Coming+Of+Rave+V2.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Coming+Of+Rave+V2.Pdf Welcome to Coming of Rave, our helpful guide for the baby ravers out there. We were inspired to make this when we realized we have been raving for a really long time and haven’t died (though we do cry a fair bit still), and that we should probably help other young-ins / people new to the scene also not die and live their best rave life. That’s basically it. This is a collection of real talk about drugs, how to not have a terrible time at the party, sex, packing for festivals, not dying and being an all-around good patron of the rave / festival while you are still figuring shit out. Needless to say, this zine includes explicit references to mature content and swear words, blah blah blah. Please share it around! Introduction P.S. Coming of Rave is dedicated to all the Queens in Ravepower. Xoxo, S & E 1 Packing for a festival is plates used for everything except food. overwhelming, you can think about Here are some ideas about what is the necessities as the days good and what is bad to bring: counting down get shorter, but when it comes to actually putting things Good: Fruits and veg that don’t perish in your bags, you’ll always pack or bruise easily ie. apples and carrots vs. peaches and tomatoes -unless you have too much. “It’s better to be safe faith that when you’re searching for than sorry”- Rave Mom. a beer at 2am you won’t toss all your peaches and tomatoes to the bottom of the Your Temporary Home: Tent, air cooler, leaving them in a bruised puddle, mattress, pillow,towel (for sitting on only to be discovered on Monday morning. and towelling), tarp(s), bungees/rope for securing said tarp(s), cooler(s), Good: Dried proteins like nuts, jerky, dry goods container (because just like chickpea snacks, cliff bars are okay when in real camping, critters can get into they don’t make up the entirety of your your things at festivals too), kitchen solid food groups. accessories (ie. all the things you need Bad: Potato salad, or any sort of premade What to pack to What to prepare food), garbage/recycling dairy-based thing that one buys from vessels, camp shower (if you feel so a deli, it may seem like a great and : inclined as to bathe yourself- also a easy idea for a meal, but unless you’re helpful bonus to be clean if you wanna neurotic about restocking your ice, it’s get busy with a friend), lighting (to best to leave it in the store, lest it see at night), camping chair (because join the peach-tomato puddle. you have to sit down eventually!). Good: Breads, crackers, chips, etc. Your Temporary Fridge - You need to eat, or else you will die (exaggerated Bad: Things that create a lot of waste Fes ti va l s statement). like dunkaroos. You may think that they’re a fun and good idea, but that’s You’d be surprised how much your body only half true, they’re half fun and half craves real food, cliff bars and V8’s garbage. can only take you so far and actually preparing a meal can help your body and Good: Premade cold brew coffee, you can your mind reset during the chaos of a freeze it and utilize its coolness for festival. How about a hot meal? Even the beginning of the festival and it’s a better! good idea to do this with all your non- alcoholic liquids.The list could go on, Soon your campsite will feel like a mini common sense applied and ya’ll should be home instead of a war zone covered in fine and fed. 2 Festivals might be a manufactured layer too soon, even if you see dream world, but that does not that sun peaking over the hill. exempt them from the hazards of General hazards: mother nature and porta-potties: How to dress yourself for the The Ground- Always wear shoes, boots elements and things to consider. are great because they’re durable and better for your feet than flat First of all, where is the canvas shoes, but anything that is festival? A arid desert climate? in shoe form is better than running England? Australia? Definitely around the rave without shoes, check the weather before you go, stepping on things and having to go but as we all know, weather apps to first aid to get a tetanus shot. are dirty liars, so plan for the best and the worst. Porta-Potties: Outfit hazard #1, heed my warning, do not wear big animal onesies. It goes against the Here are your elements, accessorize advice to dress yourself warmly and OutFits wisely: I know you want to be a pikachu : on Friday night, but one year at d Rain- Poncho, umbrella, Shambhala someone told me that they welly/gumboots or go naked if it’s warm