DOCSLIB.ORG

Bera Ballroom Dance Club Library

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bera Ballroom Dance Club Library BERA BALLROOM DANCE CLUB LIBRARY Video Instruction DANCE TITLE ARTIST Style LEVEL 1 American Style Exhibition Choreography Cha Cha Powers & Gorchakova VHS Cha Cha 2 American Style Beginning Rumba & Cha Cha Montez VHS Rumba & Cha Beg 3 American Style Intermediate Cha Cha Montez VHS Cha Cha Int 4 American Style Advanced I Cha Cha Montez VHS Cha Cha Adv 5 American Style Advanced II Cha Cha Montez VHS Cha Cha Adv 6 International Style Cha Cha Ballas VHS Cha Cha 10 American Style Beginning Tango Maranto VHS Tango Beg 11 American Style Intermediate Tango Maranto VHS Tango Int 12 American Style Advanced I Tango Ballas VHS Tango Adv 13 American Style Advanced II Tango Maranto VHS American Tango Adv 14 Advanced Tango American Style Techniques & Principles Kloss VHS American Tango Adv 21 Waltz Vol I International Style Technique & Principles Puttock VHS Int Waltz 22 Waltz International Style Standard Technique Veyrasset &Smith VHS Int Waltz 23 American Style Beginning Waltz Maranto VHS Waltz Beg 24 American Style Intermediate Waltz Maranto VHS Waltz Int 25 American Style Advanced I Waltz Maranto VHS Waltz Adv 26 American Style Advanced II Waltz Maranto VHS Waltz Adv 27 Waltz Vol 1 – Beginner Austin VHS Waltz Beg 30 American Style Beginners Viennese Waltz Maranto VHS Viennese Waltz Beg 31 American Style Intermediate Viennese Waltz Maranto VHS Viennese Waltz Int 32 International Style Advanced I Viennese Waltz Veyrasset &Smith VHS Viennese Waltz Adv 33 Viennese Waltz International Style Standard Technique Veyrasset &Smith VHS Int Viennese 40 International Style Rumba Ballas VHS Int Rumba 41 American Style Intermediate Rumba Montez VHS Rumba Int 42 American Style Advanced I Rumba Montez VHS Rumba Adv 50 Foxtrot Vol I International Style Techniques & Principles Puttock VHS Int Foxtrot 51 Foxtrot American Style Syllabus Silver Maranto VHS Foxtrot Adv 52 American Style Beginners Foxtrot Maranto VHS Foxtrot Beg 54 American Style Advanced I Foxtrot Maranto VHS Foxtrot Adv 55 Advanced I Foxtrot American Style Techniques & Principles Kloss VHS Foxtrot Adv 60 Swing Craze (Two Tapes) VHS Swing 61 American Style Intermediate Eastern Swing Montez VHS East Coast Int 62 Back Charleston Overton & Ashe VHS Charleston 63 Advanced I Lindy Hop Overton & Ashe VHS Lindy Adv 64 Beginning Lindy Hop Overton & Ashe VHS Lindy Beg 65 Intermediate II Lindy Hop Overton & Ashe VHS Lindy Int 66 Lindy Hop Syncopations Overton & Ashe VHS Lindy 70 American Style Intermediate West Coast Swing Montez VHS West Coast Int 71 Advance I West Coast Swing Montez VHS West Coast Adv 72 Advance II West Coast Swing Montez VHS West Coast Adv 73 International Style Doctor Latin Jive Ballas VHS Jive 74 International Style Jive (21 Steps) Ballas VHS Jive 80 International Style Paso Doble Ballas VHS Paso Doble 81 International Style Doctor Latin Paso Doble Ballas VHS Paso Doble 90 Quickstep Vol I International Style Technique & Principles Puttock VHS Quickstep 91 International Style Beginning & Intermediate Quickstep Veyrasset &Smith VHS Quickstep Beg/Int 92 Quickstep International Style Standard Technique Veyrasset &Smith VHS Quickstep 100 International Style Samba (25 Steps) Ballas VHS Int Samba 101 International Style Doctor Latin Samba Ballas VHS Samba International 102 Samba Vol I International Style Techniques & Principles Eftedal VHS Samba 111 American Style Intermediate Bolero Montez VHS Bolero Int 112 American Style Advanced I Bolero Montez VHS Bolero Adv 113 American Style Advanced II Bolero Maranto VHS Bolero Adv 120 American Style Intermediate Mambo Montez VHS Mambo Int 121 American Style Advanced II Mambo Montez VHS Mambo Adv 131 Fun & Fancy Texas Two Step Moss VHS Country 2 Step Adv 132 Beginning to Intermediate Two Step Vol I Eshner & Emerson VHS Country 2 Step Beg/Int 133 Country Western Two Step Vol II Eshner & Emerson VHS Country 2 Step 134 Country Western Ducks & Tunnels Eshner & Emerson VHS Country Western 140 Hustle I Pagan & Greenhouse VHS Hustle 141 Hustle II Pagan & Greenhouse VHS Hustle 150 Argentine Tango Vol. II Trenner VHS Argentine Tango 151 Argentine Tango Vol. III Trenner VHS Argentine Tango 160 Club Merengue DeCamps & Josephson VHS Merengue 170 International Style Beginning Waltz & Foxtrot Schaffer & Veyrasset VHS Waltz Foxtrot Beg 171 American Style Beginning Mambo & Bolero Montez VHS Mambo & Bolero Beg 172 Pivot Techniques Veyrasset &Smith VHS 173 International Style Introductory Tape Ballas VHS Ballroom 213 Advanced West Coast Swing Montez VHS West Coast Adv 214 Swing Pieces