Flamenco Dance Sept

Total Page:16

File Type:pdf, Size:1020Kb

Flamenco Dance Sept MUSIC & DANCE Fall 2009Calendar Lotus Membership ($15 annual fee) is required for all Workshops discounts on workshops, with the exception of one day events. Intro to Bhangra MUSIC Release-Kuchipudi & Ballroom See below for class prices with Shams Khan & DANCE Fusion with Pratibha Vuppuluri Classes Tuesdays, 7:30 – 8:30 pm Tuesdays, 7:30 – 8:30 pm with Sept. 8 – 29 Sep. 15 – Nov. 10 (No Session on Oct. 13) Kathak Classes 4 Sessions Prepaid: $80 8 Sessions Prepaid: $160, Per Session: $25 Pt. Satya Narayana Charka Per Single Session: $25 This new workshop will provide students with a Thursdays: 6:30 – 7:30 pm: Beg. This workshop will introduce participants to Bhangra, the vivacious dance technique that will incorporate the grace 7:30 – 8:30 pm: Adv. Beg./ Inter. traditional folk dance and music of the Punjabi region in Northern and strength building exercises of Kuchipudi Starts Sept. 10, Ongoing India. This infectious dance form, which is now practiced all over the and Ballroom dance. Both dance forms provide Now introducing two back to back hours of world mostly due to its popularization by Hip Hop and Westernized immense benefits such as personal confidence, Kathak on Thursday nights! Begin, continue or resume your studies. interpretations, combines sheer energy and strength with complex good posture, flexibility and stamina. Ballroom dance incorporates group choreography and a keen attention to rhythm and melody. strong technique and Kuchipudi compliments it with centuries old No previous dance experience necessary. yogic postures. Combinations set to Asian underground music Beg/Intermediate Vinyasa Yoga will relax and release participants from the stress and tension of a with Sue Smith Flamenco Cante for Dancers long work day. Provided literature will explain the benefits of each movement practiced in the workshop. No partner needed. Saturdays, 10 – 11 am with Alfonso Cid and Andres Perches Lemons Starts Sept. 12, Ongoing Wednesdays, 7:30 – 9 pm For newcomers and experienced Sept. 9 – Oct. 14 5 Week Polynesian Class Series Workshops with Makalina yoga practitioners alike, this Vinyasa 6 Sessions Prepaid: $180 flow class will help solidify the fundamental elements of a lifelong Per Single Session: $35 Minimum 4 prepaid students in each series to run. yoga practice. The class incorporates beginner and intermediate Membership required for prepaid rate. This workshop will introduce participants to poses as well as breathing techniques and mantra. Appropriate for Flamenco song (cante) with an emphasis on Intro to Hula beginner and intermediate students. Please bring your own mat. structure of the verses, phrasing and rhythm Saturdays, 2 – 3 pm (compás) and application to flamenco dance Sept. 26 – Oct. 24 Bulgarian Folk Dance and choreography. Alfonso will also discuss $70 (Drop in rate: $19) flamenco history and introduce each palo or with Elissaveta Iordanova This set of 5 classes will take beginning flamenco style within its historical context and development. Tuesdays, 6:30 – 7:30 pm students through the basic steps and This course is excellent for dancers who wish to strengthen their terminology of Hula, the expressive and beautiful dance of Hawai’i. Starts Sept. 15, Ongoing understanding of how to work with the cante. You do not need to Students will learn cultural history, body and hand movements, Bulgarian dances, many of them group chain sing; you only need to dance in this course. No previous knowledge and a basic Hula dance. dances, are characterized by their lively of the Spanish language is required. Printed material will be energy, uneven rhythms and exciting footwork. handed out in each class with translations of the lyrics and the Intro to Tahitian Students will both have fun and improve their structure of the dances. It is