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Description of Some Basic Moves of Salsa Casino Rueda Style a Cruz’: Description If Basic Arm Positions in Salsa Rueda
www.SalsaGente.com The Moves ! Thank you for choosing “Salsa Gente” as source for your information! We are community oriented and based in Santa Cruz and maintain Cuban-style Salsa dance since 2001. We offer classes and dance opportunities filled with lots of fun. As courtesy, we describe some basic Salsa Rueda de Casino moves starting with Beginner level and list our Salsa Rueda Curriculum of classes. The curriculum may differ from other Salsa Rueda organizations or Website listings. Description of some Basic Moves of Salsa Casino Rueda style a Cruz’: Description if Basic Arm Positions in Salsa Rueda Name of Position Description guapea position/parallel (Left to Right) and (Right to Left). Leader is on the Right side of Follower. arms Leader and Follower face each other holding hands around waist level. Leader is on the Left side of Follower. Leader and Follower face each other. Leader has Right Hand behind the back of Follower, Follower’s Left Hand is pa'l medio position on the Right shoulder of Leader. Leader is holding Right Hand of Follower with elbows bent upward. Palms and elbows are touching. Make an "L" shape with your arms. cross handed Couples face each other, arms crossed with Right hands on top. Couples are side to side and Leader is to the Left of Follower. Leader has Left Sombrero arms Hand behind own head holding Left Hand of Follower. Leader also has Right Hand behind the head of Follower holding Right Hand of Follower. Leader's elbow comes up and over the upper arm of the Follower. -
Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
Physical Education Dance (PEDNC) 1
Physical Education Dance (PEDNC) 1 Zumba PHYSICAL EDUCATION DANCE PEDNC 140 1 Credit/Unit 2 hours of lab (PEDNC) A fusion of Latin and international music-dance themes, featuring aerobic/fitness interval training with a combination of fast and slow Ballet-Beginning rhythms that tone and sculpt the body. PEDNC 130 1 Credit/Unit Hula 2 hours of lab PEDNC 141 1 Credit/Unit Beginning ballet technique including barre and centre work. [PE, SE] 2 hours of lab Ballroom Dance: Mixed Focus on Hawaiian traditional dance forms. [PE,SE,GE] PEDNC 131 1-3 Credits/Units African Dance 6 hours of lab PEDNC 142 1 Credit/Unit Fundamentals, forms and pattern of ballroom dance. Develop confidence 2 hours of lab through practice with a variety of partners in both smooth and latin style Introduction to African dance, which focuses on drumming, rhythm, and dances to include: waltz, tango, fox trot, quick step and Viennese waltz, music predominantly of West Africa. [PE,SE,GE] mambo, cha cha, rhumba, samba, salsa. Bollywood Ballroom Dance: Smooth PEDNC 143 1 Credit/Unit PEDNC 132 1 Credit/Unit 2 hours of lab 2 hours of lab Introduction to dances of India, sometimes referred to as Indian Fusion. Fundamentals, forms and pattern of ballroom dance. Develop confidence Dance styles focus on semi-classical, regional, folk, bhangra, and through practice with a variety of partners. Smooth style dances include everything in between--up to westernized contemporary bollywood dance. waltz, tango, fox trot, quick step and Viennese waltz. [PE,SE,GE] [PE,SE,GE] Ballroom Dance: Latin Irish Dance PEDNC 133 1 Credit/Unit PEDNC 144 1 Credit/Unit 2 hours of lab 2 hours of lab Fundamentals, forms and pattern of ballroom dance. -
'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. -
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 -
The Seven Sins of Salsa
The following article was published in the December 09 issue of Latin Beat Magazine. The Seven Sins of Salsa BY BARBARA BERNSTEIN AND GLEN MINTO AKA: SALSERO So you wanna learn how to dance salsa? Maybe you're already an aspiring salsero/salsera wanting to take your dancing to the next level. Well, congratulations - you found us! We're about to show you how to take your dancing to the next level by listing things to avoid when dancing. After years of discussing some of the finer points of dancing, two dedicated salseros (Barb and Salsero) have compiled their experiences of how to get the most enjoyment and learning out of dancing salsa. "The