January Workshops

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January Workshops SATURDAY JANUARY 13TH “Manhattan Gets The Blues!” with Dexter Santos & Galit Weinfeld Learn about this historical dance through classes on vocabulary, movement technique, connection, musicality and more! 12p-2:30p: Section 1: “Blues Grooves” Level: Beginner (Prerequisite- Either a Blues Crash Course or Beginner Level Series Recommended) Get ready to level up your social dancing! We’ll be working on how to dance to different styles of Blues music, how to get that perfect Blues aesthetic, and some fun moves for you to throw down on the dance floor! 3p-5:30p: Section 2: “Blues, Your partner and You!” Level: Adv. Beginner/Intermediate (Prerequisite: Section 1, 2 months of Beginner Series or 1 month Intermediate Series.) Get ready to get fancy! We'll be focusing on partner conversation, lead and follow dynamics, styling and connecting with the music through rhythm and musicality. Pricing: Full Day-$60 In Adv / $70 Day Of; 1 Part Only - $35 in Adv / $40 Day Of ABOUT DEXTER SANTOS: With a background in Ballroom dancing and Lindy Hop, Dexter has studied and collaborated with the best Blues dance teachers and dancers making him one of the most sought-after and admired teachers in the national and international Blues dance scene. As a teacher, Dexter loves spreading his passion and joy for Blues dancing and aims to inspire dancers of all levels with the possi - bilities that this dance has to offer while preserving its roots, identity, and art form. Having taught in four conti - nents, Dexter's classes are known to be inspiring and fun, and are favorites at nationally and internationally renowned exchanges and workshops. Dexter has won first place in numerous Blues dancing competitions around the country and has won the title of Ballroomin' Blues champion at bluesSHOUT 3 times (2007, 2008, and 2010). In an unprecedented feat, Dexter won all four partnered competitions at bluesSHOUT 2010 in Austin: Open Jack & Jill, Strictly Jook Joint, Strictly Ballroomin', and Champions Division. For more information about Dexter, visit his website at dextersantos.com. 412 EIGHTH AVENUE AT 31ST, JUST OUTSIDE PENN STATION (PRESS "#6 PLUS CALL BUTTON" FOR ENTRY) CALL TO REGISTER: 212-244-0011 OR ONLINE AT: WWW.YOUSHOULDBEDANCING.NYC.

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By Barb Berggoetz Photography by Shannon Zahnle
Mary Hoedeman Caniaris and Tom Slater swing dance at a Panache Dance showcase. Photo by Annalese Poorman dAN e ero aNCE BY Barb Berggoetz PHOTOGRAPHY BY Shannon Zahnle The verve and exhilaration of dance attracts the fear of putting yourself out there, says people of all ages, as does the sense of Barbara Leininger, owner of Bloomington’s community, the sheer pleasure of moving to Arthur Murray Dance Studio. “That very first music, and the physical closeness. In the step of coming into the studio is sometimes a process, people learn more about themselves, frightening thing.” break down inhibitions, stimulate their Leininger has witnessed what learning to minds, and find new friends. dance can do for a bashful teenager; for a man This is what dance in Bloomington is who thinks he has two left feet; for empty all about. nesters searching for a new adventure. It is not about becoming Ginger Rogers or “It can change relationships,” she says. “It Fred Astaire. can help people overcome shyness and give “It’s getting out and enjoying dancing and people a new lease on life. People get healthier having a good time,” says Thuy Bogart, who physically, mentally, and emotionally. And teaches Argentine tango. “That’s so much they have a skill they can go out and have fun more important for us.” with and use for the rest of their lives.” The benefits of dancing on an individual level can be life altering — if you can get past 100 Bloom | April/May 2015 | magbloom.com magbloom.com | April/May 2015 | Bloom 101 Ballroom dancing “It’s really important to keep busy and keep the gears going,” says Meredith.