highly recommended to bring a Saturdays, 3 – 4 pm dance skills by learning principle movements, recording device to this class. Sept. 26 – Oct. 24 rhythms and styles. The repertoire will intro- $70 (Drop in rate: $19) duce dances in 5/8, 7/8, and 9/8 musical ar- Kanggangsuallae Workshop In this 5 week class series, beginner rangements. The class also offers participants with Karen Kriegel students will learn an introduction of a chance to learn more complex steps and rhythm such as 11/16 with focus on solo and group compositions, based on the learned Saturdays, 1:30 – 2:30 pm an O’tea, a traditional Tahitian dance featuring rhythmical hip (for material and mastering of the technique of the form. Sept. 12 – Oct. 3 women) or knee (for men) shaking accompanied soley by drums. 4 Sessions Prepaid: $80 Per Single Session: $25 Okinawan Dance Flamenco Dance KANGGANGSUALLAE [Intangible Cultural Asset No. 8] is an Demo/Workshop with La Conja exuberant Korean folk dance in which the participants form a circle, Saturdays: 12 – 1:30 pm hand in hand, and portray various parts of daily life in a traditional with Junko Fisher Starts Sept. 12 agricultural community (planting, harvesting, fishing, sewing, Sunday, Oct. 4, 3 – 5 pm, $35 Mixed Level Technique Ongoing weaving, etc.). This fun, physically involved, theatrical dance piece In the second installment of her Demo/Workshop is for all age groups and body types and everyone is invited to series, Okinawan native traditional dancer Junko Wednesdays: 6 – 7:30 pm participate in this workshop. This workshop is ideal for theater Fisher will demonstrate her versatility in dance forms Oct. 14 – Nov. 18 students and students of folkloric traditions who may find this an by performing a sophisticated young boy’s court dance using fans, a Inter./Advanced Ongoing opportunity to learn another form of ‘circle’ dance, or for those who lively woman’s popular dance and a powerful man’s classical dance This set of 6 classes will focus on technique, upper body, and how are interested learning more about Korean culture. Please wear featuring karate forms. During the workshop portion that follows, comfortable clothing and adult ballet slippers in leather or canvas, to build strength and speed in footwork. Students will also work participants will learn the basic forms of Okinawan dance. As the finale on turns, compas and advanced combinations and will gain a full soles (preferably in white). Please no shoes or sneakers. of this session, Junko will sing a folk song from Yaeyama (southernmost better understanding of the different rhythms and styles (palos). Okinawan island) and accompany herself on the Sanshin (three-stringed Intro to Salsa Okinawan lute). Please do not miss this rare opportunity to see and with Franklin Diaz participate in Okinawan music and dance. Co-presented by Lotus Music Flamenco Dance & Dance, Junko Fisher and the Miyagi Ryu Nosho-kai Ryukyu Dance Mondays, 7:30 – 9 pm with Lia Ochoa and Music School. Sept. 14 – Nov. 2 Thursdays: 6:00 – 7:30 pm 8 Sessions Prepaid: $200 Starts Oct. 15, Adv. Beg. Per Single Session: $30 The World Dance Workout™ Ongoing In this introductory Salsa workshop, students will learn coordination of with Julia Kulakova body and foot movements as well as partner work. Though movements Wednesdays, 6 – 7:30 pm will be simple, special emphasis will be placed on style. By the end of Oct. 7 – 28 the course, participants will be ready to strut their stuff in the clubs if 4 Sessions Prepaid: $100 they so desire. Per Single Session: $30 CLASS FEES For new and current students of all (Applies to Above Ongoing Classes) Bring Multicultural Arts to your Child’s School styles of dance as well as those wishing Single 1 hr class – $14 (Member Rate), $19 (Non-Member) to improve their health without the with Lotus Arts-In-Education Programs! boredom of the gym, Lotus recommends Single 1.5 hr class – $16 (Member Rate), $21 (Non-Member) The World Dance Workout.