DOCSLIB.ORG

DANCE 2015 DVD & Streaming

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DANCE 2015 DVD & Streaming info / buy DANCE 2015 DVD & Streaming Image - Seven by Compagnie Pal Frenak artfilmsdigital Contemporary dance performances from Australia: Chunky Move and Lucy Guerin and from Europe: superb, electric choreographies. Dance of Film: special fusion of dance and film for film studies and for choreographers. Classical and contemporary techniques, masters of dance, ethno dance, world dance and dance in education. DANCE ON FILM | CONTEMPORARY PERFORMANCE | DANCERS | PERFORMANCE WORLD | HISTORY | HEALING ART | JAZZ/HIP-HOP/TAP | BALLET INSTRUCTIONAL/TRAINING | DOCUMENTARY | BALLROOM/SOCIAL | K-12 CATALOGUE Artfilms-digital is a DANCE ON FILM > unique collection of contemporary art films CONTEMPORARY PERFORMANCE > ideally suited for coursework, DANCERS > research and reference. PERFORMANCE > Subscription to Artfilms-digital allows students, faculty, and public library members WORLD > to watch high quality streaming videos anywhere, anytime. HISTORY > HEALING ART > Choose from hundreds of art documentaries, JAZZ / HIP-HOP / TAP > artist interviews, production recordings and instructional films across all art subject areas. BALLET > www.artfilms-digital.com INSTRUCTIONAL / TRAINING > DOCUMENTARY > BALLROOM / SOCIAL > K -12 > DANCE ON FILM Video Dance Lectures: Parts 1 & 2 Maya Deren Dance Films AFT-Danlec | 80’ | DVD & Streaming In Australia six choreographers, six directors and eighteen dancers gathered together in Sydney to participate in the 1st National Dance Video Course. Under the direction of BBC Director of Dance, Bob Lockyer, the two week workshop aimed to encourage the exploration of choreography specifically for the camera. This RV-Maya2 | 45’ | DVD & Streaming Dance on Screen Sue Healey: In Time programme presents some of the dance experiments that came out A Study in Choreography 3 DVD Series of this event. for the Camera 2004 - 2007 1945 b/w 2:30 mins. Video Dance Lectures Part 1 Ritual in Transfigured Time The relationship between dance 1946 b/w 14:30 mins. and the screen. The viewer is taken on a journey through the world of Meditation on Violence rehearsals and television studios, 1948 b/w 13 mins. when choreographers, dancers The Very Eye of Night and directors come to terms with 1952-55 b/w 15 mins. the formidable aspects of video technology and the process of “In this film, I have attempted creating dance for the camera. to place a dancer in a limitless, LM-Dance | 20’ | DVD SH-Intime | 158’ | DVD & Streaming 55 mins. cinemato-graphic space. This is a dance which can exist only on film. By Lila Moore. Demonstrates DVD 1: Inevitable Scenarios Video Dance Lectures Part 2 The movement of the dancer creates that dance on screen, originating Live Performance 2006 Explores in greater detail the a geography that never was. With a from the contexts of modern DVD 2: As You Take Time turn of the foot, he makes neighbors practical craft of the dance/ and postmodern art and culture, Live Installation 2007 television director. 25 mins. of distant places. Being a film ritual, constitutes a unique art form and it is achieved not in spatial terms phenomenon reflecting current DVD 3: Short Dance Films alone, but in terms of a time created concerns with the notions of 1/ Three Times 2/ Once in a Blue by the camera.” hybridity and performance. Moon 3/ Will Time Tell? 4/ 13 & 32 DANCE ON FILM Dance with Me - Volume 1&2 Screendance 3 Cine Dance: The Butoh Dance Defying Gravity of Tatsumi Hijikata (by Takahiko iimura) CL-Screen | 20’ | DVD & Streaming TI-Cinedance | 33’ | DVD & Streaming CAM-Grav | 34’ | DVD & Streaming Three short films Anma (The Masseurs) is realized Featuring Claudia Alessi, this com- by Chris Lewis-Smith: not only as a dance document pilation offers a unique perspec- Mirrorland (2010) but also as a Cine-Dance, a term tive on contemporary dance and Bodmin Whale (2009) made by Iimura, that is meant choreography. Excerpts from her to be a choreography of film.. acrobatic performances on stilts Watergate Bay (2007) Rose Color Dance, choreographed and in the air and two short exper- and performed in 1965 by Hijikata imental dance films “Wandering” with guest dancer. and “Threads”. MP-Dance | 280’ | DVD & Streaming Suzon Fuks #2 Filming Ballet The Brasso Produced in association with Bravo!, DANCE WITH ME is a hip, two volume Railway