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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. -
THE GOD MACHINE by NICHOLAS JAMES
DEUS EX MACHINA: THE GOD MACHINE by NICHOLAS JAMES PINCUMBE A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Nicholas James Pincumbe 2009 ALL RIGHTS RESERVED ABSTRACT God is our salvation from eternal death. That’s what Professor Nicholas Updown grew up believing. But what if there is no God? What then? These questions lead Nicholas down an unprecedented path of scientific exploration that unlocks the secrets to traveling through time. The wake of this discovery sweeps up a cast of odd and ambitious characters, including Updown’s sultry wife, a no holds barred Presidential candidate, a mysterious hooded killer, a curious journalist, a crusading cop, the founder of Forever Life, and a whole slew of uniformed Time Travelers. Along the way, Nicholas Updown learns a thing or two about the secrets of the universe and those in his own life. ii DEDICATION To Rachel, who was worth waiting for. iii ACKNOWLEDGEMENTS Without the efforts of all those I’ve met at the University of Alabama, this thesis would not have been possible. I’m grateful to Wendy Rawlings, in whose workshop I wrote the original short story this work is based on. To Phil Beidler, as well, who helped me find the literary depth for the work’s expansion. To Michael Martone who helped me look at the big picture and Gary Mankey who helped me find the scientific sounding lie. To Kate Bernheimer for being on my committee and always being a kind face. -
"Internal Gung-Fu" Volume One "QI"
Internal Gung-fu Volume One, Qi Erle Montaigue Publisher’s Note: This book contains material never before published. The enclosed information can only have come from Erle Montaigue, being the only Westerner to have received this information. It is illegal to copy and portion of this book other than brief extracts for review articles. You must obtain permission directly from the copyright holder ©2000. It is also illegal to plagiarize any part of this book to use in some other publication, paper, electronic, or video and film, by changing it in some way to make out as if it has not come from this source. This book is provided free of charge in good faith so that all may enjoy the great benefits of this pinnacle of all Taijiquan systems. You may download it free of charge. But please do not plagiarize it. Even though it is free, it is still covered by international copyright laws. Moontagu Books POB 792 Murwillumbah, NSW 2484 Australia Ph: +61 2 6679 7145 Fax: +612 6679 7028 E-mail: [email protected] http://www.moontagu.com Copyright © 1995 Moontagu Books Australia First Published in Australia 1995 First Published Electronically in April 2000 All Rights Reserved ISBN: 0-949132-05-5 CONTENTS Introduction The Styles ................................................... 1 Acupuncture ............................................... 6 Chapter One: Taijiquan ...................................................17 Chapter Two Bagua.........................................................64 Chapter Three Xingyi ........................................................89 Chapter Four Transferring & issuing Qi............................101 Chapter Five The Mind in Internal Gung-fu.....................140 Chapter Six Small Frame Form .....................................144 Chapter Seven What is this Qi Stuff: Wally Simpson............162 Introduction: Page 3 owadays, there are literally hundreds of different martial arts sys- Ntems. -
Blue Bioeconomy Report
Cover image BLUE BIOECONOMY REPORT DECEMBER 2020 WWW.EUMOFA.EU Maritime Affairs and Fisheries Manuscript completed in December 2020. The European Commission is not liable for any consequence stemming from the reuse of this publication. Luxembourg: Publications Office of the European Union, 2020 © European Union, 2020 The reuse policy of European Commission documents is implemented based on Commission Decision 2011/833/EU of 12 December 2011 on the reuse of Commission documents (OJ L 330, 14.12.2011, p. 39). Except otherwise noted, the reuse of this document is authorised under a Creative Commons Attribution 4.0 International (CC-BY 4.0) licence (https://creativecommons.org/licenses/by/4.0/). This means that reuse is allowed provided appropriate credit is given