™ Designed Lotus performing artists/master teachers are available for workshops, by dancer, choreographer and fitness educator Julia Kulakova, CLASS CARDS master classes and assembly programs at K-12 schools, universities, this open level fitness/dance curriculum concentrates on body Class Cards are available exclusively to Lotus Members: museums and community centers. integration, stability/mobility concepts, developing core muscles – Five 1 hour classes – $65, Ten 1 hour classes – $130 Programs available for the 2009 Season include: Native American all set to the beats of world music. World Dance Workout™ Five 1.5 hour classes – $75, Ten 1.5 hour classes – $150 Dance, Drumming & Traditional Instruments; Burmese Dance Drama; essential benefits for students of world dance are: abdominal Indigenous Dance of the Southern Philippines; Classical Dance Tradi- control for Korean dance, grounding for Kathak spins, upper back All class cards expire 3 months after date of purchase. tions of India: Bharata Natyam, Kathak, Odissi; Dances and Folklore of strength for Flamenco, connection between legs and pelvis for hip Lotus Membership: $15 (annual) Japan; Drums and Dance of Korea; Journey to the Homeland: African movements in Middle Eastern, Latin and North African dance. Dance, Music & Storytelling; Soul of Spain: Elements of Flamenco; Each session starts with a review of the basic technique followed Also check out our ongoing Bharata Natyam, Odissi, Belly Dance and Korean classes held year-round. Dance, Music & Rhythms of the Middle East. by a lot of fun! Please call 212-627-1076 ext. 13 or email Go to www.lotusmusicanddance.org [email protected] for more info. or call (212) 627-1076 for current schedule! NONPROFIT ORG US POSTAGE PAID MUSIC NEW YORK, NY & DANCE PERMIT NO. 733 109 W. 27th Street, 8th Floor New York, NY 10001 Phone: (212) 627-1076 Fax: (212)-627-7191 www.lotusmusicanddance.org MUSIC [email protected]& DANCE [email protected] • www.lotusmusicanddance.org • [email protected] FAll 2009 CALENDAR 2009 FAll 1, R, W trains to 28th St.
Recommended publications
  • Rhythmic Foundation and Accompaniment
    Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression.
    [Show full text]
  • Northern Junket, Vol. 6, No. 11
    \ \ Title CiNTMS \ rage i Take It Jr Leave It 1 Juvenile Delinquency & Square Hancing 2 From The Mailbox 7 Coming Events at Folk 3ance House - - 11 Irish Dancing -.-_ 12 Bayanihan Dance Group >. 23 Polish State Folk Ballet 24 The P»und Party 25 Contra Dance - Maiden fteel ------ 27 Square Dance - Kitty Corner -------- 28 Folk Dance - Manitou Mixer — 29 Folk Song - If My fid T«p Were A Dancing Man 30 News 32 Book Review - Spiked Boots __- 34 It's Fun To Hunt 35 lasy To Make Decorations ---- — - 43 Holiday Foo4 46 The Town Criei; 5* ******* I :0^vM^... i< k *$ R L E..A. T'B I T The longer I stay in this "business the surer I am of two things to ensure its long life and continued in- terest in it: PROPER PROGRAMMING AMD A YOUTH PROGRAM . The callers who have been active for ten or more years and are still in demand are the ones who program each of their dances so that they give something for the "hot shot" dancer; something for the "newcomer" to square dancing; and a heck of lot for the people in between who outnumber the others maybe ten to one. The dances for the in-betweens will "be a good mixture of old and traditional dances and enough of the neweir ones to keep the floor on its toes. And one thing they never are guilty of: they never deliberately try to "throw the floor". Any idiot can do that; it takes a real good caller to sense the limitations of the group and arrange or re-arrange his material accordingly.
    [Show full text]
  • Europeanfolkdanc006971mbp.Pdf
    CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life.
