General Sequence Dance Information
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Dance Brigham Young University-Idaho 2006-2007 Department of Dance
Dance Brigham Young University-Idaho 2006-2007 Department of Dance Jennifer O’ Farrell, Department Chair Wendy Bone, Shawn Fisher, Jennifer O’Farrell, Charles West Donna Checketts, Secretary (208) 436-2073 http://www.byui.edu/Dance/ The Department of Dance offers a minor in Dance. This degree is designed to allow a student to transfer to a four year program, operate a dance studio, as well as prepare to be a dance specialist in a professional, community, and church setting. The Mission of the Department of Dance is: 1. Provide opportunities for the student to develop spiritually, artisti- cally, intellectually and physically. This is accomplished through dis- cipline, the art of dance, and our desire to emphasize gospel princi- ples, personal integrity, individual enrichment and sensitivity to mul- tiple perspectives. 2. Graduates in dance will have a solid foundation preparing them to transfer to a four year program, as well as for careers in performance, choreography, teaching and service. 3. Students will learn through dance that they can become better individuals by living the restored gospel of Jesus Christ, enhancing their roles as creative and artistic individuals, church members, citi- zens and parents. 4. Our goal is to challenge students to be individual thinkers, serve the community and make artistic efforts that reflect a richly complex and diverse global perspective. 1 Dance Brigham Young University-Idaho 2006-2007 Minor In Dance- 183 MINOR REQUIREMENTS 9 credits - take all courses sem/yr plan Course # Credits Course Title -
Sequence Dance Program
Sequence Dance Program © Australian Institute of Dancing Inc’ Lead Foot Level One Pattern Styling Level Follow work 1. Emmerdale Waltz 2. Catherine Waltz 3. Tango Solaire 4. Balmoral Blues C 5. Mayfair Quickstep H O I 6. Alpine Stroll C E 7. Jacqueline Cha Cha O F 8. Sally Anne Cha Cha T 9. Shadow Samba H R E 10. Shadow Salsa E 11. Rumba One D A Jetta Jive N 12. C E 13. Paso La Paz S Lead Foot Level Two Pattern Styling Level Follow work 1. New Vogue Waltz 2. Argentine Stroll 3. Crystal Blues 4. Crystal Quickstep 5. Saunter Caprice C 6. Spindle Quickstep H O I 7. Coca Bola Cha Cha C E 8. Sling Shot Cha Cha O F 9. Fiesta Samba F 10. Mambo Magic O U R 11. Rosalie Rumba D 12. Queen of Hearts Rumba A N C 13. Let’s Jive E S 14. Paso Deena © Australian Institute of Dancing Inc’ Lead Foot Level Three - Modern Waltz Rhythm Pattern Styling Level Follow work 1. Emmerdale Waltz 2. Catherine Waltz 3. Engagement Waltz 4. New Vogue Waltz 5. Opus No. 5 6. Banbury Waltz Lead Foot Level Three – Tango (Argentine) Rhythm Pattern Styling Level Follow work 1. Argentine Stroll 2. Argentine Obsession 3. Tango Solaire Lead Foot Level Three - Foxtrot Rhythm Pattern Styling Level Follow work 1. Stardust Foxtrot 2. Crystal Blues 3. Balmoral Blues 4. Saunter Caprice © Australian Institute of Dancing Inc’ Lead Foot Level Three - Quickstep Rhythm Pattern Styling Level Follow work 1. Spindle Quickstep 2. Crystal Quickstep 3. -
Dancin' on Tulsa Time
Dancin’ on Tulsa Time Gonna set my watch back to it…. 42nd ICBDA Convention July 11-14, 2018 Renaissance Hotel & Convention Center Tulsa, Oklahoma ________________________________________________________________________ Table of Contents Welcome to the 42nd ICBDA Convention 2018 . 1 Welcome from the Chairman of the Board . 2 Convention 43 – Orlando, Florida . 3 Committee Chairs – Convention 42 . 4 2018 Week at a Glance . 5 Cuers and Masters of Ceremony . 9 ICBDA Board of Directors . .10 Distinguished Service Award . 11 Golden Torch Award . 11 Top 15 Convention Dances . .. 12 Top 15 Convention Dances Statistics . 13 Top 10 Dances in Each Phase . 14 Hall of Fame Dances . 15 Video Order Form . 16 Let’s Dance Together – Hall A . 18 Programmed Dances – Hall A . 19 Programmed Dances – Hall B . 20 Programmed Dances – Hall C . 21 Clinic and Dance Instructors . 22 Paula and Warwick Armstrong . 23 Fred and Linda Ayres . 23 Wayne and Barbara Blackford . 24 Mike and Leisa Dawson . 24 John Farquhar and Ruth Howell . 25 Dan and Sandi Finch . 25 Mike and Mary Foral . 26 Ed and Karen Gloodt . 26 Steve and Lori Harris . 27 John and Karen Herr . 27 Tom Hicks . 28 Joe and Pat Hilton . 28 George and Pamela Hurd . 29 i ________________________________________________________________________ Pamela and Jeff Johnson . .29 John and Peg Kincaid . 30 Kay and Bob Kurczweski. 30 Randy Lewis and Debbie Olson . .31 Rick Linden and Nancy Kasznay . 31 Bob and Sally Nolen . 32 J.L. and Linda Pelton . 32 Sue Powell and Loren Brosie . 33 Randy and Marie Preskitt . 33 Mark and Pam Prow . 34 Paul and Linda Robinson . 34 Debbie and Paul Taylor . -
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. -
100 Years: a Century of Song 1950S
100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary -
DANCE STEPS Information Useful to Amateur Or Professional Dancers
