DOCSLIB.ORG

British Dance and the African Diasporas, the Discourses of Theatrical Dance and the Art of Choreography: 1985 to 2005

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
British Dance and the African Diasporas, the Discourses of Theatrical Dance and the Art of Choreography: 1985 to 2005 View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by De Montfort University Open Research Archive British Dance and the African Diasporas, the Discourses of Theatrical Dance and the Art of Choreography: 1985 to 2005 PhD Thesis Oluwafunmilayo Adetinuke Adewole P: 11249670 De Montfort University Leicester, Department of Dance First Supervisor: Professor Ramsay Burt Second Supervisor: Mr Tony Graves May 2017 Abstract 0 The aim of this thesis is to devise a theoretical approach to writing histories of theatrical dance, which draws on African and Diaspora forms. Most choreographers who work with these forms in Britain are usually of African or Caribbean descent and are racially black. I call the theoretical approach the choreosteme. I use the theoretical approach to historicise some of the developments that take place in dance as an industry in Britain and I design it to address issues of discourse, representation and cultural politics. My interest is in investigating the historical debates about the definition about the work of black choreographers in Britain especially those who draw on African and Diaspora forms. The choreosteme is based on social constructionism, Michel Foucault’s notion of the episteme, Brenda Dixon Gottschild’s conception of African aesthetics and the analytic tool called the chronotope, which I have borrowed from Mikhail Bakhtin. I devise the theoretical approach in 1 chapters 2 and 3 and I write five micro-histories about dance artists using this approach in chapters 4 to 8. In chapter 4, I discuss the construction of the Black dance/African Peoples’ Dance sector in 1993 following the debates about the nature of black dance in Britain. In chapter 5, I will look at the various means by which dance artists and managers tried to generate a critical discourse for their work and explain how the dominant discourses emanating from larger organisations rendered much of their work invisible. In chapter 6, I write about dance artists who were based in London and working as dancers and teachers (amongst other things) between 1994 and 2005. I discuss how they developed their dance practices through research and formal study at a time there was little formal training for the kind of practices they were interested in. They are Hopal Romans, Paradigmz, Ukachi Akalawu, Sheba Montserrat and Diane Alison-Mitchell. Chapter 7 is about two choreographers: Sheron Wray and Robert Hylton. I also discuss and analyse the idea of choreographic fusion in this chapter. Choreographer Beverley Glean is the focus of chapter 8. The chapter 9 is the conclusion. 2 Contents Page Chapter 1 Introduction, Literature review and Chapter plan 1.1. Introduction: Autobiographical Preamble 1.2. The Aim of this thesis 1.3. Literature Review 1.4. Methodology 1.5. Chapter Plan 1.6. Conclusion Chapter 2 The Choreosteme: Theorising Africanist dance practice 2.1. Introduction 2.2. Theoretical perspective of this thesis 2.3. The reconceptualization of theatrical dance in critical dance studies 2.3a. Destabilising the Euro-American dance tradition in dance history 2.3b. Expanding the discursive context of theatrical dance 2.3c. Case studies on black choreographers 2.3d. Expanded notion of choreography 2.3e Revisionist dance histories 2.3f. Raising the level of critical discourse about black dance 2.4. Theorising Africanist dance practice 2.4a. Africanist aesthetics in dance as a counter discourse 2.4b. Africanist dance practice and Modernity 3 2.5. Conclusion. Chapter 3 The Choreosteme: Objects of Inquiry and Chronotopic Values 3.1. Introduction 3.2. Objects of inquiry 3.2a. Intentional hybridity and Praxis 3.2b. The chronotope and its role in cultural and historical research 3.3. Looking at dance in the British subsidized dance sector 3.3a. The time-space of dance production 3.4. The methodology of using the choreosteme 3.5. Conclusion Chapter 4 Ethnic Minority Arts and The construction of the Black dance/African Peoples’ Dance Sector 4.1. Introduction 4.2. The subsidized professional dance sector as a ‘zone of contestation’ 4.3. The coming of black dance into theatrical dance sector 4.4. The significance of the Black Dance Development Trust 4.5. The defining reports: Advancing Black Dancing (1993) and What is Black Dance in Britain? (1993) 4.6. The framing of black dance 4 4.7. Discussions in the wider dance sector: Towards Cultural Diversity (1989) and Stepping Forward (1989). 