Santa Cruz Ethnic Dance Festival
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Queens College Student Choreography Showcase 2021
Queens College Student Choreography Showcase 2021 About the Choreographers Alisha Anderson is a professional dancer who works every day to fulfill the highest expression of herself as a human being and an artist. Alisha has studied various genres of dance for over 20 years and specializes in tap, Afrobeat and African dance. She began her dance career at her family owned dance school, Dance Arts Repertory Theater, which had a well known company called Yori that specialized in African dance; and inspired her to become a professional African dancer. Alisha has studied under Randi Lloyd, Lancelot Theobald, Shandella Molly, Jewel Love, Chet and many more. She is currently attending Queens College where she is graduating with a Minor in Dance and a MaJor in Education. Alisha has traveled to Ghana, Senegal and other countries in West Africa to further her studies in African dance. Alisha has performed professionally with Salsa Ache which is a salsa and Afro Caribbean dance company, and currently performs with two of the top African dance companies in New York City, Harambee and Bambara. In 2014 Alisha joined Harambee which is directed by Shandella Molly and located in Bronx, NY. With Harambee Alisha has performed for the African American Museum, Nick Cannon, Vice the TV show and many more. In 2015 she joined Bambara which is directed by Jewel Love, and with the company she has performed for the Tira Banks show, Dance Africa (BAM), numerous African festivals, weddings and much more. Alisha began her teaching career at Layla Dance and Drum school where she has taught for the past three years and enjoys working with the students. -
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. -
The Dance Series from Ortofon Is Now Complete – MC Tango Joins MC Samba & MC Salsa for Almost Sixty Years, Ortofon Has
March, 2007 The dance series from Ortofon is now complete – MC Tango joins MC Samba & MC Salsa For almost sixty years, Ortofon has been at the forefront of music reproduction from analogue records. Throughout the years Ortofon have developed many new and creative designs for the enjoyment of music lovers and audio enthusiasts all over the world. WHY AN ORTOFON MOVING COIL CARTIDGE? Many have asked the question: Why is the sound of a moving coil cartridge so superior to that of a traditional magnetic: The answer in one word is linearity. The patented Ortofon low-impedance, low-output design is inherently linear over the entire audible range. This coupled with unequalled tracking ability and unique diamond profiles combines to deliver a sound previously deemed unattainable. The MC Tango, MC Samba and MC Salsa is a direct result of our endeavours. MC Tango has an elliptical diamond which is cut and polished to Ortofon’s standards, and the output is 0.5 mV. The MC Tango is our MC entry level cartridge with a very high cost/performance ratio. MC Samba and MC Salsa have a tiny, nude Elliptical or Fine Line diamond, mounted on a very light and rigid cantilever. This results in low equivalent stylus tip mass and cantilever compliance on 14 and 15 µm/mN, which means that MC Samba and MC Salsa will give excellent results with virtually any tone arm. The armature has been designed as a tiny lightweight cross, and the coils are mounted at exactly 90 degree to each other (just like the walls of the record groove), which is improving the channel separation. -
Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward -
About Balé Folclórico Da Bahia
2010–2011 SEASON SchoolTime Study Guide Balé Folclórico da Bahia Monday, March 7, 2011 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime On Monday, March 7 at 11am, your class will attend a performance of Balé Folclórico da Bahia at Cal Performances’ Zellerbach Hall. This dynamic troupe of dancers, musicians and singers – the most popular folk dance company in Brazil – performs a mix of choreography from African and South American traditions, including slave dances, capoeira, samba, and dances celebrating Carnaval. The energy and spirit that Balé Folclórico da Bahia brings to the stage leaves audiences celebrating in the aisles. “Exuberant, indefatigable and virtuosic,” hails The New York Times. At SchoolTime, the company will perform “Bahia of All Colors,” a performance featuring dances that celebrate Bahia’s diversity and the three different influences that formed the Brazilian people: African, Indigena (Brazilian natives) and Portuguese/European. Using This Study Guide You can use this study guide to engage your students and enrich their Cal Performances field trip. Before attending the performance, we encourage you to: • Copy the Student Resource Sheet on pages 2 & 3 for your students to use before the show. • Discuss the information on pages 4-6 About the Performance & Artists. • Read About the Art Form on page 7 and About Brazil on page 17 with your students. • Engage your class in two or more activities on pages 20-21. • Reflect by asking students the guiding questions, found on pages 2, 4, 7, 12 & 17. • Immerse students further into the subject matter and art form by using the Resource and Glossary sections on pages 22 & 23. -
Dance Practice – Rumba & Samba Rumba: “Slow, Quick-Quick” Start
Dance Practice – Rumba & Samba Remember to WARM UP and COOL DOWN! Practice LEAD (left first) and FOLLOW (right first) for all steps. Rumba: “Slow, quick-quick” Remember – this is a Latin dance. Toe-heel steps, rolling down smoothly. • Forward – Step first with LEFT foot. Then side-together (RIGHT – LEFT). • Backward – Step first with RIGHT, then side-together (LEFT – RIGHT). • Basic box – Put “Forward” step together with “Backward” for a box step! • IF YOU USE A PARTNER- it is easy! One does the backward as the other performs forward step. Start: Backward/ Follow Side RIGHT “quick” (2), Together LEFT “quick” (3) Back 3 RIGHT 1 “slow” 2 (1) Forward 1 2 LEFT 3 “SLOW” (1) Start: Forward/ Side LEFT “quick” (2), Lead Together RIGHT “quick”(3) MAKE IT EASIER: Dance this rhythm in place. THOUGHT: This should look familiar! Many dances have a basic “box step”. What makes this different than the others you learn? FUN FACT: Rumba is Cuban in origin. TIPS: • Bring the rumba style! Toe-heel stepping with soft knees helps your hips move in that nice side-to-side motion! 1 | Page 4 Last Updated: 28 October 2018 Dance Practice – Rumba & Samba • Add “Figure 8” hips if you like! In addition to the side-to-side hip motion, allow them to travel forward and backward as you step. (Hip moves forward on the same side as the foot that is stepping.) Samba: “Quick-quick, slow” Remember – this is a Latin dance. If you feel you can, step smoothly toe-heel. • Side-together-back*– – Step side-together (LEFT -RIGHT), then step backward LEFT. -