    [Show full text]
  • 3-5 Rhythm and Dance 1
    T andalay Fitness News Grades 3-5 Rhythm, Dance, and Cultural Dance GET UP AND DANCE! All kinds of physical activities work your muscles, but not all activities are as much FUN as DANCING! That’s right -- not only is dancing fun, it’s also great exercise! So stand up, do a few simple stretches, and get ready to learn some new moves! Dancing will help you strengthen your muscles, and can also build endurance -- all you have to do is have fun just a little bit longer each day! Dancing is about moving your body. Some kinds of dancing you make up as you go along. Some kinds of dance are done in a specific way, with special steps and a certain type of music. Once you learn the steps, it can be a lot of fun to do these dances alone or with a group of people. Folk Dance: Folk dances are group dances that have developed over many many years in a certain country or area. They are usually danced to special music, and everyone does the same steps at the same time. Folk dances can be done as a performance for people to watch, but they really started as a way for everyone to celebrate together at parties and events. Some examples of folk dances are: clogging, Irish dance, square dance, sword dance, and folklorico. Line Dance: Line dances are dances where everyone stands in one or more lines, and does the same steps at the same time. Sometimes all the dancers face the same direction.
    [Show full text]
  • Korean Dance and Pansori in D.C.: Interactions with Others, the Body, and Collective Memory at a Korean Performing Arts Studio
    ABSTRACT Title of Document: KOREAN DANCE AND PANSORI IN D.C.: INTERACTIONS WITH OTHERS, THE BODY, AND COLLECTIVE MEMORY AT A KOREAN PERFORMING ARTS STUDIO Lauren Rebecca Ash-Morgan, M.A., 2009 Directed By: Professor Robert C. Provine School of Music This thesis is the result of seventeen months’ field work as a dance and pansori student at the Washington Korean Dance Company studio. It examines the studio experience, focusing on three levels of interaction. First, I describe participants’ interactions with each other, which create a strong studio community and a women’s “Korean space” at the intersection of culturally hybrid lives. Second, I examine interactions with the physical challenges presented by these arts and explain the satisfaction that these challenges can generate using Csikszentmihalyi’s theory of “optimal experience” or “flow.” Third, I examine interactions with discourse on the meanings and histories of these arts. I suggest that participants can find deeper significance in performing these arts as a result of this discourse, forming intellectual and emotional bonds to imagined people of the past and present. Finally, I explain how all these levels of interaction can foster in the participant an increasingly rich and complex identity. KOREAN DANCE AND PANSORI IN D.C.: INTERACTIONS WITH OTHERS, THE BODY, AND COLLECTIVE MEMORY AT A KOREAN PERFORMING ARTS STUDIO By Lauren Rebecca Ash-Morgan Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2009 Advisory Committee: Dr. Robert C. Provine, Chair Dr.
    [Show full text]
  • DE PLAYERAS Y SEGUIDILLAS La Seguiriya Y Su Legendario Nacimiento
    DE PLAYERAS y SEGUIDILLAS La Seguiriya y su legendario nacimiento Guillermo Castro Buendía Musicólogo especializado en Flamenco Introducción En el flamenco, parece que nunca está dicha la última palabra en materia de investigación. En pleno siglo XXI, a nosotros todavía nos asaltan dudas en aspectos relacionados con el origen musical de algunos palos, sobre todo de los primeros en formarse: es el caso de la seguiriya. En este trabajo vamos a hacer un análisis de las músicas que sirvieron de soporte a los diferentes tipos estróficos cultivados en la seguiriya, para intentar comprender el origen musical y desarrollo de este singular e importante estilo, uno de los puntales del género flamenco. Para ello utilizaremos los documentos musicales que hemos podido encontrar desde principios del siglo XIX, época aún preflamenca, hasta principios del siglo XX, momento en que la seguiriya ya se encontraba plenamente definida y estructurada desde el punto de vista flamenco. Igualmente, realizaremos un profuso estudio de los metros que aparecen en la seguiriya, siendo éste un aspecto muy particular e importante –creemos nosotros– dentro de la transmisión oral y, en particular, de este estilo flamenco. Recomendamos la impresión de este extenso trabajo para una mayor comodidad de lectura. Hemos incluido un índice al final (pág. 150) para facilitar el acceso a los diferentes puntos del mismo. Preliminares ―Lo flamenco‖ Uno de los problemas que arrastra el flamenco en su faceta de investigación es la propia definición de ―lo flamenco‖, y su aplicación en las distintas etapas que como arte ha venido desarrollando. Es evidente que ―lo flamenco‖ desde el punto de vista musical, no fue igual a mediados del siglo XIX que a finales, o ya entrado el siglo XX, y no digamos en las últimas décadas del pasado siglo.
