West Coast Swing (Beginner & More)
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SAC Community Services Spring 2016 Final
SANTA ANA COLLEGE COMMUNITY SERVICES PROGRAM SPRING 2016 714-564-6594 www.sac.edu/cms Take action • Aim for success • Enroll now HOW TO REGISTER On-line Registration @ www.sac.edu/cms with your MasterCard, VISA, Discover, or American Express. FAX Registration with your credit card information. Complete the registration form on the inside back cover and FAX to (714) 564-6309. Phone Registration with your MasterCard, VISA, Discover, or American Express. Call (714) 564-6594. Mail-In Registration: Complete the registration form located on the inside back cover, include payment, and mail to: Santa Ana College Community Services Program 1530 W. 17th Street, S-203 Santa Ana, CA 92706 In-Person Registration @ Community Services Program office located in the Administration Building, room S-203. See map on page 28. Confirmation: Registration received by mail will be confirmed if you send a self-addressed stamped envelope. Registration received by phone and online will automatically receive a confirmation. If you do not receive a confirmation in 5 business days, call our office at (714) 564-6594. Non-receipt of confirmation does not warrant a refund. Refund & Transfer Policy for all events: Refund and transfer requests must be made (3) business days prior to the event less a $10 processing fee per person. Day Tours: may be cancelled up to 10 days prior to departure date less a $15 processing fee. A refund will only be issued if your space can be re-sold. You may send a substitute in place. Multi Day Tours: Travel Protection insurance is highly recommended. A refund will be issued less a $50 cancellation fee. -
Performance and Discourse of Musicality in Cuban Ballet Aesthetics
Smith ScholarWorks Dance: Faculty Publications Dance 6-24-2013 “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/dan_facpubs Part of the Dance Commons Recommended Citation Tomé, Lester, "“Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics" (2013). Dance: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/dan_facpubs/5 This Article has been accepted for inclusion in Dance: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] POSTPRINT “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Dance Chronicle 36/2 (2013), 218-42 https://doi.org/10.1080/01472526.2013.792325 This is a postprint. The published article is available in Dance Chronicle, JSTOR and EBSCO. Abstract: Alicia Alonso contended that the musicality of Cuban ballet dancers contributed to a distinctive national style in their performance of European classics such as Giselle and Swan Lake. A highly developed sense of musicality distinguished Alonso’s own dancing. For the ballerina, this was more than just an element of her individual style: it was an expression of the Cuban cultural environment and a common feature among ballet dancers from the island. In addition to elucidating the physical manifestations of musicality in Alonso’s dancing, this article examines how the ballerina’s frequent references to music in connection to both her individual identity and the Cuban ballet aesthetics fit into a national discourse of self-representation that deems Cubans an exceptionally musical people. -
(These Are Basic Patterns) Introduction Although Cha-Cha
2 Step 2 Dance Studio Cha-Cha Basics Cha-Cha Basics Pre-requisite None (These are basic patterns) Introduction Although Cha-cha is one of the Cuban family of dances that is danced throughout the Latin American countries, it is one of the most popular of dances practiced in the Western world, including the United States. It is a stationary dance, like the Rhumba or Mambo, (also East Coast Swing or West Coast swing), except that it has a distinctive cha-cha-cha step that gets its name from splitting the 4 count into two steps so that the 4 and 1 create three quick steps. The dance was originated by Enrique Jorrín in 1948 as a variant of Mambo and Rhumba. It caught on quickly and its popularity spread throughout the world. It was picked up by the country-and-western genera in the last few years dancing to such songs as “Gulf of Mexico” by Clint Black, “Out on the Boardwalk”, “I Want to Dance With You”, and “I’m Going to be Your #1” from the rock and roll era. Today, cha-cha is danced equally as 2-step, polka, Jitterbug, and East Coast Swing. In this segment, we are going to discuss: • The music – how to step to the beat and how determine if it is a cha-cha. • Contact – how to hold your partner. • The basic foot work. The Music Although it is not important to know, Cha-cha is played to 4/4 timing. Each basic covers two bars, or eight beats of music. -
April 2012 Compass
