions for Shirley until she is ready to take her place.1 The need for “dance stand-ins,” sometimes referred to as “dance-ins,” coincided with the rise of the film musical and the increased occurrence of dance in film, ushered in by the advent -
Patience, Hard Work
To Broadway Hollywood Patience, Hard Work NEWS OF THEATRES Called Success Secret MeetBuckaroosOfQuartermasterRegiment In Theatrical Business Paul, Slim And Musical Princess "Cabin In Sky" Eddie Trio Cited Pleases Coast As An Example Klieg Followers Must Stick “Acts Makes A Return Together,” Young Engagement At Nell Men Tell L. A. Theatre By NELL DODSON NEW YORK—<ANP) — Patience By LAWRENCE F. LaMAK and hard wo k have given show- LOS ANGELA'S, calif.—“Cabin in t" io, dom a new top notch comedy the Sky,” is just about the finest one destined to brighten the mar- piece of real theatre entertainment time if auees for a long present to come this way in a long time. Paul. Slim success in any criteron, It is a fine thing that it is all-sepia Eddie came into the Apollo — All row are trom- and cast light opera piece. The writer FORT WARREN, Wyoming—(ANP) the back Pvts. La Mar Norman, 2nd week end stopped every first closing neglected to view it when it dolled up in western duds donated by their regi- bone; Bert Benton. 1st trombone; Corp. Geo. Dun- with a paced show fast, terrifically played here a month earlier, but mental Major Leonard R. Smith, ex- 2nd Pvt. 1st act iust 'losed a five-week commander, can, trumpet; Jimmy Luckett, trumpet; They’d has since its return engagement at j four with Eou 1C1 ccw the Buckaroos are the smartest James 3rd Pvt. Theodore th^pW. Cosby’s the Biltmore theatre, had occasion top hand, Corp. Logan, trumpet; band a^d were in fine form. -
Department of English and American Studies English
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Karla Mikulová The Development of Swing and Its Influence on The Inter-War American Society Bachelor’s Diploma Thesis Supervisor: Christopher Adam Rance, M.A. 2021 I declare that I have worked on this thesis independently, using only the sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my supervisor, Christopher Adam Rance, M.A., for his help, valuable advice, kindliness, and patience. I would also like to thank my friends for their helpfulness, support, and tolerance. Finally, I would like to thank my family and Hugo for bearing with me, and for cheering me on when I needed it most. Table of contents Abstract ...................................................................................................................................... 5 Introduction ................................................................................................................................ 6 1. Theoretical section ................................................................................................................. 8 1.1 History ........................................................................................................................... 8 1.1.1 Understanding the Circumstances ....................................................................... 8 1.1.2 The Historical Turning Points for American Society ....................................... 11 1.1.3 The Advances