Cha Cha Instructional Video
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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. -
MVP Packet 7.Pdf
Musical Visual Packet A tournament by the Purdue University Quiz Bowl Team Questions by Drew Benner, John Petrovich, Patrick Quion, Andrew Schingel, Lalit Maharjan, Pranav Veluri, and Ben Dahl ROUND 7: Finale 1) In a musical production choreographed by John Heginbotham, this scene introduces an electric guitar to the acoustic score and during it, boots fall from the rafters one by one. Gabrielle Hamilton stars in this scene in a revival that has it performed by a single dancer, barefoot, in a modern style. The film version of this scene has a tornado roaring in the background, while Susan Stroman’s choreography for this scene has the main cast perform it themselves, instead of having trained dancers play (*) avatars of them. This sequence occurs after a character consumes the “Elixir of Egypt,” and it begins with a cheerful wedding that changes tone when the bride realizes two men have suddenly switched characters. Originally choreographed by Agnes de Mille, this revolutionary scene is regarded as the first dance sequence in a musical to incorporate plot. For ten points, name this fantasy sequence from a Rodgers and Hammerstein musical, where Laurey struggles choosing between Jud and Curly after taking a sleeping drug. ANS: the dream ballet from Oklahoma! (prompt on partial, ask for “from what musical” if just dream ballet is given) <Musicals | Quion> 2) For one show, this composer created polyphonic chants in the fictional Zentraedi language and songs for the pop star Sharon Apple. Sound engineer Rudy Van Gelder, famous for recording albums like Coltrane’s A Love Supreme, recorded this composer’s tracks for their most famous show. -
Peter Strom & Naomi Uyama
Saturday Upstairs Bowling Alley Meeting Room Lindy Hop The Best Class Ever! Collegiate Shag Noon to FUNdamentals Peter & Naomi Ryan & Kiera 1:15 p.m. Jerry & Elaine Intermediate Beginner Beginner Instructor’s Choice Nuts & Bolts Charleston Tap 1:30 to Peter & Naomi Mike & Shawna Misty 2:30 p.m. Intermediate All Levels All Levels Naomi’s Nuances Little Leaps & Daring Dips Blues Basics & Beyond 2:45 to Peter & Naomi Mike & Shawna Jerry & Kathy 3:45 p.m. All Levels Intermediate All Levels Classic Lindy à la Peter Space: the Final Frontier Collegiate Shag 4:00 to Peter & Naomi Mike & Shawna Ryan & Kiera 5:00 p.m. Intermediate All Levels Intermediate Sunday Upstairs Bowling Alley The 2nd Best Class Ever! Sunset Shuffle Noon to Peter & Naomi Elaine 1:15 p.m. Intermediate All Levels featuring Style in Your Stride Slow Bal Peter Strom & 1:30 to Peter & Naomi Mike & Shawna 2:30 p.m. All Levels Beginner Naomi Uyama Frankie’s Favorites Collegiate Shag 2:45 to Peter & Naomi Ryan & Kiera 3:45 p.m. All Levels Intermediate / Advanced April 20-22, 2018 Musicality Swinging Soul @ Sons of Hermann Hall 4:00 to Naomi Peter 5:00 p.m. All Levels Intermediate @ Sons of Hermann Hall Dallas, Texas * April 20-22, 2018 Saturday, April 21, 2018 The Best Class Ever! - Intermediate - Peter & Naomi The title says it all! Lindy Hop FUNdamentals - Beginner - Jerry & Elaine Learn the granddaddy of all Swing dances, the Lindy Hop, or just brush up on your basics. A good understanding of the basics is essential to becoming a great dancer. -
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. -
2014 Ohiodance Festival and Conference Dance Matters: Connections and Collaborations April 25-27, 2014 Co-Sponsored by Balletmet Columbus
2014 OhioDance Festival and Conference Dance Matters: Connections and Collaborations April 25-27, 2014 Co-sponsored by BalletMet Columbus Bill Evans photo by Jim Dusen Bobbi Wyatt photography www.ohiodance.org PRESENTING SPONSOR: ANNE AND NOEL MELVIN APRIL 25 - 27 & MAY 1 - 3, 2014 THE CAPITOL THEATRE The final work on the exciting 2013-2014 season featuring three company premieres - including Christopher Wheeldon’s Carousel, Gustavo Ramírez Sansano’s 18 + 1, and a new work by Artistic Director, Edwaard Liang. David Ward and Jessica Brown Tickets start at just $25! | Dancers Jennifer Zmuda Photo by WWW.BALLETMET.ORG 2 www.ohiodance.org Dance Matters: Connections and Collaborations The OhioDance Festival and Conference is an annual statewide celebration of dance through classes, workshops, discussions and performances. Friday, April 25 students will participate in a Young Artists’ Concert at 10:30am. Saturday, April 26 Dance Matters: Connections and Collaborations, celebrates movement- centered alliances for the stage and the classroom, among dance artists, educators, and supporters. Nationally-recognized guest artist Bill Evans, will address this topic. Bill Evans is a performer, teacher, choreographer, lecturer, administrator, movement analyst, writer, adjudicator and dance advocate with a uniquely varied and comprehensive background of experiences and accomplishments, including the creation of the Evans Modern Dance Technique. Evans will teach a master class and perform a tap solo in the Showcase. Saturday, April 27, 7:00pm “Moving Works” Showcase and Award Ceremony. Awards will be presented to Mary Verdi-Fletcher for outstanding contributions to the advancement of the dance artform and Kelly Berick for outstanding contributions to the advancement of dance education. -
…But You Could've Held My Hand by Jucoby Johnson