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Rhythmical Coordination of Performers and Audience in Partner Dance: Delineating Improvised and Choreographed Interaction
Rhythmical coordination of performers and audience in partner dance: delineating improvised and choreographed interaction Saul Albert ([email protected]) Contents 1 Introduction 3 2 Data and methods 4 2.1 Rhythm and interaction in a Lindy hop performance .................... 4 2.2 Studying the attention structure of an audience through rhythm ............... 6 2.3 Describing varied, coupled rhythms in the performance setting ............... 7 3 Analysis 9 3.1 Choreography: reorientation to familiar movements .................... 9 3.2 Improvisation: displays of readiness to change ....................... 13 3.3 Embodied action: joint coordination of improvised movement ................ 14 4 Discussion 17 4.1 Analytic distinctions between improvisation and choreography ............... 17 4.2 Embodied rhythms as projectable, interactional resources ................. 18 4.3 Embodied action built with non-vocal resources ...................... 19 5 Conclusion 21 6 Acknowledgements 21 7 References 21 1 Abstract This paper explores rhythm in social interaction by analysing how partner dancers and audience members move together during a performance. The analysis draws an empirical distinction between choreographed and improvised movements by tracking the ways participants deal with variations in the projectability and contingencies of upcoming movements. A detailed specification of temporal patterns and relationships between rhythms shows how different rhythms are used as interactional resources. Systematic disruptions to their rhythmical
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Charlottesville Swing Dance Society Swing Dance News ~ January 2014
Charlottesville Swing Dance Society Swing Dance News ~ January 2014 ~ Next Dance ~ Happy New Year! Member Perks for 2014! Saturday, Jan. 18th at Unity Church DJ/Lesson Instructor Brian Richards Lesson, 7-8 pm BLUES Dance 8-11 pm Swing Swap Resumes Thursday, Just some of the DVDs available in our Video Library ... January 9th!! Happy New Year! We hope 2014 is filled with lots of great dancing in addition to the usual good health, happiness, etc.! January Dances We are fortunate to live in an area with a strong sense of (Monthly/Special Events*) community among our dancers and swing dance Friday, January 3rd clubs/organizers and we hope you'll take advantage of the 1st Friday Jig Jam many local and regional dance opportunities that are Rigby's Jig (Richmond) available. Thank you to our fellow area dance organizers for 7:30-10:30 pm being part of a congenial dance community and for all of your hard work year in and year out. In thinking about what Saturday, January 4th membership to CSDS means beyond the dance admission Rocktown Rocks (Staunton) discount you receive, we've come up with a few new 7-7:30-8-11 pm Member Benefits for 2014; we hope you enjoy them! Saturday, January 11th 1) CSDS Video Library: Check out an instructional DVD by Stacy's Jam, Salsa Lesson one of your favorite WCS Pros or an event DVD covering with Edwin Roa!! competition, performances and/or workshops! CSDS members 7-8-11 pm may check out DVDs for a 2-week period; a cash deposit (ranges from $20-$45) is required and is given back when Sunday, January 12th the DVD is returned; there is a $5 late fee per week.
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Chicago Summerdance Brochure 2019
SUMMERDANCE FREE DOWNS NCING DA & IN THE PARKS C L SI IVE MU CHICAGO Saturday, July 27 Saturday, August 17 2-5pm 2-5pm Hamilton Park Austin Town Cultural Center Hall Park SUMMER 513 W. 72nd St. 5610 W. Lake St. DANCE SummerDance Downs in the Park return to Chicago Park District locations this summer! co-presented with Open the Circle CELEBRATION Dance downs showcase black youth dance groups from across Saturday, August 24 | 1 - 8pm the city. Today's dance groups are famous for their performances at the Bud Billiken Parade and other parades A full day of free social dancing and across the city and beyond. Several groups travel nationally to perform, winning awards and recognition from television performances throughout Millennium Park programs like Bring It!, while instilling community, leadership Highlights include: and self-conﬁdence in Chicago youth. Dance Downs in the Wrigley Square Dance Village Park are organized in partnership with leading companies The hosted by See Chicago Dance Era Footwork Crew, Empiire and Bringing Out Talent. Music is highlighting Chicago’s diverse dance performance companies, provided by "the youngest in charge" DJ Corey and his father schools, artists and advocacy groups DJ Clent, godfather of footwork music and juke in Chicago. Dance Workshops and fun for all on the Great Lawn and Cloud Gate Plaza Professional dance performances at the Jay Pritzker Pavilion featuring HubbardTheatre, Street Joel Dance Hall Dancers Chicago, and Cerqua more! Rivera Dance Most SummerDance events start with an introductory, one-hour dance lesson by professional instructors followed by live music and dancing.
