ORIGINAL DANCE for 2011 “SWING COMBINATION” Choice Of
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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. -
2021 Schedule
LONG-STEPS BALLROOM DANCING ABN: 69 140 147 382 2021 GLENORCHY CLASS SCHEDULE Beginner & Advanced Ballroom Classes at the Glenorchy Uniting Church Hall – Kensington Street 7:00pm to 8:30pm - $15 per person. You do not need to bring a partner. TUESDAY NIGHTS THURSDAY NIGHTS Advanced Ballroom Beginner Ballroom January Queen of Hearts Rumba January Paso Doble February Quickstep February Lucille Waltz March Paso Doble March Charmaine April Engagement Waltz April Salt Dog Samba May Tango Terrific May Alpha Waltz June Katrina Samba June Rhythm Foxtrot July Twilight Waltz July Evening 3 Step Aug Slow Foxtrot Aug Jive September Argentine Stroll September Modern Waltz October Barclay Blues October Balmoral Blues November El Tango Facil November Cha Cha December Cha Cha December Slow Rhythm Contact Long-Steps [email protected] --- Lindsey 0408 576 777 Ian 0439 309 078 --- LONG-STEPS.COM LONG-STEPS BALLROOM DANCING ABN: 69 140 147 382 2021 RANELAGH CLASS SCHEDULE Beginner & Advanced Ballroom Classes at the Ranelagh Soldiers Memorial Hall – 40 Marguerite Street 7:00pm to 8:30pm - $15 per person. You do not need to bring a partner. MONDAY NIGHTS WEDNESDAY NIGHTS Beginner Ballroom Advanced Ballroom January Paso Doble January Midnight Jive February Carousel February Modern Waltz March Quickstep March November Paso April Pontinental Cha Cha & Rumba April Viennese & Tracie Leigh Waltz May Tangoette May Excelsior Schottische June Festival Glide & Parma Waltz June President’s Daughter’s Waltz July Mayfair Quickstep July Sally Ann Cha Cha Aug Samba -
2017 US OPEN Rules
US Open Swing Dance Championships/Rules & Competitions/2017v-1 2017 US OPEN Rules MISSION STATEMENT Our mission is to provide the best possible environment to showcase the highest level of competition from around the world, and thus provide the most exciting entertainment for our attendees. GENERAL RULES & INFORMATION STATEMENT OF SWING This statement of Swing is to be used to identify the presence of swing in the Swing Divisions at the US Open Swing Dance Championships. Swing is an American Rhythm Dance based on a foundation of 6-beat and 8-beat patterns that incorporate a wide variety of rhythms built on 2-beat single, delayed, double, triple, and blank rhythm units. The 6-beat patterns include, but are not limited to, passes, underarm turns, push-breaks, open-to-closed, and closed-to-open position patterns. The 8-beat patterns include, but are not limited to, whips, swing-outs, Lindy circles, and Shag pivots. Although they are not part of the foundation of the dance as stated above, 2- beat and 4-beat extension rhythm breaks may be incorporated to extend a pattern, to phrase the music, and/or to accent breaks. (For additional information, please visit http://www.nasde.net/rules.php) The objective is to provide a competitive performance venue for the various unique styles of swing that have developed across the nation to include the Carolina Shag, Dallas Push, East Coast Swing, Hand Dancing, Hollywood Swing, Houston Whip, Imperial Swing, Jive, Jitterbug, Lindy Hop, Rock-n-Roll, and West Coast Swing, to name a few. The US Open Swing Dance Championships divisions are open to a variety of Swing dances, except in Cabaret division. -
SOCIAL DANCE STUDY GUIDE.Pdf
SOCIAL DANCE STUDY GUIDE ELEMENTS OF DANCE 1. Walking- heel first 2. Chasse- step-together-step (ball of foot hits first, then close) 3. Box- combines walking and chasse 4. Rock- transfer weight to one foot, then replace weight to other foot 5. 5th Position Rock Step- As you step back for the rock step, turn the back toe out. This gives you more hip action (rumba, swing) 6. Triple Step- 3 steps to the side (step-together-step) Key: M = man W = woman R = right L = left CCW = counter clock wise FWD = forward BWK = backward Q = quick S = slow DANCE POSITIONS 1. Closed- (foxtrot, waltz, tango) Partners are very close, with the women’s L arm resting on the men’s R, the lead hand is held chin height. 