Songs by Subject

Total Page:16

File Type:pdf, Size:1020Kb

Songs by Subject Language ABC ROCK WALT VOL 1 AN ADVENTURE IN SPACE ON THE MOVE BROWN BEAR, BROWN BEAR PLAYING FAVORITES CAN YOU LEAP LIKE FROG? KIDS IN ACTION DAYS OF THE WEEK WALT VOL 4 DOWN BY THE BAY PLAYING FAVORITES GREEN GRASS GREW ALL AROUND ROCKIN’ DOWN THE ROAD HOW MANY DAYS ON THE MOVE LET’S GO TO THE MARKET WALT VOL 5 I LIKE POTATOES WALT VOL 5 INKY DINKY DO JUMPIN’ & JAMMIN IN MY BACKYARD BIG FUN JIM ALONG JOSIE READY, SET, MOVE JOHN THE RABBIT BOUNCE & BOOGIE JOIN IN THE GAME PLAYING FAVORITES JUMP DOWN, TURN AROUND READY, SET, MOVE LET’S READ & ROCK READY, SET, MOVE LISTEN & MOVE WALT VOL 2 LITTLE SIR ECHO WALT VOL 1 MONTHS OF THE YEAR WALT VOL 2 MR. KNICKERBOCKER FUN & GAMES MY AUNT CAME BACK KIDS IN ACTON OPPOSITES FUN & GAMES PIGGY BANK WALT VOL 3 PUT YOUR FINGER IN THE AIR PLAYING FAVORITES RHYME TIME KIDDING AROUND SCAT LIKE THAT ON THE MOVE SHOO FLY ON THE MOVE THE NUMBER ROCK WALT VOL 2 THE OTHER DAY I MET A BEAR BOUNCE & BOOGIE THE TEDDY BEAR SONG FUN & GAMES THE THREE LITTLE PIGS BLUES PLAYING FAVORITES RAINBOW OF COLORS WALT VOL 5 SHE’LL BE COMIN’ ROUND THE MTN WALT VOL 2 SIMON SAYS WALT VOL 3 WE ALL LIVE TOGETHER WALT VOL 1 WE’VE GOT THE WHOLE WORLD PLAYING FAVORITES WHAT IF WALT VOL 4 Listen & Respond 1, 2 BUCKLE MY SHOE WALT VOL 3 ABC ROCK WALT VOL 1 ANIMAL ACTION KIDS IN MOTION A WALKING WE WILL GO WALT VOL 5 BEAN BAG BOOGIE KIDS IN MOTION BEANIE BAG DANCE KIDS IN ACTION BIG FUN BIG FUN BINGO WALT VOL 4 BOUNCE & BOOGIE BOUNCE & BOOGIE CAN’T SIT SILL ROCKIN’ DOWN THE ROAD COPY CAT KIDDING AROUND COUNT BOUNCE KIDS IN MOTION DANCE MEDLY WALT VOL 4 DANCIN’ MACHINE WALT VOL3 DANCIN’ MACHINE ROCKIN’ DOWN THE ROAD DANCE WITH YOUR TEDDY BEAR JUMPIN & JAMMIN DOWN ON THE FARM WALT VOL 5 FUNNY BONE BLUES BOUNCE & BOOGIE GOIN’ ON A BEAR HUNT KIDS IN ACTION GREEN GRASS GREW ALL AROUND ROCKIN’ DOWN THE ROAD HAND JIVE WALT VOL 4 HEY LOLLY LOLLY JUMPIN & JAMMIN HOKEY POKEY KIDDING AROUND I CAN WORK WITH ONE HAMMER FUN & GAMES I LIKE POTATOES WALT VOL 5 IF YOU’RE HAPPY AND YOU KNOW IT WALT VOL 3 I’VE GOT MUSIC IN ME FUN & GAMES INKY DINKY DO JUMPIN & JAMMIN JIMMY CRACK CORN KIDDING AROUND JOIN IN THE GAME PLAYING FAVORITES JUMP & JAM JUMPIN & JAMMIN KIDS IN ACTION KIDS IN ACTION LET’S GO TO THE MARKET WALT VOL 5 LET’S READ AND ROCK READY, SET, MOVE LISTEN & MOVE WALT VOL 2 LITTLE SIR ECHO WALT VOL 1 MY AUNT CAME BACK KIDS IN ACTION MY HAPPY