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1 Here Are the Rhythms for Major Six-Step and Four-Step Dances
1 Here are the rhythms for major six-step and four-step dances: rhythm-patterns for LEADS MUSICAL BEATS 1 2 3 4 5 6 7 8 mambo L R L - R L R - cha cha L - R - L R L - R - L - R L R - waltz L R L R L R rumba, box-foxtrot, * L - R L R - L R TWO-STEP FOXTROT L - R - L R JITTERBUG SWING L - R - L R TRIPLE-STEP SWING L R L - R L R - L - R - 4-COUNT (TROT or SWING) L R L R tango L - R - L R L - rhythm-patterns for FOLLOWS MUSICAL BEATS 1 2 3 4 5 6 7 8 mambo R L R - L R L - cha cha R - L - R L R - L - R - L R L - waltz R L R L R L rumba, box-foxtrot, * R - L R L - R L TWO-STEP FOXTROT R - L - R L JITTERBUG SWING R - L - R L TRIPLE-STEP SWING R L R - L R L - R - L - 4-COUNT (TROT or SWING) R L R L tango R - L - R L R - Here are some relationships between rhythms or step-patterns: • number of steps: 6-step patterns (first four) and 4-step patterns (SECOND FOUR). • same step-rhythm: two-step foxtrot and jitterbug swing (both are S-S-QQ), … • same step-patterns: waltz (LRLRLR) and rumba or box-step foxtrot (L-RLR-LR), plus "six-count (S-S-QQ) swing or foxtrot" and 4-count (QQQQ) swing or foxtrot. • slow step (in 2 counts of fast-tempo music) becomes triple step (in 2 counts of slow-tempo music): mambo becomes cha cha (with same steps), jitterbug becomes triple-step swing (same steps). -
IDO Dance Sports Rules and Regulations 2021
IDO Dance Sport Rules & Regulations 2021 Officially Declared For further information concerning Rules and Regulations contained in this book, contact the Technical Director listed in the IDO Web site. This book and any material within this book are protected by copyright law. Any unauthorized copying, distribution, modification or other use is prohibited without the express written consent of IDO. All rights reserved. ©2021 by IDO Foreword The IDO Presidium has completely revised the structure of the IDO Dance Sport Rules & Regulations. For better understanding, the Rules & Regulations have been subdivided into 6 Books addressing the following issues: Book 1 General Information, Membership Issues Book 2 Organization and Conduction of IDO Events Book 3 Rules for IDO Dance Disciplines Book 4 Code of Ethics / Disciplinary Rules Book 5 Financial Rules and Regulations Separate Book IDO Official´s Book IDO Dancers are advised that all Rules for IDO Dance Disciplines are now contained in Book 3 ("Rules for IDO Dance Disciplines"). IDO Adjudicators are advised that all "General Provisions for Adjudicators and Judging" and all rules for "Protocol and Judging Procedure" (previously: Book 5) are now contained in separate IDO Official´sBook. This is the official version of the IDO Dance Sport Rules & Regulations passed by the AGM and ADMs in December 2020. All rule changes after the AGM/ADMs 2020 are marked with the Implementation date in red. All text marked in green are text and content clarifications. All competitors are competing at their own risk! All competitors, team leaders, attendandts, parents, and/or other persons involved in any way with the competition, recognize that IDO will not take any responsibility for any damage, theft, injury or accident of any kind during the competition, in accordance with the IDO Dance Sport Rules. -
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. -
Wyre Dance Directory
Wyre Dance Directory Type Area Name Contact Email Phone Notes Where Day Time Salsa, Merengue, Martine 07967 For adults Frank Townend Centre, Latin Cleveleys Mambo, [email protected] Carole 970847 and children Kensington Road Latin & Freestyle 01253 Line Cleveleys no email St Theresa's Church Hall 594043 01253 RBL Club, Rough Lea Line Cleveleys no email 595790 Road Jorge’s [email protected] Salsa 07879 Cleveleys Salsa Jorge Ulloa www.jorgessalsalessons.yolasit Verona Hall Fri 6-7pm (Peruvian) 413649 Lessons e.com Martine 07967 Frank Townend Centre, Salsa Cleveleys [email protected] Carole 970847 Kensington Road Cleveleys Community Noches-de- 01253 (Frank Townend) 7.30- Salsa Cleveleys Al [email protected] Wed Salsa 401941 Centre, Kensington Road, 9.30pm Cleveleys FY5 1ER Thornton Cleveleys & District 01253 Cleveleys