4.8. The construction of the Black dance/African Peoples’ Dance sector 4.9. African Peoples’ Dance as a counter-discourse 4.10. The Black dance/African Peoples’ Dance sector up until 2005 4.11. Conclusion Chapter 5 Black choreographers in Britain: The challenge of generating a critical discourse - 1985 to 2005 5.1 Introduction 5.2. Post-GLC: Economic imperatives and the dominant discourse in contemporary dance 5.3. Artistic questions raised by dance platforms for black dancers: 1994 to 2005 5.4. The Anomalous Context of Adzido Pan-African Dance Ensemble 5.5. Generating critical discourse: Four interventions 5.5a. The Ancient Futures conference 5.5b. Bami Jo Summer School 5.5c. The Black Choreographic Initiative 5.5d. Dance writing of Thea Nerissa Barnes 5.6 Achieving ‘Scale’: Hip-Hop theatrical practices and Contemporary African Dance 5.6a. Hip-Hop theatre and choreography 5 5.6b. Contemporary African dance. 5.7. Critical Discourse and work of black choreographers 5.8.Conclusion Chapter 6 Five Independent Dance Artists and narratives of their practice between 1995 and 2005: Hopal Romans, Sheba Montserrat, Ukachi Akalawu, Diane Alison-Mitchell and Paradigmz 6.1.Introduction 6.2. Generating narratives of practice in the black dance/African Peoples dance sector: 1994 to 2005 6.3. Hopal Romans 6.4.Sheba Montserrat 6.5. Ukachi Akalawu 6.6. Diane Alison-Mitchell 6.7. Paradigmz 6.8. Dance history as histories of praxis 6.9. Conclusion Chapter 7 Choreographic fusion at the limits of postmodernism and The choreographic praxis of Sheron Wray and Robert Hylton 7.1. Introduction 7.2. Discourses of postmodernism and Dance criticism - 1994 to 2005 7.3. A narrative of practice: The rise and halt of Choreographic fusion - 1994 to 2005 6 7.4. Theorising Choreographic fusion 7.5. Choreographic Praxis of Sheron Wray and Robert Hylton 7.5a. Sheron Wray – Jazz Dance as Art Dance as Contemporary Dance 7.5b. Robert Hylton – Choreographies of an Afrofuturist’s Dancing Body 7.6. Conclusion Chapter 8 Ethnic Minority Arts, Hybridity and the Choreography of Beverley Glean 8.1. Introduction 8.2. Multiculturalism and the discourse of Ethnics Minority Arts in British theatrical dance. 8.3. IRIE! Dance theatre: 1985 to 1993 8.4. Contextualising the cultural hybridity of IRIE! 8.5 Viewing IRIE! through the discourses of Ethnic Minority Arts 8.6. Reggae in the choreography of Beverley Glean 8.7. Conclusion Chapter 9 The conclusion 9.1. Introduction: outcomes of this research project 9.2. The choreosteme – a theoretical approach to support the writing of dance history 9.3. Five micro dance histories 9.4. A critique on multiculturalism and dance in Britain - 1985 to 2005 7 9.5. The possibilities of the choreosteme. Bibiliography The End. 8 Acknowledgements My thanks to De Montfort University (DMU) for the grant I received to write this thesis. I wish to say thank to my supervisors Professor Ramsay Burt and Mr Tony Graves. Your contributions have been immense. My thanks to my brothers and sisters Oyinade, Bunmi, Ben, Yinka, Leke, to my friends especially Eki, Sola, Precious, Tia-Monique, T.A, Funke, Lola and Biodun. Thank you for your moral and practical support. Warmest regards to my stepson Joe. My gratitude to all members of staff at DMU and thanks to Mike Huxley, Sally Doughty, Claire Warden and Alissa Clarke for your input during annual reviews. I am very grateful for your insightful comments. To my colleagues and friends at the De Theatreschool Amsterdam and the dance company Don’t Hit Mama: Jopie and Lot, and Nita and Bart. Thank you for believing in this research project. To all the people I interviewed for this thesis, the dance artists working in Dance of the African Diaspora, those I mention here and those I do not. Here’s to you. You are an inspiration. I shall contact you personally. To the memories of three people who were here when I started this journey: My mother, the late Princess Cecila Monisola Adewole (nee Ademiluyi), my late husband Nicholas Martin Kruczkowski and a pioneer dance practitioner- researcher and wonderful role model, the late Professor Francis Nii-Yartey. I wish you were here to read this. Thank you God. I have done more than survive. I have flourished. ‘Funmi Adewole May 2017 9 Chapter 1 Introduction, Literature review and Chapter plan 1.1. Introduction: Autobiographical Preamble I begin this chapter by explaining why the topic of the work of black dancers in Britain from 1985 to 2005 became of interest to me. I became interested in the issues about definition in the field of dance on moving to Britain from Nigeria in 1994. I was a journalist in Nigeria but I had a love for dance. I was the artistic director of the university’s poetry club and I also gained experience performing and choreographing at university mainly in an extra-curricular context although I did take some theatre arts courses. Based on this experience, I began performing professionally in Britain, learning on the job and taking master classes and training courses as I went and attending events and meetings organised for dancers. The Association of Dance of the African Diaspora (ADAD) was established the year I arrived in England in 1994 and I started writing for its newsletter as a volunteer in 1995.
