A Guide for Newcomers and Experienced Dancers!
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IDO Dance Sports Rules and Regulations 2021
IDO Dance Sport Rules & Regulations 2021 Officially Declared For further information concerning Rules and Regulations contained in this book, contact the Technical Director listed in the IDO Web site. This book and any material within this book are protected by copyright law. Any unauthorized copying, distribution, modification or other use is prohibited without the express written consent of IDO. All rights reserved. ©2021 by IDO Foreword The IDO Presidium has completely revised the structure of the IDO Dance Sport Rules & Regulations. For better understanding, the Rules & Regulations have been subdivided into 6 Books addressing the following issues: Book 1 General Information, Membership Issues Book 2 Organization and Conduction of IDO Events Book 3 Rules for IDO Dance Disciplines Book 4 Code of Ethics / Disciplinary Rules Book 5 Financial Rules and Regulations Separate Book IDO Official´s Book IDO Dancers are advised that all Rules for IDO Dance Disciplines are now contained in Book 3 ("Rules for IDO Dance Disciplines"). IDO Adjudicators are advised that all "General Provisions for Adjudicators and Judging" and all rules for "Protocol and Judging Procedure" (previously: Book 5) are now contained in separate IDO Official´sBook. This is the official version of the IDO Dance Sport Rules & Regulations passed by the AGM and ADMs in December 2020. All rule changes after the AGM/ADMs 2020 are marked with the Implementation date in red. All text marked in green are text and content clarifications. All competitors are competing at their own risk! All competitors, team leaders, attendandts, parents, and/or other persons involved in any way with the competition, recognize that IDO will not take any responsibility for any damage, theft, injury or accident of any kind during the competition, in accordance with the IDO Dance Sport Rules. -
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. -
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. -
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. -
Competition Rule Book
NCA COLLEGE COMPETITION RULES COMPETITIONNCA & NDA RESERVES THE RIGHT TO BE THE ARBITRATOR RULE AND INTERPRETER OF ALL RULES BOOK COVERED IN THIS DOCUMENT. FOR COLLEGE TEAMS NCA & NDA COLLEGIATE CHEER AND DANCE CHAMPIONSHIP Daytona Beach, Florida April 7-11, 2021 UPDATED AS OF 3/9/21 COLLEGIATE RULE BOOK • 1 TABLE OF CONTENTS NCA & NDA RESERVES THE RIGHT TO BE THE ARBITRATOR AND INTERPRETER OF ALL RULES COVERED IN THIS DOCUMENT. HOW TO QUALIFY 1 DANCE CONT. NCA VIDEO QUALIFICATION AND ENTRY FORMAT 1 NDA LEGALITY AND SAFETY NDA VIDEO QUALIFICATION AND ENTRY FORMAT 2 SAFETY GUIDELINES 27 CODE OF CONDUCT 3 TUMBLING AND AERIAL STREET SKILLS (INDIVIDUALS) 27 EXCLUSIVITY POLICY 3 DANCE LIFTS AND PARTNERING (GROUPS) 28 ELIGIBILTY VERIFCATION 4 MUSIC FORMAT 5 UNASSISTED DISMOUNTS TO THE PERFORMANCE SURFACE 28 VIDEO MEDIA POLICY 5 INJURY DURING PERFORMANCE 29 LOGO USAGE 5 DEDUCTIONS 29 CHEER LEGALITY VERIFICATION 30 GENERAL COMPETITION INFORMATION NDA SCORING PERFORMANCE AREA 7 JUDGING PANELS 31 COLLEGIATE EXPECTATIONS 7 CATEGORY DESCRIPTIONS 31 COLLEGIATE IMAGE 7 JUDGING SCALE FOR DANCE FUNDAMENTALS 32 UNIFORM 7 RANGES OF SCORES 33 MUSIC 9 DANCE GLOSSARY OF TERMS 38 CHOREOGRAPHY 9 INJURY DURING PERFORMANCE 9 NCA & NDA COLLEGE GAME DAY DIVISION ORDER OF PERFORMANCE 9 GAME DAY COLLEGE CHEER DIVISIONS OBJECTIVE 45 DIVISIONS 10 BENEFITS OF GAME DAY 45 NUMBER OF MALE PARTICIPANTS VS. FEMALE PARTICIPANTS 10 GENERAL RULES 45 TEAM ROUTINE REQUIREMENTS 10 FORMAT 46 INTERMEDIATE DIVISION RESTRICTIONS 11 45 SECOND CROWD SEGMENT 12 SKILL SCORING & RESTRICTIONS -
2015 Full Program (PDF)