Station exploration of dance, choreography and space. The two volume set consists of six episodes each: dance pieces by leading Canadian contemporary dance companies in a variety of locations. The director, Albert Girard, found six very particular and different ambiances for the dancers to work in. The visually stunning locations are part of the concepts. The 12 x 24 minutes films are shot in a sport shop, warehouses, a church and an empty swimming pool amongst others. The locations and the spaces influence the choreographical choices. The dance pieces are colourful, hectic, sensual and poetic comments on human relationships. The dance companies presented are: Danse Carpe Diem, Louise Bedard Danse, Dance Cite, Systeme D, IG-Suz2 | 42’ | DVD & Streaming CAT-Film | 26’ | DVD & Streaming AP-Brasso | 40’ | DVD & Streaming Manitowapan, Les Sortileges Sinha Dance, Creation Cafeine, Lucie Gregoire Danse, Montreal Dance, Lina Cruz (adult themes), Danse-Cite / Manon This experimental collection An examination of the special In Transylvania apart from the (adult themes) spanning more than 20 years, problems involved in bringing ancient Hungarian inhabitants, highlights Fuks’ interest in the classical dance to the film screen, Szekelys and Csangos, other ethnic The volumes are excellent resources for choreographers and dance moving image, using light to reveal including considerations of lighting, groups like Saxons, Romanians, students as well as Cinema Studies for their exceptional visually rich filming movement. Texturally layered, camera movement, costuming and Gypsies and Jews have been living techniques. Great examples what dance can be presented on film. her imagery draws parallels and framing the shot to emphasize the together for centuries. This film is connections, analogies between whole body or details of technique. about the dance and music of this The volumes are available individually or save 10% when buying the set. the abstract and the mundane. culturally rich area. CONTEMPORARY PERFORMANCE Chunky Move: Chunky Move: Chunky Move: Chunky Move: Chrissie Parrott Connected I Want to Dance Better Mortal Engine Two Faced Bastard Dance Architect at Parties CM-Connect | 60’ | DVD & Streaming CM-Iwant | 74’ | DVD & Streaming CM-Mortal | 60’ | DVD & Streaming CM-Two | 60’ | DVD & Streaming NJ-Parrot | 47’ | DVD & Streaming Chunky Move transcended the I Want to Dance Better at Parties Mortal Engine is a dance-video- A cleverly staged work, Two Faced This candid interview reveals trade limits of earthly form by immersing begins as a live documentary music-laser performance using Bastard reveals our constant state secrets and offers alternative dancers in an illusory world of about five individual men’s rela- movement and sound responsive of duality and capacity for treachery approaches to fundamental skill- motion tracking and projection tionship to dance. These men projections to portray an ever- in the desire for individual gain. A based ideas to aspiring choreo- technology. In Connected, this are represented on stage by five shifting, shimmering world in tantalising look at two duplicitous graphers. It talks about striding dynamic is flipped on its back and dancers and also appear on film which the limits of the human body worlds of fiction and reality, this through the physical architecture digital technology is side-stepped projected on screens suspended are an illusion. production exposes its cast with of musical scores, hand in hand in favour of pure mechanics. above. often hilarious consequences. with composers and conductors. Chunky Move: Lucy Guerin Inc: Lucy Guerin Inc: Firebird Graeme Murphy’s Just Add Water Aether Love Me and Other Legends Swan Lake HC-Chun | 26’ | DVD & Streaming LG-Aeth | 50’ | DVD & Streaming LG-Love | 55’ | DVD & Streaming AB-Fire | 105’ | DVD & Streaming AB-Graeme | 140’ | DVD & Streaming It is a half hour documentary Guerin generates intricate and A triple bill of duets featuring the A celebration of three timeless In master storyteller Graeme about innovative contemporary chaotic dance which exists in a acclaimed Melt, On and Reservoir ballets - Firebird, Petrouchka, and Murphy’s hands, the world’s Australian choreographer Gideon texture of signals, messages and of Giving with visual artist David Les Sylphides - performed by The favourite ballet becomes a witty, Obarzanek. The film focuses on data created by award winning Rosetzky and motion graphics Australian Ballet at the Sydney dramatic and ultimately devastating his creative process in devising the motion graphics designer Michaela designer Michaela French. Opera House. Australia only. story of love and betrayal. full length dance work ‘Hydra’ with French. It is a new full-length dance It’s a familiar tale – a love triangle the internationally acclaimed dance work that explores the integration between a princess, her prince, company Chunky Move. of projection, sound and movement. and a woman with a prior claim on his heart. Australia only. CONTEMPORARY PERFORMANCE Seven InTimE K.