Dance with Me" Centro Journal, Vol
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Malpaso Dance Company Is Filled with Information and Ideas That Support the Performance and the Study Unit You Will Create with Your Teaching Artist
The Joyce Dance Education Program Resource and Reference Guide Photo by Laura Diffenderfer The Joyce’s School & Family Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special support has been provided by Con Edison, The Walt Disney Company, A.L. and Jennie L. Luria Foundation, and May and Samuel Rudin Family Foundation, Inc. December 10, 2018 Dear Teachers, The resource and reference material in this guide for Malpaso Dance Company is filled with information and ideas that support the performance and the study unit you will create with your teaching artist. For this performance, Malpaso will present Ohad Naharin’s Tabla Rasa in its entirety. Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. Thirty-two years after that first performance, on May 4, 2018, this seminal work premiered on Malpaso Dance Company in Cuba. Check out the link here for the mini-documentary on Ohad Naharin’s travels to Havana to work with Malpaso. This link can also be found in the Resources section of this study guide. A new work by company member Beatriz Garcia Diaz will also be on the program, set to music by the Italian composer Ezio Bosso. The title of this work is the Spanish word Ser, which translates to “being” in English. I love this quote by Kathleen Smith from NOW Magazine Toronto: "As the theatre begins to vibrate with accumulated energy, you get the feeling that they could dance just about any genre with jaw-dropping style. -
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. -
The Dance Series from Ortofon Is Now Complete – MC Tango Joins MC Samba & MC Salsa for Almost Sixty Years, Ortofon Has
March, 2007 The dance series from Ortofon is now complete – MC Tango joins MC Samba & MC Salsa For almost sixty years, Ortofon has been at the forefront of music reproduction from analogue records. Throughout the years Ortofon have developed many new and creative designs for the enjoyment of music lovers and audio enthusiasts all over the world. WHY AN ORTOFON MOVING COIL CARTIDGE? Many have asked the question: Why is the sound of a moving coil cartridge so superior to that of a traditional magnetic: The answer in one word is linearity. The patented Ortofon low-impedance, low-output design is inherently linear over the entire audible range. This coupled with unequalled tracking ability and unique diamond profiles combines to deliver a sound previously deemed unattainable. The MC Tango, MC Samba and MC Salsa is a direct result of our endeavours. MC Tango has an elliptical diamond which is cut and polished to Ortofon’s standards, and the output is 0.5 mV. The MC Tango is our MC entry level cartridge with a very high cost/performance ratio. MC Samba and MC Salsa have a tiny, nude Elliptical or Fine Line diamond, mounted on a very light and rigid cantilever. This results in low equivalent stylus tip mass and cantilever compliance on 14 and 15 µm/mN, which means that MC Samba and MC Salsa will give excellent results with virtually any tone arm. The armature has been designed as a tiny lightweight cross, and the coils are mounted at exactly 90 degree to each other (just like the walls of the record groove), which is improving the channel separation. -
Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward -
RMAL Folkloric Recommendations
RMAL Folkloric Recommendations From the Usenet Newsgroup rec.music.afro-latin comes this list of recommended folkloric CD's (with an occasional cassette or LP). It is confined to Afro-Puerto Rican and Afro-Cuban "roots" music that is predominantly percussive/vocal; so it does not include the equally rich folkloric genre called son. Toward the end is a list of music and instruction videos and book/CD's. For those of you who are new to this genre, categories PUERTO RICO and CUBA have an asterisk * by those CDs which we think should be among your first buys. Our thanks for their generous help to Jorge Ginorio, Stan Ginn, Mike "Yambu" Doran, Zeno Okeanos and "Califa". Please note that for a few of these, the label and/or release date information is unknown. These are marked with (?). If you happen to know this information, please send me appropriate comments. PUERTO RICO Canario y su Grupo Plenas (Ansonia HGCD 1232) (?) Anthony Carrillo Mis Races (DRS Musical Productions DRMP2) 1997 Encuentro de Bomba y Plena al Acetato (MCB9203CD) 1992 - Modesto Cepeda *Races de Bomba y Plena (MCB9504CD) 1995 - Legado de Bomba y Plena (MCB9705CD) 1997 *William Cepeda & Bombazo (Blue Jackel BJAC 5027-2) 1998 Grupo Afro-Boricua Rafael Cepeda El Roble Mayor (Balele Records 010) 1996 Cortijo y Kako Ritmos y Cantos Callejeros (Ansonia CD 1477) 1970 Dr.Emanuel Dufrasne Puerto Rico Tambien Tiene Tamb - Book Copyright by Author, Gonzalez 1994 *Paracumbe Tamb (Ashe CD 2005) 1997 Somos Boricuas,Bomba y Plena en N.Y. (Henry Street 0003) Los Pleneros de la 21 1996 Los -
