How Breakdancing Taught Me to Be a Technical Artist
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Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod. -
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. . -
Mark III Owners Manual
MESA-BOOGIE MARK III OPERATING INSTRUCTIONS MESA ENGINEERING CONGRATULATIONS! You've just become the proud owner of the world's finest guitar amplifier. When people come up to compliment you on your tone, you can smile knowingly ... and hopefully you'll tell them a little about us! This amplifier has been designed, refined and constructed to deliver maximum musical performance of any style, in any situation. And in order to live up to that tall promise, the controls must be very powerful and sophisticated. But don't worry! Just by following our sample settings, you'll be getting great sounds immediately. And as you gain more familiarity with the Boogie's controls, it will provide you with much greater depth and more lasting satisfaction from your music. THREE MODES For approximately twelve years, the evolution of the guitar amplifier has largely been pioneered by MESA-Boogie. The Original Mark I Boogie was the first amplifier to offer successful lead enhancement. Then the Mark II Boogie was the first amplifier to introduce footswitching between lead and rhythm. Now your new Mark III offers three footswitchable modes of operation: Rhythm 1, Rhythm 2 and Lead. Rhythm 1 is primarily for playing bright and sparkling clean (although a little crunch is available by running the Volume at 10). You might think of Rhythm 1 as "the Fender mode”. Rhythm 2 is mainly for crunch chords, chunking metal patterns and some blues (but low settings of the Volume 1 will produce an alternate clean sound that is very fat and warm). Think of Rhythm 2 as "the Marshall mode". -
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. -
'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. -
San Diego's Queen of the Boogie Woogie
by Put Kramer Sue Palmer Sun Diego's Qaeen of Boogie Woogie rflhirty years in lhe mustc Sue's first professional I indrrt.y is a long time band was in Tobacco Road, for any performer, particular- a band she formed with well ly for blues artists and espe- known jazz and swing bass cially for women blues per- player Preston Coleman. formers. For Sue Palmer, the Over the next 15 years, the "Queen of Boogie Woogie," band played regular gigs at it's been a star-studded blues the Belly Up Tavern in So- career with many rewards lano Beach. Of Coleman she and awards. The swing, blues says, "Working with Preston and boogie-woogie piano was like going to college to player has toured the world learn my craft. He was the and played music festivals real thing - a man who was throughout the U.S. and Eu- a fantastic performer and ar- rope as the pianist for blues ranger and was kind and gen- diva Candye Kane. But it's erous with us." her solo and band recording While fronting Tobacco as Sue Palmer and Her Mo- Road, Sue met Candye Kane tel Swing Orchestra that have and soon after the two be- generated the most awards. gan collaborating on music. Her fourth release, Sophisti- Later, Sue was invited to join cated Lady won an Interna- Kane's band as piano player tional Blues Challenge Award which led to world tours for "Best Self Produced CD" through the '90s playing club in 2008, her third release, dates and festivals in Canada, Live at Dizzy's won "Best Australia, France, Holland, Blues Album 200212003" the Netherlands and United and her solo piano album, States. -
Ballet Terms Definition
Fundamentals of Ballet, Dance 10AB, Professor Sheree King BALLET TERMS DEFINITION A la seconde One of eight directions of the body, in which the foot is placed in second position and the arms are outstretched to second position. (ah la suh-GAWND) A Terre Literally the Earth. The leg is in contact with the floor. Arabesque One of the basic poses in ballet. It is a position of the body, in profile, supported on one leg, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line along the body. Attitude A pose on one leg with the other lifted in back, the knee bent at an angle of ninety degrees and well turned out so that the knee is higher than the foot. The arm on the side of the raised leg is held over the held in a curved position while the other arm is extended to the side (ah-tee-TEWD) Adagio A French word meaning at ease or leisure. In dancing, its main meaning is series of exercises following the center practice, consisting of a succession of slow and graceful movements. (ah-DAHZ-EO) Allegro Fast or quick. Center floor allegro variations incorporate small and large jumps. Allonge´ Extended, outstretched. As for example, in arabesque allongé. Assemble´ Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. -