Load more

Recommended publications
  • Monstrous Aunties: the Rabelaisian Older Asian Woman in British Cinema and Television Comedy
    Monstrous Aunties: The Rabelaisian older Asian woman in British cinema and television comedy Estella Tincknell, University of the West of England Introduction Representations of older women of South Asian heritage in British cinema and television are limited in number and frequently confined to non-prestigious genres such as soap opera. Too often, such depictions do little more than reiterate familiar stereotypes of the subordinate ‘Asian wife’ or stage the discursive tensions around female submission and male tyranny supposedly characteristic of subcontinent identities. Such marginalisation is compounded in the relative neglect of screen representations of Asian identities generally, and of female and older Asian experiences specifically, within the fields of Film and Media analysis. These representations have only recently begun to be explored in more nuanced ways that acknowledge the complexity of colonial and post-colonial discoursesi. The decoupling of the relationship between Asian and Indian, Pakistani and Bangladeshi heritage, together with the foregrounding of religious rather than national-colonial identities, has further rendered the topic more complex. Yet there is an exception to this tendency. In the 1990s, British comedy films and TV shows began to carve out a space in which transgressive representations of aging Asian women appeared. From the subversively mischievous Pushpa (Zohra Segal) in Gurinder Chadha’s debut feature, Bhaji on the Beach (1993), to the bickering ‘competitive mothers’ of the ground-breaking sketch show, Goodness, Gracious Me (BBC 1998 – 2001, 2015), together 1 with the sexually-fixated grandmother, Ummi (Meera Syal), in The Kumars at Number 42 (BBC, 2001-6; Sky, 2014), a range of comic older female figures have overturned conventional discourses.
    [Show full text]
  • Programme Des Rencontres
    LES RENCONTRES EUROPÉENNES DES FESTIVALS D’AIX ET D’AVIGNON 11 JUILLET 2008 Avignon 12 JUILLET 2008 Aix-en-Provence Les Rencontres européennes des Festivals d’Aix et d’Avignon Conçues et organisées par le Festival d'Avignon et le Festival d’Aix en Provence, en collaboration avec Relais Culture Europe, Télérama et France Culture, avec le soutien du programme Culture de la Commission européenne et de Marseille-Provence, candidate au titre de Capitale européenne de la culture en 2013. Ces rencontres, inscrites dans la suite de celles initiées l’année dernière par le Festival d’Avignon, réunissent des personnalités politiques, artistiques, intellectuelles et des responsables d’institutions culturelles. Renforcées et élargies, elles ambitionnent d'être un espace de réflexion qui vise à la prise en compte de l’art dans le projet politique européen. Elles sont en effet désormais le résultat d'une étroite collaboration entre deux festivals internationaux, le Festival d’Aix-en-Provence et le Festival d’Avignon. Les festivals tels qu’Aix et Avignon présentent des artistes issus d’horizon différents et rassemblent des spectateurs de générations et d’origines multiples. Ils constituent ainsi des laboratoires et per- mettent de mettre en lumière certaines des expériences les plus positives et les plus prospectives. Ils peuvent être aussi des endroits privilégiés d'une réflexion partagée entre des spectateurs, des artistes, des personnalités politiques et des opérateurs culturels. À l’occasion de l’année européenne du dialogue interculturel, ces deux festivals se proposent, à partir d'expériences artistiques concrètes, de réfléchir à cette notion pour poser les bases d'actions futures.
