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People’s Choice Dancesport Competton Entry deadline: April 16th Registrar: Suzy Nyemchek Email: [email protected] Phone: (314) 616-9413 Fax: (314) 677-3329 Mail checks to: Forrest Vance 9282 E. Los Gatos Dr. Scottsdale, AZ 85255 (All checks payable to: Forrest Vance Productions, Inc NC newcomer bronze PT1 1-9 Nightclub, Country Western, Argentine Tango BR1 beginning bronze PT2 10-11 BR2 intermediate bronze JR1 12-13 Single Dances BR3 full bronze JR2 14-15 YTH 16-18 S1 beginning silver Studio: A1 18-30 S2 intermediate silver A2 31-40 Contact Name: S3 full silver B1 41-50 G1 beginning gold B2 51-60 Phone: G2 intermediate gold C1 61-70 G3 full gold C2 71-80 Email: AD1 advanced I C3 81-90 Address: AD2 advanced II C4 91+ Name Circle One NDCA # Lead PRO AM Follow PRO AM Argentine Nightclub Country Western Age Open Tango Category Proficiency Rising Star MER SAMBA WCS HUSTLE SALSA BAC W 2STEP CC ECS WCS POLKA AT MER SAMBA WCS HUSTLE SALSA BAC W 2STEP CC ECS WCS POLKA AT MER SAMBA WCS HUSTLE SALSA BAC W 2STEP CC ECS WCS POLKA AT MER SAMBA WCS HUSTLE SALSA BAC W 2STEP CC ECS WCS POLKA AT Name Circle One NDCA # Lead PRO AM Follow PRO AM Argentine Nightclub Country Western Age Open Tango Category Proficiency Rising Star MER SAMBA WCS HUSTLE SALSA BAC W 2STEP CC ECS WCS POLKA AT MER SAMBA WCS HUSTLE SALSA BAC W 2STEP CC ECS WCS POLKA AT MER SAMBA WCS HUSTLE SALSA BAC W 2STEP CC ECS WCS POLKA AT MER SAMBA WCS HUSTLE SALSA BAC W 2STEP CC ECS WCS POLKA AT All persons attending this event, whether as spectator, competitor, or ofﬁcial, shall be bound by the rules for participating in this event, and shall automatically become obligated to adhere to them. People!s Choice Dancesport Competition and participating studios accept no responsibility for any loss or theft of articles left in the changing rooms, ballroom, or hotel rooms or for any loss or injury sustained by persons attending this event; everyone does so at his or her own risk. The undersigned hereby expressly and irrevocably waives any claim or claims arising from any loss or injury occurring at this event. No video taping will be allowed; however, a professional video production company will be on hand to record your dancing. Tapes will be made available for purchase. Your signature below constitutes your consent and understanding of this waiver (parents must sign if participant is under the age of 18)..

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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.
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The Dance Series from Ortofon Is Now Complete – MC Tango Joins MC Samba & MC Salsa for Almost Sixty Years, Ortofon Has
March, 2007 The dance series from Ortofon is now complete – MC Tango joins MC Samba & MC Salsa For almost sixty years, Ortofon has been at the forefront of music reproduction from analogue records. Throughout the years Ortofon have developed many new and creative designs for the enjoyment of music lovers and audio enthusiasts all over the world. WHY AN ORTOFON MOVING COIL CARTIDGE? Many have asked the question: Why is the sound of a moving coil cartridge so superior to that of a traditional magnetic: The answer in one word is linearity. The patented Ortofon low-impedance, low-output design is inherently linear over the entire audible range. This coupled with unequalled tracking ability and unique diamond profiles combines to deliver a sound previously deemed unattainable. The MC Tango, MC Samba and MC Salsa is a direct result of our endeavours. MC Tango has an elliptical diamond which is cut and polished to Ortofon’s standards, and the output is 0.5 mV. The MC Tango is our MC entry level cartridge with a very high cost/performance ratio. MC Samba and MC Salsa have a tiny, nude Elliptical or Fine Line diamond, mounted on a very light and rigid cantilever. This results in low equivalent stylus tip mass and cantilever compliance on 14 and 15 µm/mN, which means that MC Samba and MC Salsa will give excellent results with virtually any tone arm. The armature has been designed as a tiny lightweight cross, and the coils are mounted at exactly 90 degree to each other (just like the walls of the record groove), which is improving the channel separation.
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Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference.
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Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward
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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.