Seven Sins of Salsa" is a list of common, all-too-human mistakes that most of us make at one time or another (the authors included!). Avoiding these mistakes will help you get the most out of your dancing. By gaining skill and making your dance experience a joyful way to exercise and connect with others, you will have heaps of fun dancing salsa and gradually learn to dance better and better. So here goes… The Seven Sins of Salsa 1a. Leading Yourself (for ladies) - by Barb Dancing is a partnership activity that requires a coordinated effort by both the leader and the follower. As we all know, a person can feel and indeed be very alone in a crowded room, as connection is really a mental state. Likewise, one can dance with another person and not be responsive to them or be aware of them. -
Introduction to Latin Dance
OFFICE OF CURRICULUM, INSTRUCTION & PROFESSIONAL DEVELOPMENT HIGH SCHOOL COURSE OUTLINE Course Code 3722 Course Title Introduction to Latin Dance Department Physical Education Short Title Intro Latin Dance Course Length 2 Semesters Grade 11-12 Credits/Semester 5 Required for Graduation No Meets H.S. Grad Requirement Elective Credit Yes Meets UC “a-g” No Meets NCAA Requirement No Requirement Prerequisites 2 years physical education COURSE DESCRIPTION: This course is designed to teach students the basic elements of Latin Dance. Students will analyze dance’s role in improving and maintaining one’s health related fitness and then incorporate dance activities into their personal fitness program/plan. Students will learn basic steps as well as complex combinations in Merengue, Salsa, Bachata, and the Cha Cha. For each dance, the students will learn the historical and geographical roots, the music and the instruments associated with each one. This course will help students learn the skills of dance while improving their technique, poise, self-confidence and creative ability as well as deepening their understanding of and appreciation for the rich and colorful heritage that each dance represents. As a course involving couples’ dances, it will allow students to develop an understanding of the social etiquette involved in couples dancing. GOALS: Students need to: • Demonstrate knowledge and skills related to performance of the following dances: Merengue, Salsa, Bachata and Cha Cha. • Assess and maintain a level of physical fitness to improve health and performance. • Demonstrate knowledge of physical fitness concepts, principles, and strategies to improve health and performance in dance. • Demonstrate and utilize knowledge of psychological and sociological concepts, principles, and strategies as applied to learning and performance of Latin dance. -
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. -
2019–2020 Dance Handbook
2019–2020 Dance Handbook PARK DISTRICT OF OAK PARK Welcome to the Park District of Oak Park Dance Program! Our programming provides high-quality, affordable dance education in a fun and interactive format that builds community, positive self-awareness, rhythmic interpretation of music, as well as physical, social, emotional and cognitive development for adults, teens, and children of all ages. The Park District of Oak Park is a place where everyone can dance! The teaching team is excited to share our love of dance and dance education with the Oak Park/ River Forest/Forest Park/Austin/Berwyn communities. We strive to make performing arts opportunities accessible to the public and encourage whole families to participate and develop their movement potential. The Park District of Oak Park provides dance classes for infants to adults, such as Classical Ballet, Tap, Hip Hop & Jazz, World Dance Fusion, Dance & Tumbling, Cheerleading, Musical Theatre, Swing, Salsa and Cha cha. Classes are held at: Gymnastics Recreation Center, 21 Lake St, Studio 1, 2nd floor Stevenson Center, 49 Lake St, Second Floor Ridgeland Common, 415 Lake St, Large Studio Cheney Mansion, 220 North Euclid Ave Early Childhood Dance Programs Ages infants to 5 years, these programs are taught by experi- enced teaching artists who are patient, kind, educated, and provide easy-to-follow instruction. Our Early Childhood Dance classes culminate in the Annual Spring Dance Performance. The atmosphere in our studios is comfortable, warm and friendly. The benefits of the curriculum are physical, social/ emotional and cognitive as dancers learn to understand own- ership of their bodies and create movement goals. -
