Curriculum Vitae
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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. -
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. -
'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. -
NEW ORLEANS 2Nd LINE
PVDFest 2018 presents Jazz at Lincoln Center NEW ORLEANS 2nd LINE Workshop preparation info for teachers. Join the parade! Saturday, June 9, 3:00 - 4:00 pm, 170 Washington Street stage. 4:00 - 5:00 pm, PVDFest parade winds through Downtown, ending at Providence City Hall! PVDFest 2018: a FirstWorks Arts Learning project Table of Contents with Jazz at Lincoln Center A key component of FirstWorks, is its dedication to providing transformative arts experiences to underserved youth across Rhode Island. The 2017-18 season marks the organization’s fifth year of partnership with Jazz at Lincoln Center. FirstWorks is the only organization in Southern New England participating in this highly innovative program, which has become a cornerstone of our already robust Arts Learning program by incorporating jazz as a teaching method for curricular materials. Table of Contents . 2 New Orleans History: Social Aid Clubs & 2nd Lines . 3 Meet Jazz at Lincoln Center . .. 6 Who’s Who in the Band? . 7 Sheet Music . 8 Local Version: Meet Pronk! . 12 Teacher Survey . .. 14 Student Survey. .15 Word Search . .16 A young parade participant hoists a decorative hand fan and dances as the parade nears the end of the route on St. Claude Avenue in New Orleans. Photo courtesy of Tyrone Turner. PVDFest 2018: a FirstWorks Arts Learning project 3 with Jazz at Lincoln Center NOLA History: Social Aid Clubs and 2nd Lines Discover the history of New Orleans second line parades and social aid clubs, an important part of New Orleans history, past and present. By Edward Branley @nolahistoryguy December 16, 2013 Say “parade” to most visitors to New Orleans, and their thoughts shift immediately to Mardi Gras. -
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. -
Sharing Economies and Affective Labour in Montréal's Kiki Scene
SERVING EACH OTHER: SHARING ECONOMIES AND AFFECTIVE LABOUR IN MONTRÉAL’S KIKI SCENE by Jess D. Lundy A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In Women’s and Gender Studies Carleton University Ottawa, Ontario © 2019, Jess D. Lundy Abstract Against a tense socio-political backdrop of white supremacy, intensifying pressures of neoliberal fiscal austerity, and queer necropolitics, this thesis addresses performance-based activist forms of place-making for urban-based queer, trans, and gender nonconforming communities of colour. Using participant observation and qualitative interviews with pioneering members of Montréal’s Kiki scene and Ottawa’s emerging Waacking community and interpreting my findings through the theoretical lens of queer of colour theory, critical whiteness studies, queer Latinx performance studies and Chicana feminism, I argue that Kiki subculture, which is maintained by pedagogical processes of ‘each one, teach one’, is instrumental in facilitating i) life-affirming queer kinship bonds, (ii) alternative ways to simultaneously embody and celebrate non- normative gender expression with Black, Asian, and Latinx identity, iii) non-capitalist economies of sharing, and iv) hopeful strategies of everyday community activism and resilience to appropriative processes during economic insecurity and necropolitical turmoil. ii Acknowledgements First and foremost, I would like to acknowledge the members of Montréal’s Kiki scene and Ottawa’s Waacking founder for their willingness to participate in this study despite the understandable reflex to safe-guard their own. Secondly, I extend my sincerest gratitude to my thesis supervisor Dr. Dan Irving. Apart from disproving that you should never meet your heroes, Dr. -
Exodus (World Premiere – 2015)
Exodus (World Premiere – 2015) Choreography by Rennie Harris Assistant Choreographer/Rehearsal Director: Nina Flagg Music by Various Artists Costumes by Jon Taylor Lighting by James Clotfelter Choreographer's Assistant: Millie Heckler The world premiere of Exodus is made possible with leadership support from Melinda & Paul Pressler. Acclaimed hip-hop choreographer Rennie (Lorenzo) Harris creates a highly-anticipated world premiere that explores the idea of “exodus” – from one’s ignorance and conformity – as a necessary step toward enlightenment. Set to gospel and house music along with spoken word, the work underscores the crucial role of action and movement in effecting change. Exemplifying his view of hip hop as a “celebration of life,” Exodus marks Harris’ latest invitation to return to spiritual basics and affirm who we are. His previous contributions to the Ailey repertory include Home (2011) and Love Stories (2004), an acclaimed collaboration with Judith Jamison and Robert Battle. “Harris has become the Basquiat of the US contemporary Alvin Ailey American Dance Theater in Rennie Harris’ Exodus. dance scene.” Photo by Paul Kolnik The Sunday Times, London "...the virtuosic footwork, the marvelous undulations of the hips and, above all, the intricate patterns of Mr. Harris's choreographic formations. He knows how to move bodies in space, how to layer his phrases and, above all, how to make dancers look good." The New York Times “Hip-hop is about the celebration of life.” — Rennie Harris Rennie Harris Rennie (Lorenzo) Harris has been known to mix Shakespeare with hip hop, poetry, rap music and movement. He is a pioneer in performing, choreographing, teaching and introducing this African- American dance form hip hop to a worldwide audience and revolutionizing contemporary concert dance. -