    [Show full text]
  • A Global Translation Initiative Report by English PEN and Free Word
    A Global Translation Initiative Report by English PEN and Free Word Taking Flight A Global Translation Initiative Report by English PEN and Free Word The Global Translation Initiative (GTI) is a collaborative research project that aims to identify perceived barriers to literary translation, to explore successful models of best practice, to celebrate achievement and to establish ways of building infrastructure for literary translation across the anglophone world. International Translation Day and the Literary Translation Centre at the London Book Fair are important staging posts for the discussion of GTI-related topics, which range from practical issues such as education, funding and training for literary translation, to wider cultural concerns such as literary translation in review media, the role of literary festivals, the translation of minority languages and intercultural understanding. Other GTI publications The GTI survey, Research into Barriers to Translation and Best Practices, was published by Dalkey Archive Press in 2011. Available online www.dalkeyarchive.com The GTI interim report, Flying off the Shelves, was published by English PEN and Free Word in 2011. Available online www.englishpen.org Foreword If we value literature at all, we know the worth of literary translation. If we want language to be as subtle and supple and layered and resonant as language can be, we know the worth and the work and the subtlety of literary translation. If we care at all about looking beyond our back yard and our own dominant narratives, we know the worth, the work, the open border, open mind, open eyes and ears of literary translation. If we belong to a culture which rates the word literary, we know the value, the scope, the touchstone, the creativity, the generosity that exist in this fusion of literary and translation.
    [Show full text]
  • "La Cultura Del Hip Hop En La Ciudad De Guatemala: Un Estudio Desde El Análisis Del Espectáculo En Los Estilos New Style Y B-Boy/B-Girl." Tesis De Grado
    UNIVERSIDAD RAFAEL LANDÍVAR FACULTAD DE HUMANIDADES LICENCIATURA EN CIENCIAS DE LA COMUNICACIÓN "LA CULTURA DEL HIP HOP EN LA CIUDAD DE GUATEMALA: UN ESTUDIO DESDE EL ANÁLISIS DEL ESPECTÁCULO EN LOS ESTILOS NEW STYLE Y B-BOY/B-GIRL." TESIS DE GRADO KENNETH ALEXANDER SCHELLENGER SAN JUAN CARNET 11958-10 GUATEMALA DE LA ASUNCIÓN, SEPTIEMBRE DE 2015 CAMPUS CENTRAL UNIVERSIDAD RAFAEL LANDÍVAR FACULTAD DE HUMANIDADES LICENCIATURA EN CIENCIAS DE LA COMUNICACIÓN "LA CULTURA DEL HIP HOP EN LA CIUDAD DE GUATEMALA: UN ESTUDIO DESDE EL ANÁLISIS DEL ESPECTÁCULO EN LOS ESTILOS NEW STYLE Y B-BOY/B-GIRL." TESIS DE GRADO TRABAJO PRESENTADO AL CONSEJO DE LA FACULTAD DE HUMANIDADES POR KENNETH ALEXANDER SCHELLENGER SAN JUAN PREVIO A CONFERÍRSELE EL TÍTULO Y GRADO ACADÉMICO DE LICENCIADO EN CIENCIAS DE LA COMUNICACIÓN GUATEMALA DE LA ASUNCIÓN, SEPTIEMBRE DE 2015 CAMPUS CENTRAL AUTORIDADES DE LA UNIVERSIDAD RAFAEL LANDÍVAR RECTOR: P. EDUARDO VALDES BARRIA, S. J. VICERRECTORA ACADÉMICA: DRA. MARTA LUCRECIA MÉNDEZ GONZÁLEZ DE PENEDO VICERRECTOR DE ING. JOSÉ JUVENTINO GÁLVEZ RUANO INVESTIGACIÓN Y PROYECCIÓN: VICERRECTOR DE P. JULIO ENRIQUE MOREIRA CHAVARRÍA, S. J. INTEGRACIÓN UNIVERSITARIA: VICERRECTOR LIC. ARIEL RIVERA IRÍAS ADMINISTRATIVO: SECRETARIA GENERAL: LIC. FABIOLA DE LA LUZ PADILLA BELTRANENA DE LORENZANA AUTORIDADES DE LA FACULTAD DE HUMANIDADES DECANA: MGTR. MARIA HILDA CABALLEROS ALVARADO DE MAZARIEGOS VICEDECANO: MGTR. HOSY BENJAMER OROZCO SECRETARIA: MGTR. ROMELIA IRENE RUIZ GODOY DIRECTORA DE CARRERA: MGTR. NANCY AVENDAÑO MASELLI NOMBRE DEL ASESOR DE TRABAJO DE GRADUACIÓN LIC. RAMIRO MAC DONALD LOPEZ REVISOR QUE PRACTICÓ LA EVALUACIÓN LIC. MYRIAM MARITZA CHICAS MORALES 4 5 AGRADECIMIENTOS Mis familiares, compañeros de estudio y amigos, en especial a Pamela Oliva.
