Academic Learning Packets
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Championship Sunday
The Daily Racquet Established 1996 OCTOBER 8th, 2017 Volume 22, Issue 4 CHAMPIONSHIP SUNDAY In Play Sunday... ROCKY FRÉDÉRIQUE October 8, 2017 USAR Amateur Matches 8:00 a.m. – 7:00 p.m. VS VS All LIFE TIME Venues - Target Center (LFTC) PAOLA - Minneapolis A.C. (MAC) KANE - Fridley (LTFF) Women’s Professional Final Men’s Professional Final 10:00 A.M. - Stadium Court Not before 12:00 P.M. - Stadium Court WOMEN’S PRO FINAL Paola Longoria vs. Frédérique Lambert Kane Waselenchuk vs. Rocky Carson PAOLA LONGORIA vs. FRÉDÉRIQUE LAMBERT For just the third time in UnitedHealthcare US Roger Federer and Rafael Nadal have faced each STADIUM COURT OPEN history, the Women’s Professional Final will be other 37 times. Woody Hayes and Bo Schembechler were 10:00 a.m. an all-international affair. Canada’s Frédérique Lambert on opposite sidelines for just 10 seasons. Muhammad Ali makes her first US OPEN Finals appearance against and Joe Frazier, they met just three times. Mexico’s Paola Longoria - the Queen of the Stadium Today Kane and Rocky meet for the 73rd time of MEN’S PRO FINAL Court. their professional careers - the most ever in Professional KANE WASELENCHUK Many experts pegged Frédérique as the most Racquetball history. It will be the 6th time they have played vs. ROCKY CARSON likely to disrupt Paola’s domination of the LPRT, however each other in the UnitedHealthcare US OPEN Finals. All her attention has been diverted towards medical school five previous encounters have gone Kane’s way towards STADIUM COURT the past couple of years. -
Funkids Amb La Black Music Big Band & Brodas Junior
Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès. -
Dance on Screen This Page Intentionally Left Blank Dance on Screen Genres and Media from Hollywood to Experimental Art
Dance on Screen This page intentionally left blank Dance on Screen Genres and Media from Hollywood to Experimental Art Sherril Dodds Lecturer in Dance Studies Department of Dance Studies University of Surrey © Sherril Dodds 2001 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2001 by PALGRAVE Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N. Y. 10010 Companies and representatives throughout the world PALGRAVE is the new global academic imprint of St. Martin’s Press LLC Scholarly and Reference Division and Palgrave Publishers Ltd (formerly Macmillan Press Ltd). ISBN 978-1-4039-4145-9 ISBN 978-0-230-50958-0 (eBook) DOI 10.1057/9780230509580 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Dodds, Sherril, 1967– Dance on screen : genres and media from Hollywood to experimental art / Sherril Dodds. -
'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. -
The THREE's a CROWD
The THREE’S A CROWD exhibition covers areas ranging from Hong Kong to Slavic vixa parties. It looks at modern-day streets and dance floors, examining how – through their physical presence in the public space – bodies create temporary communities, how they transform the old reality and create new conditions. And how many people does it take to make a crowd. The autonomous, affect-driven and confusing social body is a dynamic 19th-century construct that stands in opposition to the concepts of capitalist productivity, rationalism, and social order. It is more of a manifestation of social dis- order: the crowd as a horde, the crowd as a swarm. But it happens that three is already a crowd. The club culture remembers cases of criminalizing the rhythmic movement of at least three people dancing to the music based on repetitive beats. We also remember this pandemic year’s spring and autumn events, when the hearts of the Polish police beat faster at the sight of crowds of three and five people. Bodies always function in relation to other bodies. To have no body is to be nobody. Bodies shape social life in the public space through movement and stillness, gath- ering and distraction. Also by absence. Regardless of whether it is a grassroots form of bodily (dis)organization, self-cho- reographed protests, improvised social dances, artistic, activist or artivist actions, bodies become a field of social and political struggle. Together and apart. ARTISTS: International Festival of Urban ARCHIVES OF PUBLIC Art OUT OF STH VI: SPACE PROTESTS ABSORBENCY -
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. -
A Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild