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Dance Practice – Rumba & Samba Rumba: “Slow, Quick-Quick” Start
Dance Practice – Rumba & Samba Remember to WARM UP and COOL DOWN! Practice LEAD (left first) and FOLLOW (right first) for all steps. Rumba: “Slow, quick-quick” Remember – this is a Latin dance. Toe-heel steps, rolling down smoothly. • Forward – Step first with LEFT foot. Then side-together (RIGHT – LEFT). • Backward – Step first with RIGHT, then side-together (LEFT – RIGHT). • Basic box – Put “Forward” step together with “Backward” for a box step! • IF YOU USE A PARTNER- it is easy! One does the backward as the other performs forward step. Start: Backward/ Follow Side RIGHT “quick” (2), Together LEFT “quick” (3) Back 3 RIGHT 1 “slow” 2 (1) Forward 1 2 LEFT 3 “SLOW” (1) Start: Forward/ Side LEFT “quick” (2), Lead Together RIGHT “quick”(3) MAKE IT EASIER: Dance this rhythm in place. THOUGHT: This should look familiar! Many dances have a basic “box step”. What makes this different than the others you learn? FUN FACT: Rumba is Cuban in origin. TIPS: • Bring the rumba style! Toe-heel stepping with soft knees helps your hips move in that nice side-to-side motion! 1 | Page 4 Last Updated: 28 October 2018 Dance Practice – Rumba & Samba • Add “Figure 8” hips if you like! In addition to the side-to-side hip motion, allow them to travel forward and backward as you step. (Hip moves forward on the same side as the foot that is stepping.) Samba: “Quick-quick, slow” Remember – this is a Latin dance. If you feel you can, step smoothly toe-heel. • Side-together-back*– – Step side-together (LEFT -RIGHT), then step backward LEFT.
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A Study of the Rap Music Industry in Bogota, Colombia by Laura
The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia by Laura L. Bunting-Hudson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Laura L. Bunting-Hudson All Rights Reserved ABSTRACT The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia Laura L. Bunting-Hudson How do rap artists in Bogota, Colombia come together to make music? What is the process they take to commodify their culture? Why are some rappers able to become socially mobile in this process, while others are less so? What is technology’s role in all of this? This ethnography explores those questions, as it carefully documents the strategies utilized by various rap groups in Bogota, Colombia to create social mobility, commoditize products and to create a different vision of modernity within the hip-hop community, as an alternative to the ideals set forth by mainstream Colombian society. Resistance Art Poetry (RAP), is said to have originated in the United States but has become a form of international music. In conducting ethnographic research from December of 2012 to October 2014, I was able to discover how rappers organize themselves politically, how they commoditize their products and distribute them to create various types of social mobilities. In this dissertation, I constructed models to typologize rap groups in Bogota, Colombia, which I call polities of rappers to discuss how these groups come together, take shape, make plans and execute them to reach their business goals.
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2018/19 Hip Hop Rules & Regulations
2018/19 Hip Hop Rules for the New Zealand Schools Hip Hop Competition Presented by the New Zealand Competitive Aerobics Federation 2018/19 Hip Hop Rules, for the New Zealand Schools Hip Hop Championships © New Zealand Competitive Aerobic Federation Page 1 PART 1 – CATEGORIES ........................................................................................................................................................ 3 1.1 NSHHC Categories .............................................................................................................................................. 3 1.2 Hip Hop Unite Categories .................................................................................................................................. 3 1.3 NSHHC Section, Division, Year Group, & Grade Overview ................................................................................ 3 1.3.1 Adult Age Division ........................................................................................................................................ 3 1.3.2 Allowances to Age Divisions (Year Group) for NSHHC ................................................................................ 4 1.4 Participation Limit .............................................................................................................................................. 4 Part 2 – COMPETITION REQUIREMENTS ........................................................................................................................... 5 2.1 Performance Area .............................................................................................................................................
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New York University in Buenos Aires Class Code: V95.9751002 / K.2094001002 the Multiple Faces of Tango: a Cultural Critique of Identity (English Section)
New York University in Buenos Aires Class Code: V95.9751002 / K.2094001002 The multiple faces of tango: a cultural critique of identity (English Section) Professor: Edgardo Dieleke August/December, 2010 Office hours: To be confirmed Mon and Thurs 3:30pm‐ 5pm Email: [email protected] Classroom: TBA Course Description When tango was born in Buenos Aires, in the second half of the XIX century, Argentina was going through major changes. With the arrival of millions of immigrants, the shape of the city and its society suffered an intense process of modernization. Tango, a product from the bordello considered a threat to national identity, came to be a global success in only twenty years. Acclaimed in Paris and New York, despite its origins, tango became a symbol for Argentina, in a process of negotiations and the control of sexuality and gender and class relations. In this sense, tango reveals itself to be a cultural product that condenses ‐beyond the richness of the music‐ many of the key debates regarding the relationships between culture and society. This course proposes, through the reading of tango lyrics, films and novels, a critical analysis of theoretical problems such as national identity, gender studies and the consumption of culture in a global era. The course will be divided in three parts a) The origins of tango and national identity b) Gender relations: from the forbidden brothels to the movies c) After‐tango: contemporary uses of tango. The course is organized in a format that combines lectures with a seminar‐style class, encouraging class discussions as well as different sights to the city, connected to tango.