FEET BOUNCE & BOOGIE OPPOSITES FUN & GAMES PEANUT BUTTER & JELLY FUN & GAMES PUT YOUR FINGER IN THE AIR PLAYING FAVORITES RAINBOW OF COLORS WALT VOL 5 RHYME TIME KIDDING AROUND RIDING IN MY CAR ROCKIN’ DOWN THE ROAD ROCK N’ROLL RHYTHM BAND WALT VOL 5 ROCK ROUND THE MULLBERRY BUSH WALT VOL 3 SAFETY BREAK KIDDING AROUND SAY HELLO KIDDING AROUND SCAT LIKE THAT ON THE MOVE SHAPES WALT VOL 3 SHE’LL BE COMIN’ ROUND THE MTN WALT VOL 2 SHOO FLY ON THE MOVE SILLY WILLIES BIG FUN SIMON SAYS WALT VOL 2 SKIP TO MY LOU WALT VOL 1 SPORTS DANCE ON THE MOVE TEDDY BEAR TURN AROUND/ READY, SET, MOVE TWO LITTLE BLACK BIRDS THE BEAR WENT OVER THE MTN READY, SET, MOVE THE BODY ROCK KIDDING AROUND THE BOOGIE WALK WALT VOL 2 THE NUMBER GAME WALT VOL 5 THE NUMBER GAME WALT VOL 2 THIS OLD MAN PLAYING FAVORITES THE OTHER DAY I MET A BEAR BOUNCE & BOOGIE WHAT IF WALT VOL 4 WIGGLE WOBBLE WALT VOL1 Movement/Physical Ed 1,2 BUCKLE MY SHOE WALT VOL 3 5 LITTLE MONKEYS READY, SET, MOVE ACROSS THE BRIDGE WALT VOL 4 ALL AROUND THE KITCHEN BOUNCE & BOOGIE AN ADVENTURE IN SPACE ON THE MOVE ANIMAL ACTION KIDS IN MOTION A WALKING WE WILL GO WALT VOL 5 BALANCING ACT KIDS IN MOTION BALLIN’ THE JACK WALT VOL 4 BEANIE BAG DANCE KIDS IN ACTION BIG FUN BIG FUN BODY TALK KIDS IN MOTION BOP TILL YOU DROP KIDS IN ACTION BOUNCE & BOOGIE BOUNCE & BOOGIE BUGGY WUGGY, BOOGIE WOOGIE BOUNCE & BOOGIE CAN’T SIT STILL KIDS IN ACTION CAN’T SIT STILL ROCKIN’ DOWN THE ROAD CAN YOU LEAP LIKE A FROG? KIDS IN ACTION CONGA LINE KIDS IN ACTION COPY CAT KIDDING AROUND COUNT BOUNCE KIDS IN MOTION DANCE MEDLEY WALT VOL 4 DANCIN’ MACHINE ROCKIN’ DOWN THE ROAD DANCIN’ MACHINE WALT VOL 3 DANCE WITH ME JUMPIN’ & JAMMIN’ DANCE WITH YOUR TEDDY BEAR JUMPIN’ & JAMMIN’ DISCO LIMBO WALT VOL 3 DO THE BUTTERFLY JUMPIN’ & JAMMIN’ FRIENDSHIP MARCH WALT VOL 1 FUNNY BONE BLUES BOUNCE & BOOGIE GET READY, GET SET, LET’S DANCE KIDS IN ACTION GET UP AND GO WALT VOL 5 GOIN’ ON A BEAR HUNT KIDS IN ACTION GOOFY HAT DANCE FUN & GAMES HAND JIVE WALT VOL 4 HOKEY POKEY KIDDING AROUND I CAN WORK WITH ONE HAMMER FUN & GAMES IF YOU FEEL LIKE ROCKIN’ HOLIDAYS & SPECIAL TIMES IF YOU’RE HAPPY AND YOU KNOW IT WALT VOL 3 I’VE GOT MUSIC IN ME FUN & GAMES JIM ALONG JOSIE READY, SET, MOVE JIMMY CRACK CORN KIDDING AROUND JOIN IN THE GAME PLAYING FAVORITES JUMP & JAM JUMPIN & JAMMIN JUMP DOWN, TURN AROUND READY, SET, MOVE JUST LIKE ME BOUNCE & BOOGIE JUST LIKE ME WALT VOL 4 LISTEN & MOVE WALT VOL 2 LOOP D’ LOO WALT