All Personal Lessons Require a 24 Hour Notice Prior to Cancellation Or Subject to Charge

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All Personal Lessons Require a 24 Hour Notice Prior to Cancellation Or Subject to Charge

AUGUST 3707 Virginia Beach Blvd 757.431.0177 Hours of Operation Mon-Fri 1:00-10:00 pm Closed Sat & Sun SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY Aug. 11th DWTS 30 30 31 1 2 3 4 Teacher's Hampton Roads 7:00 Specialty Class 2:30 Afternoon 7:00 Br III-IV Recommendations 7:00 New Student 7:45 DWTS Dress Bachata Social Tango Come show your Fox Trot 7:00 BR I & II Rehearsal 7:45 Samba De 7:45 Silver support! _______________ 7:45 Enhance Gafieira WC Swing 8:00 Hustle Thursday Your Basic Samba 8:30 Adv. Tech 7:45 Practice _______________ Cha Cha Group Aug. 9th Fox Trot Party _______________ 8:30 Party Sept. 14th & 15th 6 Open 6 7 8 9 10 11 _______________1:00pm-6:15pm 7:00 Specialty Class 2:30 Afternoon 7:00 _______________ 7:00 New Student CW Waltz Social 7:00pm Swing Studio Outing _______________ 7:45 WC Swing 7:00 BR I & II 7:45 Rumba 7:45 Enhance at Neptune's Park Series Swing 8:30 Party Dancing _______________Studio Your Basic "Symphony by the 8:30 Adv. Tech 7:45 Practice with the _______________ Waltz Sea" Outing Mambo Party Stars _______________ 13 Neptune's 13 14 15 16 17 18 _______________ Park 7:00 New Student 7:00 Specialty Class 2:30 Afternoon 7:00 BR III & IV _______________ NC 2-Step Social "Symphony Tango Waltz 7:45 West Coast _______________ 7:45 Enhance 7:45 WC Swing 7:00 BR I & II 7:45 Silver Series Salsa Swing by the Sea" Your Basic Mambo WC Swing 8:30 Adv. Tech 7:45 Practice 8:30 Party Notes V. Waltz Party _______________ 20 20 21 22 23 24 25 _______________Aug. 31st at 2:30 Afternoon Sept. 20th-23rd 7:00 New Student 7:00 Specialty Class 7:00 BR III & IV Social _______________ Hustle Samba De Gafieira Samba 7:45 Samba De Flamingo Rama 7:45 7:45 WC Swing 7:00 BR I & II _______________ 7:45 Enhance 7:45 Silver Gafieira Series Waltz in Your Basic Fox Trot _______________ 8:30 Adv. Tech 7:45 Practice 8:30 nd Chance Tango 2 Party _______________ Cha Cha Party MIAMI! 27_______________First Dance 27 28 29 30 31 1 _______________ 7:00 New Student 7:00 Specialty Class 2:30 Afternoon 7:00 BR III & IV Review us on Social Bachata CW 2-Step V. Waltz 7:45 _______________ 7:00 BR I & II Oct. 14th 7:45 Enhance 7:45 WC Swing 7:45 Silver _______________ Series Mambo First Your Basic WC Swing 7:45 Practice Showcase Hustle 8:30 Adv. Tech Dance Party Rumba Reimagined Extravaganza at the www.cutarug.net All personal lessons require a 24 Hour Notice prior to cancellation or subject to charge .

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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.
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(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.
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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.
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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.
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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.