Park Methodist Scottish Cleveleys Scottish Mrs. Marmo no email 886014 Church, West Drive Country Dancing Society Senior Citizens Hall, 01253 Victoria Road, Sequence Cleveleys no email 852462 Anchorsholme Friendly Club Phil Kelsall 01253 Ballroom Fleetwood [email protected] Organists Marine Hall Chris Hopkins 771141 Christine 01253 Ballroom Fleetwood [email protected] Victoria Street Cheeseman 779746 07874 Farmer Parrs, Fleetwood Ballroom / Latin Fleetwood Alison Slinger [email protected] Improvers Fri 7-8pm 922223 Road 07874 Practise Farmer Parrs, Fleetwood Ballroom / Latin Fleetwood Alison Slinger [email protected] Fri 8-9.30 922223 session Road 07874 Social Farmer -
Chalypso (United States)
71 Chalypso (United States) Chalypso is a true American folk dance, in the urban folk dance category, celebrating its 50th anniversary (1957). It is a vernacular cha-cha as danced by teenagers in the late 1950s and 1960sIt evolved at the grass-roots level from a preceding dance form, was transmitted by folk process instead of through formal instruction, and contained many regional variations. Chalypso was 1950s teenage cha-cha characterized by: 1) Mostly facing your partner but not touching them 2) Angling the body on the two diagonals 3) Frequent solo turns 4) Danced with a swing-like body motion instead of Latin stylizations 5) Extreme personal variety 6) Danced to pop and rock music instead of Latin cha-cha music On his television show American Bandstand, Dick Clark named this teenage-style of cha-cha “Chalypso,” to differentiate it from ballroom Latin cha-cha. However many 1950s and 1960s teens simply called this style “Cha-Cha.” This style began around 1957 and continued through the 1960s, but the term “Chalypso” only lasted for the first few years. Pronunciation: chah-LIP-soh Music: 1957 and later popular teen's music. Some of the top Chalypso tunes were “La Dee Dah” by Billie and Lillie, “Love Is Strange” by Mickey & Sylvia, “Louie Louie” by Richard Berry, all from 1957, and “Everybody Likes to Cha Cha Cha” by Sam Cooke, 1959. If you want one of the other three songs listed in the syllabus, they’re available on iTunes for $.99 each. Rhythm: 4/4 meter, 116 to 140 beats/minute Formation: Couples, with partners facing each other, not necessarily touching. -
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. -
Masterclasses Are Maximum Capacity, Fixed Couple Workshops Designed for More Teacher/Pupil Interaction. There Is a Range Of
Masterclasses Blush 19 Masterclasses are maximum capacity, fixed couple workshops designed for more teacher/pupil interaction. There is a range of workshops available that can be booked at The Weather Centre (information desk in the main foyer) at a cost of £5 per head ____________________________________________________________________________________________________________ Saturday 10.45am – 11.45am: Flying Low: Baby Aerials with Tony & Hayley Epps (Partnered Masterclass) These two are aerials masters, and veterans at teaching people how to safely, accurately and stylishly perform impressive, showstopping lifts. Baby Aerials keep both of the ladies feet close to the ground and allow participants to explore being airborne, without the pressure of lifting the lady over the top of the head! Suitable for Intermediate + Dancers and above – Signed Disclaimer Required ____________________________________________________________________________________________________________ Saturday 12pm - 1pm: Collegiate Shag with Lyndsey Bennett (Partnered Masterclasses) Just in time for Swingers Hour, Lyndsey brings you a brand new style of Rock ‘n’ Roll for you and your partner to sample. Up tempo, energetic and undeniably the most fun you will have all weekend. You can learn the basic step, practise some creative and varied patterns, and then head downstairs to show off your new skills in the Boudoir bar during Tiggerbabe’s set! Suitable for Intermediate + Dancers and above ____________________________________________________________________________________________________________ Saturday 1.15pm – 2.15pm & Sunday 6.15pm – 7.15pm: Ladies Styling 1 & 2 with Becki Rendell (Solo Masterclass) With a background in Ceroc, Salsa, Line Dance, Merengue, Zumba & Bachata, Becki has many styles to add variation and the wow factor to her Ceroc dancing. As an experienced Ladies Styling instructor, you can expect this Masterclass to incorporate Top - Toe Basics & Posture, Ceroc Rock Back Step with Latin Style, Spare Arms and Combinations, Shoulders, Hips and Hand Movements. -