ESSAYS IN HONOUR OF STEPHEN A. WILD Stephen A. Wild Source: Kim Woo, 2015 ESSAYS IN HONOUR OF STEPHEN A. WILD EDITED BY KIRSTY GILLESPIE, SALLY TRELOYN AND DON NILES Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: A distinctive voice in the antipodes : essays in honour of Stephen A. Wild / editors: Kirsty Gillespie ; Sally Treloyn ; Don Niles. ISBN: 9781760461119 (paperback) 9781760461126 (ebook) Subjects: Wild, Stephen. Essays. Festschriften. Music--Oceania. Dance--Oceania. Aboriginal Australian--Songs and music. Other Creators/Contributors: Gillespie, Kirsty, editor. Treloyn, Sally, editor. Niles, Don, editor. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press. Cover photograph: ‘Stephen making a presentation to Anbarra people at a rom ceremony in Canberra, 1995’ (Australian Institute of Aboriginal and Torres Strait Islander Studies). This edition © 2017 ANU Press A publication of the International Council for Traditional Music Study Group on Music and Dance of Oceania. Aboriginal and Torres Strait Islander people are advised that this book contains images and names of deceased persons. Care should be taken while reading and viewing. Contents Acknowledgements . vii Foreword . xi Svanibor Pettan Preface . xv Brian Diettrich Stephen A . Wild: A Distinctive Voice in the Antipodes . 1 Kirsty Gillespie, Sally Treloyn, Kim Woo and Don Niles Festschrift Background and Contents . -
Racquetball Packet # 18
RACQUETBALL PACKET # 18 INSTRUCTIONS This Learning Packet has two parts: (1) text to read and (2) questions to answer. The text describes a particular sport or physical activity, and relates its history, rules, playing techniques, scoring, notes and news. The Response Forms (questions and puzzles) check your understanding and appreciation of the sport or physical activity. INTRODUCTION Racquetball is a relatively new game which continues to grow in popularity. It can be played competitively or simply for fun and relaxation. HISTORY OF THE GAME Racquetball is an offshoot of the game of tennis. It’s tempting to make comparisons between the two sports but we have to be careful not to be misleading! According to many pros, excelling in one of the racquet sports does not necessarily guarantee top performance in another. Racquetball is a young sport, having originated in the United States in the 1950s. Although it is strenuous and physically challenging, it does not entail chasing balls all over a court. But like tennis, it does require both supe- rior physical dexterity as well as the ability to strategize quickly and effectively. HOW RACQUETBALL IS PLAYED BASIC RULES Racquetball can be played alone, against one opponent as a singles game, or with four Physical Education Learning Packets #18 Racquetball Text © 2008 The Advantage Press, Inc. players as a doubles game. In racquetball, the first team or player to score 21 points (or to score 11 points if the opposing players remain scoreless) wins. A match is won by the first side to win two games. The server or serving side tries to win each volley by serving or returning the ball so that the opposition is not able to keep the ball in play. -
320+ Halloween Songs and Albums
320+ Halloween Songs and Albums Over 320 Songs for Halloween Theme Rides in Your Indoor Cycling Classes Compiled by Jennifer Sage, updated October 2014 Halloween presents a unique opportunity for some really fun musically themed classes—the variety is only limited by your imagination. Songs can include spooky, dark, or classic-but-cheesy Halloween tunes (such as Monster Mash). Or you can imagine the wide variety of costumes and use those themes. I’ve included a few common themes such as Sci-Fi and Spy Thriller in my list. Over the years I’ve gotten many of these song suggestions from various online forums, other instructors, and by simply searching online music sources for “Halloween”, “James Bond”, “Witch”, “Ghost” and other key words. This is my most comprehensive list to date. If you have more song ideas, please email them to me so I can continually update this list for future versions. [email protected]. This year’s playlist contains 50 new specific song suggestions and numerous new album suggestions. I’ve included a lot more from the “darkwave” and “gothic” genres. I’ve added “Sugar/Candy” as its own theme. Sources: It’s impossible to list multiple sources for every song but to speed the process up for you, we list at least one source so you don’t spend hours searching for these songs. As with music itself, you have your own preference for downloading sources, so you may want to check there first. Also, some countries may not have the same music available due to music rights. -
International Exchange in Dance Annual of Contemporary Dance Double Issue 3.50 1963 • 1964