…but you could’ve held my hand By JuCoby Johnson Characters Eddie (He/Him/His)- Black Charlotte/Charlie (They/Them/Theirs)- Black Marigold (She/Her/Hers)- Black Max (He/Him/His)- Black Setting The past and present. Author’s Notes Off top: EveryBody in this play is Black. I strongly encourage anyone casting this play to avoid getting bogged down in a narrow understanding of blackness or limit themselves to their own opinions on what it means to be black. Consider the full spectrum of Blackness and what you will find is the full spectrum of humanity. One character in this play is gender non-binary. I encourage people to fill the role with an actor who is also gender non-binary. I also urge people not to stop there. Consider trans performers for any and all roles. This play can only benefit from their presence in the room. The ages of the actors don’t need to match the ages of the characters. I would actually encourage an ensemble of all different ages. As we play with time in this play, this will open us up to possibilities that extend beyond realism or any other genre. Speaking of genre, my only request is that the play be theatrical. Whatever that means to you. This is not realism, or naturalism, or expressionism, or any other ism. Forget all about genre. All that to say: Be Bold. Have fun. Lead with love. 2 “Love is or it ain’t. Thin love ain’t love at all.” -Toni Morrison 3 A Beginning Darkness. -
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. -
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. -
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 -
Vma, Ima, a D P C M
Student Newspaper of John Burroughs High School - 1920 W. Clark Ave., Burbank, CA 91506 SSmokemoke SSignalignal December 18, 2018 - Volume LXVII, Issue IV VMA, IMA, A D P C M B J S bo and Dance Production. S S S “Merry Christmas, Happy It’s that kind of roasty, toasty Holidays” was then sung by Vo- season again where you just want cal ensemble, with Dance Pro- to curl up with a book by a fi re duction. and listen to your favorite carols. Samantha Salamoff , Jazz Band Once again, the Burroughs’s mu- A, and Dance Production then sic programs provide. The Hol- performed “Santa Baby.” iday Spectacular this year was Then Jazz Band A played nothing less than well… spectac- “White Christmas” by them- ular! The theme this year was ‘A selves. Letter of Good Tidings,’ which Sound Sensations performed is refl ected in the lyrics of each “Wrapped in Red” featuring Lily song of the show, from beginning Kate Blevins, Emily Rohan, and to end. Jazz Band A. To start off the performance, “A Lonely Christmas in New the Combined Band played Leroy York” was next with Luke Boag, Anderson’s “Christmas Festival.” Jesse Gomez, Harshil Vijayan, Along with a certain holly, jolly Autry Jesperson, and Combo with Santa voice kindly asking for the Turner Perez. audience to put their electronics Powerhouse then performed away and to enjoy the show. “Happy Holidays” and “Come to Combined Band then stayed Bridget Barrera, Nathaniel Sem- with Sara Cohen, Kayla Mck- “Celtic Carol” was then played Holiday Inn” featuring Jake Ho- to play “The Christmas Song,” sen, and Wind Ensemble. -
Dance Mechanics for Lindy
May Workshops SATURDAY MAY 5TH SUNDAY MAY 13TH Hustle Dance Mechanics with Robert Vance and Zulma Rodriguez For Lindy Hop 3:00p-6:00p Level: Adv Beginner 1:00p-4:00p Level: Open with Adrienne Weidert& Rafal Pustelny In this workshop, the basics of this fun dance are reviewed, and we will pick up new For all dancers at every level this is a technique class focusing on body awareness information to keep you on your learning path. Topics such as the basic partnering in movement. By moving from your core you become an efficient dancing machine. positions and a basic understanding of the slot in which the steps are executed are We will work on balance and turning exercises within the solo jazz & Charleston and related. In addition to the 3 count basic, 6 count right and left turns are included. Lindy Hop vocabulary as well as how to take what you work on in class to a better Exciting steps such as underarm turns, wraps and whips, and the NY Walk are level. Open Level including Pre-Intermediate to advanced level; swing out comfort taught. Shadow position and cross body lead are also included to produce a well- ability is helpful as we will apply the exercises within the context of swing outs. rounded introduction to the dance that made John Travolta famous! Pricing: $45 In Adv/ $55 Day Of Pricing: $45 In Adv / $55 Day Of SATURDAY MAY 19TH SUNDAY MAY 6TH Salsa Crash Course Learn to Partner Dance: 12p-3p; Level: Beginner with Exenia Rocco Open to beginners with little or no prior dance experience. -
The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City Emily J. Williamson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2673 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SON JAROCHO REVIVAL: REINVENTION AND COMMUNITY BUILDING IN A MEXICAN MUSIC SCENE IN NEW YORK CITY by EMILY J. WILLIAMSON A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 EMILY WILLIAMSON All Rights Reserved ii THE SON JAROCHO REVIVAL: REINVENTION AND COMMUNITY BUILDING IN A MEXICAN MUSIC SCENE IN NEW YORK CITY by EMILY J. WILLIAMSON This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation Requirement for the degree of Doctor of Philosophy. ________________ ___________________________________ Date Jonathan Shannon Chair of Examining Committee ________________ ___________________________________ Date Norman Carey Executive Officer Supervisory Committee: Peter Manuel Jane Sugarman Alyshia Gálvez THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City by Emily J. Williamson Advisor: Peter Manuel This dissertation analyzes the ways son jarocho (the Mexican regional music, dance, and poetic tradition) and the fandango (the son jarocho communitarian musical celebration), have been used as community-building tools among Mexican and non-Mexican musicians in New York City.