áO.sz! The Yellow Wallpaper European Dance Theater PFR-Seven | 63’ | DVD & Streaming PFR-Intime | 45’ | DVD & Streaming PFR-Kaosz | 48’ | DVD & Streaming YB-Yellow | 54’ | DVD & Streaming PB-Eurdan| 60’ | DVD & Streaming In Seven,
Load more

Recommended publications
  • Dance Brigham Young University-Idaho 2006-2007 Department of Dance
    Dance Brigham Young University-Idaho 2006-2007 Department of Dance Jennifer O’ Farrell, Department Chair Wendy Bone, Shawn Fisher, Jennifer O’Farrell, Charles West Donna Checketts, Secretary (208) 436-2073 http://www.byui.edu/Dance/ The Department of Dance offers a minor in Dance. This degree is designed to allow a student to transfer to a four year program, operate a dance studio, as well as prepare to be a dance specialist in a professional, community, and church setting. The Mission of the Department of Dance is: 1. Provide opportunities for the student to develop spiritually, artisti- cally, intellectually and physically. This is accomplished through dis- cipline, the art of dance, and our desire to emphasize gospel princi- ples, personal integrity, individual enrichment and sensitivity to mul- tiple perspectives. 2. Graduates in dance will have a solid foundation preparing them to transfer to a four year program, as well as for careers in performance, choreography, teaching and service. 3. Students will learn through dance that they can become better individuals by living the restored gospel of Jesus Christ, enhancing their roles as creative and artistic individuals, church members, citi- zens and parents. 4. Our goal is to challenge students to be individual thinkers, serve the community and make artistic efforts that reflect a richly complex and diverse global perspective. 1 Dance Brigham Young University-Idaho 2006-2007 Minor In Dance- 183 MINOR REQUIREMENTS 9 credits - take all courses sem/yr plan Course # Credits Course Title
    [Show full text]
  • Innovative Approaches to Melodic Elaboration in Contemporary Tabuh Kreasibaru
    INNOVATIVE APPROACHES TO MELODIC ELABORATION IN CONTEMPORARY TABUH KREASIBARU by PETER MICHAEL STEELE B.A., Pitzer College, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2007 © Peter Michael Steele, 2007 ABSTRACT The following thesis has two goals. The first is to present a comparison of recent theories of Balinese music, specifically with regard to techniques of melodic elaboration. By comparing the work of Wayan Rai, Made Bandem, Wayne Vitale, and Michael Tenzer, I will investigate how various scholars choose to conceptualize melodic elaboration in modern genres of Balinese gamelan. The second goal is to illustrate the varying degrees to which contemporary composers in the form known as Tabuh Kreasi are expanding this musical vocabulary. In particular I will examine their innovative approaches to melodic elaboration. Analysis of several examples will illustrate how some composers utilize and distort standard compositional techniques in an effort to challenge listeners' expectations while still adhering to indigenous concepts of balance and flow. The discussion is preceded by a critical reevaluation of the function and application of the western musicological terms polyphony and heterophony. ii TABLE OF CONTENTS Abstract ii Table of Contents : iii List of Tables .... '. iv List of Figures ' v Acknowledgements vi CHAPTER 1 Introduction and Methodology • • • • • :•-1 Background : 1 Analysis: Some Recent Thoughts 4 CHAPTER 2 Many or just Different?: A Lesson in Categorical Cacophony 11 Polyphony Now and Then 12 Heterophony... what is it, exactly? 17 CHAPTER 3 Historical and Theoretical Contexts 20 Introduction 20 Melodic Elaboration in History, Theory and Process ..' 22 Abstraction and Elaboration 32 Elaboration Types 36 Constructing Elaborations 44 Issues of "Feeling".