VOL 1 MACK CHICKEN DANCE BIG FUN MOVEMENT MEDLEY BIG FUN MR. KNICKERBOCKER FUN & GAMES MY SHADOW KIDS IN MOTION NEW ZOO REVIEW BIG FUN OLD BRASS WAGON WALT VOL 5 ON THE MOVE ON THE MOVE PARTY LINE BIG FUN PARTY LINE HOLIDAYS & SPECIAL TIMES POPCORN WALT VOL 2 POPCORN BOUNCE & BOOGIE PUT YOUR FINGER IN THE AIR PLAYING FAVORITES READY FOR A GOOD TIME READY, SET, MOVE READY, SET, MOVE READY, SET, MOVE RIDING IN MY CAR ROCKIN’ DOWN THE ROAD ROCK ‘N ROLL RHYTHM BAND WALT VOL 5 ROCK TO THE MUSIC ON THE MOVE ROCK WITH ME FUN & GAMES SAFETY BREAK KIDDING AROUND SHADOW DANCING KIDS IN MOTION SHAPES WALT VOL 3 SHIMMY SHAKE READY, SET, MOVE SHOO FLY ON THE MOVE SHOW ME WHAT YOU FEEL KIDS IN MOTION SILLY WILLIES BIG FUN SIMON SAYS WALT VOL 3 SKIP TO MY LOO WALT VOL 1 SPORTS DANCE ON THE MOVE TEDDY BEAR TURN AROUND/ READY, SET, MOVE TWO LITTLE BLACKBIRDS THE BEAR WENT OVER THE MTN READY, SET, MOVE THE BODY ROCK KIDS IN MOTION THE BODY ROCK KIDDING AROUND THE BOOGIE WALK WALT VOL 2 THE FREEZE KIDS IN MOTION THE FREEZE WALT VOL 2 THE NUMBER GAME WALT VOL 5 THE WAY WE DO IT KIDS IN ACTION THIS OLD MAN PLAYING FAVORITES TUMMY TANGO KIDS IN MOTION WARMIN’ UP ON THE MOVE WHAT IS PINK? KIDS IN MOTION WHAT WILL WE DO? BIG FUN WIGGLE WOBBLE WALT VOL 1 Patriotic A MAN NAMED KING HOLIDAYS & SPECIAL TIMES ROCKIN’ THE USA ROCKIN’ DOWN THE ROAD THIS LAND IS YOUR LAND HOLIDAYS & SPECIAL TIMES THIS LAND IS YOUR LAND ROCKIN’ DOWN THE ROAD Reading ABC ROCK WALT VOL 1 BINGO WALT VOL 4 DAYS OF THE WEEK WALT VOL 4 I HAD A ROOSTER JUMPIN’ & JAMMIN’ IT’S A BEAUTIFUL DAY WALT VOL 4 MONTHS OF THE YEAR WALT VOL 2 MR RABBIT BOUNCE & BOOGIE MY SHADOW KIDS IN MOTION RHYME TIME KIDDING AROUND SHE’LL BE COMIN ROUND THE MTN WALT VOL 2 SHOO FLY ON THE MOVE SIMON SAYS WALT VOL 3 THE LITTLE RED HEN FUN & GAMES THE MAGIC OF READING BIG FUN THE TEDDY BEAR SONG FUN & GAMES TODAY IS MONDAY SHAKE, RATTLE & ROCK WE ALL LIVE TOGETHER WALT VOL 1 WHAT IS PINK KIDS IN MOTION Sing Along 5 LITTLE MONKEYS READY, SET, MOVE BELIEVE IN YOURSELF KIDDING AROUND BINGO WALT VOL 4 BY THE SEA JUMPIN & JAMMIN DAYS OF THE WEEK WALT VOL 4 DID YOU EVER SEE A LASSIE PLAYING FAVORITES DOWN BY THE BAY PLAYING FAVORITES FRIENDS ON THE MOVE FRIENDS FOREVER WALT VOL 5 GOODBYE WALT VOL 1 GOODBYE AND FAREWELL HOLIDAYS & SPECIAL TIMES GOOD MORNING WALT VOL 2 HAVE A NICE DAY JUMPIN & JAMMIN HELLO WORLD FUN & GAMES HEY LOLLY, LOLLY JUMPIN & JAMMIN HOME ON THE RANGE ROCKIN’ DOWN THE ROAD HOW MANY