WORLD of DANCE RETURNS MIDSEASON | S-NBC

Total Page:16

File Type:pdf, Size:1020Kb

WORLD of DANCE RETURNS MIDSEASON | S-NBC WORLD OF DANCE RETURNS MIDSEASON | s-NBC NBC’s hit dance competition series “World of Dance” is led by a judging team of extraordinary dance superstars — Jennifer Lopez (who also serves as an executive producer), Derek Hough, and NE-YO. The series will give dancers the platform to showcase their talents and the opportunity to receive a life-altering grand prize of $1 million. In partnership with preeminent global dance brand World of Dance, the series brings the world’s elite dancers together to compete in epic battles of artistry, precision and athleticism. Solo dancers will compete against duos and crews in an unlimited range of dance, including hip-hop, popping, locking, tap, ballet, z breakdancing, ballroom, stomping and more. The contestants are handpicked from qualifying events around the nation and thousands of online submissions. New this season, the competitors are divided into four divisions: Junior (17 years old and under, one to four dancers), Junior Team (17 years old and under, five to 15 dancers), Upper (18 years old and older, one to four dancers), Upper Team (18 years old and older, five to 15 dancers). Our panel of experts scores the acts using a precise point system developed by World of Dance, using the following criteria: Performance, Technique, Choreography, Creativity and Presentation. The competition consists of five rounds: Qualifiers, Duels, The Cut, Divisional Final and the World Final. In the first four rounds, dancers only compete within their division, but in the World Final, the winners from each division compete against each other for the grand prize. BellMediaSales.ca .
Recommended publications
  • The B-Boy Summit Internationally Acclaimed B-Boy/B-Girl Event
    THE B-BOY SUMMIT INTERNATIONALLY ACCLAIMED B-BOY/B-GIRL EVENT Produced by No Easy Props OVERVIEW The B-boy Summit continues to be a major trendsetter in Hip-Hop street dance, art and music culture. Established in 1994, The Summit presented innovative ideas in Hip-Hop culture, offering a conference forum complete with competitions, performances, panels, workshops, and a marketplace for consumer friendly products marketed toward the Hip-Hop community. Never content with success, The B-boy Summit continues its mission to bring the hottest street dance, art, and music above ground to the masses. The B-boy Summit has grown into an internationally acclaimed 3 day festival incorporating all aspects of Hip-Hop in different plateaus, including the most intense battles, rawest circles, theatre performances, a DJ/MC Talent Showcase and live aerosol art painting. The B-boy Summit was created in 1994 out of the need for a community orientated Hip-Hop event that encompassed knowledge of the history of Hip-Hop culture and the skills of B-boying and B-girling. At that point in time B-boys and B-girls didn’t have a platform in which to come together, dance and pay homage to the traditional dance of Hip-Hop. Each year the event has expanded to encompass B-boys, B-girls, MCs, Aerosol Artists, and DJs from across the globe, steadily building into what is now the foremost Hip-Hop cultural event in the world. More recently, The Summit has become one of the most important events for Lockers, Poppers, Freestyle and House Dancers to take part in during The Summit’s Funk Fest.
