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A Short Course in International Folk Dance, Harry Khamis, 1994
Table of Contents Preface .......................................... i Recommended Reading/Music ........................iii Terminology and Abbreviations .................... iv Basic Ethnic Dance Steps ......................... v Dances Page At Va'ani ........................................ 1 Ba'pardess Leyad Hoshoket ........................ 1 Biserka .......................................... 2 Black Earth Circle ............................... 2 Christchurch Bells ............................... 3 Cocek ............................................ 3 For a Birthday ................................... 3 Hora (Romanian) .................................. 4 Hora ca la Caval ................................. 4 Hora de la Botosani .............................. 4 Hora de la Munte ................................. 5 Hora Dreapta ..................................... 6 Hora Fetalor ..................................... 6 Horehronsky Czardas .............................. 6 Horovod .......................................... 7 Ivanica .......................................... 8 Konyali .......................................... 8 Lesnoto Medley ................................... 8 Mari Mariiko ..................................... 9 Miserlou ......................................... 9 Pata Pata ........................................ 9 Pinosavka ........................................ 10 Setnja ........................................... 10 Sev Acherov Aghcheek ............................. 10 Sitno Zensko Horo ............................... -
Folk Dances for Language Classes, Dona Hyll, Lorraine Fortner, 2001
Folk Dances for Language Classes Dona Hyll Lorraine Fortner September 21, 2001 Louisville, Kentucky Table of Contents About the Instructors...................................................................................................................ii Dances from German speaking regions: GROSSER ATLANTIK .......................................... .......................... Germany....................1 D'HAMMERSCHMIEDSG'SELLN........................ .......................... Germany....................2 LA SALAMANDRE................................................ Alsace............... France......................15 Dances from Spanish speaking regions: CARNAVALITO..................................................... .......................... Bolivia.......................3 ESPUNYOLET........................................................ Catalonia .......... France / Spain..........16 MEXICAN POLKA................................................. .......................... Mexico ......................4 Dances from French speaking regions: AN DRO RETOURNÉ ............................................ Brittany............. France........................5 AVANT-DEUX DE TRAVERS.............................. Brittany............. France......................14 LE BAL DE JUGON ............................................... Brittany............. France........................9 BANNIELOU LAMBAOL...................................... Brittany............. France........................7 BRANLE NORMAND ........................................... -
Why Stockton Folk Dance Camp Still Produces a Syllabus
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2018 FINAL In Memoriam Rickey Holden – 1926-2017 Rickey was a square and folk dance teacher, researcher, caller, record producer, and author. Rickey was largely responsible for spreading recreational international folk dancing throughout Europe and Asia. Rickey learned ballroom dance in Austin Texas in 1935 and 1936. He started square and contra dancing in Vermont in 1939. He taught international folk dance all over Europe and Asia, eventually making his home base in Brussels. He worked with Folkraft Records in the early years. He taught at Stockton Folk Dance Camp in the 1940s and 50s, plus an additional appearance in 1992. In addition to dozens of books about square dancing, he also authored books on Israeli, Turkish, Bulgarian, Hungarian, Greek, and