2. Closed- (rumba, cha cha) less arm bend than #1, partners are about 1 foot apart. (swing) lower the lead hand to side 3. One Hand Hold- This is the open position. Hold on same side, M L in W R. 4. R Open- M R side is open and partners are side by side (his L beside her R) 5. L Open- opposite of #4. 6. Promenade- 45-degree angle, both are facing the same direction and are in side- by-side position. 7. Practice- 2-hand hold which allows you to be farther apart. CHA CHA CHA Style- International Latin Meter- 4/4 Tempo- 128 bpm Rhythm- S,S,Q,Q,Q Style- Medium tempo Latin Description- A fun, sexy, flirtatious dance. This is a spot dance using the Cuban motion, which is characteristic of bending and straightening the knees. -
Re-Imagining United States History Through Contemporary Asian American and Latina/O Literature
LATINASIAN NATION: RE-IMAGINING UNITED STATES HISTORY THROUGH CONTEMPORARY ASIAN AMERICAN AND LATINA/O LITERATURE Susan Bramley Thananopavarn A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the College of Arts and Sciences. Chapel Hill 2015 Approved by: María DeGuzmán Jennifer Ho Minrose Gwin Laura Halperin Ruth Salvaggio © 2015 Susan Bramley Thananopavarn ALL RIGHTS RESERVED ii ABSTRACT Susan Thananopavarn: LatinAsian Nation: Re-imagining United States History through Contemporary Asian American and Latina/o Literature (Under the direction of Jennifer Ho and María DeGuzmán) Asian American and Latina/o populations in the United States are often considered marginal to discourses of United States history and nationhood. From laws like the 1882 Chinese Exclusion Act to the extensive, racially targeted immigration rhetoric of the twenty-first century, dominant discourses in the United States have legally and rhetorically defined Asian and Latina/o Americans as alien to the imagined nation. However, these groups have histories within the United States that stretch back more than four hundred years and complicate foundational narratives like the immigrant “melting pot,” the black/white binary, and American exceptionalism. This project examines how Asian American and Latina/o literary narratives can rewrite official histories and situate American history within a global context. The literary texts that I examine – including works by Carlos Bulosan, Américo Paredes, Luis Valdez, Mitsuye Yamada, Susan Choi, Achy Obejas, Karen Tei Yamashita, Cristina García, and Siu Kam Wen – create a “LatinAsian” view of the Americas that highlights and challenges suppressed aspects of United States history. -
Dancesport 21
DANCESPORT Information Sheet DATE: Sunday 7th February, 2021 VENUE: Games Village, War Memorial Centre, Watt Street START TIMES: Doors open at 9.30 am – Start time 10.30 am AGE GROUPS: 30 – 44 years / 45 – 54 years / 55 -- 64 years / 65yrs and above (Grand Masters). (There are only 2 age groups, 30 – 49yrs and 50+ for Professionals, Pro-Am, R&R and Mod. Jive.) • The age group relevant to each couple entering the competition is governed by the age of the younger member of the partnership. • Competitors may dance their own age grouping, and the one below. (Not applicable to Rock & Roll, Modern Jive, the Professionals, or the Pro-Amateurs) • Pro-Am’s (professional dancing with amateur) are judged as a couple. • As the 30 – 44 yr. age groups do not have an age below, they can enter the novelty. (open to 30- 44yrs. only) Unregistered dancers must not have been registered at any time during the last five years (but do not have to re-register to dance the Registered section) NUMBERS: NZMG registration or ID Cards must be shown to uplift your numbers FOOD: Food and drinks are available from carts and nearby Cafés. ADMISSION: All registered New Zealand Masters Games participants receive free door entry Proposed Dances AMATEUR: 30 – 44 years 1. Reg. Ballroom Waltz, Foxtrot, Quickstep 2. Reg. Latin Cha Cha, Rumba, Jive 3. Reg. New Vogue Twilight Waltz, Excelsor Schottische, La Bomba 4. Reg. Old Time Lilac Waltz, Saunter Revé, Liberty 2 Step 5. N. Reg. Ballroom Waltz, Foxtrot, Quickstep 6. N. Reg. Latin Cha Cha, Rumba, Jive 7. -
Illstyle and Peace Study Guide