    [Show full text]
  • JAY CHRIS MOORE CHOREOGRAPHER I INSTRUCTOR I CREATIVE DIRECTOR (818) 669-2219 [email protected] MOB MANAGEMENT Booking: [email protected] ABOUT JAY CHRIS
    JAY CHRIS MOORE CHOREOGRAPHER I INSTRUCTOR I CREATIVE DIRECTOR (818) 669-2219 [email protected] MOB MANAGEMENT booking: [email protected] ABOUT JAY CHRIS Jay Chris Moore is a teacher, director, and choreographer born and raised in LA. With his roots as a street dancer, he has formulated a style of choreography based off the fundamentals of hip hop and freestyle. TEACHING EXPERIENCE THE MOB DANCE COMPANY DIRECTOR/CHOREOGRAPHER AMDA COLLEGE AND CONSERVATORY INSTRUCTOR DEBBIE REYNOLDS DANCE STUDIO INSTRUCTOR INTERNATIONAL DANCE ACADEMY INSTRUCTOR PLAYGROUND L.A. GUEST INSTRUCTOR MILLENNIUM DANCE COMPLEX GUEST INSTRUCTOR KINJAZ DOJO GUEST INSTRUCTOR PROFESSIONAL SKILLS MILLENNIUM DANCE COMPLEX O.C. GUEST INSTRUCTOR URBAN MOVES WORKSHOP UKRAINE MASTERCLASS INSTRUCTOR ARTIST DEVELOPMENT CREATIVE DIRECTING THE LAB CREATIVE ARTS STUDIO INSTRUCTOR/CHOREOGRAPHER COMPETITION CHOREOGRAPHY STEEZY INSTRUCTOR/CHOREOGRAPHER WORKSHOPS MASTERCLASSES CHAPKIS DANCE STUDIO MASTERCLASS INSTRUCTOR SEMINARS MYWAY DANCE CENTRE MASTERCLASS INSTRUCTOR MUSIC MIXING STAGING CHAPKIS DANCE STUDIO ITALY CHOREOGRAPHER COSTUMING MASTERCLASSES CONT.: STUDIO MISSION TOKYO, TRIPLE THREAT D ANCE ACADEMY, SUPREME DANCE STUDIO CHICAGO, VISCERAL DANCE CHOREOGRAPHY STYLES S TUDIO CHICAGO, LEVEL DANCE COMPLEX NEW JERSEY, I AM PHRESH PHILLY, PHUNK PHENOMENON BOSTON HIP HOP KRUMP HOUSE JUDGING EXPERIENCE LOCKING POPPING WORLD OF DANCE BAY AREA, WORLD OF DANCE CHICAGO, BREAKING COLLABORATION URBAN DANCE COMPETITION, URBAN STREET JAM, EVOLUTION URBAN DANCE COMPETITION, KIDZ CARNIVAL, PRELUDE SOCIAL MEDIA STAGE CREDITS fb.me/jaychrismoore ARTISTS: USHER, MISSY ELLIOTT, M.C. HAMMER, LMFAO, KEKE PALMER, SHARYA J, TISHA CAMPBELL, SNOOP DOGG, BLACK @jaychrismoore EYED PEAS @jaychrismoore TELEVISION: AMERICA'S GOT TALENT, LIVE TO DANCE, APPLE IPOD "TECHNOLOGIC" COMMERCIAL, SUPERBOWL XLV .
    [Show full text]
  • Synthesizing Dance and Conducting Pedagogy for Heightened Creativity
    Inspiring Sound: Synthesizing Dance and Conducting Pedagogy for Heightened Creativity on the Podium By Matthew Dean Schlomer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Wind Conducting) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 2/7/12 The dissertation is approved by the following members of the Final Oral Committee: Scott D. Teeple, Associate Professor, School of Music James Smith, Professor, School of Music Dr. Teryl Dobbs, Assistant Professor, School of Music/Department of Curriculum & Instruction Kate Corby, Assistant Professor, Department of Dance Mary A. Brennan, Professor Emerita, Department of Dance i To my wife, Katie, and children, Claudia, Roy, and Evelyn. You have not only made this endeavor possible, but a wonderful journey we have shared together. Thank you for your tremendous support. ii ACKNOWLEDGMENTS I wish to thank: my mentor, advisor, and colleague, Scott Teeple, for his profound artistry and unwavering encouragement to seek out new information and opportunities; Dr. Mary “Buff” Brennan for her insights, sense of adventure, and the most delightful conversations in Lathrop Hall; Professor Kate Corby and Mary Hayne for your creative and patient instruction in moving the body expressively; Dr. Teryl Dobbs for your high standards and warm encouragement; and Professor James Smith for your mentorship and generosity of time and insight. I would also like to acknowledge my family and friends that helped and encouraged me in so many ways during the writing process: Gabriel and Christine Reilly, David and Michelle Schlomer, Paul Schlomer and Erin Grunze, David and Sarah Melander, David (Billy) Hagedorn and Marjolein Eweg, my parents Duane and Barbara Schlomer, Harold and Kathleen Hagedorn, and my colleagues and friends, Erik Jester and Paul Bhasin.