Negotiating the Self Through Flamenco Dance
Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 12-2009 Embodied Identities: Negotiating the Self through Flamenco Dance Pamela Ann Caltabiano Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Part of the Anthropology Commons Recommended Citation Caltabiano, Pamela Ann, "Embodied Identities: Negotiating the Self through Flamenco Dance." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/anthro_theses/33 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN CALTABIANO Under the Direction of Emanuela Guano ABSTRACT Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot- ic” passion. INDEX WORDS: Gender, Dance, Flamenco, Identity, Exoticism, Embodiment, Performance EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN -
190916 Class Schedule
Latin Street Music & Dancing 9/16 - 10/13 No Partner Necessary 312.427.2572 - 312.42 SALSA Location: 600 W. Roosevelt Rd. Ste 2W. Chicago, IL Highlight = Latin Street Team Highlight = beginner class Highlight = Kids Class Monday Tuesday Wednesday Thursday Friday Saturday Sunday 9/16, 9/23, 9/30, 10/7 9/17, 9/24, 10/1, 10/8 9/18, 9/25, 10/2, 10/9 9/19, 9/26, 10/3, 10/10 9/20, 9/27, 10/4, 10/11 9/21, 9/28, 10/5, 10/12 9/22, 9/29, 10/6, 10/13 6:00 - 6:55 pm 6:00 - 6:55 pm 6:00 - 6:55 pm 6:00 - 6:55 pm 6:00 - 6:55 pm 10:00 - 10:55 am 10:00 - 10:55 am Salsa A: CBL, Bachata A: Core Salsa A: CBL, Walk Salsa A: CBL, Walk Salsa A: CBL, Walk Vanessa Walk thrus & Abraham Angels & Jonathan Vanessa Andres Breakdancing (4-7 yrs old) Kid Jungle Studio Rental Reservation thrus & traveling thrus & traveling thrus & traveling traveling Shadows Zouk A: Body Bachata A: Sensual Cumbia A: Basics Salsa B: CBL & Abraham Moves-Isolations, Sydney Abraham Jonathan Salsa B: CBL & Spins Chris Kids Salsa (8 yrs+) Andres Private lesson or studio rental Partnerwork & Partnerwork Spins Waves & Sways Salsa B: CBL & Salsa NY On2 A: Bachata B: Building Salsa B: CBL & Spins Jonathan Vanessa Chris Abraham Private lesson or studio rental Studio Rental Reservation Private lesson or studio rental Spins From On1 to On2 combos & pathways LS SixSeven Bachata B: Ladies Private lesson or studio Zouk B: Head Chris Fabia Sydney Private lesson or studio rental Private lesson or studio rental Private lesson or studio rental Mambo Team Styling rental Movement 7:00 - 7:55 pm 7:00 - 7:55 -
2018/19 Hip Hop Rules & Regulations
2018/19 Hip Hop Rules for the New Zealand Schools Hip Hop Competition Presented by the New Zealand Competitive Aerobics Federation 2018/19 Hip Hop Rules, for the New Zealand Schools Hip Hop Championships © New Zealand Competitive Aerobic Federation Page 1 PART 1 – CATEGORIES ........................................................................................................................................................ 3 1.1 NSHHC Categories .............................................................................................................................................. 3 1.2 Hip Hop Unite Categories .................................................................................................................................. 3 1.3 NSHHC Section, Division, Year Group, & Grade Overview ................................................................................ 3 1.3.1 Adult Age Division ........................................................................................................................................ 3 1.3.2 Allowances to Age Divisions (Year Group) for NSHHC ................................................................................ 4 1.4 Participation Limit .............................................................................................................................................. 4 Part 2 – COMPETITION REQUIREMENTS ........................................................................................................................... 5 2.1 Performance Area .............................................................................................................................................