called them “Piss Spongages. enough,skin is waterproof. The reason being is that porta- d Sun- Hats, bodysuits, potties are covered in piss and misters, parasols, fans when you go to the bathroom high on (electric or manual), acid, chances are you’re not holding find a tree to sit under, the entirety of your outfit in your What to Pack to What heat stroke hands, so it drops to the ground, sucks. the piss floor, soaking up the piss. d Cold/Nights- Fur And you’re also still high on acid, vintage or faux), so you’re not going to wipe properly ponchos (the warm kind, therefore also getting your own not the rain kind), piss on your outfit (scenario also scarves, etc. applicable if you’re sober). d Remember, the break of dawn So when the sun rises and you’re is always the coldest part of walking back to your campsite and the night, so don’t de- 3 you smell the scent of evaporating are super accepting of all humans, pee as the sun hits the wet grass I would be lying if I said that you also might be attributing to being surrounded by tiny humans that smell. You’ve been warned. wearing just stickers and floss, Try your outfits on before you didn’t make me feel like shit once leave, wear them around the house. in a while, as a person who needs Jump, bend and stretch and see how 46 underwires and thick spandex to it holds up. There is literally keep my tits in place. nothing worse than getting less and This is why dressing for you and less sober and having to fuck around only you is the most important part with straps, and hooks and worrying of outfit selection. Know what you about parts staying put or having rock best and it will bring out friends be on nipple / labia / ball your inner queen / king. When you patrol (shout outs to the mvps who are comfortable, it will show and do this for us though!) you will have a better time. OutFits Another important thing about On this tip - if you hear someone : costumes is that you don’t have to (even someone in your crew) body costume. The best part about raves shaming or slut shaming ANYONE is that you can literally wear at the rave - address it, do not ANYTHING, that’s one of the best ignore it. parts of the rave. So if your vibe On the flipside of this, if you is more casual - that’s TOTALLY are loving how someone is rocking FINE. an outfit, respectfully let them You don’t have to feel pressured to know you appreciate their style. What to Pack to What spend money on bodysuits, sequins They may look like they have all or whatever rave wear if that’s the confidence in the world, but not your vibe. You will not have we all move through life with our good time if you are feeling weird insecurities and sometimes it is in your own skin, forcing a look nice to hear someone appreciates that doesn’t really feel like what you are putting out there. “you.” It’s actually a recipe for a terrible time. Also related to this is the fact that as much as we say that raves 4 Rave culture has many fascinating festival to festival. origin stories, from various parts I don’t want to sound preachy here, of the world resulting in the but I want to encourage you to get to experiences you have come to know and know your scene, and do your best to love today. Raves historically, and engage with it in a meaningful way, today still can be places of immense rather than just feel entitled to get freedom and safety, especially for messed up and be entertained by it. marginalized communities. We call raves “inclusive” all the time - but Learn about the queer, black, trans what does that REALLY mean? roots of most “dance-music,” think critically about what it means to Cultural appropriation is when people rave as a settler on (likely unceded) from the dominant (aka white) Indigenous lands, learn about the “culture” “cherry pick” aspects of political narrative behind many of a non-dominant culture, get t0 try the beats and dance moves that show it on for a look, for a rave, for up in rave culture, and even about a moment, as a costume and don’t the role that gentrification plays in have to actually live with all of the commodification of “nightlife.” the complex, systemic and sometimes Dont stand for homophobia / festishinging discriminations faced transphobia / racism / ablism / by members of dominant cultures not slutshaming at events.
Recommended publications
  • 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]
  • 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]
  • 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]
  • Streetdance and Hip Hop - Let's Get It Right!