    [Show full text]
  • How Breakdancing Taught Me to Be a Technical Artist
    How breakdancing taught me to be a technical artist Robbert-Jan Brems Technical Artist Codemasters Hello ladies and gentlemen, my name is Robbert-Jan Brems. I'm currently technical artist at Codemasters and here to present you my talk : “How breakdancing taught me to be a technical artist” I only have been working as a professional technical artist in the video game industry for just over a year, but I have been breakdancing for almost nine years, and dancing for almost seventeen. The reason I am telling you this will become more apparent later on. Just out of curiosity, are there any breakdancers in this room? Well, the good news is that you do not need any breakdance related experiences to understand this talk. The main reason why I wanted to do this talk was because I have the feeling that as a person it is really easy to be looking through the same window as everybody else. What I mean with that is when we follow the same route to find knowledge as everybody else, we end up knowing the same things while missing out on other potentially important knowledge. By telling you my life story as a breakdancer and a game developer I want to illustrate how I reflect the knowledge that I obtained through breakdancing to my profession as a technical artist. So, the goal of my talk is to hopefully inspire people to start looking for knowledge by looking at learning from a different perspective. Once upon a time ... I started dancing when I was around 7 years old.
    [Show full text]
  • Urban Street Dance Department
    Urban Street Dance Department Divisions and Competition Rules Break Dance Division Urban Street Dance Division Implemented by the WADF Managing Committee January 2020 Artistic Dance Departments, Divisions and Competition Rules WADF Managing Committee Nils-Håkan Carlzon President Irina Shmalko Stuart Saunders Guido de Smet Senior Vice President Executive Secretary Vice President Marian Šulc Gordana Orescanin Roman Filus Vice President Vice President Vice President Page 2 Index Artistic Dance Departments, Divisions and Competition Rules Urban Street Dance Department Section G-2 Urban Street Dance Division Urban Street Dance Competitions Urban Street Urban Street Dance is a broad category that includes a variety of urban styles. The older dance styles that were created in the 1970s include up-rock, breaking, and the funk styles. At the same time breaking was developing in New York, other styles were being created in California. Several street dance styles created in California in the 1970s such as roboting, bopping, hitting, locking, bustin', popping, electric boogaloo, strutting, sac-ing, and dime-stopping. It is historically inaccurate to say that the funk styles were always considered hip-hop. "Hip-Hop Dance" became an umbrella term encompassing all of these styles. Tempo of the Music: Tempo: 27 - 28 bars per minute (108 - 112 beats per minute) Characteristics and Movement: Different new dance styles, such as Quick Popping Crew, Asian style, African style, Hype Dance, New-Jack-Swing, Popping & Locking, Jamming, etc., adding creative elements such as stops, jokes, flashes, swift movements, etc. Some Electric and Break movements can be performed but should not dominate. Floor figures are very popular but should not dominate the performance.
    [Show full text]
  • Josh Williams
    953 N COLE AVE HOLLYWOOD, CA 90038 TEL: 323-957-6680 Cell Phone: 323-680-3858 JOSH WILLIAMS NON-UNION HEIGHT: 5’9 EYES: Brown HAIR: Black TELEVISION TEEN CHOICE AWARDS (FOX) DANCER AMY ALLEN THE FLAMA (CHACHI GONZALES) DANCER WILLDABEAST SO YOU THINK YOU CAN DANCE DANCER NYGEL LYTHGOE STAGE/LIVE PERFORMANCE TEEN CHOICE AWARDS (JASON DERULO) DANCER AMY ALLEN ROSHON (CONCERT) DANCER ROSERO MCCOY THE W HOTEL DANCER ANZE SKRUBE CLUB JETE (TIFFANY BILLINGS) DANCER JOSH WILLIAMS 8TH WONDER DANCER JOSH WILLIAMS CARNIVAL 2014 (TIGHT EYEZ) DANCER TIGHT EYEZ CARNIVAL 2014 (WILLDABEAST) DANCER WILLDABEAST CARNIVAL 2014 (ANTOINE TROUPE) DANCER ANTOINE TROUPE WORLD OF DANCE “SEATTLE 2013” (3rd) DANCER MYRON MARTEN WORLD OF DANCE “BAY AREA 2013” DANCER MYRON MARTEN WORLD OF DANCE “BAY AREA 2012” DANCER MYRON MARTEN UNRATED 2013 DANCER KOLANIE MARKS YTF GLOBAL TOUR YOUTUBE DANCER D-TRIX MUSIC VIDEOS TANK – DANCE WITH ME (LOVE STEP) DANCER ZENA FOSTER TANK – YOU’RE MY STAR DANCER GALEN HOOKS E-40 T.I. CHRIS BROWN – EPISODE DANCER ANTOINE TROUPE E-40 – BAMBOO DANCER FEATURED PHARELL WILLIAMS – HAPPY DANCER FEATURED JASON DERULO – TRUMPETS DANCER FEATURED MATT KEARNY – HEARTBEAT DANCER FEATURED CHIP CHOCOLATE – COOKIE DANCE DANCER FEATURED BRETT KISSEL – RAISE YOUR GLASS DANCER FEATURED COMMERCIALS DESPERADO BEER COMMERCIAL DANCER FEATURED COMEDY CENTRAL PROMO “MARTY PARTY” DANCER FEATURED TIME WARNER CABLE DANCER FEATURED SPECIAL SKILLS HIP HOP, BONE BREAKING, KRUMP, HOUSING, BREAKING, BASKETBALL, FOOTBALL, TRACK & FIELD, BASEBALL, ROLLERBLADING, SWIMMING, BIKING, TRICKING, TURFING, POPPING,TUTTING,WAVING. .