and any changes are indicated. For any use or reproduction of elements that are not owned by the European Union, permission may need to be sought directly from the respective rightholders. The European Union does not own the copyright in relation to the following element: cover photo: © Andrew. Source: stock.adobe.com PDF ISBN 978-92-76-23787-7 doi: 10.2771/33246 KL-02-20-897-EN-N FOR MORE INFORMATION AND COMMENTS: Directorate-General for Maritime Affairs and Fisheries B-1049 Brussels Tel: +32 229-50101 E-mail: [email protected] i CONTENTS LIST OF ACRONYMS ............................................................................................................................................................... iii GLOSSARY ............................................................................................................................................................................... -
Fundamentals of Biomechanics Duane Knudson
Fundamentals of Biomechanics Duane Knudson Fundamentals of Biomechanics Second Edition Duane Knudson Department of Kinesiology California State University at Chico First & Normal Street Chico, CA 95929-0330 USA [email protected] Library of Congress Control Number: 2007925371 ISBN 978-0-387-49311-4 e-ISBN 978-0-387-49312-1 Printed on acid-free paper. © 2007 Springer Science+Business Media, LLC All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. 987654321 springer.com Contents Preface ix NINE FUNDAMENTALS OF BIOMECHANICS 29 Principles and Laws 29 Acknowledgments xi Nine Principles for Application of Biomechanics 30 QUALITATIVE ANALYSIS 35 PART I SUMMARY 36 INTRODUCTION REVIEW QUESTIONS 36 CHAPTER 1 KEY TERMS 37 INTRODUCTION TO BIOMECHANICS SUGGESTED READING 37 OF UMAN OVEMENT H M WEB LINKS 37 WHAT IS BIOMECHANICS?3 PART II WHY STUDY BIOMECHANICS?5 BIOLOGICAL/STRUCTURAL BASES -
The Space Between Dreams
The Space Between Dreams a novel by Lee Turcotte (a.k.a. K’an) 88028 words / 340 pages Double-spaced 12 pt Times New Roman 1” top & bottom margins, 1.25” left and right margins Copyright © Lee Turcotte / K’an, Ottawa, 2001, 2002, 2003, 2004… All rights reserved by author. This story is dedicated to your free and insubordinate will; which has no price, cannot be sold or sold out, and is always getting you unjustly punished for asking inappropriate questions, creating inappropriate art, and telling inappropriate truth. * Create, Evolve, Disobey * Chapter Zero Dreams have no beginning; no end… Awake, and naked, and alone. Denatured by some recent and mysterious intemperance; left with literally nothing but a searing chemical hangover. Nauseous and prostrate atop a hundred foot igneous erection protruding from the South Pacific. Surrounded by a flat infinity of water, except for one hazy grayish speck on the horizon. Trying in vain to reconstruct some fractured rhyme or folk song or poem, repeating that one line over and over and over in the mind obsessively… something about a spider trapped in an hourglass. …you already know how this ends This is Howard's first memory. He is eighteen years old. He has absolutely no idea who he was before this moment. He simply woke up into the world tabula rasa like this; burning and clutching at some lost fragment of rhyme. After a few thousand mental repetitions, individual words like hourglass lose their meaning, and in his dehydrated delirium, he believes his name to be Howard Glass. Free from any attachments, he clings 1 to this Howard Glass identity as a metaphysical foothold. -
Hip Hop Terms
1 Topic Page Number General Hip Hop Definitions ………………………………………………. 3 Definitions Related to Specific Dance Styles: ♦ Breaking ………………………………………………………………………. 4 ♦ House ………………………………………………………..………………… 6 ♦ Popping / Locking …………………………………………….….