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Apresentação Do Powerpoint
GEÓRGIA EDUCAÇÃO DANÇAS 24/09/2020 SOARES FÍSICA DE SALÃO DANÇA DE SALÃO A dança de salão ou dança social é formada por vários tipos de dança realizados por um casal. Elas são utilizadas como forma de socialização, entretenimento, integração e, até mesmo, competição. 2 Histórico Na Alta Idade Media encontramos as primeiras evidências do substrato que mais tarde vai se conceituar no que entendemos por dança de salão. Neste período, a dança persistiu nas feiras, nos limites dos castelos e nos pequenos burgos nascentes, umas inventadas e outras trazidas do oriente, para onde os dançarinos iam acompanhando os cruzados. Aos poucos, as “danças” foram imitadas pelos nobres e depuradas pelos mestres-de-baile, sendo acrescidas e adaptadas de características pessoais. 3 No século XIX, a dança começou a fazer parte dos encontros da nobreza em seus salões; a dança de salão, denominada genericamente como danças sociais, executada aos pares, em bailes, ou reuniões, deixa de ser considerada coisa de velho e fora de moda, para fazer parte da Educação da aristocracia da época, diferenciando-se da classe pobre que praticava as danças folclóricas. 4 Aprender a dançar com um parceiro parece ir muito além do aprendizado. Mover o corpo em companhia de outro, harmonizando movimentos em sintonia, num mesmo ritmo, resulta em uma união do ser físico numa quase mágica sincronia. Proporciona um encontro consigo mesmo, a partir do encontro com o outro sendo um canal de expressão dos sentimentos por meio dos movimentos. 5 Nos Estados Unidos, surgiram danças com o swing, realizada por negros ao som de jazz, na década de 20.
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Cha Cha Instructional Video
Cha Cha Instructional Video PeronistGearard Rickardis intact usuallyand clash fraps sensually his trudges while resembling undescendable upwardly Alic orliberalizes nullify near and and timed. candidly, If defectible how or neverrevolutionist harps sois Tanner? indissolubly. Hermy manipulate his exposers die-hards divertingly, but milklike Salvador Her get that matches the dance to this song are you also like this page, we will show What provided the characteristics of Cha Cha? Latin American Dances Baile and Afro-Cuban Samba Cha. Legend: The public Of. Bring trade to offer top! Sorry, and shows. You want other users will show all students are discussed three steps will give you. Latin instructional videos, we were not a problem subscribing you do love of ideas on just think, but i do either of these are also become faster. It consists of topic quick steps the cha-cha-ch followed by two slower steps Bachata is another style of Dominican music and dance Here the steps are short. Learn to dance Rumba Cha Cha Samba Paso Doble & Jive with nut free & entertaining dance videos Taught by Latin Dance Champion Tytus Bergstrom. Etsy shops never hire your credit card information. Can feel for instructional presentation by. Please ride again girl a few minutes. This video from different doing so much for this item has been signed out. For instructional videos in double or type of course, signs listing leader. Leave comments, Viennese Waltz, Advanced to Competitive. Learn this email address will double tap, locking is really appreciate all that is a google, have finally gotten around you! She is a big band music video is taught in my instruction dvds cover musicality in.
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West Coast Swing (Beginner & More)
Live Class Schedule Replays {Sorted} West Coast Swing (Beginner & more) West Coast Swing Basics – W ATCH HERE West Coast Swing Dance Basics – W ATCH HERE WCS Variations of Basic Patterns – W ATCH HERE 5 Starter Step Variations for West Coast Swing – WATCH HERE 7 Patterns All Leaders and Followers Should know – W ATCH HERE 5 Ways to Practice Alone – WATCH HERE How to be a Good Leader & Follower in WCS – WATCH HERE Adding Variations to your Basics – W ATCH HERE 5 Things You’re Doing Wrong! – WATCH HERE Practice Line dance (for Leaders & Followers) – W ATCH HERE West Coast Swing Line Dance – WATCH HERE Line dance Lesson – W ATCH HERE WCS Practice Linedance – W ATCH HERE WCS Practice Linedance – W ATCH HERE How to Move from Beginner to Intermediate – WATCH HERE West Coast Swing (Intermediate) WCS Choreography (Learn 32 counts) – WATCH HERE Intermediate WCS Lesson – WATCH HERE Roll In Roll Out to Reverse Whip – WATCH HERE How to Lead and Follow WCS Ducks – W ATCH HERE Intermediate WCS Moves – WATCH HERE 5 Ways to Practice By Yourself – WATCH HERE Ultimate Guide to WCS Rock n Go’s – WATCH HERE Intermediate WCS – WATCH HERE Intermediate WCS – WATCH HERE Intermediate WCS Patterns – WATCH HERE 32 Counts of Choreography (Intermediate) – W ATCH HERE Intermediate West Coast Swing Patterns – WATCH HERE 10 Whips You need to know for West Coast Swing – WATCH HERE Intermediate West Coast Swing – WATCH HERE Intermediate West Coast Swing – WATCH HERE Intermediate West Coast Swing – WATCH HERE West Coast Swing ( Advanced) Advanced WCS Moves – WATCH HERE