    [Show full text]
  • 98Th ISPA Congress Melbourne Australia May 30 – June 4, 2016 Reimagining Contents
    98th ISPA Congress MELBOURNE AUSTRALIA MAY 30 – JUNE 4, 2016 REIMAGINING CONTENTS ACKNOWLEDGEMENT OF PEOPLE & COUNTRY 2 MESSAGE FROM THE MINISTER FOR CREATIVE INDUSTRIES, 3 STATE GOVERNMENT OF VICTORIA MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, ARTS CENTRE MELBOURNE 4 MESSAGE FROM THE DIRECTOR OF PROGRAMMING, ARTS CENTRE MELBOURNE 5 MESSAGE FROM THE CHAIR, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 6 MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 7 LET THE COUNTDOWN BEGIN: A SHORT HISTORY OF ISPA 8 MELBOURNE, AUSTRALIA 10 CONGRESS VENUES 11 TRANSPORT 12 PRACTICAL INFORMATION 13 ISPA UP LATE 14 WHERE TO EAT & DRINK 15 ARTS CENTRE MELBOURNE 16 THE ANTHONY FIELD ACADEMY SCHEDULE OF EVENTS 18 THE ANTHONY FIELD ACADEMY SPEAKERS 22 CONGRESS SCHEDULE OF EVENTS 28 CONGRESS PERFORMANCES 37 CONGRESS AWARD WINNERS 42 CONGRESS SESSION SPEAKERS & MODERATORS 44 THE ISPA FELLOWSHIP CHALLENGE 56 2016 FELLOWSHIP PROGRAMS 57 ISPA FELLOWSHIP RECIPIENTS 58 ISPA STAR MEMBERS 59 ISPA OUT ON THE TOWN SCHEDULE 60 SPONSOR ACKNOWLEDGEMENTS 66 ISPA CREDITS 67 ARTS CENTRE MELBOURNE CREDITS 68 We are committed to ensuring that everyone has the opportunity to become immersed in ISPA Melbourne. To help us make the most of your experience, please ask us about Access during the Congress. Cover image and all REIMAGINING images from Chunky Move’s AORTA (2013) / Photo: Jeff Busby ACKNOWLEDGEMENT OF PEOPLE MESSAGE FROM THE MINISTER FOR & COUNTRY CREATIVE INDUSTRIES, Arts Centre Melbourne respectfully acknowledges STATE GOVERNMENT OF VICTORIA the traditional owners and custodians of the land on Whether you’ve come from near or far, I welcome all which the 98th International Society for the Performing delegates to the 2016 ISPA Congress, to Australia’s Arts (ISPA) Congress is held, the Wurundjeri and creative state and to the world’s most liveable city.
