Contra Body Movement (CBM) Element
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Amod B C End 3:39 @ 45 Rpm
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DVIDA American Smooth Silver Syllabus Figures
Invigilation Guidance/ DVIDA/SYLLABUS/ Current'as'of'October'15,'2015' Extracted'from: Dance$Vision$International$Dancers$Association, Syllabus$Step$List$ Revised/May/2014 Invigilation Guidance/ AMERICAN)SMOOTH) / DVIDA American Smooth Bronze Syllabus Figures *Indicates figure is not allowable in NDCA Competitions. Revised January 2014. View current NDCA List Waltz Foxtrot Tango V. Waltz Bronze I 1A. Box Step 1. Basic 1A. Straight Basic 1. Balance Steps 1B. Box with Underarm Turn 2. Promenade 1B. Curving Basic 2A. Fifth Position Breaks 2. Progressive 3A. Rock Turn to Left 2A. Promenade Turning Left 2B. Fifth Position Breaks 3A. Left Turning Box 3B. Rock Turn to Right 2B. Promenade Turning Right with Underarm Turn 3B. Right Turning Box 3. Single Corté 4. Progressive Rocks Bronze II 4A. Balance Steps 4. Sway Step 5A. Open Fan 3. Reverse Turn 4B. Balance and Box 5A. Sway Underarm Turn 5B. Open Fan with 4. Closed Twinkle 5. Simple Twinkle 5B. Promenade Underarm Turn Underarm Turn 6. Two Way Underarm Turn 6A. Zig Zag in Line 6. Running Steps 7. Face to Face – Back to Back 6B. Zig Zag Outside Partner 7. Double Corté 7. Box Step 8A. Reverse Turn Bronze III 8A. Reverse Turn 8. Twinkle 8B. Reverse Turn with 5A. Crossbody Lead 8B. Reverse Turn with 9. Promenade Twinkles Outside Swivel 5B. Crossbody Lead with Underarm Turn 10A. Turning Twinkles to 9. Right Side Fans Underarm Turn 9A. Natural Turn Outside Partner 10. Contra Rocks 6. Hand to Hand 9B. Natural Turn with 10B. Turning Twinkles to Outside 11A. Change of Places 7A. Forward Progressive Underarm Turn Partner with Underarm Turn 11B. -
Big Poppa Eʼs Bio Quiz!
TABLE OF CONTENTS POETRY the wussy boy manifesto! ............................................................. 1 wallflower .................................................................................... 4 frat boy ......................................................................................... 6 worm boy ..................................................................................... 9 fly boy ........................................................................................ 10 jesus moshpit .............................................................................. 12 the lonesome ballad of josephus moshpit .................................. 13 receipt found in the parking lot of super walmart ...................... 16 just take another drink ................................................................ 19 potty is pee ................................................................................. 20 the miracle corner pocket luck shot ........................................... 22 JUVENALIA minuet ........................................................................................ 23 sexuality ..................................................................................... 24 routine ........................................................................................ 25 party boy .................................................................................... 26 love poem #9 .............................................................................. 28 PROSE how to dance like a wussy -
Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay Area
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years. -
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. -
Ballet Terms Definition
Fundamentals of Ballet, Dance 10AB, Professor Sheree King BALLET TERMS DEFINITION A la seconde One of eight directions of the body, in which the foot is placed in second position and the arms are outstretched to second position. (ah la suh-GAWND) A Terre Literally the Earth. The leg is in contact with the floor. Arabesque One of the basic poses in ballet. It is a position of the body, in profile, supported on one leg, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line along the body. Attitude A pose on one leg with the other lifted in back, the knee bent at an angle of ninety degrees and well turned out so that the knee is higher than the foot. The arm on the side of the raised leg is held over the held in a curved position while the other arm is extended to the side (ah-tee-TEWD) Adagio A French word meaning at ease or leisure. In dancing, its main meaning is series of exercises following the center practice, consisting of a succession of slow and graceful movements. (ah-DAHZ-EO) Allegro Fast or quick. Center floor allegro variations incorporate small and large jumps. Allonge´ Extended, outstretched. As for example, in arabesque allongé. Assemble´ Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. -
Teaching English Through Body Movement a Pa
AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection -
JULY 2016 F L U I D Machined Chain Drive
JULY 2016 F L U I D Machined Chain Drive Fluid Design = Fluid Motion. Responsive, accurate, powerful and decidedly DW. The all-new MCD pedal represents the convergence of engineering and art. mfg Coming to your favorite DW retailer soon. U.S.A. www.DWDRUMS.COM/hardware/dwmfg/ 12©2016Modern DRUM Drummer WORKSHOP, JuneINC. ALL 2014 RIGHTS RESERVED. MCD Chain Drive Pedal Ad- 2016 (MD)-fav.indd 1 4/20/16 11:20 AM Jason McGerr | DEATH CAB FOR CUTIE ©2016 Vic Firth Company ©2016 STAR POWER The Ultimate Drum Set? With several hundred years of combined experience, Tama’s master craftsmen set out to pursue their vision of the ultimate drum set. Their work centered on one essential goal: to inspire the artists that have inspired them. By now it’s fair to say, STAR drums have inspired some amazing drummers. Regardless of musical style, STAR drums and innovative STAR hardware continue to surprise, impress, and inspire even the most discriminating players. Armed with an array of smart mechanical inventions, luxurious looking finishes, and rich, soul-stirring sound—STAR drums unbeatable sound. offer drummers a musical medium that’s as singular as it is powerful. VicKick Beaters® from Vic The first time Jason McGerr of Death Cab for Cutie tried out his VicKick Beaters®, his sound engineer said, “Hey man, what did you do? Your kick drum sounds amazing!” That’s because the VicKick Beaters® were designed from the ground up with sound quality as our absolute #1 priority. Check them out for youself. From the first beat, you’ll hear a difference. -