Macedonian dance. STOCKTON FOLK DANCE CAMP – 2018 FINAL Preface Many of the dance descriptions in the syllabus have been or are being copyrighted. They should not be reproduced in any form without permission. Specific permission of the instructors involved must be secured. Camp is satisfied if a suitable by-line such as “Learned at Folk Dance Camp, University of the Pacific” is included. Loui Tucker served as editor of this syllabus, with valuable assistance from Karen Bennett and Joyce Lissant Uggla. We are indebted to members of the Dance Research Committee of the Folk Dance Federation of California (North and South) for assistance in preparing the Final Syllabus. Cover art copyright © 2018 Susan Gregory. (Thanks, Susan.) Please -
METODI PER CHITARRA CLASSICA Things You Are, Fly Me to the Moon, Moon River, the Nearness of You, Stardust, When Sunny Gets Blue
1 INDICE CATALOGO CHITARRA COME EFFETTUARE IL PAGAMENTO Indicazioni generali…………………. Pag. 1 - In contrassegno postale o con pagamento diretto al Ukulele …………………………… 2 postino; Chitarra Acustica & Jazz……………. 2 - Tramite Carta di Credito comunicandoci (via fax o Chitarra Elettrica………………….. 2 telefono) il numero della Vostra carta e la data di scadenza Basso Elettrico……………………. 2 - Con Bonifico Bancario, inviando tramite fax la ricevuta Chitarra Classica Metodi…………… 2 del pagamento. Contattateci per le coordinate. Chitarra Studi……………………… 5 - PayPal - Dopo la nostra conferma d’ordine inviare il Chitarra Antologie………………… 8 pagamento a [email protected] Chitarra Sola………………………. 15 Archivio A.Segovia……………….. 48 Due Chitarre………………………. 48 PREZZI Tre Chitarre……………………….. 53 Quattro Chitarre…………………… 55 - Tutti i prezzi sono comprensivi di I.V.A., possono subire Cinque o più Chitarre……………… 58 variazioni anche senza preavviso, e non sono Chitarra e Flauto Traverso………… 59 comprensivi delle spese postali. Chitarra e Flauto Dolce……………. 64 Chitarra e Oboe……………………. 64 Chitarra e Clarinetto………………. 64 SPESE DI SPEDIZIONE Chitarra e Violino………………….. 65 Chitarra e Viola……………………. 66 Chitarra e Violoncello……………… 66 Segnalate sempre nel Vostro ordine il tipo di spedizione: Chitarra e Pianoforte………………. 67 Chitarra e Voce……………………. 68 - € 11,00 - spedizione con Corriere Espresso. Tempo di Chitarra e Mandolino……………… 71 arrivo 2-3gg lavorativi. Pagamento contrassegno Concerti e Musica da camera………… 72 - Chitarra Barocca…………………… 76 - € 6,00 - spedizione con Poste Italiane. Tempo di arrivo 7- Chitarra Romantica Facsimili…… 77 10gg lavorativi. Pagamento contrassegno. Valido per Flamenco………………………….. 77 spedizione di plichi fino a 2 Kg. Libri Chitarra e Libri di Liuteria….. 80 - Riviste……………………………... 83 - € 7,00 con pagamento anticipato (ccpt postale, bonifico Spartiti con CD base……………………. -
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. -
Cover No Spine
2006 VOL 44, NO. 4 Special Issue: The Hans Christian Andersen Awards 2006 The Journal of IBBY,the International Board on Books for Young People Editors: Valerie Coghlan and Siobhán Parkinson Address for submissions and other editorial correspondence: [email protected] and [email protected] Bookbird’s editorial office is supported by the Church of Ireland College of Education, Dublin, Ireland. Editorial Review Board: Sandra Beckett (Canada), Nina Christensen (Denmark), Penni Cotton (UK), Hans-Heino Ewers (Germany), Jeffrey Garrett (USA), Elwyn Jenkins (South Africa),Ariko Kawabata (Japan), Kerry Mallan (Australia), Maria Nikolajeva (Sweden), Jean Perrot (France), Kimberley Reynolds (UK), Mary Shine Thompson (Ireland), Victor Watson (UK), Jochen Weber (Germany) Board of Bookbird, Inc.: Joan Glazer (USA), President; Ellis Vance (USA),Treasurer;Alida Cutts (USA), Secretary;Ann Lazim (UK); Elda Nogueira (Brazil) Cover image:The cover illustration is from Frau Meier, Die Amsel by Wolf Erlbruch, published by Peter Hammer Verlag,Wuppertal 1995 (see page 11) Production: Design and layout by Oldtown Design, Dublin ([email protected]) Proofread by Antoinette Walker Printed in Canada by Transcontinental Bookbird:A Journal of International Children’s Literature (ISSN 0006-7377) is a refereed journal published quarterly by IBBY,the International Board on Books for Young People, Nonnenweg 12 Postfach, CH-4003 Basel, Switzerland tel. +4161 272 29 17 fax: +4161 272 27 57 email: [email protected] <www.ibby.org>. Copyright © 2006 by Bookbird, Inc., an Indiana not-for-profit corporation. Reproduction of articles in Bookbird requires permission in writing from the editor. Items from Focus IBBY may be reprinted freely to disseminate the work of IBBY. -