VHS East Coast 215 Bill Irvine MBE Irvine VHS Ballroom 216 Smooth Style Lindy & Balboa Jonathan & Sylvia VHS Lindy/Balboa Beg/Int 220 Bolero American Style Syllabus Beginning – Intermediate (Bronze) Montez DVD Bolero Beg/Int 221 Mambo American Style Rhythm Syllabus Beginning-Intermediate (Br) Montez DVD Mambo Beg/Int 222 Rumba American Style Rhythm Syllabus Beginning-Intermediate (Br) Montez DVD Rumba Beg/Int 223 Samba American Style Rhythm Syllabus Beginning-Intermediate (Br) Montez DVD Samba Beg/Int 224 Cha Cha American Style Rhythm Syllabus Beginning-Intermediate (Br) Montez DVD Cha Cha Beg/Int 225 American Style Smooth Basic Styling & Technique Mead & Redpath DVD Beg/Int 226 Latin Technique & Muscular Exercises Ballas DVD 227 Turns and Spins In Style Ballas DVD Movies 200 Top Hat Astaire & Rogers VHS 201 Shall We Dance Astaire & Rogers VHS 202 Swing Time Astaire & Rogers VHS 203 The Story of Vernon and Irene Castle Astaire & Rogers VHS 204 The Barkleys of Broadway Astaire & Rogers VHS 205 Flying Down to Rio Astaire & Rogers VHS 206 Follow The Fleet Astaire & Rogers VHS 207 Carefree Astaire & Rogers VHS 208 Roberta Astaire & Rogers VHS 209 The Gay Divorcee Astaire & Rogers VHS 210 Shall We Dance (Japanese) VHS 211 That's Dancing VHS 212 Lord of the Dance Flatley, Michael VHS Irish 217 DanceTime 500 Years of Social Dance Vol II 20th Century VHS 218 Top Hat Astaire & Rogers VHS 219 The Voyager Odyssey VHS .
Load more

Recommended publications
  • Beyond Salsa Bass the Cuban Timba Revolution
    BEYOND SALSA BASS THE CUBAN TIMBA REVOLUTION VOLUME 1 • FOR BEGINNERS FROM CHANGÜÍ TO SON MONTUNO KEVIN MOORE audio and video companion products: www.beyondsalsa.info cover photo: Jiovanni Cofiño’s bass – 2013 – photo by Tom Ehrlich REVISION 1.0 ©2013 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 1482729369 ISBN‐13/EAN‐13: 978‐148279368 H www.beyondsalsa.info H H www.timba.com/users/7H H [email protected] 2 Table of Contents Introduction to the Beyond Salsa Bass Series...................................................................................... 11 Corresponding Bass Tumbaos for Beyond Salsa Piano .................................................................... 12 Introduction to Volume 1..................................................................................................................... 13 What is a bass tumbao? ................................................................................................................... 13 Sidebar: Tumbao Length .................................................................................................................... 1 Difficulty Levels ................................................................................................................................ 14 Fingering..........................................................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Physical Education Dance (PEDNC) 1
    Physical Education Dance (PEDNC) 1 Zumba PHYSICAL EDUCATION DANCE PEDNC 140 1 Credit/Unit 2 hours of lab (PEDNC) A fusion of Latin and international music-dance themes, featuring aerobic/fitness interval training with a combination of fast and slow Ballet-Beginning rhythms that tone and sculpt the body. PEDNC 130 1 Credit/Unit Hula 2 hours of lab PEDNC 141 1 Credit/Unit Beginning ballet technique including barre and centre work. [PE, SE] 2 hours of lab Ballroom Dance: Mixed Focus on Hawaiian traditional dance forms. [PE,SE,GE] PEDNC 131 1-3 Credits/Units African Dance 6 hours of lab PEDNC 142 1 Credit/Unit Fundamentals, forms and pattern of ballroom dance. Develop confidence 2 hours of lab through practice with a variety of partners in both smooth and latin style Introduction to African dance, which focuses on drumming, rhythm, and dances to include: waltz, tango, fox trot, quick step and Viennese waltz, music predominantly of West Africa. [PE,SE,GE] mambo, cha cha, rhumba, samba, salsa. Bollywood Ballroom Dance: Smooth PEDNC 143 1 Credit/Unit PEDNC 132 1 Credit/Unit 2 hours of lab 2 hours of lab Introduction to dances of India, sometimes referred to as Indian Fusion. Fundamentals, forms and pattern of ballroom dance. Develop confidence Dance styles focus on semi-classical, regional, folk, bhangra, and through practice with a variety of partners. Smooth style dances include everything in between--up to westernized contemporary bollywood dance. waltz, tango, fox trot, quick step and Viennese waltz. [PE,SE,GE] [PE,SE,GE] Ballroom Dance: Latin Irish Dance PEDNC 133 1 Credit/Unit PEDNC 144 1 Credit/Unit 2 hours of lab 2 hours of lab Fundamentals, forms and pattern of ballroom dance.