The Texas Tommy, Its History, Controversies, and Influence on American Vernacular Dance Rebecca R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 The Texas Tommy, Its History, Controversies, and Influence on American Vernacular Dance Rebecca R. Strickland Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE THE TEXAS TOMMY, ITS HISTORY, CONTROVERSIES, AND INFLUENCE ON AMERICAN VERNACULAR DANCE By REBECCA R. STRICKLAND A Thesis Submitted to the Department of Dance In Partial Fulfillment of the Requirements for the Degree of Master of Arts Degree Awarded: Spring Semester, 2006 Copyright © 2006 Rebecca R. Strickland All Rights Reserved The members of the committee approve the thesis of Rebecca Strickland defended on March 31, 2006. Tricia Young Professor Directing Thesis Sally Sommer Committee Member John Perpener Committee Member Approved: Elizabeth Patenuade, Chair, Department of Dance Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS First and foremost I need to thank and acknowledge my husband, Michael Strickland, for his constant encouragement, enthusiasm, and assistance. I owe much to my wonderful partner who has attached and dedicated himself to my interest in all things swing. I also want to recognize my parents, Dr. Gary and Peg Kelm, who have supported my passion for dance, leading to my pursuit of this Master’s degree concentrating on American dance history. My thesis advisor, Dr. Tricia Young, has guided me through the final stages of this process with more patience than I deserve. -
Rise, Fall, and the Foxtrot Three Step by Harold & Meredith Sears
Rise, Fall, and the Foxtrot Three Step by Harold & Meredith Sears Foxtrot is one of the Smooth Rhythms, along with waltz, quickstep, and tango, but it is a particularly smooth rhythm, with its long steps, easy flow, and its gliding motion around the floor. One of the features of foxtrot that gives it this smooth look is early rise. We take our first step heel to toe, we straighten the leg, we even stretch a little in the torso (being careful not to lift our shoulders toward our ears). We have "foot rise" and "body rise" -- we are up at the end of the first step. We take the second step on the ball of the foot, staying up. The third step is on the ball, and we lower through the body and to the flat of the foot only at the end of step 3. We get up quickly, we soar like a bird, and we lower at the end, ready to do it again. The shape of foxtrot rise and fall is like a flat western mesa. In contrast, waltz is less flat and more undulating. We begin to rise at the end of the first step, we continue to rise during step 2 and even into step 3, and then we lower at the end of step 3. Our rise is more gradual, more wave-like, with crests and troughs, a gentle up-and-down breathing. The shape of waltz rise and fall is more like a softly eroded ocean island. So, waltz is something of a roller coaster, and foxtrot is more of a high traverse on skis. -
A Folk Dance Program for Fourth, Fifth, and Sixth Grades
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1959 A Folk Dance Program for Fourth, Fifth, and Sixth Grades Alene Johnson Wesselius Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Educational Methods Commons, and the Elementary Education and Teaching Commons Recommended Citation Wesselius, Alene Johnson, "A Folk Dance Program for Fourth, Fifth, and Sixth Grades" (1959). All Master's Theses. 234. https://digitalcommons.cwu.edu/etd/234 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A FOLK DANCE PROGRAM FOR FOURTH, FIFTH, AND SIXTH GRADES A Thesis Presented to the Graduate Faculty Central Washington College of Education In Partial Fulfillment of the Requirements for the Degree Master of Education by Alene Johnson Wesselius August 1959 ;-' .l.._)'"'' ws15f SPECIAL I (COLLECTION c APPROVED FOR THE GRADUATE FACULTY Everett A. Irish, COMMITTEE CHAIRMAN Albert H. Poffenroth Donald J. Murphy ACKNOWLEDGMENTS Grateful acknowledgment is extended to Associate Pro fessor Dr. Everett A. Irish for his advice, friendly criticisms, and encouragement. The writer also wishes to recognize the assistance of Dr. Donald J. Murphy and Mr. A. H. Poffenroth. My appreciation goes, also, to the sixty-nine teachers who graciously accepted the responsibility of answering the questionnaire for this study. To Mr. Claude Brannan, Health, Safety, and Physical Education Consultant, Yakima Public Schools, Mr. -
Music Formation Dance Frame Leading and Following Basic
Waltz Frame Basic In closed (ballroom) position, shoulders are nearly Waltz in place, starting on first foot. Do not travel The Contra Waltz (Freeform Waltz), included in parallel to each other, feet are slightly offset (your forward. Think of this as a 6-beat move, so that most contra dance evenings, uses both open and right foot is between partner’s feet). Lead’s right when you initiate something new it will be on beat 1. closed positions, and incorporates moves from other hand is flat on follower’s back at shoulder blade, This is your emergency “we’re crowded” move. dances such as swing, tango, and salsa. The dancers Follow’s left hand is ALSO on the lead’s right Waltz (traveling on each beat) in line of direction, progress around the dance floor with a waltz step, shoulder blade supporting herself. Lead’s right arm lead facing forward. Start on first foot. Stay on balls but with no constraints on what moves they can use. and follow’s left arm are touching and connected of feet. Step on each beat in even time with the along their length. Lead’s left hand & follower’s music. For step distance, think long-short-short, right hand are connected (not a grip) for balance and long-short-short. This as a 6-beat move. You will There is no goal. Dancing is better when you feel signal. Goal is to match & balance the weight initiate a new move on your first foot. connected with your partner and the music, when between the 2 partners.