The Official Magazine of Sun City Lincoln Hills April 2012 Compass Chorus to Feature “Notable” Composers ... page 13 Strategic Advisory Committee Accepting Applications ... page 2 Limited Time Special Offer on Summer Concert Series ... page 5 Planning for Additional Pickleball Courts ... page 11 Association News In This Issue Board of Directors Report Activities News & Happenings ............................. 5 SCLH: A Different Kind of Wonderland Marcia VanWagner, Director, SCLH Board of Directors Advertisers’ Directory ......................................95 Association Contacts & Hours Directory ............ 94 Alice: Which way should I go? Once we know who Board of Directors Report................................... 2 Cat: That depends on where you are going. we are, then it’s on to Bucket List........................................................ 2 Alice: I don’t know where I’m going! envisioning our future. Cat: Then it doesn’t matter which way Bulletin Board ................................................. 37 What will we need to continue our finan- you go!! Lewis Carroll,1872 cial stability? How will we market our • You Are Invited ........................................... 37 Through the Looking Glass community to maintain home values in • LH Players Announce Auditions/”O’Leary’s” ..... 37 Sun City Lincoln Hills is a different this economy? How will emerging tech- Calendar of Events ..................................... 3 kind of Wonderland from Alice’s. Your nologies affect our future? How are we Chorus to Feature “Notable” Composers ........... 13 Board of Directors is committed to using our facilities and sports venues? knowing not only where we are go- Classes ............................................................ 59 The conclusions will include recommen- ing, but also how we will get there! It dations for a lifestyle appropriate for all. Club Advertisements ................................. 6-8 became clear during our election cam- The SAC will map the route, identifying Club News .................................................... -
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. -
Preparing Musicians Making New Sound Worlds
PREPARING MUSICIANS MAKING NEW SOUND WORLDS new musicians new musics new processes Compiled by Orlando Musumeci PREPARING MUSICIANS MAKING NEW SOUND WORLDS new musicians new musics new processes Proceedings of the SEMINAR of the COMMISSION FOR THE EDUCATION OF THE PROFESSIONAL MUSICIAN Escola Superior de Música de Catalunya – Barcelona – SPAIN 5-9 JULY 2004 Compiled by Orlando Musumeci Published by the Escola Superior de Música de Catalunya Catalan texts translated by Mariam Chaib Babou (except for Rosset i Llobet) Spanish texts translated by Orlando Musumeci (except for Estrada, Mauleón and Rosset i Llobet) Copyright © ISME. All rights reserved. Requests for reprints should be sent to: International Society for Music Education ISME International Office P.O. Box 909 Nedlands 6909, WA, Australia T ++61-(0)8-9386 2654 / F ++61-(0)8-9386-2658 [email protected] ISBN: 0-9752063-2-X ISME COMMISSION FOR THE EDUCATION OF THE PROFESSIONAL MUSICIAN DIANA BLOM [email protected] University of Western Sydney – AUSTRALIA PHILEMON MANATSA [email protected] Morgan Zintec – ZIMBABWE ORLANDO MUSUMECI (Chair) [email protected] Institute of Education – University of London – UK Universidad de Quilmes – Universidad de Buenos Aires – Conservatorio Alberto Ginastera – ARGENTINA INOK PAEK [email protected] University of Sheffield – UK VIGGO PETTERSEN [email protected] Stavanger University College – NORWAY SUSAN WHARTON CONKLING [email protected] Eastman School of Music – USA GRAHAM BARTLE (Special Advisor) [email protected] -
DVIDA American Smooth Silver Syllabus Figures
Invigilation Guidance/ DVIDA/SYLLABUS/ Current'as'of'October'15,'2015' Extracted'from: Dance$Vision$International$Dancers$Association, Syllabus$Step$List$ Revised/May/2014 Invigilation Guidance/ AMERICAN)SMOOTH) / DVIDA American Smooth Bronze Syllabus Figures *Indicates figure is not allowable in NDCA Competitions. Revised January 2014. View current NDCA List Waltz Foxtrot Tango V. Waltz Bronze I 1A. Box Step 1. Basic 1A. Straight Basic 1. Balance Steps 1B. Box with Underarm Turn 2. Promenade 1B. Curving Basic 2A. Fifth Position Breaks 2. Progressive 3A. Rock Turn to Left 2A. Promenade Turning Left 2B. Fifth Position Breaks 3A. Left Turning Box 3B. Rock Turn to Right 2B. Promenade Turning Right with Underarm Turn 3B. Right Turning Box 3. Single Corté 4. Progressive Rocks Bronze II 4A. Balance Steps 4. Sway Step 5A. Open Fan 3. Reverse Turn 4B. Balance and Box 5A. Sway Underarm Turn 5B. Open Fan with 4. Closed Twinkle 5. Simple Twinkle 5B. Promenade Underarm Turn Underarm Turn 6. Two Way Underarm Turn 6A. Zig Zag in Line 6. Running Steps 7. Face to Face – Back to Back 6B. Zig Zag Outside Partner 7. Double Corté 7. Box Step 8A. Reverse Turn Bronze III 8A. Reverse Turn 8. Twinkle 8B. Reverse Turn with 5A. Crossbody Lead 8B. Reverse Turn with 9. Promenade Twinkles Outside Swivel 5B. Crossbody Lead with Underarm Turn 10A. Turning Twinkles to 9. Right Side Fans Underarm Turn 9A. Natural Turn Outside Partner 10. Contra Rocks 6. Hand to Hand 9B. Natural Turn with 10B. Turning Twinkles to Outside 11A. Change of Places 7A. Forward Progressive Underarm Turn Partner with Underarm Turn 11B. -