Dance Practice – Rumba & Samba Rumba: “Slow, Quick-Quick” Start
Dance Practice – Rumba & Samba Remember to WARM UP and COOL DOWN! Practice LEAD (left first) and FOLLOW (right first) for all steps. Rumba: “Slow, quick-quick” Remember – this is a Latin dance. Toe-heel steps, rolling down smoothly. • Forward – Step first with LEFT foot. Then side-together (RIGHT – LEFT). • Backward – Step first with RIGHT, then side-together (LEFT – RIGHT). • Basic box – Put “Forward” step together with “Backward” for a box step! • IF YOU USE A PARTNER- it is easy! One does the backward as the other performs forward step. Start: Backward/ Follow Side RIGHT “quick” (2), Together LEFT “quick” (3) Back 3 RIGHT 1 “slow” 2 (1) Forward 1 2 LEFT 3 “SLOW” (1) Start: Forward/ Side LEFT “quick” (2), Lead Together RIGHT “quick”(3) MAKE IT EASIER: Dance this rhythm in place. THOUGHT: This should look familiar! Many dances have a basic “box step”. What makes this different than the others you learn? FUN FACT: Rumba is Cuban in origin. TIPS: • Bring the rumba style! Toe-heel stepping with soft knees helps your hips move in that nice side-to-side motion! 1 | Page 4 Last Updated: 28 October 2018 Dance Practice – Rumba & Samba • Add “Figure 8” hips if you like! In addition to the side-to-side hip motion, allow them to travel forward and backward as you step. (Hip moves forward on the same side as the foot that is stepping.) Samba: “Quick-quick, slow” Remember – this is a Latin dance. If you feel you can, step smoothly toe-heel. • Side-together-back*– – Step side-together (LEFT -RIGHT), then step backward LEFT. -
HAVANA HOP Fulfills the Following Ohio and Atw Victoria Theatre Association
2015-2016 Resource Guide Written, Choreographed, and Performed by Paige Hernandez APRIL 27, 2016 9:30 & 11:30 A.M. • VICTORIA THEATRE The Frank M. FOUNDATION www.victoriatheatre.com Curriculum Connections You will find these icons listed in the resource guide next to the activities that indicate curricular elcome to the 2015-2016 Frank connections. Teachers and parents are encouraged to adapt all of the activities included in an M. Tait Foundation Discovery Series appropriate way for your students’ age and abilities. HAVANA HOP fulfills the following Ohio and atW Victoria Theatre Association. We are very National Education State Standards and Benchmarks for grades 2-8: excited to be your partner in providing English/Language Arts Standards Ohio Department of Education professional arts experiences to you and Grade 2- CCSS.ELA-Literacy.RL.2.2, CCSS.ELA-Literacy. your students! Drama/Theatre & Dance Standards RL.2.3, CCSS.ELA-Literacy.RL2.4, CCSS.ELA-Literacy. Drama/Theatre Standards RL2.5, CCSS.ELA-Literacy.RL2.6 I am excited for students in Dayton to Grade 2- 1CE-7CE, 1PR-3PR, 1RE-6RE Grade 3- CCSS.ELA-Literacy.RL.3.2, CCSS.ELA-Literacy. experience HAVANA HOP! Ms. Hernandez Grade 3- 1CE-5CE, 1PR-6PR, 1RE-5RE RL.3.3, CCSS.ELA-Literacy.RL.3.5, CCSS.ELA-Literacy. is a multifaceted artist, who is known Grade 4- 1CE-6CE, 1PR-7PR, 1RE-5RE RL.3.6 for her innovative fusion of poetry, hip Grade 5- 1CE-5CE, 1PR-5PR, 1RE-5RE Grade 4- CCSS.ELA-Literacy.RL.4.2, CCSS.ELA-Literacy. -
New York University in Buenos Aires Class Code: V95.9751002 / K.2094001002 the Multiple Faces of Tango: a Cultural Critique of Identity (English Section)
New York University in Buenos Aires Class Code: V95.9751002 / K.2094001002 The multiple faces of tango: a cultural critique of identity (English Section) Professor: Edgardo Dieleke August/December, 2010 Office hours: To be confirmed Mon and Thurs 3:30pm‐ 5pm Email: [email protected] Classroom: TBA Course Description When tango was born in Buenos Aires, in the second half of the XIX century, Argentina was going through major changes. With the arrival of millions of immigrants, the shape of the city and its society suffered an intense process of modernization. Tango, a product from the bordello considered a threat to national identity, came to be a global success in only twenty years. Acclaimed in Paris and New York, despite its origins, tango became a symbol for Argentina, in a process of negotiations and the control of sexuality and gender and class relations. In this sense, tango reveals itself to be a cultural product that condenses ‐beyond the richness of the music‐ many of the key debates regarding the relationships between culture and society. This course proposes, through the reading of tango lyrics, films and novels, a critical analysis of theoretical problems such as national identity, gender studies and the consumption of culture in a global era. The course will be divided in three parts a) The origins of tango and national identity b) Gender relations: from the forbidden brothels to the movies c) After‐tango: contemporary uses of tango. The course is organized in a format that combines lectures with a seminar‐style class, encouraging class discussions as well as different sights to the city, connected to tango. -