……… 7 2 GENERAL • Battle A competition in which dancers, usually in an open circle surrounded by their competitors, dance their routines, whether improvised (freestyle) or planned. Participants vary in numbers, ranging from one on one to battles of opposing breaking crews, or teams. Winners are determined by outside judges, often with prize money. • • Cypher Open forum, mock exhibitions. Similar to battles, but less emphasis on competition. • Freestyle Improvised Old School routine. • Hip Hop A lifestyle that is comprised of 4 elements: Breaking, MCing, DJing, and Graffiti. Footwear and clothing are part of the hip hop style. Much of it is influenced by the original breaking crews in the 1980’s from the Bronx. Sneakers are usually flat soled and may range from Nike, Adidas, Puma, or Converse. Generally caps are worn for spins, often with padding to protect the head. To optimize the fast footwork and floor moves, the baggy pants favored by hip hop rappers are not seen. o Breaking Breakdancing. o MCing Rapping. MC uses rhyming verses, pre‐written or freestyled, to introduce and praise the DJ or excite the crowd. o DJing Art of the disk jockey. o Graffiti Name for images or lettering scratched, scrawled, painted usually on buildings, trains etc. • Hip Hop dance There are two main categories of hip hop dance: Old School and New School. • New School hip hop dance Newer forms of hip hop music or dance (house, krumping, voguing, street jazz) that emerged in the 1990s • Old School hip hop dance Original forms of hip hop music or dance (breaking, popping, and locking) that evolved in the 1970s and 80s. -
B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H
B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5. -
Etteynshn-Kryu Kvon.Pdf
2 Содержание программы 1. Нормативно-правовая база. 2. Пояснительная записка. 3. Учебно-тематический план. 4. Содержание образовательной программы. 5. Методическое обоснование программы. 6. Условия реализации программы. 7. Прогнозируемые результаты. 8. Формы контроля. 9. Литература для педагогов. 10. Список использованной литературы для обучающихся и родителей. 3 1.Нормативно-правовая база дополнительного образования, с учётом которой составляется дополнительная общеобразовательная программа 1. Указ Президента Российской Федерации от 07.05.2012 №599 «О мерах по реализации государственной политики в области образования и науки». 2. Федеральный закон от 29.12.2012 №273-ФЗ «Об образовании в Российской Федерации». 3. Федеральный закон от 24.07.1998 №124-ФЗ «Об основных гарантиях прав ребенка в Российской Федерации». 4. Закон Российской Федерации от 07.02.1992 №2300-1 «О защите прав потребителей». 5. Распоряжение Правительства Российской Федерации от 24 апреля 2015 г. N 729-р «Об утверждении Концепции развития дополнительного образования детей»; 6. Приказ Минобрнауки России от 29.08.2013 №1008 «Об утверждении порядка организации и осуществления образовательной деятельности по дополнительным общеобразовательным программам»; 7. Постановление Главного государственного санитарного врача Российской Федерации от 04.07.2014 №41 «Об утверждении СанПиН 2.4.4.3172-14 «Санитарно-эпидемиологические требования к устройству, содержанию и организации режима работы образовательных организаций дополнительного образования детей»; 8. Закон Сахалинской области «Об образовании в Сахалинской области» от 6 марта 2014года. 9. Устав ГБОУДООЦВВР. 10. Локальные нормативные акты ГБОУДООЦВВР. 4 2. Пояснительная записка. В конце 70-х годов преступность среди молодежи в США достигла катастрофических размеров. В эту самую пору в Нью-Йорке зародился Брейк-данс. Молодые люди перестали выяснять свои отношения на кулаках. Криминальные банды переименовались в “crew” (команды), конфликты переросли в “battle” (состязание). -
Hip Hop Dance Unit Vocabulary
Hip Hop Dance Unit Vocabulary Battles: any level of competition where break dancers, in an open space (typically a circle) participate in quick-paced, turn based routines, whether improvised or planned. Participants vary in number and can often include "crews" or teams. Winners are determined by who exhibits the most proficient combination of moves Break Dance: (b-boying/b-girling) is a combination of funk, martial arts, gymnastics. Break dancing is done to the "break" section of the music where percussion is the strongest. Freeze: (aka Stall)-stationary power move which focuses on a pose. Most skillful freezes require suspension off the floor using specific parts of the body. Two most popular are "chair freeze" and "baby freeze Flare: common floor element when spinning on hands, legs flare up and open as spin continues. Kip up: spring like action which initiates on your back, hips roll back towards head, then body springs forward and hips lift to end standing up. Krumping: Created on streets, aggressive style of hip hop that looks like fighting, a lot of hand gestures/pushing chest out/stomping feet, and was created as a way to express yourself. Locking: sharp transition between each of multiple freezes/poses like clicks associated with door bolts. Has the effect like locking the joints (moves called skeeters/Scooby doos/stop n'go/fancies) Popping: movement with elements of mime made by flexing the muscles and joints to the beat of the music. Done with locking to create movement/stop effect. Robot: precise, isolated movements and turns that lock into place before the next movement begins. -
