Rules and Regulations
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond
A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond If you walk on and on, you get to your destination. If you question much, you get your information. If you do not sleep and idle, you preserve your life! (Maung Htin Aung 1959:87) So go the three lines of wisdom offered to the lazy student Maung Pauk Khaing in the well- known eponymous folk tale. A group of impoverished village youngsters, led by their teacher Daw Khin Thida, adapted the tale in 2007 in their first attempt to perform a play. From a well-to-do family that does not understand her philanthropic impulses, Khin Thida, an English teacher by profession, works at her free school in Insein, a suburb of Yangon (Rangoon) infamous for its prison. The shy students practiced first in Burmese for their village audience, and then in English for some foreign donors who were coming to visit the school. Khin Thida has also bought land in Bagan (Pagan) and is building a culture center there, hoping to attract the street children who currently pander to tourists at the site’s immense network of temples. TDR: The Drama Review 53:1 (T201) Spring 2009. ©2009 New York University and the Massachusetts Institute of Technology 93 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram.2009.53.1.93 by guest on 02 October 2021 I first met Khin Thida in 2005 at NICA (Networking and Initiatives for Culture and the Arts), an independent nonprofit arts center founded in 2003 and run by Singaporean/Malaysian artists Jay Koh and Chu Yuan. -
Mid Island Performing Arts Festival Preamble 2 Aims of the Association
1 MID ISLAND PERFORMING ARTS FESTIVAL PREAMBLE AIMS OF THE ASSOCIATION The Mid Island Performing Arts Festival is a volunteer-run, non-profit society whose purpose is to advance, promote and develop the Musical Competition Festival movement and to encourage the study and practice of music, dancing, and speech & dramatic arts. For more than 90 years, we have been organizing an annual festival to carry out these aims in Nanaimo and for the surrounding area. We quote from the Digest Report of the Federation of Canadian Musical Festivals: “Competition is essential in the conduct of a Festival. No non-competitive means can raise the same standard of performance to the same degree or create the same interest in striving to attain the highest levels of performance and appreciation. Competition is a means to an end and is not to be stressed to the exclusion of the Festival spirit. It is a means of pacing one another on the road to excellence and is to arise above rivalry.” The Festival spirit may be defined as the joy of participating with others in seeking the highest levels in the art of music and kindred arts. Inculcating this spirit in competitors, the audience, and the community is a priority for all those responsible for the operation of the Festivals. MIPAF gives a sincere welcome and thank-you to all those participating in this year’s festival: • our sponsors and patrons whose generosity makes our festival possible; • the performers who have practiced so diligently for the occasion; • the teachers who have worked so hard to prepare their students; • the adjudicators who have taken time out of busy schedules to offer their friendly critiques, give encouragement and share their knowledge; • an appreciative audience that ensures a successful festival by providing incentive to the performers. -
UC Riverside Diagonal: an Ibero-American Music Review
UC Riverside Diagonal: An Ibero-American Music Review Title Goldberg, K. Meira, Walter Aaron Clark, and Antoni Pizà, eds. "Transatlantic Malagueñas and Zapateados in Music, Song and Dance: Spaniards, Natives, Africans, Roma." Newscastle upon Tyne, United Kingdom: Cambridge Scholars Publishing, 2019. Permalink https://escholarship.org/uc/item/5dq9z93m Journal Diagonal: An Ibero-American Music Review, 5(2) ISSN 2470-4199 Author Nocilli, Cecelia Publication Date 2020 DOI 10.5070/D85247375 License https://creativecommons.org/licenses/by/4.0/ 4.0 eScholarship.org Powered by the California Digital Library University of California Review Goldberg, K. Meira, Walter Aaron Clark, and Antoni Pizà, eds. Transatlantic Malagueñas and Zapateados in Music, Song and Dance: Spaniards, Natives, Africans, Roma. Newscastle upon Tyne, United Kingdom: Cambridge Scholars Publishing, 2019. CECILIA NOCILLI Universidad de Granada Beyond Dance: Analysis, Historiography, and Redefinitions The anthology Transatlantic Malagueñas and Zapateados in Music, Song and Dance: Spaniards, Natives, Africans, Roma opens with a suggestive image of Ruth St. Denis and Ted Shawn in La Malagueña of 1921, which synthesizes the identity of the publication: an exploration of the transatlantic journeys of Spanish dance and its exotic fascination. The image thus manifests the opposition between the maja and the manolo (tough girl and tough guy), as between the Andalusian woman and the bullfighter. In their introduction, Meira Goldberg, Walter Aaron Clark and Antoni Pizà highlight the relationship between this anthology and an earlier volume on the fandango as a clearly mestizo, or hybridized, dance form blending African, European, and American influences: The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies (Música Oral del Sur vol. -