    [Show full text]
  • Bizourka and Freestyle Flemish Mazurka
    118 Bizourka and Freestyle Flemish Mazurka (Flanders, Belgium, Northern France) These are easy-going Flemish mazurka (also spelled mazourka) variations which Richard learned while attending a Carnaval ball near Dunkerque, northern France, in 2009. Participants at the ball were mostly locals, but also included dancers from Belgium and various parts of France. Older Flemish mazurka is usually comprised of combina- tions of the Mazurka Step and Waltz, in various simple patterns (see Freestyle Flemish Mazurka below). Like most folk mazurkas, their style descended from the Polka Mazurka once done in European ballrooms, over 150 years ago. This folk process is sometimes compared to a bridge. French or English dance masters picked up an ethnic dance step, in this case a mazurka step from the Polish Mazur, and standardized it for ballroom use. It was then spread throughout the world by itinerant dance teachers, visiting social dancers, and thousands of easily available dance manuals. From this propagation, the most popular steps (the Polka Mazurka was indeed one of the favorites) then “sank” through many simplified forms in villages throughout Europe, the Americas, Australia and elsewhere. In other words, towns in rural France or England didn’t get their mazurka step directly from Poland, or their polka directly from Bohemia, but rather through the “bridge” of dance teachers, traveling social dancers and books, that spread the ballroom versions of the original ethnic steps throughout the world. Once the steps left the formal setting of the ballroom, they quickly simplified. Then folk dances evolve. Typically steps and styles are borrowed from other dance forms that the dancers also happen to know, adding a twist to a traditional form.
    [Show full text]
  • Chapter 4 Creolized Dance Music Text: Robin Moore Instructor’S Manual: Sarah J
    Chapter 4 Creolized Dance Music Text: Robin Moore Instructor’s Manual: Sarah J. Bartolome All activities are keyed as follows: AA = All ages E = Elementary (particularly grades 3–6) S = Secondary (middle school and high school, grades 7–12) C/U = College and university Chapter 4 Vocabulary merengue, merengue típico, güira, marímbula, tambora, paseo, cuerpo, jaleo, apambichao, son, verso, canto, montuno, tres, tresero, martillo, bongsero, timbales, socialism, Cold War, plena, panderetas, panderos, seguidor, segunda, requinto, soneos, salsa, salsa dura, cáscara, salsa romántica, salsa monga, timba Exploring Traditional and Commercial Merengue (AA) Compare a traditional merengue with a commercially recorded merengue. 1. Watch the video of La India Canela performing merengue típico, available at http://www.folkways.si.edu/explore_folkways/video_caribbean.aspx. 2. Have students identify the instruments they see and hear. 3. Have students also watch the video of Johnny Ventura performing “Merenguero Hasta la Tambora,” available on YouTube at http://www.youtube.com/watch?v=7XzINu2ee4A. 4. Compare the two merengues. Draw students’ attention to differences in instrumentation and the commercialization of the latter performance. Exploring Merengue through Dance (AA) Learn the simple merengue dance movement. 1. Search on YouTube for an instructive video if you are not familiar with the basic step-together movement associated with merengue. One such video is available at http://www.youtube.com/watch?v=on4V1KN_Iuw. 2. Either teach the students yourself or learn with them as you watch the video. 3. Dance along to a recording of merengue, either in lines or in pairs as students are comfortable. Exploring Merengue: Form (A) 1.