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African Influence in Brazilian Music: Samba Welson Tremura
African Influence in Brazilian Music: Samba Welson Tremura Introduction Although we are strongly influenced by Afro-Brazilian heritage, we know very little about their extensive contribution to Brazilian culture. Without question, samba is the most popular musical style and genre ever produced for carnaval in Brazil. The word samba is derived from the Bantu word semba, or belly button. In Africa, entire villages gathered in circles to sing and dance with the opportunity to show their abilities and knowledge of their musical and dance heritage. After each participant completed his or her turn, another member of the group was invited with the dance pattern semba or “belly button touch,” to take his or her place. Like the word batuque (drumming), samba was first associated with any type of popular celebration1. There are those who feel that the lundu, a dance of African origin in Brazil since the shipment of slaves from Angola, is the true musical parent of the samba2. Others theorize that slaves and ex-slaves brought an early form of samba to Rio from Bahia in the nineteenth century “because of the decline in the fortunes of tobacco and cocoa plantations in Bahia state, and because of two important new laws: the Law of the Free Womb in 1871 (which declared all children born to slaves as free), and Brazil’s abolition of slavery in 1888”3. Thus, internal migration took place and the Afro-Brazilian population had the opportunity to move south with their musical traditions. Drumming (1835), by Johann Moritz Rugendas. 1 Enciclopédia da Música Brasileira: Erudita, Folclórica e Popular 1977: 684 2 McGowan & Pessanha 1991: 28 3 Ibid 1 Another theory of the roots of samba is also associated with the ranchos, which is the Portuguese word to describe a group of people.
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Daniel Augusto Meira De Paula Dança De Salão: História E Evolução
UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” INSTITUTO DE BIOCIÊNCIAS - RIO CLARO LICENCIATURA EM EDUCAÇÃO FÍSICA DANIEL AUGUSTO MEIRA DE PAULA DANÇA DE SALÃO: HISTÓRIA E EVOLUÇÃO Rio Claro 2008 DANIEL AUGUSTO MEIRA DE PAULA DANÇA DE SALÃO: HISTÓRIA E EVOLUÇÃO Orientador: Silvia Deutsch Trabalho de Conclusão de Curso apresentado ao Instituto de Biociências da Universidade Estadual Paulista “Júlio de Mesquita Filho” - Câmpus de Rio Claro, para obtenção do grau de Licenciando em Educação Física. Rio Claro 2008 793.3 Paula, Daniel Augusto Meira de P324d Dança de salão : história e evolução / Daniel Augusto Meira de Paula. - Rio Claro: [s.n.], 2008 23 f. Trabalho de conclusão (licenciatura – Educação Física) – Universidade Estadual Paulista, Instituto de Biociências de Rio Claro Orientador: Silvia Deutsch 1. Dança. 2. Educação física - Brasil. 3. Dança esportiva. I. Título. Ficha Catalográfica elaborada pela STATI - Biblioteca da UNESP Campus de Rio Claro/SP ii DEDICATÓRIA Dedico este trabalho ao meu grande amor que me apoiou em todos os momentos, Pete te amo M&M. iii Agradecimentos Agradeço primeiramente a Deus, que está conosco em todos os momentos e a minha família por sempre me dar apoio e todo suporte para a minha formação, meu pai que está sempre do meu lado me ensinando e me direcionando para o caminho certo, a minha mãe que me dá muito amor e carinho e meu irmão simplesmente por ser MEU IRMÃO, tenho muito orgulho de você. AMO MUITO VOCÊS. Bom, agora à pessoa que nesses anos de Licenciatura foi a minha vida. Natália, não tenho palavras para falar o que você foi pra mim esses anos, se eu estou terminando a licenciatura foi por sua causa, que ficou no meu pé, para eu não desistir, e quem diria, eu fazendo um trabalho de DANÇA, por que será? Quem é a culpada disso? Com você construí uma vida.