DAYS ON THE MOVE I CAN WORK WITH ONE HAMMER FUN & GAMES IF YOU’RE HAPPY AND YOU KNOW IT WALT VOL 3 IN MY BACK YARD BIG FUN IT’S A BEAUTIFUL DAY WALT VOL 3 IT’S CIRCLE TIME READY, SET, MOVE I’VE BEEN WORKING ON THE PLAYING FAVORITES RAILROAD JIMMY CRACK CORN KIDDING AROUND JINGLE BELL ROCK HOLIDAYS & SPECIAL TIMES JOIN IN THE GAME PLAYING FAVORITES LOVE IS HOLIDAYS & SPECIAL TIMES MONTHS OF THE YEAR WALT VOL 2 MUSIC MAKES THE WORLD GO HOLIDAYS & SPECIAL TIMES ‘ROUND PETER COTTONTAIL HOLIDAYS & SPECIAL TIMES ROCK TO THE MUSIC ON THE MOVE SHE’LL BE COMIN’ ROUND THE MTN WALT VOL 2 SING A HAPPY SONG WALT VOL 3 SUNSHINE MEDLEY ROCKIN’ DOWN THE ROAD THE BEAR WENT OVER THE MTN READY, SET, MOVE THE FRIENDSHIP SONG BOUNCE & BOOGIE THE HUGGING SONG KIDDING AROUND THE MAGIC OF A SMILE BIG FUN THE MUFFIN MAN WALT VOL 2 THE OTHER DAY I MET A BEAR BOUNCE & BOOGIE THE TEDDY BEAR SONG FUN & GAMES THE WORLD IS A RAINBOW WALT VOL 2 THIS LAND IS YOUR LAND HOLIDAYS & SPECIAL TIMES UNITED WE STAND READY, SET, MOVE WE ALL LIVE TOGETHER WALT VOL 1 WE’RE ALL THE SAME INSIDE BOUNCE & BOOGIE WE’RE ALL TOGETHER AGAIN WALT VOL 5 WE’VE GOT THE WHOLE WORLD PLAYING FAVORITES WHAT WILL WE DO? BIG FUN ZIP A DEE DO DAH PLAYING FAVORITES Social Emotional BELIEVE IN YOURSELF KIDDING AROUND DANCE WITH YOUR TEDDY BEAR JUMPIN’ & JAMMIN’ DAYS OF THE WEEK WALT VOL 4 GOOD BYE WALT VOL 1 FRIENDS ON THE MOVE FRIENDSHIP SONG WALT VOL 5 FUNNY BONE BLUES BOUNCE & BOOGIE INKY DINKY DOO JUMPIN’ & JAMMIN IT’S A BEAUTIFUL DAY WALT VOL 4 JUST LIKE ME BOUNCE & BOOGIE LOVE IS HOLIDAYS & SPECIAL TIMES ROCK AROUND THE MULBERRY BUSH WALT VOL 1 ROUND IN A CIRCLE WALT VOL 1 SAY HELLO KIDDING AROUND SHOW ME WHAT YOU FEEL KIDS IN MOTION SING A HAPPY SONG WALT VOL 3 THE BOOGIE WALK WALT VOL 3 THE FREEZE WALT VOL 2 WE ALL LIVE TOGETHER WALT VOL 1 WIGGLE WOBBLE WALT VOL 1 Social Studies A MAN NAMED KING HOLIDAYS & SPECIAL TIMES BEAUTIFUL WORLD KIDS IN ACTION IN MY BACKYARD (JUNK) BIG FUN MONTHS OF THE YEAR WALT VOL 2 WE ALL LIVE TOGETHER WALT VOL 1 WE’VE GOT THE WHOLE WORLD PLAYING FAVORITES STEM/STEAM - Engineering ADVENTURE IN SPACE ON THE MOVE IN MY BACKYARD BIG FUN PEANUT BUTTER & JELLY FUN & GAMES POPCORN WALT VOL 2 POPCORN BOUNCE & BOOGIE THE MAGIC COIN QUIET MOMENTS THE WORLD IS A RAINBOW WALT VOL 2 WE ALL LIVE TOGETHER WALT VOL
Recommended publications
  • Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
    Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod.