    [Show full text]
  • Vanishing Point Shian
    Presented by Arts House as part of Dance Massive Vanishing Point A Shian Law Image: James Wright H S Tue 14 – Sat 18 Mar, 8.45pm 60 mins 1 artshouse.com.au Creative Team Artist Statement Shian Law Benjamin Hurley A séance In a society that would have this Choreographer Understudy Phillip Adams Cam Mclachlan Creating the history mean nothing, there is something Collaborating Assistant Calling the never-born work from essential about the work that was Choreographer Alison Halit the grave, never quite made never made Deanne Butterworth Producer Collaborating Sheridan Gerrald, Living a life of purgatory along the The work being made as we speak Choreographer Thomas Woodman, margin of marginal dance histories Which is to say the work that cannot Jo Lloyd Benjamin Hurley, Milo in Australia be known before it is made, may be Collaborating Hyde, Cam McLachlan, Choreographer/ Luke Fryer, Ellen Davies, At the same time central, crucial never made Dramaturg Emma Riches, Mossy (The only ones, perhaps) But is wished for Matthew Adey Pebbles Though there are always margins to A work whose future is not known, Set & Lighting Designer Performers for James Wright Performance Lecture: the margins and history is kind to no but which we must nonetheless Video Artist/ Grey Area, FUCKDOG one once you’re dead create and make to ever see Cinematographer/Editor Michael McNab (The memory as a weak organ, or: But how to convince other people Christine Francis Musician for Performance Photographer Lecture: FUCKDOG a fact proved wrong by dance) that it is a work?
    [Show full text]
  • Choreographic Performance Systems
    Choreographic Performance Systems Johannes Birringer Digital Performance Around the turn of the millennium reviewers noted that the marriage of dance and technology had produced a few significant works which startled audiences and shifted attention to what we now call digital performance. While the growth of computer-based art is an accepted phenomenon in globalized technological cultures, the genre of digital performance is still adolescent and thus in need of historical and conceptual underpinnings.1 The more sustained lineage of dance on screen and multimedia performances which incorporate projections of screen images offers a background for understanding the compatibility between live dance and the moving image, yet the incursion of software into choreographic working process is a different matter. Digital performance, to begin, is not a screen-based medium. Rather, it is characterized by an interface structure and computational processes that are integral for composition, evolving content, aesthetic techniques, interactive configurations and delivery forms. In many instances, the integration of human-machine interfaces implies the design of interactive systems, with 3D motion sensing set ups (for example Kinect) or wearable instruments that control real-time synthesis of digital outputs. Installation architectures compete with the stage – contextual design of programmable systems becomes a new form of architecture, protocol, and bio-informatic space. In the following, I review the historical development of video-dance, motion capture,
    [Show full text]
  • Dancin' on Tulsa Time
    Dancin’ on Tulsa Time Gonna set my watch back to it…. 42nd ICBDA Convention July 11-14, 2018 Renaissance Hotel & Convention Center Tulsa, Oklahoma ________________________________________________________________________ Table of Contents Welcome to the 42nd ICBDA Convention 2018 . 1 Welcome from the Chairman of the Board . 2 Convention 43 – Orlando, Florida . 3 Committee Chairs – Convention 42 . 4 2018 Week at a Glance . 5 Cuers and Masters of Ceremony . 9 ICBDA Board of Directors . .10 Distinguished Service Award . 11 Golden Torch Award . 11 Top 15 Convention Dances . .. 12 Top 15 Convention Dances Statistics . 13 Top 10 Dances in Each Phase . 14 Hall of Fame Dances . 15 Video Order Form . 16 Let’s Dance Together – Hall A . 18 Programmed Dances – Hall A . 19 Programmed Dances – Hall B . 20 Programmed Dances – Hall C . 21 Clinic and Dance Instructors . 22 Paula and Warwick Armstrong . 23 Fred and Linda Ayres . 23 Wayne and Barbara Blackford . 24 Mike and Leisa Dawson . 24 John Farquhar and Ruth Howell . 25 Dan and Sandi Finch . 25 Mike and Mary Foral . 26 Ed and Karen Gloodt . 26 Steve and Lori Harris . 27 John and Karen Herr . 27 Tom Hicks . 28 Joe and Pat Hilton . 28 George and Pamela Hurd . 29 i ________________________________________________________________________ Pamela and Jeff Johnson . .29 John and Peg Kincaid . 30 Kay and Bob Kurczweski. 30 Randy Lewis and Debbie Olson . .31 Rick Linden and Nancy Kasznay . 31 Bob and Sally Nolen . 32 J.L. and Linda Pelton . 32 Sue Powell and Loren Brosie . 33 Randy and Marie Preskitt . 33 Mark and Pam Prow . 34 Paul and Linda Robinson . 34 Debbie and Paul Taylor .