2017 US OPEN Rules
US Open Swing Dance Championships/Rules & Competitions/2017v-1 2017 US OPEN Rules MISSION STATEMENT Our mission is to provide the best possible environment to showcase the highest level of competition from around the world, and thus provide the most exciting entertainment for our attendees. GENERAL RULES & INFORMATION STATEMENT OF SWING This statement of Swing is to be used to identify the presence of swing in the Swing Divisions at the US Open Swing Dance Championships. Swing is an American Rhythm Dance based on a foundation of 6-beat and 8-beat patterns that incorporate a wide variety of rhythms built on 2-beat single, delayed, double, triple, and blank rhythm units. The 6-beat patterns include, but are not limited to, passes, underarm turns, push-breaks, open-to-closed, and closed-to-open position patterns. The 8-beat patterns include, but are not limited to, whips, swing-outs, Lindy circles, and Shag pivots. Although they are not part of the foundation of the dance as stated above, 2- beat and 4-beat extension rhythm breaks may be incorporated to extend a pattern, to phrase the music, and/or to accent breaks. (For additional information, please visit http://www.nasde.net/rules.php) The objective is to provide a competitive performance venue for the various unique styles of swing that have developed across the nation to include the Carolina Shag, Dallas Push, East Coast Swing, Hand Dancing, Hollywood Swing, Houston Whip, Imperial Swing, Jive, Jitterbug, Lindy Hop, Rock-n-Roll, and West Coast Swing, to name a few. The US Open Swing Dance Championships divisions are open to a variety of Swing dances, except in Cabaret division. -
'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. -
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. -
The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2011 The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar Tania Flores SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Dance Commons, Ethnomusicology Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Flores, Tania, "The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar" (2011). Independent Study Project (ISP) Collection. 1118. https://digitalcollections.sit.edu/isp_collection/1118 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar Tania Flores Occidental College Migration and Transnational Identity: Fall 2011 Flores 2 Acknowledgments I could not have completed this project without the advice and guidance of my academic director, Professor Souad Eddouada; my advisor, Professor Taieb Belghazi; my professor of music at Occidental College, Professor Simeon Pillich; my professor of Islamic studies at Occidental, Professor Malek Moazzam-Doulat; or my gracious and helpful interviewees. I am also grateful to Elvira Roca Rey for allowing me to use her studio to choreograph after we had finished dance class, and to Professor Said Graiouid for his guidance and time. -
Grade Dance Unit
10TH GRADE DANCE UNIT TANGO The tango is a slow, sexy dance that originated in the slums of Buenos Aires in the mid-1800s. It’s become a universal symbol of sexual tension in the movies, but most commonly, is a popular dance in ballrooms and nightclubs around the world. Although many variations of the tango exist, the most famous is still the original Argentine Tango. History of the Tango Like so many of history’s most popular and enduring dance styles, the tango’s legacy stretches back from its current cachet as a sensuous, exotic ballroom dance to its origins in the immigrant African slums of Argentina. No one knows for certain where the tango really came from, but it’s generally accepted that the word itself likely has African origins, and that it evolved from the free mixing of cultures and ethnicities in working class Buenos Aires in the mid-19th century. There, poor immigrants from Spain, Portugal, Italy, Poland, and Russia mixed and mingled with African slaves and shared their dance traditions with each other. Cuban and African musical styles and instruments were introduced, and an early style of the tango was born. Later, wealthy members of the Argentinian elite who weren’t above slumming among society’s poor introduced the dance to their own circles and eventually brought the steps and music with them to Paris, where many had moved for education and leisure travel. Unlike conservative Buenos Aires society, Parisians loved and embraced the coarse, sexual nature of the new dance. The tango craze spread throughout Europe and soon landed in London and New York.