    [Show full text]
  • Danc-Dance (Danc) 1
    DANC-DANCE (DANC) 1 DANC 1131. Introduction to Ballroom Dance DANC-DANCE (DANC) 1 Credit (1) Introduction to ballroom dance for non dance majors. Students will learn DANC 1110G. Dance Appreciation basic ballroom technique and partnering work. May be repeated up to 2 3 Credits (3) credits. Restricted to Las Cruces campus only. This course introduces the student to the diverse elements that make up Learning Outcomes the world of dance, including a broad historic overview,roles of the dancer, 1. learn to dance Figures 1-7 in 3 American Style Ballroom dances choreographer and audience, and the evolution of the major genres. 2. develop rhythmic accuracy in movement Students will learn the fundamentals of dance technique, dance history, 3. develop the skills to adapt to a variety of dance partners and a variety of dance aesthetics. Restricted to: Main campus only. Learning Outcomes 4. develop adequate social and recreational dance skills 1. Explain a range of ideas about the place of dance in our society. 5. develop proper carriage, poise, and grace that pertain to Ballroom 2. Identify and apply critical analysis while looking at significant dance dance works in a range of styles. 6. learn to recognize Ballroom music and its application for the 3. Identify dance as an aesthetic and social practice and compare/ appropriate dances contrast dances across a range of historical periods and locations. 7. understand different possibilities for dance variations and their 4. Recognize dance as an embodied historical and cultural artifact, as applications to a variety of Ballroom dances well as a mode of nonverbal expression, within the human experience 8.
    [Show full text]
  • Hip Hop Dance: Performance, Style, and Competition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations.
    [Show full text]
  • Updated 2020-21 IDT Faculty
    MEET THE IDT FACULTY! Allison Kelly Allison is IDT’s new tap teacher and she is beyond thrilled to join the IDT family. Her love for dance began at a young age under the tutelage of Anita Johnstone, owner of Highland Dance Academy and she continued studying the Royal Academy Dance techniques until graduating high school in 2016. Along the way, Allison discovered her home within the jazz and tap world through dancing with Kelsey Ruth and Sarah Bordenet at Cascade Dance Academy. Allison taught ballet, tap, and jazz at HDA during her final two years of high school and throughout college. Allison recently graduated with a Bachelors of the Fine Arts in Dance at Seattle’s Cornish College. Please help us in welcoming Allison to the IDT family. Dakota Harwood Dakota joins IDT to teach Jazz, Contemporary & Acro as well as choreograph for our Performing Group. Dancer, photographer, and makeup artist Dakota Elizabeth got her start in Seattle and is thrilled to be returning to her hometown as an educator. She began as a state-ranked gymnast at Gymnastics East before transitioning to dance. Dakota trained primarily at Premiere Dance Center, Westlake, and The Connection (now KreativMndz), specializing in contemporary, hip hop, and tap. She learned from some of the industry’s brightest including Daniel Cruz, Kolanie Marks, Cameron Lee, Melissa Farrar, and Josh Scribner. After earning her degree from the University of Washington, Dakota moved to Los Angeles where she worked as a photographer and makeup artist for companies such as Break the Floor and several independent films.