    [Show full text]
  • 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]
  • '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.
    [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]
  • Study Guide Table of Contents Pre-Performance Activities and Information
    For Grades K - 12 STUDY GUIDE TABLE OF CONTENTS PRE-PERFORMANCE ACTIVITIES AND INFORMATION TEKS Addressed 3 Attending a ballet performance 5 The story of The Nutcracker 6 The Science Behind The Snow 13 The Artists Who Created Nutcracker: Choreographers 16 The Artists Who Created Nutcracker: Composer 17 The Artists Who Created Nutcracker: Designer 18 Animals Around The World 19 Dancers From Around The World 21 Look Ma, No Words 22 Why Do They Wear That? 24 Ballet Basics: Fantastic Feet 25 Ballet Basics: All About Arms 26 Houston Ballet: 1955 To Today 27 Appendix A: Mood Cards 28 Appendix B: Set Design 29 Appendix C: Costume Design 30 Appendix D: Glossary 31 Program Evaluation 33 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Identify different countries from around the world; • Describe the science behind the snow used in The Nutcracker; • Describe at least one dance from The Nutcracker in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §112.11. SCIENCE, KINDERGARTEN (6) Force, motion, and energy. The student knows that energy, force, and motion are related and are a part of their everyday life §117.112. MUSIC, GRADE 3 (1) Foundations: music literacy. The student describes and analyzes musical sound. §117.109. MUSIC, GRADE 2 (1) Foundations: music literacy. The student describes and analyzes musical sound. (6) Critical evaluation and response. The student listens to, responds to, and evaluates music and musical performances. §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures.
    [Show full text]
  • Performances on Planet Break1
    DOSSIER PERFORMANCES ON DOI https://dx.doi.org/10.11606/ 1 issn.2525-3123.gis.2019.162333 PLANET BREAK OTÁVIO RAPOSO Centro de Investigação e Estudos de Sociologia, ORCID Instituto Universitário de Lisboa (CIES–IUL), Lisbon, https://orcid.org/0000-0001-8000-6901 Portugal, 1649-026- [email protected] PERFORMANCES ON PLANET BREAK 6'24'', 2018 1. This work is a result of my PhD research on Anthropology (Rapo- so, 2013), which also produced the documentary “A galera” (2016). It was funded by Fundação para a Ciência e Tecnologia (FCT) and developed at University Institute of Lisbon and Centre for Re- search and Studies in Sociology. 321 São Paulo, v. 4, n.1, p. 321-324, Oct. 2019 Bodies sway to the rhythm of funk and breakbeat. Dancing is joined by clapping hands and attentive gazes, revealing closeness among those taking part. Snapback caps, designer trainers and colourful t-shirts bearing symbols connected to “hip-hop culture” predominate among the young people, visual fronts that embody their adherence to the same lifestyle (Pais 2004). After all, it is not enough to do breakdancing2 to be a b-boy or b-girl, you need to show that you are one. Both actions (doing and showing) are part of a dancer’s performance (Schechner 2002) and are compulsory in embodying that identity. As music begins to fill up the space, the number of cyphers multiplies, where b-boys and b-girls contend for the privilege of dancing. The per- formances are no longer than thirty seconds. For each “entry”, they must display a range of varied movements while others watch, waiting for their turn to enter the cypher.