2015 Women in Dance Leadership Conference! ! October 29 - November 1, 2015! ! Manship Theatre, Baton Rouge, Louisiana, USA! ! Conference Director - Sandra Shih Parks WOMEN IN DANCE LEADERSHIP CONFERENCE 10/29/2015 - 11/1/2015 "1 Women in Dance Leadership Conference ! Mission Statement ! ! To investigate, explore, and reflect on women’s leadership by representing innovative and multicultural dance work to celebrate, develop, and promote women’s leadership in dance making, dance related fields, and other! male-dominated professions.! Conference Overview! ! DATE MORNING AFTERNOON EVENING Thursday 10/29/2015 !Registration/Check In! !Reception! Opening Talk -! Kim Jones/Yin Mei Karole Armitage and guests Performance Friday 10/30/2015 Speech - Susan Foster! Panel Discussions! Selected ! ! Choreographers’ Speech - Ann Dils !Master Classes! Concert Paper Presentations Saturday 10/31/2015 Speech - Dima Ghawi! Panel Discussions! ODC Dance Company ! ! ! Performance Speech - Meredith Master Classes! Warner! ! ! Ambassadors of Women Master Classes in Dance Showcase Sunday 11/1/2015 Master Class THODOS Dance Chicago Performance ! ! ! ! WOMEN IN DANCE LEADERSHIP CONFERENCE 10/29/2015 - 11/1/2015 "2 October 29th 2015! !Location 12 - 4 PM 4:30 PM - 6 PM 6 PM - 7:30 PM 8 PM - 9:30 PM !Main Theatre Kim Jones, Yin Mei ! and guests ! performance ! !Hartley/Vey ! Opening Talk by! !Studio Theatre Karole Armitage !Harley/Vey! !Workshop Theatre !Josef Sternberg ! Conference Room Jones Walker Foyer Registration! ! Conference Check In Reception Program Information! -
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. -
ROUND DANCE BASICS TWO STEP - PHASE I TOUCH, (Action) DIRECTIONS: - Action Touching Free Foot Toe at Supp
ROUND DANCE BASICS TWO STEP - PHASE I TOUCH, (Action) DIRECTIONS: - Action touching free foot toe at supp. foot instep. - Line Of Dance, Reverse Line Of Dance, - Other actions; (STAMP, TAP, HEEL, TOE) - Wall, Center Of Hall. (Diagonals) POINT, (Action) POSITIONS: - Action touching free ft. toe in direction indicated. - Open, Left-Open, Closed, Semi-Closed, - Apart,-, Point,-; Together,-, Touch,-; (Std. Intro.) - Butterfly, Sdcar, and Banjo. TWIRL "N". ASSUMED POSITION: - Man Fwd "n", Lady Twirls Right Face in "n". - In OPEN, if cued to face partner w/o position cue, - Twirl,-,2,-; Apt,-,Pt,-; (Frequent dance ending) - Then assumed position is BUTTERFLY. - In SEMI, if cued to face partner w/o position cue, ******** (HOT TIME MIXER) ******* - Then assumed position is CLOSED. BLENDING: WALK,-, (S) - Graceful transition from one position to another. - A step in line of progression taking 2 beats - In OPEN, blend to SEMI, etc. - Open, Closed, Semi-Closed.... - Other Walking steps; STRUT, STROLL, SWAGGER STARTING FOOTWORK: - WALK "N" - Take "n" walking steps. - Man's Left Foot, Lady's Right Foot. - Lead Foot, Trailing Foot RUN, (Q) - A step in line of progression taking 1 beat FREE FOOT, SUPPORTING FOOT: - RUN "N" - Take "n" running steps. - The foot that has no weight on it is the "Free Foot" - The foot that has weight is the "Supporting Foot". CIRCLE WALK AWAY or TOGETHER "N". - Walk in a circular pattern away/to partner "n" steps. CUEING PRACTICES - Cues are directed to Man's footwork CIRCLE WALK AWAY & TOGETHER;; (SS,SS) - Cues for next series of footwork occur prior to use. - 2 steps away from partner, 2 steps towards partner. -
Trinity Irish Dance Study Guide.Indd
● ● ● ● ● Photo by Lois Greenfield. About the Performance The Performance at a Glance Each of these different elements can be the basis for introducing students to the upcoming performance. Who are the Trinity Irish Dance Company? Trinity Irish Dance Company were formed in 1990 by Mark Howard in an effort to showcase Irish music and dance as an art form. The company is made up of 18- 25 year olds, and has received great critical and popular acclaim from audiences throughout the world. They have performed all over the world, and have collaborated with many notable contemporary choreographers and musicians. Trinity holds a unique place in the dance world, offering a highly skilled presenation of progressive Irish step dance. Who is Mark Howard? Mark Howard is the founder and artistic director of the Trinity Irish Dance Company, and choreographs much of the company’s work. Born in