DANCE STEPS Information useful to Amateur or Professional Dancers – Ballroom or Sequence TELEMARK: In ballroom dancing normally commenced diag. centre down LOD in Waltz, Quickstep or Foxtrot. Lady always finished square, usual amount of turn ¾ or less, can be danced. Underturned usually turning ½. OPEN TELEMARK: Man’s steps identical to above but Lady underturning to finish in Prom. Pos. In Sequence dancing alignment may vary considerably. IMPETUS TURN: In Ballroom dancing Man usually commences backing LOD with Heel Turn, turning ⅝ to R, Lady finishing square. OPEN IMPETUS TURN: Man turns R to finish in Prom. Pos. Lady’s steps similar to Impetus Turn. In Sequence dancing alignments can be taken in any direction. WING: Always commenced in Prom. Pos. Lady curving anticlockwise three steps round Man. Man very slight turn L, Lady ⅜ turn L on three curving steps. Man RF forward hesitating while Lady takes 3 steps. DOUBLE REVERSE WING: Man steps identical to Double Reverse Spin, Lady after Heel Turn takes 2 quick curving steps round Man on his L side. CLOSED WING: Commenced with partner on R side, Lady instead of curving L, steps back LF, side RF, forward LF on L side Man, Man RF forward hesitating while Lady takes the 3 steps. DOUBLE REVERSE SPIN: Man LF forward, RF to side, pivoting strongly L on toes, closing LF to RF without weight usually commenced down LOD or diag centre down LOD in Modern, amount of turn ¾ up to 1 complete turn – can vary. Lady, RF back closing LF to RF – Heel Turn, turning L, RF to side slightly back, crossing LF in front of RF, can be danced in Foxtrot, Waltz or Quickstep. -
Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay Area
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years. -
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. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility. -
A Traditional Viennese Waltz Sequence Dance © Bar Footwork
ALLES WALZER - A traditional Viennese Waltz Sequence Dance © Arranged by Shannah Birchenough & Phil Hughes 2016 Sequence Dance UK, 07712 445394 Time : 3/4 Tempo : Between 50 and 58 bpm Suggested Music : Mignonette, track 8, Ballroom Classics 1 CD : Blue Danube - Strictly Viennese Waltz - the Best of Dancesport CD, track 3 Commence in Closed Hold, Man facing, Lady backing LOD. Bar Footwork Count Pendulum to Centre & Wall - Lady's Underarm Turn to Left Side Position (LSP) 1 LF to side facing LOD, moving to C TH 1 RF draws to LF w/w facing LOD, moving to C, sway slightly to R T 2 RF almost closes to LF w/w facing LOD, moving to C, sway slightly to R T 3 2 RF to side facing LOD, moving to W TH 1 LF draws to RF w/w facing LOD, moving to W, sway slightly to L T 2 LF almost closes to RF w/w facing LOD, moving to W, sway slightly to L T 3 3 LF to side facing LOD moving to C, lift L arm & release R arm preparing to turn Lady under (Lady : TH 1 RF fwd facing C, HT, turning 1/8 R under man's arm) RF draw to LF w/w facing LOD, moving to C, turning lady under arm to R (Lady : LF moves to RF T 2 w/w, to DC, T, 1/8 R turning under man's L arm) RF almost closes to LF w/w, facing LOD, moving to C (Lady : LF almost closes w/w, fac DC, T 3 turning 1/8R under man's L arm) 4 RF to side in LSP, facing LOD, moving to Wall (Lady : LF side in LSP, facing LOD) TH 1 LF draws towards RF w/w, facing LOD, moving to Wall (Lady : RF draws to LF w/w, fac LOD) T 2 LF draws towards RF w/w, facing LOD, moving to Wall, extend R arm out to side (Lady : RF draws T 3 to LF w/w, -
The Chhaw Dance of Bengal! Dr
International Journal on Textile Engineering and Processes Vol. 4, Issue 3 July 2018 The Chhaw Dance of Bengal! Dr. B. Basu1, Ms. Laboni Banerjee2 1-Adjunct faculty, SGGS College of Engineering and Technology, Nanded. 2-Appeared in final year in Bachelor of Design course in Viswa Bharati University, Shantiniketan. Email: [email protected], [email protected] Introduction India is the country of Art and Culture. In ancient days the dances used to be performed mainly of two types i.e. indoor and outdoor. The indoor dances used to be showed off by the sophisticated Artists in the King`s Palaces for the entertainment purpose! In those days of Mahabharata, the dancing art was found that Arjuna used to perform dance at the Royal Court of Birat Raja as “Brihannalla’. The outdoor dances used to be performed by the villagers during any festival, joy, ceremony, worshipping of Goddess and most of the dances were from noble mind and aspirations. It used to be the group dances participated by the one and all. Hence gradually the Folk dances and Tribal dances started arriving. Almost every state is having its own style of Folk Dances. This art form combines dance, music, drama, instrumental music, facial and body makeup, martial art and ritualistic functions, composed in a harmonizing manner.Tribal Dances in India are inspired by the tribal folklore. Each ethnic group has its own distinct combination of myths, legends, tales, proverbs, riddles, ballads, folk songs, folk dance, and folkmusic. India has a number of classical Indian dance forms, each of which can be traced to different parts of the country. -
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.