International Dance Conservatory – Ballroom Program
INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM YEAR FALL SPRING Year 1 Latin Ballroom School Figures Latin Ballroom School Figures (Bronze level) (Silver & Gold levels) Standard Ballroom School Figures Standard Ballroom School Figures (Bronze level) (Silver & Gold levels) Year 2 Latin Technique 1 Latin Technique 2 Latin Ballroom 1 Latin Ballroom 2 Standard Technique 1 Standard Technique 2 Standard Choreography 1 Standard Choreography 2 Year 3 American Smooth 1 American Smooth 2 Student Choreography 1 Student Choreography 2 Advanced Ballroom Technique 1 Advanced Ballroom Technique 2 Year 4 Business of Ballroom Intro to Ballroom Instruction Advanced Choreography 1 Advanced Choreography 2 INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM Advanced Ballroom Technique 1 & 2 This is an advanced class that focuses on the body mechanics, timing, footwork, partnering, style, expression, and emotion of many Ballroom & Latin dances. Students will continue to develop a deeper understanding of the techniques and stylings of each dance. Students will apply this training in the demonstration of their Latin, Ballroom, and Smooth competition routines. Advanced Choreography 1 & 2 This is an advanced class that focuses on learning open choreography in many Ballroom and Latin Dances. Students will experience this creative process first hand and apply their technique to this choreography. Students will perform these open routines with attention to technical proficiency and embodying the character of each dance. American Smooth 1 & 2 This is an advanced class that focuses on learning open choreography in all four American Smooth Ballroom Dances - Waltz, Tango, Foxtrot, & Viennese Waltz. Students will be prepared to compete in all four dances at the Open Amateur Level. -
Improvisation in Latin Dance Music: History and Style
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 1998 Improvisation in Latin Dance Music: History and style Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/318 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] CHAPTER Srx Improvisation in Latin Dance Music: History and Style PETER MANUEL Latin dance music constitutes one of the most dynamic and sophisticated urban popular music traditions in the Americas. Improvisation plays an important role in this set of genres, and its styles are sufficiently distinctive, complex, and internally significant as to merit book-length treatment along the lines of Paul Berliner's volume Thinking in Jazz (1994 ). To date, however, the subject of Latin improvisation has received only marginal and cursory analytical treat ment, primarily in recent pedagogical guidebooks and videos. 1 While a single chijpter such as this can hardly do justice to the subject, an attempt will be made here to sketch some aspects of the historical development of Latin im provisational styles, to outline the sorts of improvisation occurring in main stream contemporary Latin music, and to take a more focused look at improvi sational styles of one representative instrument, the piano. An ultimate and only partially realized goal in this study is to hypothesize a unified, coherent aesthetic of Latin improvisation in general. -
Samba Footwork Manual
Samba ! Brief History Samba is a dance and musical genre originating in Brazil, with roots from Africa via the West African slave trade and African religious traditions, particularly Angola and the Congo. Introduced in 1917, the Samba wasn't adopted by Brazil as a ballroom dance until 1930. In Brazil, Samba is mostly danced solo, and remains especially popular during celebrations of the Brazilian Carnival in Rio de Janeiro. The festive mood of the dance is responsible for its continued popularity. Samba is considered to be one of the most popular Brazilian cultural expressions, being is an icon of Brazilian national identity. Samba National Day is celebrated on December 2 every year! Samba has a very specific rhythm, highlighted by characteristic Brazilian musical instruments. To achieve the true character of the Samba, a dancer must give it a happy, flirtatious and exuberant interpretation. Characteristics and Technique Tempo: 80-125 beats per minute Rhythm: 1a2, 3a4 Time signature: 2/4 Principal characteristics of the Samba are the rapid steps taken on a quarter of a beat and the pronounced rocking motion and sway of the dance. The basic footwork of the Samba includes fast, three-step weight changes with a slight knee lift, led with alternating feet. The basic rhythm is ‘quick, quick, slow’. The major action of Samba, the ‘Samba Bounce Action’ gives the dance its unique look and feel. It is a gentle, rhythmic action felt through the knees and ankles. This action should appear effortless and carefree and should never be exaggerated. The ‘Samba Bounce Action’ is quite difficult to master, but really adds to the overall character of the Samba.