    STREETDANCE AND HIP HOP - LET'S GET IT RIGHT! Article by David Croft, Freelance Dance Artist OK - so I decided to write this article after many years studying various styles of Street dance and Hip Hop, also teaching these styles in Schools, Dance schools and in the community. Throughout my years of training and teaching, I have found a lack of understanding, knowledge and, in some cases, will, to really search out the skills, foundation and blueprint of these dances. The words "Street Dance" and "Hip Hop" are widely and loosely used without a real understanding of what they mean. Street Dance is an umbrella term for various styles including Bboying or breakin (breakin is an original Hip Hop dance along with Rockin and Party dance – the word break dance did not exist in the beginning, this was a term used by the media, originally it was Bboying. (Bboy, standing for Break boy, Beat boy or Bronx boy)…….for more click here Conquestcrew Popping/Boogaloo Style was created by Sam Soloman and Popping technique involves contracting your muscles to the music using your legs, arms, chest and neck. Boogaloo has a very funky groove constantly using head and shoulders. It also involves rolling the hips and knees. Locking was created by Don Campbell. This involves movements like wrist twirls, points, giving himself “5”, locks (which are sharp stops), knee drops and half splits. (Popping/Boogaloo and Locking are part of the West Coast Funk movement ). House Dance and Hip Hop. With Hip Hop coming out of the East Coast (New York) and West Coast Funk from the west (California) there was a great collaboration in cultures bringing the two coasts together.
    [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]
  • Beijing's South China Sea Lawfare Strategy
    Today’s News 15 May 2021 (Saturday) A. NAVY NEWS/COVID NEWS/PHOTOS Title Writer Newspaper Page 1 Missile boats boosting Navy capability D Tribune A3 2 Navy adapts, survives via virtual technology D Tribune B11 3 DOH rejects proposals to issue vaccine pass S Crisostomo P Star 6 B. NATIONAL HEADLINES Title Writer Newspaper Page 4 Phl to sign deal for 40M Pfizer doses J Clapano P Star 1 PNP Raps vs Red- N Semilla PDI A1 5 tagged ‘Lumad’ helpers junked C. NATIONAL SECURITY Title Writer Newspaper Page 6 Duterte won’t pul ul out PH vessels in K Calayag M Times A2 disputed sea 7 Chinese envoys says Phl, China ‘properly H Flores P Star 2 handled’ sea dispute 8 Signature drive asks Rody retract statement H Flores P Star 2 9 Only China to blame for PH loss of Panatag, C Avendano PDI A9 says ex-DFA chief 10 DU30: Opposition hot sea row but not L Salaverria PDI A2 helping vs virus 11 Duterte invites Enrile to shed light WPS M Bulletin 1 issue 12 Rody vows no Phl ship to leave WPS D Tribune 1 13 Pangilinan: WPS issue is no joking matter J Esmael M Times 1 14 Duterte won’t pull out PH vessels in disputed K Calayag M Times A1 sea 15 Ex-envoy: Stop ‘blame game’ start enforcing R Requejo M Standard A1 Hague ruling 16 Rody puts China on notice V Barcelo M Standard A1 17 ‘Roque’s WPS remarks don’t reflect PH M Standard A4 policy 18 Why Philippines is important to China E Banawis M Standard B1 19 Duterte ‘di paatrasin ang 2 barko kahit M Escudero Ngayon 2 patayin ng China 20 PDU30 sa Tsina: Barko ng Pinas ‘di ko M Escudero PM 2 iaatras, patayin mo man ako 21 Presidenteng ‘nakakapuwing’ at may pusong J Umali PM 3 David 22 WPS patrols P Tonight 4 23 Arbitral award, just a piece of paper? C Sorita P Tonight 4 24 Use of diplomacy on WPS issue urged P Tonight 10 25 ‘I won’t allow PH to join any war with US’: P Tonight 6 Duterte D.