Brasilian Rhythms and Drumming Techniques
BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f . -
Following the Trail of the Snake: a Life History of Cobra Mansa “Cobrinha” Mestre of Capoeira
ABSTRACT Title of Document: FOLLOWING THE TRAIL OF THE SNAKE: A LIFE HISTORY OF COBRA MANSA “COBRINHA” MESTRE OF CAPOEIRA Isabel Angulo, Doctor of Philosophy, 2008 Directed By: Dr. Jonathan Dueck Division of Musicology and Ethnomusicology, School of Music, University of Maryland Professor John Caughey American Studies Department, University of Maryland This dissertation is a cultural biography of Mestre Cobra Mansa, a mestre of the Afro-Brazilian martial art of capoeira angola. The intention of this work is to track Mestre Cobrinha’s life history and accomplishments from his beginning as an impoverished child in Rio to becoming a mestre of the tradition—its movements, music, history, ritual and philosophy. A highly skilled performer and researcher, he has become a cultural ambassador of the tradition in Brazil and abroad. Following the Trail of the Snake is an interdisciplinary work that integrates the research methods of ethnomusicology (oral history, interview, participant observation, musical and performance analysis and transcription) with a revised life history methodology to uncover the multiple cultures that inform the life of a mestre of capoeira. A reflexive auto-ethnography of the author opens a dialog between the experiences and developmental steps of both research partners’ lives. Written in the intersection of ethnomusicology, studies of capoeira, social studies and music education, the academic dissertation format is performed as a roda of capoeira aiming to be respectful of the original context of performance. The result is a provocative ethnographic narrative that includes visual texts from the performative aspects of the tradition (music and movement), aural transcriptions of Mestre Cobra Mansa’s storytelling and a myriad of writing techniques to accompany the reader in a multi-dimensional journey of multicultural understanding. -
New York University in Buenos Aires Class Code: V95.9751002 / K.2094001002 the Multiple Faces of Tango: a Cultural Critique of Identity (English Section)
New York University in Buenos Aires Class Code: V95.9751002 / K.2094001002 The multiple faces of tango: a cultural critique of identity (English Section) Professor: Edgardo Dieleke August/December, 2010 Office hours: To be confirmed Mon and Thurs 3:30pm‐ 5pm Email: [email protected] Classroom: TBA Course Description When tango was born in Buenos Aires, in the second half of the XIX century, Argentina was going through major changes. With the arrival of millions of immigrants, the shape of the city and its society suffered an intense process of modernization. Tango, a product from the bordello considered a threat to national identity, came to be a global success in only twenty years. Acclaimed in Paris and New York, despite its origins, tango became a symbol for Argentina, in a process of negotiations and the control of sexuality and gender and class relations. In this sense, tango reveals itself to be a cultural product that condenses ‐beyond the richness of the music‐ many of the key debates regarding the relationships between culture and society. This course proposes, through the reading of tango lyrics, films and novels, a critical analysis of theoretical problems such as national identity, gender studies and the consumption of culture in a global era. The course will be divided in three parts a) The origins of tango and national identity b) Gender relations: from the forbidden brothels to the movies c) After‐tango: contemporary uses of tango. The course is organized in a format that combines lectures with a seminar‐style class, encouraging class discussions as well as different sights to the city, connected to tango. -
International Dance Conservatory – Ballroom Program
INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM YEAR FALL SPRING Year 1 Latin Ballroom School Figures Latin Ballroom School Figures (Bronze level) (Silver & Gold levels) Standard Ballroom School Figures Standard Ballroom School Figures (Bronze level) (Silver & Gold levels) Year 2 Latin Technique 1 Latin Technique 2 Latin Ballroom 1 Latin Ballroom 2 Standard Technique 1 Standard Technique 2 Standard Choreography 1 Standard Choreography 2 Year 3 American Smooth 1 American Smooth 2 Student Choreography 1 Student Choreography 2 Advanced Ballroom Technique 1 Advanced Ballroom Technique 2 Year 4 Business of Ballroom Intro to Ballroom Instruction Advanced Choreography 1 Advanced Choreography 2 INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM Advanced Ballroom Technique 1 & 2 This is an advanced class that focuses on the body mechanics, timing, footwork, partnering, style, expression, and emotion of many Ballroom & Latin dances. Students will continue to develop a deeper understanding of the techniques and stylings of each dance. Students will apply this training in the demonstration of their Latin, Ballroom, and Smooth competition routines. Advanced Choreography 1 & 2 This is an advanced class that focuses on learning open choreography in many Ballroom and Latin Dances. Students will experience this creative process first hand and apply their technique to this choreography. Students will perform these open routines with attention to technical proficiency and embodying the character of each dance. American Smooth 1 & 2 This is an advanced class that focuses on learning open choreography in all four American Smooth Ballroom Dances - Waltz, Tango, Foxtrot, & Viennese Waltz. Students will be prepared to compete in all four dances at the Open Amateur Level. -
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. -
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