West Coast Swing Crash Course
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Performance and Discourse of Musicality in Cuban Ballet Aesthetics
Smith ScholarWorks Dance: Faculty Publications Dance 6-24-2013 “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/dan_facpubs Part of the Dance Commons Recommended Citation Tomé, Lester, "“Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics" (2013). Dance: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/dan_facpubs/5 This Article has been accepted for inclusion in Dance: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] POSTPRINT “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Dance Chronicle 36/2 (2013), 218-42 https://doi.org/10.1080/01472526.2013.792325 This is a postprint. The published article is available in Dance Chronicle, JSTOR and EBSCO. Abstract: Alicia Alonso contended that the musicality of Cuban ballet dancers contributed to a distinctive national style in their performance of European classics such as Giselle and Swan Lake. A highly developed sense of musicality distinguished Alonso’s own dancing. For the ballerina, this was more than just an element of her individual style: it was an expression of the Cuban cultural environment and a common feature among ballet dancers from the island. In addition to elucidating the physical manifestations of musicality in Alonso’s dancing, this article examines how the ballerina’s frequent references to music in connection to both her individual identity and the Cuban ballet aesthetics fit into a national discourse of self-representation that deems Cubans an exceptionally musical people. -
Danças Urbanas Origem
GOVERNO DO ESTADO DO PARÁ SECRETARIA DO ESTADO DE EDUCAÇÃO A.O.S. DIOCESE DE ABAETETUBA EEEFM SÃO FRANCISCO XAVIER COMPONENTE CURRICULAR: EDUCAÇÃO FÍSICA ANO/SÉRIE: : 8° ANO PROFESSORES(AS)FISICAAA_____________ RESPONSAVEIS: Rui Pimentel Data Assunto Páginas Atividade 12/04 Aula 1: Danças urbanas origem. 01, 02 e Fazer a leitura e resolver a a História das danças urbanas do 03 atividade 1 16/04 Brasil. 19/04 Aula 2: Principais estilos de 03, 04 e Fazer a leitura e resolver a a dança 05 atividade 2 23/04 26/04 Danças de salão 05, 06, Fazer a leitura e resolver a a 07, 08 atividade 3 30/04 Danças de salão continuação 09, 10, Fazer a leitura e resolver a 11, 12 atividade 4 Danças Urbanas As danças urbanas estão presentes nos guetos e centros urbanos das cidades. Também aparecem na televisão, nos clipes, novelas, filmes, desenhos e academias. Assim como as coreografias do Tik Tok, performances urbanas estão mais popularizadas e ganhando novos adeptos. 1 Portanto, são manifestações culturais da força e identidade de grupos sociais. Mas também reúnem força e aceitação. Assim, elas têm grande papel na sociedade, de caráter pessoal e coletivo. E essa grande expressão é registrada através dos movimentos. A dança urbana foi a primeira manifestação corporal do emocional humano. Assim como outras danças, as danças urbanas também seguem regras próprias. Mas a liberdade em execução dos passos é a essência deste estilo. Origem As origens das danças urbanas são diversas. Uma delas ocorreu nos Estados Unidos, no século 20. Era uma manifestação dos artistas de rua, que estavam desempregados. -
(These Are Basic Patterns) Introduction Although Cha-Cha
2 Step 2 Dance Studio Cha-Cha Basics Cha-Cha Basics Pre-requisite None (These are basic patterns) Introduction Although Cha-cha is one of the Cuban family of dances that is danced throughout the Latin American countries, it is one of the most popular of dances practiced in the Western world, including the United States. It is a stationary dance, like the Rhumba or Mambo, (also East Coast Swing or West Coast swing), except that it has a distinctive cha-cha-cha step that gets its name from splitting the 4 count into two steps so that the 4 and 1 create three quick steps. The dance was originated by Enrique Jorrín in 1948 as a variant of Mambo and Rhumba. It caught on quickly and its popularity spread throughout the world. It was picked up by the country-and-western genera in the last few years dancing to such songs as “Gulf of Mexico” by Clint Black, “Out on the Boardwalk”, “I Want to Dance With You”, and “I’m Going to be Your #1” from the rock and roll era. Today, cha-cha is danced equally as 2-step, polka, Jitterbug, and East Coast Swing. In this segment, we are going to discuss: • The music – how to step to the beat and how determine if it is a cha-cha. • Contact – how to hold your partner. • The basic foot work. The Music Although it is not important to know, Cha-cha is played to 4/4 timing. Each basic covers two bars, or eight beats of music. -
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. -
Preparing Musicians Making New Sound Worlds