Dispatches from the Straight Outta Fresno Archive by the Valley Public History Initiative: Preserving Our Stories Table of Contents
Dispatches from the archives Dispatches from the Straight Outta Fresno Archive By The Valley Public History Initiative: Preserving our Stories Table Of Contents Introduction This book belongs to the authors and the public Romeo Guzmán and Sean Slusser history project Straight Outta Fresno: From Popping to B-boying and B-girling. As a courtesy do not reproduce without the consent of both. Womb Geography Monique Quintana historiapublica On the Front Porch: Deborah McCoy and Fresno Streetdance FresnoStatePublicHistory Naomi M. Bragin Straight_Outta_Fresno_VPH Defying Gravity, Breakin’ Boundaries: Tropicsofmeta.com The Rise of Fresno’s Climax Crew Sean Slusser The book and project was made possible by funding from the President’s Commission on Human Relations and Equity, College of Social Sciences, the History Department, Sociology Department, the Cross Cultural UNDERGRADUATE and Gender Center, and a Humanities for All grant STUDENT ESSAYS from California Humanities, a partner of the National Endowment for the Humanities. Visit www.calhum.org A Blaxican’s Journey through Fresno’s Racial Landscape Raymond A. Rey It Started Here: Jean Vang’s Hip-Hop Journey Roger Espinosa INTRODUCTION Geography is central to hip-hop culture. Academics and artists alike have referenced the importance of physical spaces like “the block”; “the streets”; or “the hood” as incubators for hip-hop culture. It is in these intimate spaces that working class youth of color sift through the rubble of post- industrial neglect and repurpose it into new forms of visual art, music, and dance. Nearly fifty years after hip-hop’s emergence into the public imagination, these narratives of place have been mapped onto a distinct hip-hop cartography fixated on nostalgic references to “the Bronx”; “Compton”; and “Oakland.” Cities like Fresno are rarely included in this hip-hop cartography largely because they exist outside of institutional networks like university archives, cultural philanthropy, and the music industry. -
Mississippi Burning Kristen Hoerl Auburn University, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers in Communication Studies Communication Studies, Department of 2008 Remembering and Forgetting Black Power in Mississippi Burning Kristen Hoerl Auburn University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/commstudiespapers Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Other Communication Commons Hoerl, Kristen, "Remembering and Forgetting Black Power in Mississippi Burning" (2008). Papers in Communication Studies. 218. https://digitalcommons.unl.edu/commstudiespapers/218 This Article is brought to you for free and open access by the Communication Studies, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers in Communication Studies by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published as chapter 1 in Barry Brummett, ed., Uncovering Hidden Rhetorics: Social Issues in Disguise (Thousand Oaks, CA: SAGE Publications, 2008), pp 13–30. Copyright © 2008 SAGE. Used by permission. Remembering and Forgetting Black Power in Mississippi Burning Kristen Hoerl The 1988 film Mississippi Burning brought hate crimes from the civil rights era to the big screen. In the film’s opening scene, local police stop three men, two white and one black, in a car on an otherwise deserted country road late at night. After the car pulls to the side of the road, a police officer approaches the car, calls the driver a “nigger loving Jew,” draws his pistol to the driver’s temple, and fires. As the screen goes black, sounds of additional shots ring out, and another man’s voice declares, “At least I shot me a nigger.” The rest of the film depicts the FBI’s struggle to solve the case of these murders.