Joint on Jumpin' ... and Kept the Just
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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. -
Non-Swing Content Swing Content Characteristics of the 3 Most Popular Swing Dances at the US Open
Non-Swing Content Swing Content Characteristics of the 3 Most Popular Swing Dances at The US Open Any identifiable dance other than swing: Identifiable Swing Dances: West Coast Swing: • American and International Ballroom While there is collegial disagreement about the exact • Action/Reaction Latin and Smooth including not limited number, most swing professionals agree there are • Anchors-- 2 beat pattern ends a pattern to: Cha Cha, Foxtrot, Paso Doble, well over 20 different swing dances: • Compression Rhumba, Quickstep, Viennese Waltz • Connection • Ballet • Balboa, Bal Swing, Big Apple, Little Apple, • Elasticity • Ballroom Smooth & Latin Boogie Woogie, Bop, Carolina Shag, • Leverage • Ceroc Charleston, Collegiate Shag, Country • Resistance • Country Two-Step Western Swing, Dallas Push, DC • Stretch • Hip Hop (Washington) Hand Dancing, Double Time • Danced in a shared slot • Hustle Swing, East Coast Swing, Houston Whip, • Follower walks forward on 1-2 • Night Club Two-Step Jitterbug, Jive/Skip Jive, Lindy (Flying Lindy • The Leader primarily stays in the middle of • Tango including “Hollywood” and “Savoy” styles), the slot and the Follower travels back and • Waltz Pony Swing, Rockabilly, Shim Sham, Single forth. However, for presentation purposes, Time Swing, St. Louis Imperial Swing, West • Zouk Leaders may bend and scroll the slot but Coast Swing Floor Work: there should be some evidence of the • Any part of the body part, other than a basic- foundation throughout the routine • Swing has a foundation of 6-beat and 8-beat foot, contacts with the floor: head, • Pulse (accent) on the Upbeat (2,4,6,8). patterns that incorporate a wide variety of shoulders, arms, hands, ribs, back, rhythms built on 2-beat single, delayed, chest, abdomen, buttocks, thighs, knees, Carolina Shag: double, triple, and blank rhythm units. -
Lindy Hop & Big Apple
LINDY HOP & BIG APPLE A HISTORY PROGRAM FOR KIDS (recommended for ages 7-15, along with parents and caretakers) Sponsored by Frankie Manning’s 95th Birthday Festival (A 5-day celebration of swing dance and music in honor of Frankie Manning) FREE tO THE PUBLIC • GENERAL ADMISSIOn • FIRST-COMe, FIRST-SERVED dOORS OPEN AT 4:15 P.M. DATE: satUrday, May 23 • TIME: 4:30 P.M. tO 5:30 P.M. LOCATION: ProfessiOnal Children’s School, 132 West 60th street (between 9th and 10th avenues) PROGRAM WILL INCLUDE: FAMILIES WILL LEARN ABOUT: • Lindy hop and Big Apple performances by • The Lindy hop, an energetic partner dance done Dawn Hampton, The Jitterbug Kids, and some of to swing music that originated at harlem’s savoy new york’s best swing dancers. Ballroom in the late 1920s. • Historical information presented by Cynthia • The Big Apple, an African American dance com- Millman, dance educator and co-author of posed of jazz steps of the 1920s and 1930s that Frankie Manning: ambassador of lindy hop. is directed by a caller, much like a square dance. • Film clips from the 1930s and the swing • Legendary Lindy hopper Frankie Manning, one of dance revival. the most influential dancers and choreographers • demonstration of steps. of the lindy hop and Big apple. • audience participation. • Whitey’s lindy hoppers, the greatest troupe of • Question & answer session. professional lindy hoppers ever. • swing music and musicians. • harlem and the savoy Ballroom. • the swing dance revival of the last two decades. • how families can get involved with swing dancing. FOr MORE INFOrMATIOn, PLEASE VISIT: www.Frankie95.com • www.FrankieManning.com • www.yehoodi.com. -
Lindy Hoppers Sweep the Jive Joint
