A Complete Guide to Social Folk & Square Dancing

Total Page:16

File Type:pdf, Size:1020Kb

A Complete Guide to Social Folk & Square Dancing - < Dance! - a complete guide to social folk & square dancing. ~ eBook Dance! - a complete guide to social folk & square dancing. Wadsworth Pub. Co. - List of Philippine Folk Dances Description: - - Travel Herefordshire Gloucestershire Travel / road maps & atlases Cycling Banks and banking -- Great Britain. Banks and banking. Father and child. Fathers. Dissenters, Religious -- Legal status, laws, etc. -- Germany -- Prussia. Police-community relations. Law enforcement -- United States. Police -- United States. DanceDance! - a complete guide to social folk & square dancing. -Dance! - a complete guide to social folk & square dancing. Notes: Bibliography: p. 229-232. This edition was published in 1963 Filesize: 28.610 MB Tags: #English #Folk #Dance #and #Song #Society Traditional folk customs in Qionghai: Carp Lantern Dance Lead performers wear large, impressionistic lion masks with moving mouths, eyes and ears. After those early years of 20th century many modern dances were invented Foxtrot, One-Step, , Charleston, Swing, Postmodern, Hip-hop, breakdancing and more and the expansion of musical brought those dances into worldwide popularity. Social Dance Types: A Guide For Beginners Is resistant to dancing and does not cooperate well with others. spanish influence dances Unique social dance styles have developed, or been choreographed and taught, in the United States since the early 20 th Century and the beginning of the Jazz Age. Keep up with all the latest news on. Duodi performance, a popular folk dance in Gansu They both lift and pick up each other rather than just one of them. There is some hesitation between steps and when repeating the dance. Duodi performance, a popular folk dance in Gansu The dance originated in Bayambang in the Pangasinan province, and though it's usually performed alone, it can also become a competition between several dancers. Now an annual, Memorial Day weekend celebration, DanceAfrica includes performance by some of the countries top African dance companies, visiting guest companies from Africa, education events, and an African Bazaar. Some scholars believe that the footwork may have origins in Indian dance technique. English Folk Dance and Song Society Unlike most classical Indian dance, the structure of Kathakali developed in the courts and theaters of Hindu pricipalities. One person will move and the other would have to go off of what that person does. Dance in Bellingham Ordinary people used dance for celebration, entertainment, seduction and to induce the mood of frenzied exhilaration. Social Studies Lesson Plans It is recognizably Iberian in flavor. Until the turn of the century the Ibanag of Cagayan Valley perform this fast tempo dance which ncludes familiar European steps, the mazurka, polka, gallop and waltz. - < Dance! - a complete guide to social folk & square dancing. ~ eBook Related Books Gandhian Satyagraha and independence Bundeswehr, antinational und aggressiv - Chronik, Fakten, Dokumente. Psychiatric interviewing and assessment Ce que représente lautomatisme du cœur Price volatility in the silver futures market - hearings before the Subcommittee on Agricultural Res.
Recommended publications
  • 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.
    [Show full text]
  • DVIDA American Smooth Silver Syllabus Figures
    Invigilation Guidance/ DVIDA/SYLLABUS/ Current'as'of'October'15,'2015' Extracted'from: Dance$Vision$International$Dancers$Association, Syllabus$Step$List$ Revised/May/2014 Invigilation Guidance/ AMERICAN)SMOOTH) / DVIDA American Smooth Bronze Syllabus Figures *Indicates figure is not allowable in NDCA Competitions. Revised January 2014. View current NDCA List Waltz Foxtrot Tango V. Waltz Bronze I 1A. Box Step 1. Basic 1A. Straight Basic 1. Balance Steps 1B. Box with Underarm Turn 2. Promenade 1B. Curving Basic 2A. Fifth Position Breaks 2. Progressive 3A. Rock Turn to Left 2A. Promenade Turning Left 2B. Fifth Position Breaks 3A. Left Turning Box 3B. Rock Turn to Right 2B. Promenade Turning Right with Underarm Turn 3B. Right Turning Box 3. Single Corté 4. Progressive Rocks Bronze II 4A. Balance Steps 4. Sway Step 5A. Open Fan 3. Reverse Turn 4B. Balance and Box 5A. Sway Underarm Turn 5B. Open Fan with 4. Closed Twinkle 5. Simple Twinkle 5B. Promenade Underarm Turn Underarm Turn 6. Two Way Underarm Turn 6A. Zig Zag in Line 6. Running Steps 7. Face to Face – Back to Back 6B. Zig Zag Outside Partner 7. Double Corté 7. Box Step 8A. Reverse Turn Bronze III 8A. Reverse Turn 8. Twinkle 8B. Reverse Turn with 5A. Crossbody Lead 8B. Reverse Turn with 9. Promenade Twinkles Outside Swivel 5B. Crossbody Lead with Underarm Turn 10A. Turning Twinkles to 9. Right Side Fans Underarm Turn 9A. Natural Turn Outside Partner 10. Contra Rocks 6. Hand to Hand 9B. Natural Turn with 10B. Turning Twinkles to Outside 11A. Change of Places 7A. Forward Progressive Underarm Turn Partner with Underarm Turn 11B.