    [Show full text]
  • City of Punta Gorda Adaptation Plan
    City of Punta Gorda Adaptation Plan Southwest Florida Regional Planning Council Charlotte Harbor National Estuary Program Technical Report 09-4 11/18/2009 James W. Beever III, Whitney Gray, Daniel Trescott, Dan Cobb, Jason Utley, David Hutchinson, John Gibbons, Tim Walker, Moji Abimbola: SWFRPC And Lisa B. Beever, Judy Ott: CHNEP 1926 Victoria Avenue Fort Myers FL 33901 (239) 338-2550 www.SWFRPC.org and www.CHNEP.org Adaptation Plan Page 1 The Charlotte Harbor National Estuary Program is a partnership of citizens, elected officials, resource managers and commercial and recreational resource users working to improve the water quality and ecological integrity of the greater Charlotte Harbor watershed. A cooperative decision-making process is used within the program to address diverse resource management concerns in the 4,400 square mile study area. Many of these partners also financially support the Program, which, in turn, affords the Program opportunities to fund projects such as this. The entities that have financially supported the program include the following: U.S. Environmental Protection Agency Southwest Florida Water Management District South Florida Water Management District Florida Department of Environmental Protection Peace River/Manasota Regional Water Supply Authority Polk, Sarasota, Manatee, Lee, Charlotte, DeSoto, and Hardee Counties Cities of Sanibel, Cape Coral, Fort Myers, Punta Gorda, North Port, Venice, Fort Myers Beach, and Winter Haven and the Southwest Florida Regional Planning Council. Adaptation Plan Page 2 Charlotte Harbor National Estuary Program Policy Committee Mr. Tom Welborn, Co-Chair Mr. Jon Iglehart, Co-Chair Branch Chief, Wetlands, Coastal, & Water Quality South District Director U. S. Environmental Protection Agency, Region 4 Florida Department of Environmental Protection CITIES COUNTIES AGENCIES Hon.
    [Show full text]
  • Hip Hop Terms
    1 Topic Page Number General Hip Hop Definitions ………………………………………………. 3 Definitions Related to Specific Dance Styles: ♦ Breaking ………………………………………………………………………. 4 ♦ House ………………………………………………………..………………… 6 ♦ Popping / Locking …………………………………………….….……… 7 2 GENERAL • Battle A competition in which dancers, usually in an open circle surrounded by their competitors, dance their routines, whether improvised (freestyle) or planned. Participants vary in numbers, ranging from one on one to battles of opposing breaking crews, or teams. Winners are determined by outside judges, often with prize money. • • Cypher Open forum, mock exhibitions. Similar to battles, but less emphasis on competition. • Freestyle Improvised Old School routine. • Hip Hop A lifestyle that is comprised of 4 elements: Breaking, MCing, DJing, and Graffiti. Footwear and clothing are part of the hip hop style. Much of it is influenced by the original breaking crews in the 1980’s from the Bronx. Sneakers are usually flat soled and may range from Nike, Adidas, Puma, or Converse. Generally caps are worn for spins, often with padding to protect the head. To optimize the fast footwork and floor moves, the baggy pants favored by hip hop rappers are not seen. o Breaking Breakdancing. o MCing Rapping. MC uses rhyming verses, pre‐written or freestyled, to introduce and praise the DJ or excite the crowd. o DJing Art of the disk jockey. o Graffiti Name for images or lettering scratched, scrawled, painted usually on buildings, trains etc. • Hip Hop dance There are two main categories of hip hop dance: Old School and New School. • New School hip hop dance Newer forms of hip hop music or dance (house, krumping, voguing, street jazz) that emerged in the 1990s • Old School hip hop dance Original forms of hip hop music or dance (breaking, popping, and locking) that evolved in the 1970s and 80s.
    [Show full text]
  • B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H
    B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5.