Fall Repertoire 2020
Dance Department presents Fall Repertoire 2020 Artistic Director Chair of Dance Nancy Lushington Technical Director Philip Treviño Costume Coordinator/ Wardrobe Supervisor Production Sound Designer Mondo Morales Dan Cooper Historical Images (in sequence) Bill T Jones/Arnie Zane Company Blind Date 2005 Workers Theater Poster 1933 Pearl Primus Strange Fruit 1945 Maori Haka New Zealand (traditional) 1. PER TEMPUS Irish Dance Ensemble St Patrick’s Day Parade 2019 Choreographer Alberto del Saz Martha Graham Deep Song 1937 in collaboration with Dancers Kurt Jooss Green Table 1932 Music Daphnis 26 New Dance Group Open class 1933 Lindy Hop 1920s Composer Biosphere New Dance Group Poster 1932 Film Editing Alberto del Saz Vesta Tilley 1890’s Drag King Sound Design Dan Cooper Sankai Juku 2015 Bill T Jones and Arnie Zane Photo by Lois Greenfield 1981 Bill T Jones Body Paint by Keith Haring 1883 Dorrance Dance Elemental 2018 Taylor Mac 24 Decade History of Popular Music 2017 Alice Sheppard/Kinetic Light Descent 2019 Rennie Harris Funkedified 2019 Trisha Brown Walking on the Wall 1971 2. Rennie Harris Puremovement 2011 Dance and Civic Engagement Bill Shannon 2010 Facilitator Catherine Cabeen Camille A. Brown Ink 2017 Movement Meditation Written and Led by Lauren Aureus, Emily Dail, Molly Hefner, Todd Shalom & Niegel Smith Take Care 2016 Kayla Kemp, Heather Kroesche, Frankie New Orleans Highschool Dance for Change 2018 National Dance Institute Dream Project 2019 Levita, Kate Myers, Zion Newton, Remi Dance to be Free 2019 Rosenwald, Lily Sheppard, Payton -
2018/19 Hip Hop Rules & Regulations
2018/19 Hip Hop Rules for the New Zealand Schools Hip Hop Competition Presented by the New Zealand Competitive Aerobics Federation 2018/19 Hip Hop Rules, for the New Zealand Schools Hip Hop Championships © New Zealand Competitive Aerobic Federation Page 1 PART 1 – CATEGORIES ........................................................................................................................................................ 3 1.1 NSHHC Categories .............................................................................................................................................. 3 1.2 Hip Hop Unite Categories .................................................................................................................................. 3 1.3 NSHHC Section, Division, Year Group, & Grade Overview ................................................................................ 3 1.3.1 Adult Age Division ........................................................................................................................................ 3 1.3.2 Allowances to Age Divisions (Year Group) for NSHHC ................................................................................ 4 1.4 Participation Limit .............................................................................................................................................. 4 Part 2 – COMPETITION REQUIREMENTS ........................................................................................................................... 5 2.1 Performance Area ............................................................................................................................................. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
Harlem Intersection – Dancing Around the Double-Bind
HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Judith A. Miller December, 2011 HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND Judith A. Miller Thesis Approved: Accepted: _______________________________ _______________________________ Advisor School Director Robin Prichard Neil Sapienza _______________________________ _______________________________ Faculty Reader Dean of the College Durand L. Pope Chand Midha, PhD _______________________________ _______________________________ Faculty Reader Dean of the Graduate School James Slowiak George R. Newkome, PhD _______________________________ Date ii TABLE OF CONTENTS CHAPTER I. INTRODUCTION ……………………………………………………………………. 1 II. JOSEPHINE BAKER – C’EST LA VIE …………………..…….…………………..13 III. KATHERINE DUNHAM – CURATING CULTURE ON THE CONCERT STAGE …………………………………………………………..…………30 IV. PEARL PRIMUS – A PERSONAL CRUSADE …………………………...………53 V. CONCLUSION ……………………………………………………………...……….74 BIBLIOGRAPHY ……………………………………………………………………… 85 iii CHAPTER I INTRODUCTION “Black is Beautiful” became a popular slogan of the 1960s to represent rejection of white values of style and appearance. However, in the earlier decades of the twentieth century black women were daily deflecting slings and arrows thrown at them from all sides. Arising out of this milieu of adversity were Josephine Baker, Katherine Dunham, and Pearl Primus, performing artists whose success depended upon a willingness to innovate, to adapt to changing times, and to recognize and seize opportunities when and where they arose. Baker introduced her performing skills to New York audiences in the 1920s, followed by Dunham in the 1930s, and Primus in the 1940s. Although these decades resulted in an outpouring of cultural and artistic experimentation, for performing artists daring to cross traditional boundaries of gender and race, the obstacles were significant. -
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.