7 INTERNATIONAL EXCHANGE IN DANCE ANNUAL OF CONTEMPORARY DANCE DOUBLE ISSUE 3.50 1963 • 1964 • • WW * Copyright 1963 by Impulse Publications, Inc. l^yyKA' \s<s y Inde x S. I. Hayakawa THE UNACKNOWLEDGED LEGISLATORS 5 Rhoda Kellogg THE BIOLOGY OF ESTHETICS 9 Adele Wenig "IMPORTS AND EXPORTS" —1700-1940 16 Walter Sorell SOL THE MAGNIFICENT 29 Arthur Todd DANCE AS UNITED STATES CULTURAL AMBASSADOR 33 Walter Sorell A FAREWELL AND WELCOME 44 RECENT "EXPORTS" 46 as told to Rhoda Slanger Jean Erdman Meg Gordeau Paul Taylor as told to Joanna Gewertz Merce Cunningham Ann Halprin Jerry Mander THE UNKNOWN GUEST 56 Isadora Bennett SECOND THOUGHTS 63 Letter from Thomas R. Skelton STAGING ETHNIC DANCE 64 Thomas R. Skelton BALLET FOLKLORICO 71 Antonio Truyol NOTES FROM THE ARGENTINE 73 Ester Timbancaya DANCE IN THE PHILIPPINES^ 76 Joanna Gewertz THE BACCHAE 80 Ann Hutchinson NOTATION — A Means of International Communication 82 in Movement and Dance QLA Margaret Erlanger DANCE JOURNEYS 84 SPONSORSHIP AND SUPPORT 88 t> Editor: Marian Van Tuyl Editorial Board: Doris Dennison, Eleanor Lauer, Dorothy Harroun, Ann Glashagel, Joanna Gewertz; Elizabeth Harris Greenbie, Rhoda Kellogg, David Lauer, Bernice Peterson, Judy Foster, Adele Wenig, Rhoda Slanger, Ann Halprin, Dorrill Shadwell, Rebecca Fuller. Production Supervision: Lilly Weil Jaffe ACKNOWLEDGMENTS: Cover design by David Lauer Photographs by courtesy of: San Francisco Chronicle 15 Harvard Theatre Collection 18, 19, 22, 23 Dance Collection: New York Public Library 21, 25, 26 Hurok Attractions, New York 29, 30, 31 Studio Roger Bedard, Quebec 31 Fay Foto Service, Inc., Boston 32 U.S. Information Service, Press Section, Photo Laboratory, Saigon, Vietnam 33 U.S. -
2012 Sponsorship Opportunities
Looking for an exciting and effective way to get visibility for your company? Sponsor a Pro Tournament in one of the world’s fastest growing sports: racquetball! April 16 – 19, 2015 – Be a part of the action when the Mile High Racquetball Pro/Am comes to Denver! Adrenaline will flow and sparks will fly as the top players in the world, including Paola Longoria, Rhonda Rajsich, Maria Jose Vargas, and Samantha Salas battle for dominance in the world’s fastest sport. Now in its third year, the Mile High Racquetball Pro/Am, presented by the Ladies Professional Racquetball Tour (LPRT) and the Denver Athletic Club, is a full Tier 1 stop on the Women’s LPRT Professional Racquetball Circuit with a $12,000 purse, as well as a USAR/CRA-sanctioned tournament for men’s and women’s amateur singles and doubles. There will also be onsite clinics led by pros. This tournament will bring together top-ranked international players, local and national media, and hundreds of spectators and All photos this page courtesy of the LPRT. participants eager to do business with companies that sponsor their favorite annual event and the sport that they love. Be there. Be visible. Be a sponsor! All photos this page courtesy of the LPRT. Sponsorship Opportunities 2015 Mile High Racquetball Pro/Am GET IN THE ACTION Supporting the Mile High Racquetball Pro/Am offers great value for your advertising dollar and sends a strong message about the importance your company places on fitness and sports. Sponsorship packages are available at a range of prices. -
Dance Prog Rams
Our Mission Statement: BALLET Res/NR: $205/$240 The Oak Lawn Park District’s Infiniti Dance Company is committed to Being the basis for all genres of dance, the correct French terms are used the art of dance. We work hard to introduce and instill just the right and their meanings explained. Classical training promotes a widened 23 amount of self-expression, discipline, and passion in each of our range of motion through the use of strictly disciplined movements and students. Whether a student is dancing for fun or planning to enter the positions. Ages 3-4 will explore more with creativity and movement with arts on a professional level, our qualified and passionate staff is here to music. Students will progress to harder steps as they get older and ad- guide you along the way. We strive for private studio quality, with af- vance in their technique. All ballet classes require students to wear a le- fordable prices in today’s struggling economy. Our goal is to allow each otard, tights, ballet skirt/form fitting shorts and ballet pink leather ballet dancer to experience the elements of dance; confidence, coordination, shoes with instep and elastic strap. No “slipper” style shoes allowed. (df) creativity, self-esteem, technique, an appreciation for music and dance, but above all HAVING FUN! DANCING FOR THE MUSICAL STAGE (D4MS) Res/NR: $205/$240 Dancing for the Musical Stage incorporates a broadway jazz style, acting Important Information: and musicality. Students will learn about new and classical musicals, · You can register at any facility in person, online, or fax in your registration.