PREPARING MUSICIANS MAKING NEW SOUND WORLDS new musicians new musics new processes Compiled by Orlando Musumeci PREPARING MUSICIANS MAKING NEW SOUND WORLDS new musicians new musics new processes Proceedings of the SEMINAR of the COMMISSION FOR THE EDUCATION OF THE PROFESSIONAL MUSICIAN Escola Superior de Música de Catalunya – Barcelona – SPAIN 5-9 JULY 2004 Compiled by Orlando Musumeci Published by the Escola Superior de Música de Catalunya Catalan texts translated by Mariam Chaib Babou (except for Rosset i Llobet) Spanish texts translated by Orlando Musumeci (except for Estrada, Mauleón and Rosset i Llobet) Copyright © ISME. All rights reserved. Requests for reprints should be sent to: International Society for Music Education ISME International Office P.O. Box 909 Nedlands 6909, WA, Australia T ++61-(0)8-9386 2654 / F ++61-(0)8-9386-2658 [email protected] ISBN: 0-9752063-2-X ISME COMMISSION FOR THE EDUCATION OF THE PROFESSIONAL MUSICIAN DIANA BLOM [email protected] University of Western Sydney – AUSTRALIA PHILEMON MANATSA [email protected] Morgan Zintec – ZIMBABWE ORLANDO MUSUMECI (Chair) [email protected] Institute of Education – University of London – UK Universidad de Quilmes – Universidad de Buenos Aires – Conservatorio Alberto Ginastera – ARGENTINA INOK PAEK [email protected] University of Sheffield – UK VIGGO PETTERSEN [email protected] Stavanger University College – NORWAY SUSAN WHARTON CONKLING [email protected] Eastman School of Music – USA GRAHAM BARTLE (Special Advisor) [email protected] -
The Dance Series from Ortofon Is Now Complete – MC Tango Joins MC Samba & MC Salsa for Almost Sixty Years, Ortofon Has
March, 2007 The dance series from Ortofon is now complete – MC Tango joins MC Samba & MC Salsa For almost sixty years, Ortofon has been at the forefront of music reproduction from analogue records. Throughout the years Ortofon have developed many new and creative designs for the enjoyment of music lovers and audio enthusiasts all over the world. WHY AN ORTOFON MOVING COIL CARTIDGE? Many have asked the question: Why is the sound of a moving coil cartridge so superior to that of a traditional magnetic: The answer in one word is linearity. The patented Ortofon low-impedance, low-output design is inherently linear over the entire audible range. This coupled with unequalled tracking ability and unique diamond profiles combines to deliver a sound previously deemed unattainable. The MC Tango, MC Samba and MC Salsa is a direct result of our endeavours. MC Tango has an elliptical diamond which is cut and polished to Ortofon’s standards, and the output is 0.5 mV. The MC Tango is our MC entry level cartridge with a very high cost/performance ratio. MC Samba and MC Salsa have a tiny, nude Elliptical or Fine Line diamond, mounted on a very light and rigid cantilever. This results in low equivalent stylus tip mass and cantilever compliance on 14 and 15 µm/mN, which means that MC Samba and MC Salsa will give excellent results with virtually any tone arm. The armature has been designed as a tiny lightweight cross, and the coils are mounted at exactly 90 degree to each other (just like the walls of the record groove), which is improving the channel separation. -
Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward -
Introduction to Latin Dance
OFFICE OF CURRICULUM, INSTRUCTION & PROFESSIONAL DEVELOPMENT HIGH SCHOOL COURSE OUTLINE Course Code 3722 Course Title Introduction to Latin Dance Department Physical Education Short Title Intro Latin Dance Course Length 2 Semesters Grade 11-12 Credits/Semester 5 Required for Graduation No Meets H.S. Grad Requirement Elective Credit Yes Meets UC “a-g” No Meets NCAA Requirement No Requirement Prerequisites 2 years physical education COURSE DESCRIPTION: This course is designed to teach students the basic elements of Latin Dance. Students will analyze dance’s role in improving and maintaining one’s health related fitness and then incorporate dance activities into their personal fitness program/plan. Students will learn basic steps as well as complex combinations in Merengue, Salsa, Bachata, and the Cha Cha. For each dance, the students will learn the historical and geographical roots, the music and the instruments associated with each one. This course will help students learn the skills of dance while improving their technique, poise, self-confidence and creative ability as well as deepening their understanding of and appreciation for the rich and colorful heritage that each dance represents. As a course involving couples’ dances, it will allow students to develop an understanding of the social etiquette involved in couples dancing. GOALS: Students need to: • Demonstrate knowledge and skills related to performance of the following dances: Merengue, Salsa, Bachata and Cha Cha. • Assess and maintain a level of physical fitness to improve health and performance. • Demonstrate knowledge of physical fitness concepts, principles, and strategies to improve health and performance in dance. • Demonstrate and utilize knowledge of psychological and sociological concepts, principles, and strategies as applied to learning and performance of Latin dance. -
The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2011 The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar Tania Flores SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Dance Commons, Ethnomusicology Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Flores, Tania, "The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar" (2011). Independent Study Project (ISP) Collection. 1118. https://digitalcollections.sit.edu/isp_collection/1118 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar Tania Flores Occidental College Migration and Transnational Identity: Fall 2011 Flores 2 Acknowledgments I could not have completed this project without the advice and guidance of my academic director, Professor Souad Eddouada; my advisor, Professor Taieb Belghazi; my professor of music at Occidental College, Professor Simeon Pillich; my professor of Islamic studies at Occidental, Professor Malek Moazzam-Doulat; or my gracious and helpful interviewees. I am also grateful to Elvira Roca Rey for allowing me to use her studio to choreograph after we had finished dance class, and to Professor Said Graiouid for his guidance and time. -
