Beginning Dance Course Code 3338 Abbreviation Gr a De Level 6-8 Course Length 1 Year Required No Elective X
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Is a Genre of Dance Performance That Developed During the Mid-Twentieth
Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. . -
Dance Brigham Young University-Idaho 2006-2007 Department of Dance
Dance Brigham Young University-Idaho 2006-2007 Department of Dance Jennifer O’ Farrell, Department Chair Wendy Bone, Shawn Fisher, Jennifer O’Farrell, Charles West Donna Checketts, Secretary (208) 436-2073 http://www.byui.edu/Dance/ The Department of Dance offers a minor in Dance. This degree is designed to allow a student to transfer to a four year program, operate a dance studio, as well as prepare to be a dance specialist in a professional, community, and church setting. The Mission of the Department of Dance is: 1. Provide opportunities for the student to develop spiritually, artisti- cally, intellectually and physically. This is accomplished through dis- cipline, the art of dance, and our desire to emphasize gospel princi- ples, personal integrity, individual enrichment and sensitivity to mul- tiple perspectives. 2. Graduates in dance will have a solid foundation preparing them to transfer to a four year program, as well as for careers in performance, choreography, teaching and service. 3. Students will learn through dance that they can become better individuals by living the restored gospel of Jesus Christ, enhancing their roles as creative and artistic individuals, church members, citi- zens and parents. 4. Our goal is to challenge students to be individual thinkers, serve the community and make artistic efforts that reflect a richly complex and diverse global perspective. 1 Dance Brigham Young University-Idaho 2006-2007 Minor In Dance- 183 MINOR REQUIREMENTS 9 credits - take all courses sem/yr plan Course # Credits Course Title -
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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. -
The Psychosocial Effects of Compensated Turnout on Dancers: a Critical Look at the Leading Cause of Non-Traumatic Dance Injuries
University of Tennessee at Chattanooga UTC Scholar Student Research, Creative Works, and Honors Theses Publications 5-2018 The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries Rachel Smith University of Tennessee at Chattanooga, [email protected] Follow this and additional works at: https://scholar.utc.edu/honors-theses Part of the Medicine and Health Sciences Commons Recommended Citation Smith, Rachel, "The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries" (2018). Honors Theses. This Theses is brought to you for free and open access by the Student Research, Creative Works, and Publications at UTC Scholar. It has been accepted for inclusion in Honors Theses by an authorized administrator of UTC Scholar. For more information, please contact [email protected]. The Psychosocial Effects of Compensated Turnout on Dancers 1 The Psychosocial Effects of Compensated Turnout on Dancers: A Critical Look at the Leading Cause of Non-Traumatic Dance Injuries Rachel Smith Departmental Honors Thesis University of Tennessee at Chattanooga Department of Health and Human Performance Examination Date: March 22, 2018 ________________________________ ______________________________ Shewanee Howard-Baptiste Burch Oglesby Associate Professor of Exercise Science Associate Professor of Exercise Science Thesis Director Department Examiner ________________________________ Liz Hathaway Assistant Professor of Exercise -
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. -
Big Poppa Eʼs Bio Quiz!
TABLE OF CONTENTS POETRY the wussy boy manifesto! ............................................................. 1 wallflower .................................................................................... 4 frat boy ......................................................................................... 6 worm boy ..................................................................................... 9 fly boy ........................................................................................ 10 jesus moshpit .............................................................................. 12 the lonesome ballad of josephus moshpit .................................. 13 receipt found in the parking lot of super walmart ...................... 16 just take another drink ................................................................ 19 potty is pee ................................................................................. 20 the miracle corner pocket luck shot ........................................... 22 JUVENALIA minuet ........................................................................................ 23 sexuality ..................................................................................... 24 routine ........................................................................................ 25 party boy .................................................................................... 26 love poem #9 .............................................................................. 28 PROSE how to dance like a wussy -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
3671 Argentine Tango (Gold Dance Test)
3671 ARGENTINE TANGO (GOLD DANCE TEST) Music - Tango 4/4 Tempo - 24 measures of 4 beats per minute - 96 beats per minute Pattern - Set Duration - The time required to skate 2 sequences is 1:10 min. The Argentine Tango should be skated with strong edges and considerable “élan”. Good flow and fast travel over the ice are essential and must be achieved without obvious effort or pushing. The dance begins with partners in open hold for steps 1 to 10. The initial progressive, chassé and progressive sequences of steps 1 to 6 bring the partners on step 7 to a bold LFO edge facing down the ice surface. On step 8 both partners skate a right forward outside cross in front on count 1 held for one beat. On step 9, the couple crosses behind on count 2, with a change of edge on count 3 as their free legs are drawn past the skating legs and held for count 4 to be in position to start the next step, crossed behind for count 1. On step 10 the man turns a counter while the woman executes another cross behind then change of edge. This results in the partners being in closed hold as the woman directs her edge behind the man as he turns his counter. Step 11 is strongly curved towards the side of the ice surface. At the end of this step the woman momentarily steps onto the RFI on the “and” between counts 4 and 1 before skating step 12 that is first directed toward the side barrier. -
The Mignon Furman Performance Awards 1000S of Dancers!
21st AAB Year! American Academy of Ballet MIGNON FURMAN, FOUNDING DIRECTOR TEACHERS’ SEMINAR & THE MIGNON FUR MAN PERFORMANCE AWARDS CERTIFICATION August 1 – 8, 2019 Teachers attend from the USA, Brazil, Argentina, Canada Japan, South Africa, Mexico, Portugal, Israel, and Spain. at ADELPHI UNIVERSITY, GARDEN CITY, NEW YORK REASONS TO ATTEND THE SEMINAR Mignon Furman 10 AND THE PERFORMANCE AWARDS Founder of the AAB, Teacher, Choreographer, Educationist. CERTIFICATION EVERYTHING MOVES FORWARD. “ THEREFORE, I RECOMMEND: ith her talents, courage, and determination KEEP IN TOUCH WITH YOUR ART. to give definition to her vision for ballet PERFORMANCE AWARDS — AGRIPPINA VAGANOVA, ” Weducation, Mignon Furman founded the American and “Steps” programs. Most wonderful programs for “BASIC PRINCIPLES OF CLASSICAL BALLET” (1934) Academy of Ballet: It soon became the premier teachers and their dancers. (View the brochures on Summer School in the United States. our website.) he composed the Performance Awards S which are taught all over the USA, and are an CERTIFICATION : international phenomenon, praised by teachers Become a certified Performance Awards teacher. in the USA and in many other countries. The Hang your diploma in your studio. success of the Performance Awards is due to Mignon’s choreography: She was a superb choreographer. Her many compositions are FOUR DANCES : free of cliché. They have logic, harmony, style, To teach in your school. (See page 5.) and intrinsic beauty. OBSERVE : Our distinguished argot Fonteyn, a friend of Mignon, gave faculty teaching our Summer School dancers. her invaluable advice, during several You have the option of taking the classes. Mdiscussions about the technical, and artistic aspects of classical ballet. -
Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay Area
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years. -
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.