Marcina Kasiny Oleśnica – 04
TURNIEJ TAŃCA NOWOCZESNEGO o Puchar Wójta Gminy Oleśnica Marcina Kasiny Oleśnica – 04. lutego 2018 r. /niedziela/ 1. Organizator: 2. Współorganizatorzy: Polski Związek Tańca Freestyle Gmina Oleśnica Szkoła Tańca JAST JAST Atan Gminny Ośrodek Kultury Oleśnica 3. Termin imprezy: 04.02.2018 (niedziela) 4. Miejsce: Gminna Hala Sportowa, ul. Wileńska 32, 56 – 400 Oleśnica 5. Cele: - Popularyzacja i propagowanie tańca nowoczesnego. - Integracja Grup Tanecznych oraz instruktorów tańca. - Rywalizacja Fair Play oraz wspólna zabawa uczestników. - Wyłonienie najlepszych zespołów w poszczególnych kategoriach. - Promocja Gminy Oleśnica. - Promocja rywalizacji tanecznej wśród dzieci i młodzieży Gminy Oleśnica. 6. Komisja sędziowska: 5 licencjonowanych sędziów PZTF i skrutiner PZTF. 7. Kategorie wiekowe: Organizator zastrzega sobie możliwość połączenia kategorii wiekowych i dyscyplin tanecznych w przypadku 4 i mniej zespołów. 7 lat i młodsi (rocznik 2011 i młodsi 9 lat i młodsi (roczniki 2009 i młodsi) 11 lat i młodsi (roczniki 2007 i młodsi) 15 lat i młodsi (rocznik 2003 i młodsi) 16 lat i starsi (2002 i starsi) 31 lat i starsi (1987 i starsi) O przynależności do kategorii wiekowej w III, II i I lidze decyduje wiek najstarszego zawodnika – z tolerancją do 1 osoby. W Ekstralidze decyduje wiek najstarszego zawodnika UWAGA! W III, II i I lidze możliwe jest tańczenie jednej albo dwóch prezentacji przez ten sam zespół (oznacza to również, że jeden tancerz może występować w dwóch różnych zespołach danego klubu). Nazwa zespołu tańczącego dwie prezentacje musi kończyć się cyfrą 1 albo 2, np. JAST 1 i JAST 2 - nr 1 oznacza pierwszą prezentację w kolejności, nr 2 – drugą. 8. Muzyka: III , II i I Liga - muzyka własna do 3 min. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
Garage House Music Whats up with That
Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM. -
Course Outline
COURSE OUTLINE OXNARD COLLEGE I. Course Identification and Justification: A. Proposed course id: DANC R102B Banner title: Modern Dance II Full title: Modern Dance II Previous course id: DANC R102B Banner title: Modern Dance II Full title: Modern Dance II B. Reason(s) course is offered: This course meets student needs and community interest and expands the curriculum of the dance program. This course also meets UC and CSU transfer standards. C. Reason(s) for current outline revision: Course Modification and removal of co-listing of PE R116B D. C-ID: 1. C-ID Descriptor: 2. C-ID Status: Not Applicable E. Co-listed as: Current: None Previous: II. Catalog Information: A. Units: Current: 2.00 Previous: 2.00 B. Course Hours: 1. In-Class Contact Hours: Lecture: 17.5 Activity: 0 Lab: 52.5 2. Total In-Class Contact Hours: 70 3. Total Outside-of-Class Hours: 35 4. Total Student Learning Hours: 105 C. Prerequisites, Corequisites, Advisories, and Limitations on Enrollment: 1. Prerequisites Current: DANC R102A: Modern Dance I Previous: 2. Corequisites Current: Previous: 3. Advisories: Current: Previous: 4. Limitations on Enrollment: Current: Previous: D. Catalog description: Current: This course focuses on intermediate to advanced modern dance skills and technique necessary for performing dance compositions and student performances. Previous, if different: This course focuses on intermediate to advanced modern dance skills and technique necessary for performing dance compositions and student performances. (Same as PE R116B) E. Fees: Current: $ None Previous, if different: $ None F. Field trips: Current: Will be required: [ ] May be required: [X] Will not be required: [ ] Previous, if different: Will be required: [ ] May be required: [ ] Will not be required: [ ] G.