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Transmissions and Traces: Rendering Dance
INAUGURAL CONFERENCE Transmissions and Traces: Rendering Dance Oct. 19-22, 2017 HOSTED BY THE DEPARTMENT OF DANCE Sel Fou! (2016) by Bebe Miller i MAKE YOUR MOVE GET YOUR MFA IN DANCE AT THE UNIVERSITY OF MICHIGAN We encourage deep engagement through the transformative experiences of dancing and dance making. Hone your creative voice and benefit from an extraordinary breadth of resources at a leading research university. Two-year MFA includes full tuition coverage, health insurance, and stipend. smtd.umich.edu/dance CORD program 2017.indd 1 ii 7/27/17 1:33 PM DEPARTMENT OF DANCE dance.osu.edu | (614) 292-7977 | NASD Accredited Congratulations CORD+SDHS on the merger into DSA PhD in Dance Studies MFA in Dance Emerging scholars motivated to Dance artists eager to commit to a study critical theory, history, and rigorous three-year program literature in dance THINKING BODIES / AGILE MINDS PhD, MFA, BFA, Minor Faculty Movement Practice, Performance, Improvisation Susan Hadley, Chair • Harmony Bench • Ann Sofie Choreography, Dance Film, Creative Technologies Clemmensen • Dave Covey • Melanye White Dixon Pedagogy, Movement Analysis Karen Eliot • Hannah Kosstrin • Crystal Michelle History, Theory, Literature Perkins • Susan Van Pelt Petry • Daniel Roberts Music, Production, Lighting Mitchell Rose • Eddie Taketa • Valarie Williams Norah Zuniga Shaw Application Deadline: November 15, 2017 iii DANCE STUDIES ASSOCIATION Thank You Dance Studies Association (DSA) We thank Hughes, Hubbard & Reed LLP would like to thank Volunteer for the professional and generous legal Lawyers for the Arts (NY) for the support they contributed to the merger of important services they provide to the Congress on Research in Dance and the artists and arts organizations.
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1111~~U~~Lo SOLO SOUTHERN DANCE : FLATFOOT, BUCK, and TAP
Talking Feet is the first documentary of flatfoot, buck, hoedown, tap danang, the styles of solo Southern dancing which are a companion to traditional old-time music and on which modern clog dancing is based. Dances are done to hand-patting, talking blues, and singing, as well as old-time, bluegrass, and western swing-style music. Dancers range in age from 20 to 82. I • Talking Feet is a film about a forgotten side ofAmerican dance culture:solo mountain dandng. Mike Seeger and Ruth Pershing take us to the southeastern mountains of the U. S., the source of this genre, and to a range of individuals old, young, black, white, female, and male who grew up with the idea of talking with their feet The film captures the deep sense of tradition and the value offreedom of expression these dancers share. Talking Feet is an exploration of a dance form rich in American do-it-yourself pride.-Frank Hall, dancer, dance anthropologist ... A wonderful and enlightening illustration of the breadth of Southern-style dancers, including their humor, playfulness, technical abilities, soul, and sheer joy. -Ira Bernstein, clog, tap, and step dancer/researcher ... For anyone with a passion for Southern traditional dance this DVD is a must -Daniel Patterson, Professor Emeritus of English and Folklore, University of North Carolina at Chapel Hill Project funded by the Smithsonian Institution Office of Folklife Programs and the National Endowment for the Arts. Folk Arts Program. o1IIInl]~~1111~~U~~lo SOLO SOUTHERN DANCE : FLATFOOT, BUCK, AND TAP Southern solo dance goes under many names- buck dancing, f1atfooting, clogging, step dancing-and it takes many styles.