IDO Dance Sports Rules and Regulations 2021
IDO Dance Sport Rules & Regulations 2021 Officially Declared For further information concerning Rules and Regulations contained in this book, contact the Technical Director listed in the IDO Web site. This book and any material within this book are protected by copyright law. Any unauthorized copying, distribution, modification or other use is prohibited without the express written consent of IDO. All rights reserved. ©2021 by IDO Foreword The IDO Presidium has completely revised the structure of the IDO Dance Sport Rules & Regulations. For better understanding, the Rules & Regulations have been subdivided into 6 Books addressing the following issues: Book 1 General Information, Membership Issues Book 2 Organization and Conduction of IDO Events Book 3 Rules for IDO Dance Disciplines Book 4 Code of Ethics / Disciplinary Rules Book 5 Financial Rules and Regulations Separate Book IDO Official´s Book IDO Dancers are advised that all Rules for IDO Dance Disciplines are now contained in Book 3 ("Rules for IDO Dance Disciplines"). IDO Adjudicators are advised that all "General Provisions for Adjudicators and Judging" and all rules for "Protocol and Judging Procedure" (previously: Book 5) are now contained in separate IDO Official´sBook. This is the official version of the IDO Dance Sport Rules & Regulations passed by the AGM and ADMs in December 2020. All rule changes after the AGM/ADMs 2020 are marked with the Implementation date in red. All text marked in green are text and content clarifications. All competitors are competing at their own risk! All competitors, team leaders, attendandts, parents, and/or other persons involved in any way with the competition, recognize that IDO will not take any responsibility for any damage, theft, injury or accident of any kind during the competition, in accordance with the IDO Dance Sport Rules. -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
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 -
Introduction to Latin Dance
OFFICE OF CURRICULUM, INSTRUCTION & PROFESSIONAL DEVELOPMENT HIGH SCHOOL COURSE OUTLINE Course Code 3722 Course Title Introduction to Latin Dance Department Physical Education Short Title Intro Latin Dance Course Length 2 Semesters Grade 11-12 Credits/Semester 5 Required for Graduation No Meets H.S. Grad Requirement Elective Credit Yes Meets UC “a-g” No Meets NCAA Requirement No Requirement Prerequisites 2 years physical education COURSE DESCRIPTION: This course is designed to teach students the basic elements of Latin Dance. Students will analyze dance’s role in improving and maintaining one’s health related fitness and then incorporate dance activities into their personal fitness program/plan. Students will learn basic steps as well as complex combinations in Merengue, Salsa, Bachata, and the Cha Cha. For each dance, the students will learn the historical and geographical roots, the music and the instruments associated with each one. This course will help students learn the skills of dance while improving their technique, poise, self-confidence and creative ability as well as deepening their understanding of and appreciation for the rich and colorful heritage that each dance represents. As a course involving couples’ dances, it will allow students to develop an understanding of the social etiquette involved in couples dancing. GOALS: Students need to: • Demonstrate knowledge and skills related to performance of the following dances: Merengue, Salsa, Bachata and Cha Cha. • Assess and maintain a level of physical fitness to improve health and performance. • Demonstrate knowledge of physical fitness concepts, principles, and strategies to improve health and performance in dance. • Demonstrate and utilize knowledge of psychological and sociological concepts, principles, and strategies as applied to learning and performance of Latin dance. -
Principal's Message