    [Show full text]
  • Baint an Fheir (Haymaker 'S Jig) (Ireland)
    FOLK DANCE FEDERATION OF CALIFORNIA RESEARCH COMMITTEE December, 1961 Vera Jones and Wilma Andersen BAINT AN FHEIR (HAYMAKER 'S JIG) (IRELAND) Baint An Fheir (Bwint Un Air), which is best done with 5 couples, was taught by Una and Sean O'Farrell, at Uni­ versity of the Pacific Folk Dance Camp, Stockton, Cal'ifomia. MUSIC: Record: "Come To The Ceili", Top Rank Records of America, "Jigs", Side 2, Band 5. Also "My Ireland", Capitol T 10028, Side 2, Band 1, or any good jig. FORMATION: Longways formation of .5 cpls. M stand in one line, with hands joined, facing their ptrs who are in a similar line. M L shoulder is twd music. STEPS AND Basic Three's (Promenade) for jig: hop L (ct 6), step on R (ct 1,2), step on L (ct 3), step on R STYLING: (ct 4, 5). Next step would start with hop on R and use opp ft. This step may be done in place, moving in any direction or turning either R or L. ct: 6 1, 2 3 4, ') 6/8 ./" .; .t- ..; hop step step step L R L R Jig Step : hop L, at the same time touching R toe on floor slightly in front of L (ct 1,2,3); hop on L again, raising R in front of L leg (ct 4,5); hop on L again, bringing R back (ct 6) to step R, L, R, L (ct 1,2,3,4, hold 5,6). ct: 1,2,3 4,5 6 1 2 3 4 6/8 ..I.
    [Show full text]
  • The Rise of Guangchangwu in a Chinese Village
    International Journal of Communication 11(2017), 4499–4522 1932–8036/20170005 Reading Movement in the Everyday: The Rise of Guangchangwu in a Chinese Village MAGGIE CHAO Simon Fraser University, Canada Communication University of China, China Over recent years, the practice of guangchangwu has captured the Chinese public’s attention due to its increasing popularity and ubiquity across China’s landscapes. Translated to English as “public square dancing,” guangchangwu describes the practice of group dancing in outdoor spaces among mostly middle-aged and older women. This article examines the practice in the context of guangchangwu practitioners in Heyang Village, Zhejiang Province. Complicating popular understandings of the phenomenon as a manifestation of a nostalgic yearning for Maoist collectivity, it reads guangchangwu through the lens of “jumping scale” to contextualize the practice within the evolving politics of gender in post-Mao China. In doing so, this article points to how guangchangwu can embody novel and potentially transgressive movements into different spaces from home to park, inside to outside, and across different scales from rural to urban, local to national. Keywords: square dancing, popular culture, spatial practice, scale, gender politics, China The time is 7:15 p.m., April 23, 2015, and I am sitting adjacent to a small, empty square tucked away from the main thoroughfare of a university campus in Beijing. As if on cue, Ms. Wu appears, toting a small loudspeaker on her hip.1 She sets it down on the stairs, surveying the scene before her: a small flat space, wedged in between a number of buildings, surrounded by some trees, evidence of a meager attempt at beautifying the area.
    [Show full text]
  • 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.
    [Show full text]
  • The History of Square Dance
    The History of Square Dance Swing your partner and do-si-do—November 29 is Square Dance Day in the United States. Didn’t know this folksy form of entertainment had a holiday all its own? Then it’s probably time you learned a few things about square dancing, a tradition that blossomed in the United States but has roots that stretch back to 15th-century Europe. Square dance aficionados trace the activity back to several European ancestors. In England around 1600, teams of six trained performers—all male, for propriety’s sake, and wearing bells for extra oomph—began presenting choreographed sequences known as the morris dance. This fad is thought to have inspired English country dance, in which couples lined up on village greens to practice weaving, circling and swinging moves reminiscent of modern-day square dancing. Over on the continent, meanwhile, 18th- century French couples were arranging themselves in squares for social dances such as the quadrille and the cotillion. Folk dances in Scotland, Scandinavia and Spain are also thought to have influenced square dancing. When Europeans began settling England’s 13 North American colonies, they brought both folk and popular dance traditions with them. French dancing styles in particular came into favor in the years following the American Revolution, when many former colonists snubbed all things British. A number of the terms used in modern square dancing come from France, including “promenade,” “allemande” and the indispensable “do-si-do”—a corruption of “dos-à-dos,” meaning “back-to-back.” As the United States grew and diversified, new generations stopped practicing the social dances their grandparents had enjoyed across the Atlantic.