Lindy Hoppers Sweep the Jive Joint couples on the floor at one time, Capital Gold "Open" then eight couples went through Jive .Championship to the final. The music for the Winners competition was '50s rock 'n roll, and the cramped conditions First just enhanced the atmosphere, Warren Heyes & Maxine Green with many different styles Second visibJ, from flying Lindy Hop to i Ron Lesley & Sing Lim Rock 'n Roll to Ballroom Jive. , Third If prizes were a warded on i Michael Grimshaw & enthusiasm, the judges could , Margaret Kirkaldy never have made a decision. ' Greatest Sense of Fun What judges were asked to look Brigid Kirst & Tim Flach for was timing and rhythm, body The Judges coordination, styling, variety and originality, musical Freddie Haugan, Dance Institute The winners, Maxine Green and Warren Heyes, and their Jiving Lindy Hop. Photo sent in by Simon Selmon. interpretation, lead and follow, Director, Norway teamwork, showmanship, and Amelia Hill, '88 Rock 'n Roll costume. Champ,UK "It was heaving", said Hoppers week, on Monday night hosting fi A special prize was given to Randall Lee Rose, Capital Gold DJ, who were at the rst Capital Srompin' run by the London USA the couple who showed the most Gold "Open" Jive Competition, Swing Dance Society. This Stuart Colerhan, Capital Gold DJ, enthusiasm and greatest sense I on 15 November ar rhe 100 Club pat1icular Monday, streamers UK of fun. This couple could be in London. More to the point, and balloons hung in their chosen by the judges from any Lindy ffoppers dominated the hundreds from the ceiling and of the heats, so couples who dance floor and took the top two rose from the streamer-covered Louise Thwaite didn't make the final also had a Inside prizes! of the tables. -
Dancesense, a Production of KET, the Kentucky Network
TEACHER’S GUIDE KET THE KENTUCKY NETWORK This Teacher’s Guide accompanies the ten-part television series DanceSense, a production of KET, The Kentucky Network. Timothy Bischoff, producer-director. Mary Beth Hester, production assistance. Katherine Kramer, content designer. Nancy Carpenter, executive producer. Teacher’s Guide Writer: Katherine Kramer Editor: Nancy Carpenter Design and Layout: Megan Canfield Production Photography: Dave Crawford KET gratefully acknowledges the contributions of the content advisors and all the dancers, choreographers, and others who appeared in the series and provided information and encouragement along the way. Content Advisors: Rayma Beal, University of Kentucky; Jimmie Dee Kelley, Hardin County Public Schools; and Liz Jewell, KET Humanities Instructor. This project was funded, in part, by contributors to the W. Paul and Lucille Caudill Little Arts Endowment. ©Copyright 2001 KET Foundation, Inc. 600 Cooper Drive Lexington, KY 40502-2296 ISBN 1-881020-47-9 2 DANCESENSE TEACHER’S GUIDE TABLE OF CONTENTS Introduction ................................................................................... 5 Program 1: Understanding Dance .................................................. 6 Why people dance Program 2: The Dance of Culture .................................................. 8 Origins and functions of dance in various cultures Program 3: Dance in America ...................................................... 10 The influence of Native American, African American and European dances on the development -
With Lainey Silver
OctOber WORKSHOPS Featuring our... IG B E PPL A PERFORMANCE CLASS/WORKSHOP Saturday’s Oct 6th, 13th, 20th 27th 11:00a-1:00p with The Big Apple was originally a dance craze in 1937. Learn Frankie Manning’s choreography, performed by Whitey’s Lindy Hoppers in the film Keep Punchin’. Lainey Learn this iconic routine, build jazz step vocabulary, and gain solo movement con - fidence. The performances are optional. Silver Pricing: $200 OPEN TO ALL (this is for the full 4 weeks. No single session options) DANCE LEVELS H Ballroom Series: Tango & Rumba T 6 with Sophie Cazeneuve . T 1:30p-4:30p For those that have the basics down, and wish to further their Tango and Rumba techniques, as well as add new patterns (bronze/sil - C ver level). Sophie will teach you proper footwork, form and techniques you’ve been looking for. You don’t have to be a competitive O dancer to be a winner on the dance floor , . T Level: Pre Int/Int Pricing: $40 In Advance / $50 Day Of A S West Coast Swing: Patterns You Always Wanted to Know! with Sophie Cazeneuve 5:00p-7:00p Do you know those fancy patterns that the others are always doing and make them look so easy and you have no idea how they do it?! In this workshop, you will learn a musical routine, including fun patterns that look fancy and are all leadable! Level: Int/Adv Pricing: $35 In Advance / $45 Day Of Spins, Turns & Pivots with Robert Vance 2:00p-4:00p This workshop is the answer to all your turn nightmares! It will help solve the mystery of the difference between these three techniques as well as how and when to use them. -
Hoppin' Birthday, Frankie!