First Class Mail PAID
FOLK DANCE SCENE First Class Mail 4362 COOLIDGE AVE. U.S. POSTAGE LOS ANGELES, CA 90066 PAID Culver City, CA Permit No. 69 First Class Mail Dated Material ORDER FORM Please enter my subscription to FOLK DANCE SCENE for one year, beginning with the next published issue. Subscription rate: $15.00/year U.S.A., $20.00/year Canada or Mexico, $25.00/year other countries. Published monthly except for June/July and December/January issues. NAME _________________________________________ ADDRESS _________________________________________ PHONE (_____)_____–________ CITY _________________________________________ STATE __________________ E-MAIL _________________________________________ ZIP __________–________ Please mail subscription orders to the Subscription Office: 2010 Parnell Avenue Los Angeles, CA 90025 (Allow 6-8 weeks for subscription to go into effect if order is mailed after the 10th of the month.) Published by the Folk Dance Federation of California, South Volume 40, No. 1 February 2004 Folk Dance Scene Committee Club Directory Coordinators Jay Michtom [email protected] (818) 368-1957 Jill Michtom [email protected] (818) 368-1957 Calendar Jay Michtom [email protected] (818) 368-1957 Beginner’s Classes (cont.) On the Scene Jill Michtom [email protected] (818) 368-1957 Club Directory Steve Himel [email protected] (949) 646-7082 Club Time Contact Location Contributing Editor Richard Duree [email protected] (714) 641-7450 CONEJO VALLEY FOLK Wed 7:30 (805) 497-1957 THOUSAND OAKS, Hillcrest Center, Contributing Editor Jatila van der Veen [email protected] (805) 964-5591 DANCERS Jill Lungren 403 W Hillcrest Dr Proofreading Editor Laurette Carlson [email protected] (310) 397-2450 ETHNIC EXPRESS INT'L Wed 6:30-7:15 (702) 732-4871 LAS VEGAS, Charleston Heights Art FOLK DANCERS except holidays Richard Killian Center, 800 S. -
One the Peculiarities of Modern Musical Folklore of Shirak
Social and Economic Aspects of Education in Modern Society ART ONE THE PECULIARITIES OF MODERN MUSICAL FOLKLORE OF SHIRAK Hasmik Harutyunyan, PhD in Art Studies, Yerevan State Conservatory after Komitas Gyumri Branch (Director), Shirak Centre for Armenological Studies NAS RA Hasmik Matikyan, PhD in Philology, Yerevan State Conservatory after Komitas Gyumri Branch (Lecturer), Shirak Centre for Armenological Studies NAS RA DOI: https://doi.org/10.31435/rsglobal_conf/25122020/7307 Abstract. In different rural communities of Shirak region nowadays live representatives of the Armenain generation who have immigrated from Western Armenia and bear unique musical specimen. They are folk and national multi-genre song types and musical instrumental works. In the article we have touched upon 100 folk songs compiled from the folkloristic material organized in about 20 communities of Shirak region in 2015 March-April, that not only give us common notion of the song tradition of our compatriots migrated from Moush and Alashkert, in 2015, but they also certify that the tradition of folk song creativity is alive and coexists next to the very different modern cultural manifestations. Keywords: Ethnomusicology, Musical folklore, Shirak regon, traditional music, folk song, study, revival. The musical heritage of Shirak of the 19th-20th centuries has its unique place and role in the development of the Armenian national music. The rich musical folklore, imbued with the genre- stylistic features of the musical dialects of Western Armenia, became the basis for the unprecedented development of the professional music of the oral tradition and the creation of a valuable heritage. From the second half of the 19th century Armenian philologists and musician-folklorists became interested in the flourishing art of the Armenian bards and folk music players of Shirak. -
What Is Belly Dance?