    [Show full text]
  • Social Media Analytics for Youtube Comments: Potential and Limitations1 Mike Thelwall
    Social Media Analytics for YouTube Comments: Potential and Limitations1 Mike Thelwall School of Mathematics and Computing, University of Wolverhampton, UK The need to elicit public opinion about predefined topics is widespread in the social sciences, government and business. Traditional survey-based methods are being partly replaced by social media data mining but their potential and limitations are poorly understood. This article investigates this issue by introducing and critically evaluating a systematic social media analytics strategy to gain insights about a topic from YouTube. The results of an investigation into sets of dance style videos show that it is possible to identify plausible patterns of subtopic difference, gender and sentiment. The analysis also points to the generic limitations of social media analytics that derive from their fundamentally exploratory multi-method nature. Keywords: social media analytics; YouTube comments; opinion mining; gender; sentiment; issues Introduction Questionnaires, interviews and focus groups are standard social science and market research methods for eliciting opinions from the public, service users or other specific groups. In industry, mining social media for opinions expressed in public seems to be standard practice with commercial social media analytics software suites that include an eclectic mix of data mining tools (e.g., Fan & Gordon, 2014). Within academia, there is also a drive to generate effective methods to mine the social web (Stieglitz, Dang-Xuan, Bruns, & Neuberger, 2014). From a research methods perspective, there is a need to investigate the generic limitations of new methodological approaches. Many existing social research techniques have been adapted for the web, such as content analysis (Henrich & Holmes, 2011), ethnography (Hine, 2000), surveys (Crick, 2012; Harrison, Wilding, Bowman, Fuller, Nicholls, et al.
    [Show full text]
  • Mechanical Ball Set to Chamber Music
    Mechanical ball set to chamber music Production 2014 | 60 min Show suitable for all audiences, 6 years old and above © Thomas© Bohl A word from the choreographer .................................................................................................... 2 Choreographer: Anne Nguyen ...................................................................................................... 4 Cast ............................................................................................................................................ 5 Press extracts.............................................................................................................................. 8 Looping pop ball with audience participation ............................................................................... 10 Workshops and shared events based on bal.exe ........................................................................... 10 Partners.................................................................................................................................... 11 Booking information .................................................................................................................. 11 par Terre / Anne Nguyen Dance Company Correspondence adress: 113 rue Saint-Maur – 75011 PARIS Registered office: Bat. D – 74 Avenue Laferrière - 94000 CRETEIL SIRET: 484 553 391 00042- APE: 9001Z - Licence entrepreneur de spectacles: 2-1066967 Tel. + 33 (0)6 15 59 82 28 – [email protected] - www.compagnieparterre.com bal.exe
    [Show full text]
  • Bandquest®, an Exciting Series of New Music and Accompanying Curricula for Band, Is a Program Published by the American Composers Forum
    BandQuest®, an exciting series of new music and accompanying curricula for band, is a program published by the American Composers Forum. The series was started as a response to feedback from music educators that there is a pressing need for new, fresh band music. The heart of this program is new works written by a diverse group of leading American composers who have cre- ated challenging pieces that are a true departure from standard middle school repertoire. Every BandQuest project includes a residency component in which the composer works collaboratively with a middle school as they create their new piece. Many BandQuest pieces are accompanied by an interdisciplinary curriculum designed to assist students as they learn the music and to integrate each piece with non-music studies. Through the curriculum, students gain a richer and deeper understanding of the music they rehearse and perform. Additionally, the curriculum gives students tools with which to create music, and encourages them to explore and to appreciate historical and cultural contexts of each piece. Visit www.bandquest.org to learn more about this innovative series, and email [email protected] to request a free downloadable audio catalog. Grade: 2.5 Grade: 2.5 Michael Gandolfi Alvin Singleton Steps Ahead Ridgeview Centrum Instrumentation: Concert Band Instrumentation: Concert Band Length: 4:00 Length: 2:48 Score/Parts: HL04005383 $60.00 Score/Parts: HL04002020 $50.00 Score: HL04005384 $10.00 Score: HL04002021 $10.00 This new piece takes young players on a journey! Along This fanfare was written in the composer’s style of the way, student performers will learn about fundamental subtle spontaneity which is experienced through a compositional techniques.
    [Show full text]