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Arizona Dance E-Star (January 2016)
Arizona e statewide listing of performances January 2016 DANCEmaster classes auditions articles | | tips | news | and more RIVERDANCE Tucson / Mesa If/Then ASU Gammage The Peking Acrobats Scottsdale CPA BODYTRAFFIC UA Presents Just West of BROADWAY | PHX Carley Conder Master Classes CONDER/dance | Breaking Ground Social Dances Photo by Dan Perrine Jobs, Tips & more... Arizona Dance e-Star Arizona Dance e-Star a publication of the Arizona Dance Coalition Volume 6, Issue 1 January 2016 Dear readers, Table of Contents Happy New Year! I've included last year's New Year's Resolution page (pg 33), since it still applies. Plus, it looks nice. As in the past Calendar of Events 3-6, 12 four years, the January issue also contains an INDEX of 2015 Member Master Classes/Workshops 7-9 articles, photos, and tips (pg 51). This issue marks the 6th year Nominations. .. .. .. .. .. .. .. .. .. .. .. .. 9 the ADC is bringing greater visibility to our statewide DANCE community through this free Arizona Dance e-Star publication. Comm College Dance Courses. .. .. 10-11 You can become involved in making more people aware about the Photo of the Month 13 various dance communities in AZ, events, classes, and auditions Mbr Auditions & Announcements 14-20 just by sharing the e-Star / ADC website / Facebook page, and by Regional News. .... 21-23 inviting your friends and colleagues to join our Facebook group. Interesting STUFF is always happening and you just never know Article: Lindy Hopping Again. .. .. .. .. .. 24-27 when a special performance or master class is going to pop up! Social Dance / Workshops 28-31 The New Year IS going to be great! This January issue is Call for Dancers / Auditions.
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Febmar15danceflyer
Portland Dance Eclectic: the Next Six Months Every Thursday Dance - 7:30pm to 10:30pm Rose City Studios, 1420 NW 17th Ave Waltz, Swing, Latin, NC2Step; Alt Tango Sunday Waltz Brunches at Norse Hall an 18-year Sunday tradition—dance, relax, socialize, enjoy an upbeat lesson, a light brunch, and uplifting music 10:30 -Lesson, 11:30 to 2:30 Dance Waltz, Swing, Latin, NC2Step; Alt Tango Jan 21, Feb 18, Mar 11, March 25, Apr 22, May 20, Jun 3, Jun 17 Feb, 11 -Special Live Music Sunday Brunch with Larry Unger at Norse Hall PORTLAND DANCE ECLECTIC is an organization dedicated to creating and 10:45 - Lesson, 12 to 3pm Dance maintaining a friendly, non-competitive dance community, which provides opportunities for dancers of all ages and levels of experience to learn and Saturday Evening Events at Norse Hall enjoy. Feb 10 - Valentines Ball- 7pm to 11:15pm March 31 - Waltz Ball- 7pm to 11:15pm If you are an experienced dancer, we are a friendly community, where you May 12- Dance Eclectic 7pm to 11:15pm will be encouraged to ﬁnd and express your individual style. If you are new to social dancing, let us direct you to teachers who can help you learn a 1st Saturdays- Blues Eclectic at Norse Hall good foundation. We can introduce you to the world of non-competitive Portland Dance Eclectic partner dancing in a friendly atmosphere, where the focus is having a fun, Blues, West & East Coast Swing, Waltz, Alt Tango healthy, engaging, and social experience. 7:30 - Lesson, 8:30 -11pm Dance: For information on dance events or to be added to our weekly newsletter,
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Interactive Animation Dance Game
Interactive Dance Game Name:_______________ Interactive: interacting with a human user, often in a conversational way, to obtain data or commands and to give immediate results or updated information. Dance: to move one's feet or body, or both, rhythmically in a pattern of steps, especially to the accompaniment of music. STEP ONE: RESEARCH at least 3 Dance Styles/Moves by looking at the attached “Dance Styles Categories” sheet and then ANSWER the attached sheet “ Researching Dance Styles & Moves.” STEP TWO: DRAW 3 conceptual designs of possible character designs for your one dance figure. STEP THREE: SCAN your character design into the computer and/or create digitally in Adobe Photoshop or directly in Macromedia Flash. Character Design Graphic Names STEP FOUR: BREAK UP the pieces of your digital character design like the above Character Design Graphic Names . If creating in Adobe Photoshop ensure you save each piece of your digital character with a TRANSPARENT BACKGROUND and save each separately as PSD files . STEP FIVE: IMPORT your character design (approved by teacher) into the program Macromedia Flash – piece by piece by OPENING Macromedia Flash then SELECT from the top of menu -> WINDOW -> SHOW LIBRARY -> STEP SIX: DOUBLE CLICK on the specific Character Design Graphic piece you want to IMPORT (SEE the above photo for specific names of body parts i.e. right arm upper graphic) STEP SEVEN: DELETE the template graphic part and PASTE or choose FILE IMPORT in the one you designed on paper or Adobe Photoshop . (head etc..) STEP EIGHT: RESIZE specific Character Design graphic pieces by RIGHT MOUSE CLICKing on the graphic and choose FREE TRANFORM to scale up or down.