    [Show full text]
  • 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.
    [Show full text]
  • Performance in Bali
    Performance in Bali Performance in Bali brings to the attention of students and practitioners in the twenty-first century a dynamic performance tradition that has fasci- nated observers for generations. Leon Rubin and I Nyoman Sedana, both international theatre professionals as well as scholars, collaborate to give an understanding of performance culture in Bali from inside and out. The book describes four specific forms of contemporary performance that are unique to Bali: • Wayang shadow-puppet theatre • Sanghyang ritual trance performance • Gambuh classical dance-drama • the virtuoso art of Topeng masked theatre. The book is a guide to current practice, with detailed analyses of recent theatrical performances looking at all aspects of performance, production and reception. There is a focus on the examination and description of the actual techniques used in the training of performers, and how some of these techniques can be applied to Western training in drama and dance. The book also explores the relationship between improvisation and rigid dramatic structure, and the changing relationships between contemporary approaches to performance and traditional heritage. These culturally unique and beautiful theatrical events are contextualised within religious, intel- lectual and social backgrounds to give unparalleled insight into the mind and world of the Balinese performer. Leon Rubin is Director of East 15 Acting School, University of Essex. I Nyoman Sedana is Professor at the Indonesian Arts Institute (ISI) in Bali, Indonesia. Contents List
    [Show full text]
  • Physical Education Dance (PEDNC) 1
    Physical Education Dance (PEDNC) 1 Zumba PHYSICAL EDUCATION DANCE PEDNC 140 1 Credit/Unit 2 hours of lab (PEDNC) A fusion of Latin and international music-dance themes, featuring aerobic/fitness interval training with a combination of fast and slow Ballet-Beginning rhythms that tone and sculpt the body. PEDNC 130 1 Credit/Unit Hula 2 hours of lab PEDNC 141 1 Credit/Unit Beginning ballet technique including barre and centre work. [PE, SE] 2 hours of lab Ballroom Dance: Mixed Focus on Hawaiian traditional dance forms. [PE,SE,GE] PEDNC 131 1-3 Credits/Units African Dance 6 hours of lab PEDNC 142 1 Credit/Unit Fundamentals, forms and pattern of ballroom dance. Develop confidence 2 hours of lab through practice with a variety of partners in both smooth and latin style Introduction to African dance, which focuses on drumming, rhythm, and dances to include: waltz, tango, fox trot, quick step and Viennese waltz, music predominantly of West Africa. [PE,SE,GE] mambo, cha cha, rhumba, samba, salsa. Bollywood Ballroom Dance: Smooth PEDNC 143 1 Credit/Unit PEDNC 132 1 Credit/Unit 2 hours of lab 2 hours of lab Introduction to dances of India, sometimes referred to as Indian Fusion. Fundamentals, forms and pattern of ballroom dance. Develop confidence Dance styles focus on semi-classical, regional, folk, bhangra, and through practice with a variety of partners. Smooth style dances include everything in between--up to westernized contemporary bollywood dance. waltz, tango, fox trot, quick step and Viennese waltz. [PE,SE,GE] [PE,SE,GE] Ballroom Dance: Latin Irish Dance PEDNC 133 1 Credit/Unit PEDNC 144 1 Credit/Unit 2 hours of lab 2 hours of lab Fundamentals, forms and pattern of ballroom dance.