STUDY GUIDE Illstyle and Peace Productions Useful Vocabulary and Terms to Share Break beat: The beat of the most danceable section of a song. Popping: A street dance style based upon the Additional Resources technique of quickly contracting and relaxing muscles to cause a jerk in the dancer’s body Johan Kugelberg, Born in the Bronx; a visual record Locking: A dance style relying on perfect timing and of the early days of hip hop NYPL link frequent “locking” of limbs in time with music. 6 step: A basic hip-hop move in which the dancer’s Jeff Chang , Can’t Stop, Won’t Stop NYPL link arms support the body which spins in a circle above the floor. Eric Felisbret, Graffiti New York NYPL link Downrock: All breakdance moves performed with a part of the body (other than the feet) is in Bronx Rhymes interactive map contact with the floor. http://turbulence.org/Works/bronx_rhymes/what.html Smithsonian article on birth of hip-hop: http://invention.smithsonian.org/resources/online_arti Background Information for Students cles_detail.aspx?id=646 There are four essential elements of hip-hop: 5 Pointz, New York Graffiti Mecca: http://5ptz.com/ DJing: The art of spinning records and using two turn- NY Times Articles on 5 Pointz: tables to create your own instrument. http://goo.gl/i1F2I0 Also the art of touching and moving records with your hands. http://goo.gl/kOCFnv Breakdancing: A style of dancing that includes gymnastic moves, head spins, and backspins. Young 5Pointz Buzzfeed article with photos: people who were into dancing to the “breaks” at Bronx http://goo.gl/1ItqX9 parties started calling themselves B-boys and B-girls, and their style of dancing came to be known as NY Times Article on Taki183, one of the first taggers breakdancing. -
Bera Ballroom Dance Club Library
BERA BALLROOM DANCE CLUB LIBRARY Video Instruction DANCE TITLE ARTIST Style LEVEL 1 American Style Exhibition Choreography Cha Cha Powers & Gorchakova VHS Cha Cha 2 American Style Beginning Rumba & Cha Cha Montez VHS Rumba & Cha Beg 3 American Style Intermediate Cha Cha Montez VHS Cha Cha Int 4 American Style Advanced I Cha Cha Montez VHS Cha Cha Adv 5 American Style Advanced II Cha Cha Montez VHS Cha Cha Adv 6 International Style Cha Cha Ballas VHS Cha Cha 10 American Style Beginning Tango Maranto VHS Tango Beg 11 American Style Intermediate Tango Maranto VHS Tango Int 12 American Style Advanced I Tango Ballas VHS Tango Adv 13 American Style Advanced II Tango Maranto VHS American Tango Adv 14 Advanced Tango American Style Techniques & Principles Kloss VHS American Tango Adv 21 Waltz Vol I International Style Technique & Principles Puttock VHS Int Waltz 22 Waltz International Style Standard Technique Veyrasset &Smith VHS Int Waltz 23 American Style Beginning Waltz Maranto VHS Waltz Beg 24 American Style Intermediate Waltz Maranto VHS Waltz Int 25 American Style Advanced I Waltz Maranto VHS Waltz Adv 26 American Style Advanced II Waltz Maranto VHS Waltz Adv 27 Waltz Vol 1 – Beginner Austin VHS Waltz Beg 30 American Style Beginners Viennese Waltz Maranto VHS Viennese Waltz Beg 31 American Style Intermediate Viennese Waltz Maranto VHS Viennese Waltz Int 32 International Style Advanced I Viennese Waltz Veyrasset &Smith VHS Viennese Waltz Adv 33 Viennese Waltz International Style Standard Technique Veyrasset &Smith VHS Int Viennese 40 International -
Jive and Swing Deserve a Little Care and Precision, Too by Harold & Meredith Sears
Jive and Swing deserve a little care and precision, too by Harold & Meredith Sears Jive and Swing are often considered to be almost synonymous. Jive is faster and Swing is more easy-going, but we can casually lump them both with Lindy, Jitterbug — it's all Rock-and-Roll. If we make these mental connections, we may develop a loose, devil-may-care attitude that tempts us to flail around any old way and to step just any old where. But looseness like that is going to be uncomfortable because Jive music is often fast. Even though Jive is meant to be an "up" and fun rhythm, we can't afford to be anarchic about it. We still need some control and precision. If you take too big