Hoppin' Birthday, Frankie! We Love You! Who's that cat? Why, it's the young Frankie Manning with partner Ann Johnson, in action at Big George's Restaurant in Corona, NY. Sketch by Porl Smith, based on an unattributed (boo, hiss, shame on those responsible) photo from the cover of Jookin', The Rise of Social Dance Formations in African-American Culture by Katrine Hazzard-Gordon. Inside Frankie-isms: The Defining of a Lindy Legend Ernie Smith paints a word portrait of our Man of the Month (page 4) The.London Scene There's a lot happening in the London dance scene ... (page JO) Spotlight on The .Big Apple Lindy Hoppers A troupe in the home of the Lindy Hop {page 6) The Secret . of Life Margaret Batiuchok shares experiences of Frankie (page 12) New York, New York Where it all began - what's happening today. (page 3) The Feet Dance - And Sometimes the Heart Dances With Them More of Frankie's stories... (page 8) and more... ©1993 Dancing Star Productions except where held by author {noted). All rights reserved. No part of this newsletter may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying. recording, or by any information storage and retrieval system, without permission in writing from the Publisher. Editorial Hoppin' Spring '94 Letters to (and from) the Editor Dear Reader: around the world supporting and contributing to There's a lot happening around the world in this newsletter and the continuation of Lindy. I Lindy. As we went to press, we heard of an think I speak for all Hoppin' readers in express Hoppin' up-surge of interest in the LA area � new ing gratitude to all contributors. -
Frankie Manning Bio
FRANKIE MANNING BIO From social dancing in Harlem’s ballrooms as a teenager, to his tenure with the elite Whitey’s Lindy Hoppers, Frankie Manning has always been one of the most important forces in the development and dissemination of the Lindy hop. He is credited with many influential and lasting innovations to this truly American art form, including the creation of the Lindy air step and synchronized ensemble Lindy routine, both of which helped catapult the dance from ballroom to stage and screen. Born in 1914, Frankie lived in Florida until the age of three, when his mother brought him to Harlem, the birthplace of the Lindy. Growing up in the midst of this Swing Era landscape, Frankie found he was part of a group of dedicated dancers that was to inspire the dancing and music of the 1930s and 1940s. Based at the Savoy Ballroom, to which he was drawn as a teenager by its superb swing bands and fabulous Lindy hopping, Frankie soon took his talents on the road as a lead dancer and chief choreographer for Whitey’s Lindy Hoppers. He appeared in several films including Radio City Revels with Ann Miller (1937) and Hellzapoppin’ with Olsen & Johnson and Martha Raye (1941), and toured the world with jazz greats Ethel Waters, Ella Fitzgerald, Bill “Bojangles” Robinson, Duke Ellington, Billie Holiday, Count Basie, and Cab Calloway, among others. While dancing in London in 1937, Frankie gave a command performance for King George VI. In 1941, “Musclehead” Manning was featured in a Life magazine article that highlighted his acrobatic brand of Lindy. -
Frankie's Legacy How He's Touched Our Lives
Frankie’s Legacy How He’s Touched Our Lives I’ve wanted to write a book about Frankie since the early ‘90s, when it struck me that here was this amazing guy that far too few people outside the Lindy world knew anything about, yet almost everyone you meet knows what the word Jitterbug means, and what the dance looks like. So, in honor of his 95 th birthday, Emily Belt and I decided to see if we could pull together a booklet of stories to present to him in New York. Now he’s in the hospital, in Intensive Care with pneumonia. His girlfriend Judy says he loves to hear people’s stories, and she would like to read to him what we’ve got. Here’s what we’ve received so far, which we’ve sent to Judy in New York via Cynthia Millman. If you would like to add to these, anything after my story will be new, and will hopefully reach him and support him as he makes his final transition, whenever that may be. - Deborah Huisken ----------------- I met Frankie a year or so after I started learning Lindy Hop with Ryan Francois in London. I never really had a chance to study with Frankie at that time but I was impressed by his amazing manner and kindness. When we organized the Swing Masters Jam, I got to know Frankie better, especially through his amazing stories! It was so hard to imagine this humble man was the creator of such important historical events. Through the last 18 years, my friendship with Frankie has grown and I was so excited to introduce him to Singapore in 1998. -