    [Show full text]
  • Glossary.Herbst.Bali.1928.Kebyar
    Bali 1928 – Volume I – Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu by Edward Herbst Glossary of Balinese Musical Terms Glossary angklung Four–tone gamelan most often associated with cremation rituals but also used for a wide range of ceremonies and to accompany dance. angsel Instrumental and dance phrasing break; climax, cadence. arja Dance opera dating from the turn of the 20th century and growing out of a combination of gambuh dance–drama and pupuh (sekar alit; tembang macapat) songs; accompanied by gamelan gaguntangan with suling ‘bamboo flute’, bamboo guntang in place of gong or kempur, and small kendang ‘drums’. babarongan Gamelan associated with barong dance–drama and Calonarang; close relative of palégongan. bapang Gong cycle or meter with 8 or 16 beats per gong (or kempur) phrased (G).P.t.P.G baris Martial dance performed by groups of men in ritual contexts; developed into a narrative dance–drama (baris melampahan) in the early 20th century and a solo tari lepas performed by boys or young men during the same period. barungan gdé Literally ‘large set of instruments’, but in fact referring to the expanded number of gangsa keys and réyong replacing trompong in gamelan gong kuna and kebyar. batél Cycle or meter with two ketukan beats (the most basic pulse) for each kempur or gong; the shortest of all phrase units. bilah Bronze, iron or bamboo key of a gamelan instrument. byar Root of ‘kebyar’; onomatopoetic term meaning krébék, both ‘thunderclap’ and ‘flash of lightning’ in Balinese, or kilat (Indonesian for ‘lightning’); also a sonority created by full gamelan sounding on the same scale tone (with secondary tones from the réyong); See p.
    [Show full text]
  • Groove in Cuban Dance Music: an Analysis of Son and Salsa Thesis
    Open Research Online The Open University’s repository of research publications and other research outputs Groove in Cuban Dance Music: An Analysis of Son and Salsa Thesis How to cite: Poole, Adrian Ian (2013). Groove in Cuban Dance Music: An Analysis of Son and Salsa. PhD thesis The Open University. For guidance on citations see FAQs. c 2013 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ef02 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk \ 1f'1f r ' \ I \' '. \ Groove in Cuban Dance Music: An Analysis of Son and Salsa Adrian Ian Poole esc MA Department of Music The Open University Submitted for examination towards the award of Doctor of Philosophy on 3 September 2012 Dntc \.?~ ,Sllbm.~'·\\(~·' I ~-'-(F~\:ln'lbCt i( I) D Qt C 0'1 f\;V·J 0 1('\: 7 M (~) 2 013 f1I~ w -;:~ ~ - 4 JUN 2013 ~ Q.. (:. The Library \ 7<{)0. en ~e'1l poo DONATION CO)"l.SlALt CAhon C()F) Iiiiii , III Groove in Cuban Dance Music: An Analysis of Son and Salsa Abstract The rhythmic feel or 'groove' of Cuban dance music is typically characterised by a dynamic rhythmic energy, drive and sense of forward motion that, for those attuned, has the ability to produce heightened emotional responses and evoke engagement and participation through physical movement and dance.
    [Show full text]
  • Dance Photograph Collection
    http://oac.cdlib.org/findaid/ark:/13030/tf8q2nb58d No online items Guide to the Dance Photograph Collection Processed by Emma Kheradyar. Special Collections and Archives The UCI Libraries P.O. Box 19557 University of California Irvine, California 92623-9557 Phone: (949) 824-3947 Fax: (949) 824-2472 Email: [email protected] URL: http://www.lib.uci.edu/rrsc/speccoll.html © 1997 The Regents of the University of California. All rights reserved. Guide to the Dance Photograph MS-P021 1 Collection Guide to the Dance Photograph Collection Collection number: MS-P021 Special Collections and Archives The UCI Libraries University of California Irvine, California Contact Information Special Collections and Archives The UCI Libraries P.O. Box 19557 University of California Irvine, California 92623-9557 Phone: (949) 824-3947 Fax: (949) 824-2472 Email: [email protected] URL: http://www.lib.uci.edu/rrsc/speccoll.html Processed by: Emma Kheradyar Date Completed: July 1997 Encoded by: James Ryan © 1997 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance Photograph Collection, Date (inclusive): 1906-1970 Collection number: MS-P021 Extent: Number of containers: 5 document boxes Linear feet: 2 Repository: University of California, Irvine. Library. Dept. of Special Collections Irvine, California 92623-9557 Abstract: The Dance Photograph Collection is comprised of publicity images, taken by commercial photographers and stamped with credit lines. Items date from 1906 to 1970. The images, all silver gelatin, document the repertoires of six major companies; choreographers' original works, primarily in modern and post-modern dance; and individual, internationally known dancers in some of their significant roles.
    [Show full text]