    [Show full text]
  • Be Square Caller’S Handbook
    TAble of Contents Introduction p. 3 Caller’s Workshops and Weekends p. 4 Resources: Articles, Videos, etc p. 5 Bill Martin’s Teaching Tips p. 6 How to Start a Scene p. 8 American Set Dance Timeline of Trends p. 10 What to Call It p. 12 Where People Dance(d) p. 12 A Way to Begin an Evening p. 13 How to Choreograph an Evening (Programming) p. 14 Politics of Square Dance p. 15 Non-White Past, Present, Future p. 17 Squeer Danz p. 19 Patriarchy p. 20 Debby’s Downers p. 21 City Dance p. 22 Traveling, Money, & Venues p. 23 Old Time Music and Working with Bands p. 25 Square Dance Types and Terminology p. 26 Small Sets p. 27 Break Figures p. 42 Introduction Welcome to the Dare To Be Square Caller’s handbook. You may be curious about starting or resuscitating social music and dance culture in your area. Read this to gain some context about different types of square dancing, bits of history, and some ideas for it’s future. The main purpose of the book is to show basic figures, calling techniques, and dance event organizing tips to begin or further your journey as a caller. You may not be particularly interested in calling, you might just want to play dance music or dance more regularly. The hard truth is that if you want trad squares in your area, with few ex- ceptions, someone will have to learn to call. There are few active callers and even fewer surviving or revival square dances out there.
    [Show full text]
  • Blackstone, Loui Tucker Blackstone Jig (Scotland/USA) the Blackstone Jig Was Choreographed by Craig Blackstone in 2016
    © Folk Dance Federation of California, Inc., October 2017 Dance Research Committee: Cricket Raybern, Craig Blackstone, Loui Tucker Blackstone Jig (Scotland/USA) The Blackstone Jig was choreographed by Craig Blackstone in 2016. It was originally presented at Changs International Folk Dance group and has since been presented to several folk dance groups in the San Francisco Bay Area, as well as some international locations including Japan and the Czech Republic. Craig also presented it at the 2016 Blossom Festival in San Francisco and during the Dances for All Ages Workshop at the 2016 Stockton Folk Dance Camp at University of the Pacific. Music: 6/8 meter Usually danced on counts 1 and 4; JIG-i-ty, JIG-i-ty or Slow, Slow. “Calliope House/Cowboy Jig” by Alisdair Fraser Video: https://www.youtube.com/watch?v=aXIJZ9aawCg Formation: Closed circle of cpls facing ctr, M on L, W on R, hands in W-pos. Steps & Styling: Slide or Sashay (to left): Step L to L (ct 1); step R next L (ct 3); repeat (cts 4, 6). This step is usually repeated several times, and can be done with opp ftwk in opp direction. Set (to right): Small leap onto R to R, bending knee (ct 1); step on L toes next to R and straighten R knee (ct 3); step R in place and extending L diag fwd L (ct 4). This also be done to the left, and is typically done in pairs. Measure 6/8 PATTERN INTRODUCTION. None. Start immediately with music. I. ADVANCE AND RETIRE AND ELBOW TURNS.