Grade Dance Unit
10TH GRADE DANCE UNIT TANGO The tango is a slow, sexy dance that originated in the slums of Buenos Aires in the mid-1800s. It’s become a universal symbol of sexual tension in the movies, but most commonly, is a popular dance in ballrooms and nightclubs around the world. Although many variations of the tango exist, the most famous is still the original Argentine Tango. History of the Tango Like so many of history’s most popular and enduring dance styles, the tango’s legacy stretches back from its current cachet as a sensuous, exotic ballroom dance to its origins in the immigrant African slums of Argentina. No one knows for certain where the tango really came from, but it’s generally accepted that the word itself likely has African origins, and that it evolved from the free mixing of cultures and ethnicities in working class Buenos Aires in the mid-19th century. There, poor immigrants from Spain, Portugal, Italy, Poland, and Russia mixed and mingled with African slaves and shared their dance traditions with each other. Cuban and African musical styles and instruments were introduced, and an early style of the tango was born. Later, wealthy members of the Argentinian elite who weren’t above slumming among society’s poor introduced the dance to their own circles and eventually brought the steps and music with them to Paris, where many had moved for education and leisure travel. Unlike conservative Buenos Aires society, Parisians loved and embraced the coarse, sexual nature of the new dance. The tango craze spread throughout Europe and soon landed in London and New York. -
Dance Practice – Rumba & Samba Rumba: “Slow, Quick-Quick” Start
Dance Practice – Rumba & Samba Remember to WARM UP and COOL DOWN! Practice LEAD (left first) and FOLLOW (right first) for all steps. Rumba: “Slow, quick-quick” Remember – this is a Latin dance. Toe-heel steps, rolling down smoothly. • Forward – Step first with LEFT foot. Then side-together (RIGHT – LEFT). • Backward – Step first with RIGHT, then side-together (LEFT – RIGHT). • Basic box – Put “Forward” step together with “Backward” for a box step! • IF YOU USE A PARTNER- it is easy! One does the backward as the other performs forward step. Start: Backward/ Follow Side RIGHT “quick” (2), Together LEFT “quick” (3) Back 3 RIGHT 1 “slow” 2 (1) Forward 1 2 LEFT 3 “SLOW” (1) Start: Forward/ Side LEFT “quick” (2), Lead Together RIGHT “quick”(3) MAKE IT EASIER: Dance this rhythm in place. THOUGHT: This should look familiar! Many dances have a basic “box step”. What makes this different than the others you learn? FUN FACT: Rumba is Cuban in origin. TIPS: • Bring the rumba style! Toe-heel stepping with soft knees helps your hips move in that nice side-to-side motion! 1 | Page 4 Last Updated: 28 October 2018 Dance Practice – Rumba & Samba • Add “Figure 8” hips if you like! In addition to the side-to-side hip motion, allow them to travel forward and backward as you step. (Hip moves forward on the same side as the foot that is stepping.) Samba: “Quick-quick, slow” Remember – this is a Latin dance. If you feel you can, step smoothly toe-heel. • Side-together-back*– – Step side-together (LEFT -RIGHT), then step backward LEFT. -
General Dance Terms
General Dance Terms By studying and learning the unique language of dance, you will develop your skills faster and more completely. While the language is not the dance, improved fluency in the language greatly enhances all aspects of the learning process. Now, in an easy-to-use A-Z format, Diane Jarmolow presents a glossary of over 300 Ballroom, Latin and Swing terms, with visual demonstrations of each. This encyclopedic video set with accompanying text will explain the words and concepts commonly used by professionals in all aspects of Ballroom Dancing, including terms related to the music, movement, technique, history, and profession. It will enable you, whether you are a pure beginner, a serious hobbyist or a professional teacher or competitor, to quickly and easily learn the language skills to accelerate the development of your dancing technique and pleasure. General Dance Terms Amalgamation A combination of two or more patterns or movements. Amateur Dancer A person for whom dancing is a hobby and who does not seek financial gain from the teaching or performing of dancing. American Style A type of ballroom dancing, which evolved from social dancing and is now a fully recognized competitive style of dance. The Smooth style allows the dancers to be in open positions allowing for a very "Fred and Ginger" style. The nine dances are divided into two groups: (1) Smooth style consisting of: Foxtrot, Waltz, Tango and Viennese Waltz (2) Rhythm style consisting of: Cha Cha, Rumba, East Coast Swing, Bolero and Mambo Arm Styling Positioning and movement of the arms, reflecting the character and style of the dance.