    [Show full text]
  • DANCE STEPS Information Useful to Amateur Or Professional Dancers
    DANCE STEPS Information useful to Amateur or Professional Dancers – Ballroom or Sequence TELEMARK: In ballroom dancing normally commenced diag. centre down LOD in Waltz, Quickstep or Foxtrot. Lady always finished square, usual amount of turn ¾ or less, can be danced. Underturned usually turning ½. OPEN TELEMARK: Man’s steps identical to above but Lady underturning to finish in Prom. Pos. In Sequence dancing alignment may vary considerably. IMPETUS TURN: In Ballroom dancing Man usually commences backing LOD with Heel Turn, turning ⅝ to R, Lady finishing square. OPEN IMPETUS TURN: Man turns R to finish in Prom. Pos. Lady’s steps similar to Impetus Turn. In Sequence dancing alignments can be taken in any direction. WING: Always commenced in Prom. Pos. Lady curving anticlockwise three steps round Man. Man very slight turn L, Lady ⅜ turn L on three curving steps. Man RF forward hesitating while Lady takes 3 steps. DOUBLE REVERSE WING: Man steps identical to Double Reverse Spin, Lady after Heel Turn takes 2 quick curving steps round Man on his L side. CLOSED WING: Commenced with partner on R side, Lady instead of curving L, steps back LF, side RF, forward LF on L side Man, Man RF forward hesitating while Lady takes the 3 steps. DOUBLE REVERSE SPIN: Man LF forward, RF to side, pivoting strongly L on toes, closing LF to RF without weight usually commenced down LOD or diag centre down LOD in Modern, amount of turn ¾ up to 1 complete turn – can vary. Lady, RF back closing LF to RF – Heel Turn, turning L, RF to side slightly back, crossing LF in front of RF, can be danced in Foxtrot, Waltz or Quickstep.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Students Shuffle, Swing and Sway at Dance Concert
    Illinois Wesleyan University Magazine, 2002-2017 Volume 18 Issue 1 Spring 2009 Article 8 Spring 2009 Students shuffle, swing and sway at dance concert Amelia Benner Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/iwumag Recommended Citation Benner, Amelia (2009) "Students shuffle, swing and sway at dance concert," Illinois Wesleyan University Magazine, 2002-2017: Vol. 18 : Iss. 1 , Article 8. Available at: https://digitalcommons.iwu.edu/iwumag/vol18/iss1/8 This is a PDF version of an article that originally appeared in the printed Illinois Wesleyan University Magazine, a quarterly periodical published by Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the University and/or the author of this document. Students shuffle, swing and sway at dance concert By Amelia Benner Student choreographer Evan Kasprzak began his dance piece, “Truffle Shuffle,” by walking on his hands toward the hushed audience. As hip-hop music blasted from the sound system, nine other dancers, dressed in red and blue sweatshirts, appeared and began to enact a stylized “battle.” It was the junior music-theatre major’s third year taking part in the Student Choreographed Student Amy Bannon (in orange) choreographed the West Dance Concert (SCDC), which is Coast swing piece “Move your Body.” From right to left are Tom Duncan, Caitlin Borek, Bannon, Seth Reid and Abby one of the biggest performance Root. (Photo by Marc Featherly) events of the year at Illinois Wesleyan. “I knew I wanted to do a hip-hop piece, and I knew I wanted it to be a battle of some sort,” Kasprzak says of “Truffle Shuffle,” which drew enthusiastic applause at its premiere.
    [Show full text]
  • Theory of International Politics
    Theory of International Politics KENNETH N. WALTZ University of Califo rnia, Berkeley .A yy Addison-Wesley Publishing Company Reading, Massachusetts Menlo Park, California London • Amsterdam Don Mills, Ontario • Sydney Preface This book is in the Addison-Wesley Series in Political Science Theory is fundamental to science, and theories are rooted in ideas. The National Science Foundation was willing to bet on an idea before it could be well explained. The following pages, I hope, justify the Foundation's judgment. Other institu­ tions helped me along the endless road to theory. In recent years the Institute of International Studies and the Committee on Research at the University of Califor­ nia, Berkeley, helped finance my work, as the Center for International Affairs at Harvard did earlier. Fellowships from the Guggenheim Foundation and from the Institute for the Study of World Politics enabled me to complete a draft of the manuscript and also to relate problems of international-political theory to wider issues in the philosophy of science. For the latter purpose, the philosophy depart­ ment of the London School of Economics provided an exciting and friendly envi­ ronment. Robert Jervis and John Ruggie read my next-to-last draft with care and in­ sight that would amaze anyone unacquainted with their critical talents. Robert Art and Glenn Snyder also made telling comments. John Cavanagh collected quantities of preliminary data; Stephen Peterson constructed the TabJes found in the Appendix; Harry Hanson compiled the bibliography, and Nacline Zelinski expertly coped with an unrelenting flow of tapes. Through many discussions, mainly with my wife and with graduate students at Brandeis and Berkeley, a number of the points I make were developed.
    [Show full text]