    [Show full text]
  • Your Guide to Understanding and Enjoying Powvwows
    Indian Education for All Your Guide to Understanding and Enjoying Pow Wows Thanks to: Murton McCluskey, Ed.D. Revised January 2009 TABLE OF CONTENTS Introduction ...................................................................... 1 History of the Pow Wow ............................................... 2-3 The Pow Wow Committee ............................................ 4 Head Staff ............................................................. 4 Judges and Scoring................................................ 4-6 Contest Rules and Regulations ................................... 7 Singers..................................................................... 7 Dancers................................................................... 8 The Grand Entry................................................... 8 Pow Wow Participants.......................................... 9 The Announcer(s) ................................................ 9 Arena Director....................................................... 9 Head Dancers......................................................... 9 The Drum, Songs and Singers..................................... 10 The Drum...............................................................10 Singing..................................................................... 10-11 The Flag Song........................................................ 12 The Honor Song.................................................... 12 The Trick Song.......................................................12 Dances and Dancers.......................................................
    [Show full text]
  • 6Th Grade Dance Study Guide
    6th Grade Dance Study Guide History • Dance has been used throughout civilization by various cultures and society to communicate concepts such as customs, self-expression and social interaction. Types of Dance • Square Dance: Performed with partners, in groups of eight forming a square. • Contra Dance: A dance in which couples stand in long lines facing each other, and move in opposite directions. Examples: Virginia Reel • Round/Circle Dance: Round dance is a term used as early as the eighteenth century in Europe for dances in which partners perform in a circle and usually move in a counterclockwise direction. Round dances are also called couple or partner dances. Examples: Heel Toe Polka, Jiffy Mixer, the Waltz, the Polka, Five Foot Two • Line Dancing: A dance performed in a line, usually no partners. Examples: Hot Chocolate, Rollercoaster, Electric Slide • Folk Dance: A Dance performed from customs and traditions of people. Dances that come from countries other than the United States. It is “the dance of the people”. Terminology Closed Dance Position – Girl’s right hand in boy’s left, girl’s left hand on boy’s shoulder; boy’s right hand in middle of girl’s back to guide her. Do-Si-Do - Two dancers face and move toward each other passing right shoulders. Each person then moves to his right, passing in back of the other person and without turning, passes left shoulders and moves backward to place. Line or Contra – type of formation; dancers stand side by side facing in the same direction. Line of Direction – Refers to the direction of movement of dancers around a circle, counterclockwise.
    [Show full text]
  • Danc-Dance (Danc) 1
    DANC-DANCE (DANC) 1 DANC 1131. Introduction to Ballroom Dance DANC-DANCE (DANC) 1 Credit (1) Introduction to ballroom dance for non dance majors. Students will learn DANC 1110G. Dance Appreciation basic ballroom technique and partnering work. May be repeated up to 2 3 Credits (3) credits. Restricted to Las Cruces campus only. This course introduces the student to the diverse elements that make up Learning Outcomes the world of dance, including a broad historic overview,roles of the dancer, 1. learn to dance Figures 1-7 in 3 American Style Ballroom dances choreographer and audience, and the evolution of the major genres. 2. develop rhythmic accuracy in movement Students will learn the fundamentals of dance technique, dance history, 3. develop the skills to adapt to a variety of dance partners and a variety of dance aesthetics. Restricted to: Main campus only. Learning Outcomes 4. develop adequate social and recreational dance skills 1. Explain a range of ideas about the place of dance in our society. 5. develop proper carriage, poise, and grace that pertain to Ballroom 2. Identify and apply critical analysis while looking at significant dance dance works in a range of styles. 6. learn to recognize Ballroom music and its application for the 3. Identify dance as an aesthetic and social practice and compare/ appropriate dances contrast dances across a range of historical periods and locations. 7. understand different possibilities for dance variations and their 4. Recognize dance as an embodied historical and cultural artifact, as applications to a variety of Ballroom dances well as a mode of nonverbal expression, within the human experience 8.