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International Dance Conservatory – Ballroom Program
INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM YEAR FALL SPRING Year 1 Latin Ballroom School Figures Latin Ballroom School Figures (Bronze level) (Silver & Gold levels) Standard Ballroom School Figures Standard Ballroom School Figures (Bronze level) (Silver & Gold levels) Year 2 Latin Technique 1 Latin Technique 2 Latin Ballroom 1 Latin Ballroom 2 Standard Technique 1 Standard Technique 2 Standard Choreography 1 Standard Choreography 2 Year 3 American Smooth 1 American Smooth 2 Student Choreography 1 Student Choreography 2 Advanced Ballroom Technique 1 Advanced Ballroom Technique 2 Year 4 Business of Ballroom Intro to Ballroom Instruction Advanced Choreography 1 Advanced Choreography 2 INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM Advanced Ballroom Technique 1 & 2 This is an advanced class that focuses on the body mechanics, timing, footwork, partnering, style, expression, and emotion of many Ballroom & Latin dances. Students will continue to develop a deeper understanding of the techniques and stylings of each dance. Students will apply this training in the demonstration of their Latin, Ballroom, and Smooth competition routines. Advanced Choreography 1 & 2 This is an advanced class that focuses on learning open choreography in many Ballroom and Latin Dances. Students will experience this creative process first hand and apply their technique to this choreography. Students will perform these open routines with attention to technical proficiency and embodying the character of each dance. American Smooth 1 & 2 This is an advanced class that focuses on learning open choreography in all four American Smooth Ballroom Dances - Waltz, Tango, Foxtrot, & Viennese Waltz. Students will be prepared to compete in all four dances at the Open Amateur Level.
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Dance Division Rules and Categories
Dance Division Rules Dance entries must be video recorded and last approximately three minutes or less in length. 1. Judges reserve the right to move an entry to the appropriate category or disqualify the entry if rules are not followed. 2. If the Veteran sings at any time during the act, the entry will be disqualified. Any vocal singing needs to be placed under a music category. (Audio tracks containing vocals are allowed.) 3. Dance entries will be judged based on the dance style and steps incorporated in the performance as opposed to the style or type of music selected. 4. Whole-body (head to toe) video recording for dance entries is necessary. Video recording can include close-ups of the body and/or feet but whole body view of the movement should be included as well. 5. Entries MAY NOT be expanded with non-eligible Veterans or any other individual unless it is a partner dance where the partner is necessary to perform the dance movements. It should be noted that although the National Veterans Creative Arts Program recognizes the therapeutic value of participation of staff, volunteers and ineligible Veterans in groups, it is essential in keeping with the fairness of the competition that only eligible Veteran inpatients or outpatients are competing against each other. 6. The CD accompaniment of the dance division entries are required to be included with each dance entry form in order for the entry to be considered for possible inclusion in the Festival show, should the entry place first in the national competition. However, an entry may win a first place without the CD accompaniment included.
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Samba Footwork Manual
Samba ! Brief History Samba is a dance and musical genre originating in Brazil, with roots from Africa via the West African slave trade and African religious traditions, particularly Angola and the Congo. Introduced in 1917, the Samba wasn't adopted by Brazil as a ballroom dance until 1930. In Brazil, Samba is mostly danced solo, and remains especially popular during celebrations of the Brazilian Carnival in Rio de Janeiro. The festive mood of the dance is responsible for its continued popularity. Samba is considered to be one of the most popular Brazilian cultural expressions, being is an icon of Brazilian national identity. Samba National Day is celebrated on December 2 every year! Samba has a very specific rhythm, highlighted by characteristic Brazilian musical instruments. To achieve the true character of the Samba, a dancer must give it a happy, flirtatious and exuberant interpretation. Characteristics and Technique Tempo: 80-125 beats per minute Rhythm: 1a2, 3a4 Time signature: 2/4 Principal characteristics of the Samba are the rapid steps taken on a quarter of a beat and the pronounced rocking motion and sway of the dance. The basic footwork of the Samba includes fast, three-step weight changes with a slight knee lift, led with alternating feet. The basic rhythm is ‘quick, quick, slow’. The major action of Samba, the ‘Samba Bounce Action’ gives the dance its unique look and feel. It is a gentle, rhythmic action felt through the knees and ankles. This action should appear effortless and carefree and should never be exaggerated. The ‘Samba Bounce Action’ is quite difficult to master, but really adds to the overall character of the Samba.
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