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The Ohio State University Department of Dance Instructor: Chris Cogell [email protected] Graduate Office – Sullivant Hall Office Hours: by Appointment
The Ohio State University Department of Dance Instructor: Chris Cogell [email protected] Graduate Office – Sullivant Hall Office Hours: By Appointment Social Dance DANCE 2181 2 credit hours I Course Description Introductory level survey of Social Dance for non-majors. This course is offered as a beginning- level study of selected social dance forms of North America. The course requires physical practice of dance forms and includes survey of the history, theory, and/or literature of Social Dance comprised of readings and/or viewings. II Course Goals and Objectives Goals: At the successful completion of the course the student will demonstrate the following: • A working understanding of selected 20th Century American social dance forms • Rhythmic skills and abilities characteristic of these dance forms • An awareness of body balance and control, and a basic understanding of styling • A basic understanding of the role social dance played in American culture c. 1912-1935 III Course Content and Procedures Content: • The course has been designed to introduce the student to American social dance technique. • The technical activities in the course are primarily presented by means of demonstration and description. Short lectures, discussions, and video presentations will be included in some class sessions. • Selected Dances • Dances from various eras have been selected so that the student can learn the different styles of the dance form. Dance forms to be taught: Swing Dances • 20’s & 40’s Charletston • East Coast Swing • Lindy Hop • Balboa • Shim Sham • West Coast Swing Blues Dances • Slow Drag • Jookin’ • Ballroom Blues • Struttin’ Argentine Tango Elements of Fusion Dance Possibility of guest instructors to teach: • Ballroom • Latin • Hip Hop • Contact Improvisation • Solo Jazz and Tap Procedures: List of procedures for course.
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Alvin Ailey's Embodiment of African American Culture
DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J.
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1 I Feel That Today, Jazz Dance Is Most Often Taught Two Ways. the First Is with a Chronological, History-First Approach. the Se
I feel that today, jazz dance is most often taught two ways. The first is with a chronological, history-first approach. The second is with a contemporary pop culture slant that forgoes such historical knowledge. In this research, I’ll propose another method; prioritizing deep embodiment of music as a way to be contemporarily relevant while incorporating historical perspectives. Connecting to rhythm and musicality through the body is a poignant and widely enjoyed way to express oneself while relating to others. As a dance artist and educator, I am deeply inspired by this kinesthetic embodiment of the auditory. I have chosen to focus in jazz and American vernacular dance forms because they allow me to do this in rhythmically specific, individually groove-laden, and expressive yet cool ways. When people simultaneously explore kinesthetic embodiment of the auditory by dancing to jazz and American vernacular music, communication lines open and information is developed and exchanged. This positions the practice of as a powerful and important carrier of cultural knowledge. I also find great depth in linking dance and music to their historical locations in culture. Jazz dance scholar Minda Kraines notes in her book Jump Into Jazz; “jazz dance is a mirror of the social history of the American people, reflecting historical events, cultural changes, ethnic influences, and especially the music and social dances of its eras” (4). However, I find that today, there is a disconnect between historical understanding and current practices in jazz dance. This disconnect is fueled by commercialized, balleticized approaches to jazz that are popularized by television shows and adopted by many private K-12 studios (Risner, Godfrey and Simmons 26).
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