The Evelyn Grace News PARENT/CARER NEWSLETTER - APRIL 2016 Principal’s Message IN THIS ISSUE Reading for Pleasure Programme Kindred Spirits The Year 12 big Reading Project Duke of Edinburgh Awards Literacy Tips Dear Parent and Carers, and is really starting to impact upon Careers Fair the abilities of our students. Library Welcome to the Spring Edition of the borrowing has gone up each month Evelyn Grace News. I am confident that Gifted and Talented since the start of the year and I would you will be impressed by the fantastic love to see this continue so that Programme range of activities and opportunities on every student is making use of our offer within our Academy. outstanding library. Study Skills: The Spring Term has been a very Work Smarter, Not Harder With the summer exams getting ever short term, but that hasn’t stopped us closer all of our students in Years from squeezing in as much as possible Madrid Trip 11, 12 and 13 should be taking every into our school calendar. From our opportunity to revise and prepare for Year 7’s all the way through to our Lambeth Model UN their exams. To support your sons and Year 13’s every child has been given daughters I would recommend that the opportunity to get involved in Art they create a revision timetable and something special both inside and revise every evening for a short period outside of the classroom. There Drama of time. In ten weeks it is all over so have been trips to the countryside the small sacrifices now will lead to big with The Duke of Edinburgh Awards Music benefits come August. -
190916 Class Schedule
Latin Street Music & Dancing 9/16 - 10/13 No Partner Necessary 312.427.2572 - 312.42 SALSA Location: 600 W. Roosevelt Rd. Ste 2W. Chicago, IL Highlight = Latin Street Team Highlight = beginner class Highlight = Kids Class Monday Tuesday Wednesday Thursday Friday Saturday Sunday 9/16, 9/23, 9/30, 10/7 9/17, 9/24, 10/1, 10/8 9/18, 9/25, 10/2, 10/9 9/19, 9/26, 10/3, 10/10 9/20, 9/27, 10/4, 10/11 9/21, 9/28, 10/5, 10/12 9/22, 9/29, 10/6, 10/13 6:00 - 6:55 pm 6:00 - 6:55 pm 6:00 - 6:55 pm 6:00 - 6:55 pm 6:00 - 6:55 pm 10:00 - 10:55 am 10:00 - 10:55 am Salsa A: CBL, Bachata A: Core Salsa A: CBL, Walk Salsa A: CBL, Walk Salsa A: CBL, Walk Vanessa Walk thrus & Abraham Angels & Jonathan Vanessa Andres Breakdancing (4-7 yrs old) Kid Jungle Studio Rental Reservation thrus & traveling thrus & traveling thrus & traveling traveling Shadows Zouk A: Body Bachata A: Sensual Cumbia A: Basics Salsa B: CBL & Abraham Moves-Isolations, Sydney Abraham Jonathan Salsa B: CBL & Spins Chris Kids Salsa (8 yrs+) Andres Private lesson or studio rental Partnerwork & Partnerwork Spins Waves & Sways Salsa B: CBL & Salsa NY On2 A: Bachata B: Building Salsa B: CBL & Spins Jonathan Vanessa Chris Abraham Private lesson or studio rental Studio Rental Reservation Private lesson or studio rental Spins From On1 to On2 combos & pathways LS SixSeven Bachata B: Ladies Private lesson or studio Zouk B: Head Chris Fabia Sydney Private lesson or studio rental Private lesson or studio rental Private lesson or studio rental Mambo Team Styling rental Movement 7:00 - 7:55 pm 7:00 - 7:55 -
WINTER/SPRING 2019 Class Registration Events Guide Senior Programs Park Information
CITY OF WEST LINN PARKS & RECREATION Activities WINTER/SPRING 2019 Class Registration Events Guide Senior Programs Park Information City of West Linn Parks and Recreation Department 22500 Salamo Rd. , #1100 West Linn, OR 97068 Phone: 503-557-4700 Fax: 503-656-4106 Photo Credit: A Rotkowski www. westlinnoregon.gov City of West Linn Parks & Recreation Parks and Recreation Mission Statement General Information To provide life enhancing experiences and to promote a healthy com- Online Registration available at munity. This is accomplished by providing safe, attractive, and well www. westlinnoregon.gov maintained parks, facilities, trails and open spaces, as well as, creative and challenging recreation programs for the leisure time enjoyment of Here’s How To Register West Linn citizens of all ages. City Residents: Online, Walk in, phone in or mail in registration will start on December 21. Walk-in or phone in registration 7:30 am-5:30 pm Monday-Thursday and 7:30 am-4:30 pm on Friday (City Hall Thank You West Linn/Wilsonville is closed every other Friday) at the Parks & Recreation Department. School District Please bring proof that you live in-city. If you prefer not to register in Many of our activities are made possible because of cooperative use person, phone-in or mail-in registrations will also be accepted. of School District facilities. We extend our appreciation to the District, School Board members, school staff and administrative staff for their Out-of-City: Online, walk-in and mail-in registration begins December 23 support of the West Linn Parks and Recreation Department. -
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 .............................................................................................................................................