MVP Packet 7.Pdf
Musical Visual Packet A tournament by the Purdue University Quiz Bowl Team Questions by Drew Benner, John Petrovich, Patrick Quion, Andrew Schingel, Lalit Maharjan, Pranav Veluri, and Ben Dahl ROUND 7: Finale 1) In a musical production choreographed by John Heginbotham, this scene introduces an electric guitar to the acoustic score and during it, boots fall from the rafters one by one. Gabrielle Hamilton stars in this scene in a revival that has it performed by a single dancer, barefoot, in a modern style. The film version of this scene has a tornado roaring in the background, while Susan Stroman’s choreography for this scene has the main cast perform it themselves, instead of having trained dancers play (*) avatars of them. This sequence occurs after a character consumes the “Elixir of Egypt,” and it begins with a cheerful wedding that changes tone when the bride realizes two men have suddenly switched characters. Originally choreographed by Agnes de Mille, this revolutionary scene is regarded as the first dance sequence in a musical to incorporate plot. For ten points, name this fantasy sequence from a Rodgers and Hammerstein musical, where Laurey struggles choosing between Jud and Curly after taking a sleeping drug. ANS: the dream ballet from Oklahoma! (prompt on partial, ask for “from what musical” if just dream ballet is given) <Musicals | Quion> 2) For one show, this composer created polyphonic chants in the fictional Zentraedi language and songs for the pop star Sharon Apple. Sound engineer Rudy Van Gelder, famous for recording albums like Coltrane’s A Love Supreme, recorded this composer’s tracks for their most famous show. -
…But You Could've Held My Hand by Jucoby Johnson
…but you could’ve held my hand By JuCoby Johnson Characters Eddie (He/Him/His)- Black Charlotte/Charlie (They/Them/Theirs)- Black Marigold (She/Her/Hers)- Black Max (He/Him/His)- Black Setting The past and present. Author’s Notes Off top: EveryBody in this play is Black. I strongly encourage anyone casting this play to avoid getting bogged down in a narrow understanding of blackness or limit themselves to their own opinions on what it means to be black. Consider the full spectrum of Blackness and what you will find is the full spectrum of humanity. One character in this play is gender non-binary. I encourage people to fill the role with an actor who is also gender non-binary. I also urge people not to stop there. Consider trans performers for any and all roles. This play can only benefit from their presence in the room. The ages of the actors don’t need to match the ages of the characters. I would actually encourage an ensemble of all different ages. As we play with time in this play, this will open us up to possibilities that extend beyond realism or any other genre. Speaking of genre, my only request is that the play be theatrical. Whatever that means to you. This is not realism, or naturalism, or expressionism, or any other ism. Forget all about genre. All that to say: Be Bold. Have fun. Lead with love. 2 “Love is or it ain’t. Thin love ain’t love at all.” -Toni Morrison 3 A Beginning Darkness. -
The Rise of Guangchangwu in a Chinese Village
International Journal of Communication 11(2017), 4499–4522 1932–8036/20170005 Reading Movement in the Everyday: The Rise of Guangchangwu in a Chinese Village MAGGIE CHAO Simon Fraser University, Canada Communication University of China, China Over recent years, the practice of guangchangwu has captured the Chinese public’s attention due to its increasing popularity and ubiquity across China’s landscapes. Translated to English as “public square dancing,” guangchangwu describes the practice of group dancing in outdoor spaces among mostly middle-aged and older women. This article examines the practice in the context of guangchangwu practitioners in Heyang Village, Zhejiang