Yorkshire, England, and raised in Chicago, Mark Howard began dancing at the age of nine, and later went on to become a North American champion Irish dancer. He started the Trinity Academy of Irish Dance at the age of 17, and dancers from this school have won 18 world titles for the United States at the World Irish Dance Championships in Ireland. Howard wanted to find a way for his dancers to do more than just compete for tropies and prizes, so in 1990 he founded the Trinity Irish Dance Company as a way to showcase Irish music and dances as an art form. Mark Howard continues to choregraph new works for the company, and he has expanded his independent career to work in theater, television, concert and film. -
TÁNCMŰVÉSZET ÉS INTELLEKTUALITÁS TÁNCMŰVÉSZET ÉS TUDOMÁNY a Magyar Táncművészeti Egyetem Kiadványsorozata X
TÁNCMŰVÉSZET ÉS INTELLEKTUALITÁS TÁNCMŰVÉSZET ÉS TUDOMÁNY A Magyar Táncművészeti Egyetem kiadványsorozata X. Sorozatszerkesztő: Bolvári-Takács Gábor egyetemi tanár Konzultatív szerkesztőbizottság: Fodor Antal professzor emeritus Fodorné Molnár Márta főiskolai tanár Fügedi János főiskolai tanár Lőrinc Katalin egyetemi tanár Macher Szilárd főiskolai tanár Major Rita főiskolai tanár Mizerák Katalin főiskolai tanár Németh András egyetemi tanár Szakály György egyetemi tanár TÁNCMŰVÉSZET ÉS INTELLEKTUALITÁS VI. Nemzetközi Tánctudományi Konferencia a Magyar Táncművészeti Egyetemen 2017. november 17−18. Magyar Táncművészeti Egyetem Budapest, 2018 TARTALOM A KONFERENCIA PROGRAMJA ..................................................................................... 7 Bolvári-Takács Gábor: Megnyitó beszéd ................................................................................ 11 PLENÁRIS ELŐADÁS Németh András: „Karalábé” apostolok, művészpróféták, táncos papnők – Fejezetek az életreform és a modern táncművészet kapcsolatának „titkos” történetéből ................................................................................................... 13 SZEKCIÓ-ELŐADÁSOK Adamovich Ferenc: Az affektív mozgáspedagógia alapjai ..................................................... 23 Balaskó Enikő: A Lendva-vidéki táncok visszatanításának lehetőségei és módszerei ............................................................................................................... 29 Barna Mónika – Schanda Beáta: A nemzetközi versenyek szerepe a A kötetet -
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 -
2013-2014 Contemporary Music for Pattern Dances Playlist
2013-2014 Contemporary Music for Pattern Dances Playlist Preliminary Dances BPM Act ual Tune/ Ar t ist Dut ch Walt z 138 140 You and Me - Lifehouse 138 I'll Be - Edwin McCain Can ast a Tan go 104 100 El Capitalismo... - Gotan Project 105 Rolling in the Deep - Adele Baby Bl ues 88 88 One Less Lonely Girl - Bieber 88 The Lazy Song - Kidz bop Kidz Ju n i o r Br o n z e D a n ce s Sw i n g Da n c e 96 96 Put Your Records On - Corinne Bailey Rae 97 Single Ladies - Beyoncee Fi est a Tango 108 108 Una Musica Brutal - Gotan Project 108 Set Fire to the Rain - Adele Willow Waltz 138 140 You and Me - Lifehouse 138 I'll Be - Edwin McCain Se ni or Br onze Da nce s Ten Fox 100 100 Beauty in the World - Macy Gray 100 Quit Playing Games... - Backstreet Boys Fo ur t een St ep 112 110 Happy Feet - High Heels Mix 109 Hollaback Girl (Clean Version)-Gwen Stefani Eu r o p ean Wal t z 135 133 Kiss from a Rose - Seal 138 I'll Be - Edwin McCain Note: BPM = the pattern dance beats per minute; ACTUAL = bpm of the tune indicated _____________________________________________________________________________________ 2013-2014 Contemporary Music for Pattern Dances Playlist pg2 Junior Silver Dances BPM Act ual Tune/ Ar t ist Keat s Foxt r ot 100 100 Beauty in the World - Macy Gray 100 Quit Playing Games... - Backstreet Boys Ro ck er Fo xt r o t 104 104 Black Horse & the Cherry Tree - KT Tunstall 104 Never See Your Face Again- Maroon 5 Harris Tango 108 108 Set Fire to the Rain - Adele 111 Gotan Project - Queremos Paz American Walt z 198 193 Fal l i n - Al i ci a Keys