    [Show full text]
  • Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
    Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART
    [Show full text]
  • Castanets 1 Castanets
    Castanets 1 Castanets Castanet(s) Castanets Percussion instrument Classification hand percussion Hornbostel–Sachs classification 111.141 (Directly struck concussive idiophone) Castanets are a percussion instrument (idiophone), used in Moorish, Ottoman, ancient Roman, Italian, Spanish and Portuguese music. The instrument consists of a pair of concave shells joined on one edge by a string. They are held in the hand and used to produce clicks for rhythmic accents or a ripping or rattling sound consisting of a rapid series of clicks. They are traditionally made of hardwood, although fibreglass is becoming increasingly popular. In practice a player usually uses two pairs of castanets. One pair is held in each hand, with the string hooked over the thumb and the castanets resting on the palm with the fingers bent over to support the other side. Each pair will make a sound of a slightly different Castanets seller in Granada, Spain pitch. The origins of the instrument are not known. The practice of clicking hand-held sticks together to accompany dancing is ancient, and was practised by both the Greeks and the Egyptians. In more modern times, the bones and spoons used in Minstrel show and jug band music can also be considered forms of the castanet. When used in an orchestral setting, castanets are sometimes attached to a handle, or mounted to a base to form a pair of machine castanets. This makes them easier to play, but also alters the sound, particularly for the machine castanets. It is possible to produce a roll on a pair of castanets in any of the three ways in Castanets 2 which they are held.
    [Show full text]
  • Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI
    DOCUMENT RESUME ED 429 050 SP 038 379 AUTHOR Weikart, Phyllis S. TITLE Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI. ISBN ISBN-1-57379-008-7 PUB DATE 1997-00-00 NOTE 674p.; Accompanying recorded music not available from EDRS. AVAILABLE FROM High/Scope Press, High/Scope Educational Research Foundation, 600 North River Street, Ypsilanti, MI 48198-2898; Tel: 313-485-2000; Fax: 313-485-0704. PUB TYPE Books (010)-- Guides - Non-Classroom (055) EDRS PRICE EDRS Price MF04 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Aesthetic Education; Cultural Activities; Cultural Education; *Dance Education; Elementary Secondary Education; *Folk Culture; Music Education IDENTIFIERS *Folk Dance ABSTRACT This book is intended for all folk dancers and teachers of folk dance who wish to have a library of beginning and intermediatefolk dance. Rhythmic box notations And teaching suggestionsaccompany all of the beginning and intermediate folk dances in the book. Many choreographieshave been added to give beginning dancers more experience with basicdance movements. Along with each dance title is the pronunciation and translation of the dance title, the country of origin, and the "Rhythmically Moving"or "Changing Directions" recording on which the selectioncan be found. The dance descriptions in this book provide a quick recall of dances and suggested teaching strategies for those who wish to expand their repertoire of dances. The eight chapters include: (1) "Beginning and Intermediate Folk Dance: An Educational Experience"; (2) "Introducing Folk Dance to Beginners"; (3) "Introducing Even and Uneven Folk Dance Steps";(4) "Intermediate Folk Dance Steps"; (5) "Folk Dance--The Delivery System"; (6) "Folk Dance Descriptions"; (7) "Beginning Folk Dances"; and (8)"Intermediate Folk Dances." Six appendixes conclude the volume.
    [Show full text]