    [Show full text]
  • Bera Ballroom Dance Club Library
    BERA BALLROOM DANCE CLUB LIBRARY Video Instruction DANCE TITLE ARTIST Style LEVEL 1 American Style Exhibition Choreography Cha Cha Powers & Gorchakova VHS Cha Cha 2 American Style Beginning Rumba & Cha Cha Montez VHS Rumba & Cha Beg 3 American Style Intermediate Cha Cha Montez VHS Cha Cha Int 4 American Style Advanced I Cha Cha Montez VHS Cha Cha Adv 5 American Style Advanced II Cha Cha Montez VHS Cha Cha Adv 6 International Style Cha Cha Ballas VHS Cha Cha 10 American Style Beginning Tango Maranto VHS Tango Beg 11 American Style Intermediate Tango Maranto VHS Tango Int 12 American Style Advanced I Tango Ballas VHS Tango Adv 13 American Style Advanced II Tango Maranto VHS American Tango Adv 14 Advanced Tango American Style Techniques & Principles Kloss VHS American Tango Adv 21 Waltz Vol I International Style Technique & Principles Puttock VHS Int Waltz 22 Waltz International Style Standard Technique Veyrasset &Smith VHS Int Waltz 23 American Style Beginning Waltz Maranto VHS Waltz Beg 24 American Style Intermediate Waltz Maranto VHS Waltz Int 25 American Style Advanced I Waltz Maranto VHS Waltz Adv 26 American Style Advanced II Waltz Maranto VHS Waltz Adv 27 Waltz Vol 1 – Beginner Austin VHS Waltz Beg 30 American Style Beginners Viennese Waltz Maranto VHS Viennese Waltz Beg 31 American Style Intermediate Viennese Waltz Maranto VHS Viennese Waltz Int 32 International Style Advanced I Viennese Waltz Veyrasset &Smith VHS Viennese Waltz Adv 33 Viennese Waltz International Style Standard Technique Veyrasset &Smith VHS Int Viennese 40 International
    [Show full text]
  • The Charleston by Dawn Lille
    The Charleston by Dawn Lille The 1920s in America were characterized by a During World War I, many southern African sense of abandon, pleasure, and gaiety. The Americans came north to a better life. They era’s chief literary chronicler, F. Scott Fitzgerald, brought their dance and music with them and immortalized the flapper and her dance, the frequented Harlem dance halls and nightclubs. Charleston, as quintessential symbols of the Some of the better dancers were hired for the time. The dance and the “new woman” were acts presented in such places as the Cotton Club solidly entwined for one glorious year, mid- and Small’s Paradise, which were patronized by 1926 to mid-1927. Although other dances white downtown audiences who eventually replaced it, the Charleston, an indigenous brought the dances to white ballrooms. The American jazz dance, has made frequent Savoy Ballroom opened in 1926, coinciding comebacks in one form or another ever since. with the Harlem Renaissance; it was racially Roger Pryor Dodge, an early dance critic, called integrated and had a special area reserved for it the greatest step of all and a major the best dancers. contribution to American dance. But it was Broadway that launched the The Charleston is a dance that was performed Charleston craze. The dance was introduced in by the descendants of African slaves in the 1922 in an all-black stage play called Liza, and American south. Like its sister vernacular form, was present to some degree in many of the jazz, from which it takes its rhythmic influential all-black musicals such as Shuffle propulsion, it is a blend of African and European Along.
    [Show full text]
  • 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.
    [Show full text]
  • Tea-Time Foxtrot (May 16, 2019: Corrections and Clarifications to Some Steps and Holds Per Feedback from ISU Seminars.)
    Communication No. 2241 ICE DANCE (replaces Comm. 2210) Instructional material on the new Pattern Dance Tea-Time Foxtrot (May 16, 2019: Corrections and Clarifications to some steps and holds per feedback from ISU seminars.) The Ice Dance Technical Committee (IDTC) is pleased to announce that all instructional materials for the new Pattern Dance, the Tea-Time Foxtrot have been completed. Included in this Communication are: the Description, the Chart of steps, and the Diagrams for Lady and Man. The instructional Video is available for purchase on the ISU Shop. All of these documents of the Tea-Time Foxtrot are included to assist Skaters, coaches and Judges in preparation for the implementation of this dance. The Video was produced by the International Skating Union. It includes a demonstration of the Tea- Time Foxtrot, showing the whole dance, as well as sections of the dance with slow motion examples. The demonstrations of all steps, turns and dance positions should prove to be a useful visual aid for coaches, Skaters and officials. The Ice Dance Technical Committee plans to introduce the Tea-Time Foxtrot for the first time at the Junior events in the 2019/20 season, since it was formally approved by the 2018 ISU Congress in Sevilla. The instructional Video is available for download from the ISU website: Shop -> Latest Products or Single & Pair Skating / Ice Dance Individual Price: 45 Swiss Francs Tubbergen, Jan Dijkema, President April 17, 2019 Lausanne, Fredi Schmid, Director General 1 TEA-TIME FOXTROT Original music from: Prandi Sound-Tea For Two-Foxtrot Rhythm: Slow-Fox Timing: 4/4 Tempo: 27 measures of 4 beats per minute; 108 beats per minute Pattern: optional Duration: The time required to skate 1 sequence is 0:58 min.
    [Show full text]