    [Show full text]
  • Regulating the Rave Scene: Exploring the Policy Alternatives of Government
    October 10, 2003 15:40 LSC TJ819-02 Leisure Sciences, 25:307–325, 2003 Copyright C 2003 Taylor & Francis 0149-0400/03 $12.00 + .00 DOI: 10.1080/01490400390240446 Regulating the Rave Scene: Exploring the Policy Alternatives of Government TROY D. GLOVER Department of Recreation and Leisure Studies University of Waterloo Waterloo, Ontario, Canada Given the recent interest in raves by municipal officials across North America, the intent behind this manuscript is to explore the various policy alternatives that government might consider in response to rave culture and the “threat” of Ecstasy on youth. In particular, the paper focuses on three policy options: tolerance, prohibition, and harm reduction. A discussion of the alternatives and suggestions about the suitability of each one is outlined. Before doing so, however, a detailed discussion about rave culture, its dimensions, and its association with deviance is provided. Given the relative absence of analyses in the leisure literature of rave culture and the regulation of leisure behavior, it is hoped that the following manuscript will serve as a point of departure for further study on “deviant” leisure and the appropriateness of government intervention. Keywords rave culture, deviant leisure, youth, resistance, government regulation, lib- erty, policy alternatives Are the benefits of leisure truly endless? Most leisure researchers seemingly think so, pre- sumably because they trust that leisure has the potential to contribute positively to the quality of individuals’ lives. Not surprisingly, such sentiments have led many academicians to join forces with the National Recreation and Park Association (NRPA) in its campaign to pro- mote the benefits of leisure (NRPA, 2001).
    [Show full text]
  • TAF GERMANY Ev
    TAF GERMANY e.V. REGLEMENT VERSION2020 Vereinssitz und Rechnungsanschrift: TAF Germany e.V. | Eschhöfer Weg 9 | 65549 Limburg | Office und Verwaltung: TAF Germany e.V. | Lürmannstraße 41 | 49076 Osnabrück | Tel. (+49)541-68555411 | E-Mail: [email protected] TAF Germany e.V. Reglement PRÄAMBEL ............................................................................................................... 6 A) TANZ-DEPARTMENTS ..................................................................................... 7 A.1 PERFORMING ARTS ........................................................................................... 7 A.2 STREET DANCES ................................................................................................ 7 A.3 PAARTÄNZE ........................................................................................................ 7 A.4 DISZIPLINÜBERGREIFENDE KATEGORIEN ...................................................... 7 B) ALLGEMEINE REGELUNGEN ......................................................................... 8 B.1 KATEGORIEN ...................................................................................................... 8 B.2 STARTKLASSEN .................................................................................................. 8 B.3 ALTERSKLASSEN ............................................................................................... 8 B.4 TURNIERFORMEN .............................................................................................10 B.5 SAISON ...............................................................................................................10
    [Show full text]
  • Talking Black Dance: Inside Out
    CONVERSATIONS ACROSS THE FIELD OF DANCE STUDIES Talking Black Dance: Inside Out OutsideSociety of Dance InHistory Scholars 2016 | Volume XXXVI Table of Contents A Word from the Guest Editors ................................................4 The Mis-Education of the Global Hip-Hop Community: Reflections of Two Dance Teachers: Teaching and In Conversation with Duane Lee Holland | Learning Baakasimba Dance- In and Out of Africa | Tanya Calamoneri.............................................................................42 Jill Pribyl & Ibanda Grace Flavia.......................................................86 TALKING BLACK DANCE: INSIDE OUT .................6 Mackenson Israel Blanchard on Hip-Hop Dance Choreographing the Individual: Andréya Ouamba’s Talking Black Dance | in Haiti | Mario LaMothe ...............................................................46 Contemporary (African) Dance Approach | Thomas F. DeFrantz & Takiyah Nur Amin ...........................................8 “Recipe for Elevation” | Dionne C. Griffiths ..............................52 Amy Swanson...................................................................................93 Legacy, Evolution and Transcendence When Dance Voices Protest | Dancing Dakar, 2011-2013 | Keith Hennessy ..........................98 In “The Magic of Katherine Dunham” | Gregory King and Ellen Chenoweth .................................................53 Whiteness Revisited: Reflections of a White Mother | Joshua Legg & April Berry ................................................................12
    [Show full text]