a step, or if you step in the wrong place, you won't have much time to "fix" it, and that whole little sequence will end up feeling forced, rushed, off balance, even frantic. Consider the common Change Places Right to Left — 123a4; 1a2. We might be in closed position, man facing the wall with lead feet free. We both rock back to semi-closed position and then recover. Now we come to the two triples. How will we dance them: as a side chasse, or forward, back, in a cucaracha sort of way, or like a back hitch? We can do those triples randomly and just aim for where we need to be, but we likely won't be dancing together. First, let's think about making our steps relatively small. -
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. -
San Francisco Lodge Survey “One Paper, Many Voices”
San Francisco Lodge Survey “One Paper, Many Voices” Chinese American Citizens Alliance Volume 21, Fall Issue Inside this Issue… President's Message 2 Education 3 Activities 4 Honoring Senior Citizens 5 52nd C.A.C.A Conven- 6 tion Much Ado About Nothing 8 What is Happening to America’s In the News 10 Chinatowns? By Melanie Chan Are America’s Chinatown disappearing? For over a hundred years, Chinatowns were a com- In Memory of Jack Low 10 munity where new immigrant families could depend on a network of friends and relatives to help ease them into their new life here in America. They were vibrant and diverse gateways that provided shelter, jobs and support to the community. Honoring Senior Citizens 11 (Chinese version) The Asian American Legal Defense and Education Fund (AALDEF) studied Chinatowns in the cities of Boston, New York and Philadelphia. They spent a year recording block by block by lot the existing land uses in Boston, New York and Philadelphia's’ Chinatown and sur- rounding immigrant areas, looking at the residential, restaurants and businesses. What they discovered is that the shrinking of the areas’ Chinatown are multi-faceted. Rising land prices has contributed to the gentrification and expan- sion of luxury buildings and upscale businesses encroaching into the Chinatowns. An example is when the New York City Council, despite protests from the Chinese community and businesses, approved the city’s third largest rezoning plan in 2008. Independent analysis by urban planners concluded that it would push luxury development into Chinatown and disproportionately impact the low income and immigrant communities. -
June 12Th-14Th 2015
June 12th-14th 2015 The 7th Cambridge Buskers & Street Performers Festival www.cambuskers.org www.twitter.com/cambuskers www.facebook.com/cambuskers For enquiries please contact: Heather Bevan-Hunt on [email protected] Welcome to the 7th Cambridge Buskers & Street Performers Festival Cambridge Buskers & Street Performers Festival is now in its 7th year (we took a year off in 2012 for the Olympics) and is the 2nd festival 12th - 14th June 2015 that Cambuskers Community Group has organised. The Festival’s popularity has grown immensely and is a Vote for your highlight of the Cambridge calendar. We have more applicants from overseas than ever before, who will perform alongside Favourite Buskers and artists from the local area. Cambuskers bring a diverse range of music, dance and street win a fabulous prize! theatre to the streets of Cambridge. We also have music at d’Arry’s in King Street, The Earl of Beaconsfield in Mill Road Local and international talent including and The Six Bells in Covent Garden (off Mill Road). New for musicians, dancers, magicians and many more this year is a Cambridge Buskers marquee at Oakleigh Fairs Town & Country Show on Parkers Piece. You will find a map will be showcased in the streets of Cambridge on the back cover with directions to these locations. City Centre. Visitors to the festival are being This free 3-day event starts between 10am-11am finishes between 4pm – 5pm, depending on the location and will be asked to vote for their favourites. later in some venues, see pages 5-7. The new Mayor opens the festival at 11am on Friday 12th You can see them between 10am and 5pm on June outside the front of the Guildhall.