Four Case Studies in Dance, Discourse, and Shifting Boundaries
Movement Writes: Four Case Studies in Dance, Discourse, and Shifting Boundaries Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Fenella Kennedy Graduate Program in Dance Studies The Ohio State University 2019 Dissertation Committee Dr. Karen Eliot, Advisor Dr. Harmony Bench Dr. Gabriella Modan Professor Norah Zuniga Shaw 1 Copyrighted by Fenella Kennedy 2019 2 Abstract This dissertation uses four case studies to examine the shifting discourse of dance and dance studies since the turn of the 20th century, and how this discourse is in relationship with the political, social, and academic cultural context of the United States. My interdisciplinary research uses methods adapted from microhistory and Critical Discourse Analysis, as well as archival research and close reading in order to show how various forms of dance writing have been instrumental in shaping that discourse and creating change within and across our discipline. My first case study centers on the term “modern dance” in order to draw parallels between Fordist industrial practices and the racialization of social partner dancing in the first decades of the 20th century, resulting in the erasure of black influences on modern dance. My second case study focuses on the writing of John Cage and Jill Johnston – two artists whose experimental poetics reflected and facilitated the turn to postmodernism during the mid-20th century. Unpacking various techniques within their writing I show how these artists used black literary aesthetics and other experimental devices to articulate a vision of political and social togetherness during the climate of the Lavender Scare. -
Heirlooms Candace Gayle Wiley University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 1-1-2013 Heirlooms Candace Gayle Wiley University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the English Language and Literature Commons Recommended Citation Wiley, C. G.(2013). Heirlooms. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/2389 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. HEIRLOOMS by Candace G. Wiley Bachelor of Arts Bowie State University, 2007 Master of Arts Clemson University, 2009 Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Creative Writing College of Arts and Sciences University of South Carolina 2013 Accepted by: Ed Madden, Director of Thesis Bobby J. Donaldson, Reader Dianne Johnson, Reader Qiana J. Whitted, Reader Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Candace G. Wiley, 2013 All Rights Reserved. ii DEDICATION For my mom who had my first poems published in the third grade and made me feel like a “real” poet; for my dad who, after I decided to move to Colombia, South America, started learning Spanish, thereby teaching me what support really looks like; for my grandparents, who are the inspiration for my work and the source of my drive. iii ACKNOWLEDGEMENTS Thank you, Jeanette Hospital and Elise Blackwell, for seeing potential in the rough edges of my writing and encouraging me. -
Supplementary Material
APPENDIX A Welcome to the extended version of the appendix of Challenges for the Delusional (Jane Street Press, 2012). Fortunes No need to worry! You will always have everything that you need. Delay is the antidote for anger. A romantic evening awaits you tonight. You will make a sudden rise in life. Be discreet. It will pay off. Appreciate those you admire, but forge your own path. You eyes will be opened to a world full of beauty, charm and adventure. What you left behind is more mellow than wine. A thrilling time is in your immediate future. You have an active mind and a keen imagination. Over self-confidence is equal to being blind. You are capable of dispelling others’ doubts. Your love of gardening will take on new meaning in your life. You radiate goodness. A modest man never talks of himself. Emotion hinders your true self. One who laughs at oneself will not be laughed at by others. Good work, good life, good love, good-bye oppression. You have a curious smile and a mysterious nature. Don’t romanticize that which is distant. Versatility is one of your outstanding traits. Record your history so that others may benefit from it. You are going to be hungry soon. Order take-out now. You are capable, competent, creative, careful. Prove it. God has given you one face and you make yourself another. Do not confuse what is valuable with what is sought after. A person is never too old to learn. You will be on the list of the “The Excellent People” this year.