Province. Complicating popular understandings of the phenomenon as a manifestation of a nostalgic yearning for Maoist collectivity, it reads guangchangwu through the lens of “jumping scale” to contextualize the practice within the evolving politics of gender in post-Mao China. In doing so, this article points to how guangchangwu can embody novel and potentially transgressive movements into different spaces from home to park, inside to outside, and across different scales from rural to urban, local to national. Keywords: square dancing, popular culture, spatial practice, scale, gender politics, China The time is 7:15 p.m., April 23, 2015, and I am sitting adjacent to a small, empty square tucked away from the main thoroughfare of a university campus in Beijing. As if on cue, Ms. Wu appears, toting a small loudspeaker on her hip.1 She sets it down on the stairs, surveying the scene before her: a small flat space, wedged in between a number of buildings, surrounded by some trees, evidence of a meager attempt at beautifying the area. -
The History of Square Dance
The History of Square Dance Swing your partner and do-si-do—November 29 is Square Dance Day in the United States. Didn’t know this folksy form of entertainment had a holiday all its own? Then it’s probably time you learned a few things about square dancing, a tradition that blossomed in the United States but has roots that stretch back to 15th-century Europe. Square dance aficionados trace the activity back to several European ancestors. In England around 1600, teams of six trained performers—all male, for propriety’s sake, and wearing bells for extra oomph—began presenting choreographed sequences known as the morris dance. This fad is thought to have inspired English country dance, in which couples lined up on village greens to practice weaving, circling and swinging moves reminiscent of modern-day square dancing. Over on the continent, meanwhile, 18th- century French couples were arranging themselves in squares for social dances such as the quadrille and the cotillion. Folk dances in Scotland, Scandinavia and Spain are also thought to have influenced square dancing. When Europeans began settling England’s 13 North American colonies, they brought both folk and popular dance traditions with them. French dancing styles in particular came into favor in the years following the American Revolution, when many former colonists snubbed all things British. A number of the terms used in modern square dancing come from France, including “promenade,” “allemande” and the indispensable “do-si-do”—a corruption of “dos-à-dos,” meaning “back-to-back.” As the United States grew and diversified, new generations stopped practicing the social dances their grandparents had enjoyed across the Atlantic. -
Be Square Caller’S Handbook
TAble of Contents Introduction p. 3 Caller’s Workshops and Weekends p. 4 Resources: Articles, Videos, etc p. 5 Bill Martin’s Teaching Tips p. 6 How to Start a Scene p. 8 American Set Dance Timeline of Trends p. 10 What to Call It p. 12 Where People Dance(d) p. 12 A Way to Begin an Evening p. 13 How to Choreograph an Evening (Programming) p. 14 Politics of Square Dance p. 15 Non-White Past, Present, Future p. 17 Squeer Danz p. 19 Patriarchy p. 20 Debby’s Downers p. 21 City Dance p. 22 Traveling, Money, & Venues p. 23 Old Time Music and Working with Bands p. 25 Square Dance Types and Terminology p. 26 Small Sets p. 27 Break Figures p. 42 Introduction Welcome to the Dare To Be Square Caller’s handbook. You may be curious about starting or resuscitating social music and dance culture in your area. Read this to gain some context about different types of square dancing, bits of history, and some ideas for it’s future. The main purpose of the book is to show basic figures, calling techniques, and dance event organizing tips to begin or further your journey as a caller. You may not be particularly interested in calling, you might just want to play dance music or dance more regularly. The hard truth is that if you want trad squares in your area, with few ex- ceptions, someone will have to learn to call. There are few active callers and even fewer surviving or revival square dances out there.