What Is Belly Dance? THE PYRAMID DANCE CO. INC. was originally founded in Memphis 1987. With over 30 years Experience in Middle Eastern Dance, we are known for producing professional Dancers and Instructors in belly dancing! The company’s purpose is to teach, promote, study, and perform belly dance. Phone: 901.628.1788 E-mail: [email protected] PAGE 2 CONTACT: 901.628.1788 WHAT IS BELLY DANCE? PAGE 11 What is the belly dance? Sadiia is committed to further- ing belly dance in its various The dance form we call "belly dancing" is derived from forms (folk, modern, fusion , traditional women's dances of the Middle East and interpretive) by increasing pub- North Africa. Women have always belly danced, at lic awareness, appreciation parties, at family gatherings, and during rites of pas- and education through per- sage. A woman's social dancing eventually evolved formances, classes and litera- into belly dancing as entertainment ("Dans Oryantal " in ture, and by continuing to Turkish and "Raqs Sharqi" in Arabic). Although the his- study all aspects of belly tory of belly dancing is clouded prior to the late 1800s, dance and producing meaning- many experts believe its roots go back to the temple ful work. She offers her stu- rites of India. Probably the greatest misconception dents a fun, positive and nur- about belly dance is that it is intended to entertain men. turing atmosphere to explore Because segregation of the sexes was common in the movement and the proper part of the world that produced belly dancing, men of- techniques of belly dance, giv- ten were not allowed to be present. -
Greek Dance and Everyday Nationalism in Contemporary Greece - Kalogeropoulou 55
Greek dance and everyday nationalism in contemporary Greece - Kalogeropoulou 55 Greek dance and everyday nationalism in contemporary Greece Sofia Kalogeropoulou The University of Otago ABSTRACT In this article I explore how dance as an everyday lived experience during community events contributes to constructing national identities. As a researcher living in New Zealand where issues of hybridity and fluidity of identities in relation to dance are currently a strong focus for discussion, I was inspired to examine dance in my homeland, Greece. In a combination of ethnography and autobiography I examine dance as an embodied practice that physically and culturally manifests the possession of a distinct national identity that can also be used as a means of differentiation. I also draw on the concept of banal nationalism by Michael Billig (1995), which looks at the mundane use of national symbols and its consequences. I argue that while folk dance acts as a uniting device amongst members of national communities, its practice of everyday nationalism can also be transformed into a political ritual that accentuates differences and projects chauvinism and extreme nationalism with a potential for conflict. INTRODUCTION A few years ago when I was still living in Greece I was invited to my cousin’s farewell party before he went to do his national service. This is a significant rite of passage for a Greek male marking his transition from childhood to manhood and also fulfilling his obligations towards his country and the state. This dance event celebrates the freedom of the civilian life and marks the beginning of a twelve-month period of military training in the Greek army. -
TRADITIONAL FOLK DANCES of SOUTH-WEST SERBIA in TEACHING MUSICAL CULTURE and PHYSICAL EDUCATION (Professional Paper)
24Activities in Physical Education and Sport 2015, Vol. 5, No. 1, pp. 24-29 TRADITIONAL FOLK DANCES OF SOUTH-WEST SERBIA IN TEACHING MUSICAL CULTURE AND PHYSICAL EDUCATION (Professional paper) Biljana Pavlović1, Branko Popović2 and Nevenka Zrnzević3 1Teacher training faculty in Prizren-Leposavic, University of Pristina -Kosovska Mitrovica, Serbia 2Teacher training faculty in Užice, University of Kragujevac, Serbia 3Teacher training faculty in Prizren-Leposavic, University of Pristina-Kosovska Mitrovica, Serbia Abstract This paper analyzes the traditional folk dances of Southwest Serbia, from the standpoint of teaching music culture and physical education in the elementary grades. Special attention is given to dances accompanied by singing from the regions of Raska, Novi Pazar and Sjenice. The aim is to establish their presence and importance in music and physical education. Analyzed are the curricula of music and physical education, as well as music culture textbooks, to determine which dances of this region have been proposed for inclusion in the classroom teaching. It is concluded that the dances of southwestern Serbia are insufficiently covered by the curriculum of these two subjects and that they were omitted from the textbooks of music culture. For this reason, this work’s tasks were to analyze the musical-pedagogical and ethno musicological literature that deals with the area of Southwest Serbia; to select suitable examples to work with students of junior school age; to determine their educational importance in teaching. Through highlighted examples, the students will be able to learn about the specifics of the traditional folk dances of Southwest Serbia, and to gain insight into the richness and beauty of folk musical creativity of this region. -
Connecting Through Dance
Connecting Through Dance: The Multiplicity of Meanings of Kurdish Folk Dances in Turkey Mona Maria Nyberg Thesis submitted in partial fulfillment of the M.A. degree Department of Social Anthropology, University of Bergen Spring 2012 The front page photograph is taken by Mona Maria Nyberg at a Kurdish wedding celebration. The women who are dancing in the picture are not informants. II Acknowledgements While studying for an exam during my time as a bachelor student, I read a work by Professor Bruce Kapferer which made me reconsider my decision of not applying for the master program; I could write about dance, I realized. And now I have! The process has been challenging and intense, but well worth it. Throughout this journey I have been anything but alone on this, and the list of persons who have contributed is too long to mention. First of all I need to thank my informants. Without you this thesis could not have been written. Thank you for your help and generosity! Especially I want to thank everyone at the culture centers for allowing me do fieldwork and participate in activities. My inmost gratitude goes to two of my informants, whose names I cannot write out of reasons of anonymity - but you know who you are. I want to thank you for allowing me into your lives and making me part of your family. You have contributing to my fieldwork by helping me in in innumerous ways, being my translators – both in terms of language and culture. You have become two of my closest friends.