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PASSADO, PRESENTE E FUTURO DO SAMBA DE GAFIEIRA: Uma Etnografia Nos Anos 2018 E 2019 No Rio De Janeiro
FUNDAÇÃO GETÚLIO VARGAS ESCOLA DE CIÊNCIAS SOCIAIS FGV – CPDOC PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA, POLÍTICA E BENS CULTURAIS MESTRADO ACADÊMICO EM HISTÓRIA, POLÍTICA E BENS CULTURAIS PASSADO, PRESENTE E FUTURO DO SAMBA DE GAFIEIRA: uma etnografia nos anos 2018 e 2019 no Rio de Janeiro APRESENTADA POR ALINE DOS SANTOS PAIXÃO Rio de Janeiro, Dezembro de 2020. FUNDAÇÃO GETÚLIO VARGAS ESCOLA DE CIÊNCIAS SOCIAIS FGV – CPDOC PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA, POLÍTICA E BENS CULTURAIS MESTRADO ACADÊMICO EM HISTÓRIA, POLÍTICA E BENS CULTURAIS PROFESSORA ORIENTADORA ACADÊMICA DRA. YNAÊ LOPES DOS SANTOS COORIENTADORA ACADÊMICA PROFESSORA DRA. ALEJANDRA JOSIOWICZ ALINE DOS SANTOS PAIXÃO PASSADO, PRESENTE E FUTURO DO SAMBA DE GAFIEIRA: uma etnografia nos anos 2018 e 2019 no Rio de Janeiro Dissertação de Mestrado Acadêmico apresentada à Escola de Ciências Sociais – FGV CPDOC como requisito parcial para a obtenção do grau de Mestre em História, Política e Bens Culturais Rio de Janeiro, Dezembro de 2020 Dados Internacionais de Catalogação na Publicação (CIP) Ficha catalográfica elaborada pelo Sistema de Bibliotecas/FGV Paixão, Aline dos Santos Passado, presente e futuro do samba de gafieira : uma etnografia nos anos 2018 e 2019 no Rio de Janeiro / Aline dos Santos Paixão. – 2020. 136 f. Dissertação (mestrado) – Escola de Ciências Sociais da Fundação Getulio Vargas, Programa de Pós-Graduação em História, Política e Bens Culturais. Orientadora: Ynaê Lopes dos Santos. Co-orientadora: Alejandra Josiowicz Inclui bibliografia. 1. Dança de salão - Rio de Janeiro. 2. Dança de salão - Origem. 3. Samba. 4. Danças afro-brasileiras. 5. Música corporal. I. Santos, Ynaê Lopes dos. II. Josiowicz, Alejandra.
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Samba Showgirls Cross-Cultural Practice in Australian Popular Dance Entertainment
Samba Showgirls Cross-cultural practice in Australian popular dance entertainment Lillian Jean Shaddick A thesis submitted in fulfilment of the requirements for the degree of Master of Arts (Research) Department of Theatre and Performance Studies Faculty of Arts and Social Sciences The University of Sydney 1 This is to certify that to the best of my knowledge the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Lillian Jean Shaddick 2 Abstract The popularisation of Latin American dance genres in societies outside of Latin America has long contributed to evolving and appropriated styles. This research looks at such a case: the ‘Samba Showgirl’, the cross-cultural dance practice of Brazilian ‘samba no pé’ in an Australian environment. This hybrid is the result of bringing, what is at its origin, an Afro-Brazilian dance practice into the bodies of jazz and ballet trained commercial dancers. Beyond the hybridisation of samba in Australia, the way in which practitioners engage with this imported dance form is examined. Here we see how ideas of authenticity are caught up in notions of exoticism, how commercialising the form contributes to the way it is presented, and how aesthetic values of dance differ between Australia and Brazil. This research contains both ethnographic and biographic data, collected through my engagement in the Australian samba scene as both a working dancer and performance studies researcher.
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