    [Show full text]
  • Common Musculoskeletal Injuries Faced by B-Boydancers
    International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2013): 6.14 | Impact Factor (2015): 6.391 Common Musculoskeletal Injuries Faced by B-Boydancers Dr. Deepa Abichandani1, Vinayak Hule2 1Assistant Professor, School of Physiotherapy, D. Y. Patil University, Navi Mumbai, India 2Final Year Student, School of Physiotherapy, D. Y. Patil University, Navi Mumbai, India Abstract: Dancers have high risk for injury like any athlete. Objective: To study musculoskeletal injuries faced by B-Boy dancers and their understanding about protective gears, dance floor and footwear and physiotherapy. Method: A survey based study using self- devised pre validated questionnaire. Result:24.04% breakers reported injury at knee;17.31% in lowerback;16.35%in shoulder; 15.38% arms/hands; 9.62% at wrist;8.65% in neck and ankle while lowest were elbow, thigh, ribs and feet. Conclusion: Common injuries: Knee > Lower Back > Shoulder > Arms / Hand. Dancers need to be made aware regarding Physiotherapy’s role in injury prevention and post- injury rehabilitation. Keywords: B-Boy, breakers, injury, prevention, physiotherapy aerobic energy systems which are essentials for dance 1. Introduction 5 performance. To the author‟s best knowledge, there has B-boying is a form of dance which places extreme unique been no study done on musculoskeletal injuries faced by physical demands in terms of flexibility, strength, Indian B-boy dancers for which this study was undertaken. endurance. B-boying also known as “break dance” or “breaking” combines dance, music, lifestyle and acrobatic 2. Aim and Objective sport. It is regarded as a popular adolescent sport in Asia, Europe and America, although its popularity peaked in the To Find the Common Musculoskeletal Injuries Faced By B- 1980‟s.1,2As with any athlete, the dancer has a high risk for Boying Dancers.
    [Show full text]
  • Hip Hop Dance Unit Vocabulary
    Hip Hop Dance Unit Vocabulary Battles: any level of competition where break dancers, in an open space (typically a circle) participate in quick-paced, turn based routines, whether improvised or planned. Participants vary in number and can often include "crews" or teams. Winners are determined by who exhibits the most proficient combination of moves Break Dance: (b-boying/b-girling) is a combination of funk, martial arts, gymnastics. Break dancing is done to the "break" section of the music where percussion is the strongest. Freeze: (aka Stall)-stationary power move which focuses on a pose. Most skillful freezes require suspension off the floor using specific parts of the body. Two most popular are "chair freeze" and "baby freeze Flare: common floor element when spinning on hands, legs flare up and open as spin continues. Kip up: spring like action which initiates on your back, hips roll back towards head, then body springs forward and hips lift to end standing up. Krumping: Created on streets, aggressive style of hip hop that looks like fighting, a lot of hand gestures/pushing chest out/stomping feet, and was created as a way to express yourself. Locking: sharp transition between each of multiple freezes/poses like clicks associated with door bolts. Has the effect like locking the joints (moves called skeeters/Scooby doos/stop n'go/fancies) Popping: movement with elements of mime made by flexing the muscles and joints to the beat of the music. Done with locking to create movement/stop effect. Robot: precise, isolated movements and turns that lock into place before the next movement begins.
    [Show full text]
  • By Ursula Kendall the Anatomy and Athleticism of a Freeze
    By Ursula Kendall Consult with a physician and/or qualified personnel before executing any training, exercise, cheer or dance movements and/or techniques. See disclaimer on page 7. The information shown is general and not complete in instruction. See qualified and credentialed guidance with any technique. For most African Americans in dance team I have witnessed competing, Heavy D, Digital Underground and other amazing artists in that era to the passion is there but technique is lacking. The technique is lacking give you more than the 3-point turns or the ‘crotch down walk’ into due to the neglect of participating in classes for hip hop technique. positions which is NOT footwork or a transition. In addition, teams Another problem is that teams are hiring or assigning coaches or should not limit their levels movement to just up and down but by inexperienced choreographers who are uneducated regarding the involving the entire space around them for movement. different forms of hip hop movements therefore unable to prepare the A great hip hop routine has leveled movements and musicality. There team for more challenging stylized movements. In my opinion, this is routine shows a beat for everything and takes advantage of utilizing the unfortunate as black music and let movement speak from Americans had a The Anatomy and Athleticism of A Freeze there. Janet Jackson is a perfect historical example for stylized arms, heads and dominance in this Use the glutes, quads and hamstring muscles for body placement. Be inspired from some form of dance genre. straight leg extensions of her earlier works in music and videos, In the art of hip hop you have Strong hip flexors come into plays for actually flexibility such as Rhythm Nation or The Pleasure be willing to get down and of movement and ending body placement Principle, to direct you in unique ways to dirty.
    [Show full text]