    [Show full text]
  • Phd Thesis June 2018
    Cadences of Choreomusicality: Investigating the Relationship Between Sound and Movement in Staged Performances of Popping and Animation in the United Kingdom Jo Read A thesis submitted for the degree of Doctor of Philosophy (PhD) School of Visual and Performing Arts (Dance) De Montfort University September 2017 1 Abstract This practice-led doctoral research explores the relationship between staged performances of popping, closely related movement practices such as animation (in dance) and music in the United Kingdom. Through an experiential, choreographic and critical methodology, I consider the ways that popping artists are able to shift, bend and distort perceptions of their performances through complex uses of musicality. Popping is a dance form that is included under the umbrella of street dance, which encompasses a wide range of dance practices with their origins in social and vernacular contexts. I scrutinise the musical trends and characteristics of popping and animation specifically, despite street dance forms usually being considered as a collective. This extensive focus reveals a range of selective rhythmical and textural nuances that engage the spectator in a world of choreomusical play. Placing practice at the centre of my investigation, I carry out a series of choreographed projects and reflect on these experiences from the position of dancer/performer and choreographer. Additionally, I consider the work of other popping artists in the field, presenting extensive choreomusical analysis of a selection of their work. Drawing from interviews that I conducted with nine UK street dance artists, I use a range of practitioner-led terminology to demonstrate the metaphorical vocabulary that they have employed to articulate their choreomusical practices and complicate notions of musicality.
    [Show full text]
  • Hip Hop Ja Jazztanssi
    Harri Heinilä Hip hop ja jazztanssi Afrikkalaisamerikkalaisen tanssin jatkumo Kansi: Harri Heinilä ISBN 978-952-68364-8-5 Musiikkiarkisto 2021 musiikkiarkisto.fi [email protected] Sisällysluettelo Johdanto: hip hop ja jazztanssi 5 Jazztanssin synty 13 Jazzmusiikin synty 20 Jazzmusiikin ja -tanssin terminologia 22 Jazztanssi orjuuden aikana Yhdysvaltain plantaaseilla ja sen vaikutus 31 Minstrelsy-aikakausi 36 Cakewalk 52 Texas Tommy 61 Charleston 63 Lindy Hop 71 Mambo ja salsa 75 Rock and roll -tanssit 79 Hip hop -musiikin synty 85 Breikeistä rappiin: hip hop -kulttuurin muotoutuminen 96 Hip hop -tanssien synty 104 James Brown ja ’Get on the Good Foot’ -tanssi 106 Burning eli ”polttaminen” 108 Burning muuttuu breikkaukseksi 117 Bronxin alkuperäiset 1970-luvun breikkausryhmät 121 Bronxin alkuperäisen breikkauksen loppu 137 Länsirannikon Soul Train -tanssijat osana hip hop -tanssia 139 Breikkaus siirtyy uudelle sukupolvelle 151 Breikkauksen jatkumo vai katkeama: ensimmäisen ja toisen 163 sukupolven väliset erot Jazz- ja hip hop -tanssien yhtäläisyydet 168 2 Epilogi: hip hop -tanssi 2000-luvulla 192 Suomalaisen hip hop -kulttuurin musiikin ja tanssin alku 197 tutkijan näkökulmasta Taulukot 4 Viitteet 209 Lähteet 271 Henkilöhakemisto 292 3 Taulukot Taulukko 1. Ragtime vs. Jazz. Taulukko 2. William Henry Lane vs. John Diamond. Taulukko 3. Bronxin breikkausryhmiä 1970-luvulla. Taulukko 4. Bronxin breikkauspaikkoja 1970-luvulla. Taulukko 5. The Campbellock Dancers vuonna 1973. Taulukko 6. The Rock Steady Crew:n tanssijoita vuonna 1981. Taulukko 7. The New York City Breakers. Alkuperäinen kokoonpano vuonna 1982. Taulukko 8. Dynamic Rockers / Dynamic Breakers vuonna 1983. Taulukko 9. Breikkauksen leviäminen elokuvien kautta eri maissa. Teos on saanut tukea WSOY:n kirjallisuussäätiöltä ja Suomen tietokirjailijat ry:ltä.
    [Show full text]
  • SSAI Annual Review 2018/19
    SSAI Annual Review 2018/19 www.soas.ac.uk/south-asia-institute iii SSAI ANNUAL REVIEW 2018/19 TABLE OF CONTENTS FROM THE DIRECTORS: A NOTE FROM SSAI DIRECTOR, PROFESSOR EDWARD SIMPSON ..................... 2 A MESSAGE FROM SSAI DEPUTY DIRECTOR, AVINASH PALIWAL .....................3 A NOTE FROM THE OUTGOING DEPUTY DIRECTOR, DR NAVTEJ PUREWAL ..........4 A NOTE FROM THE ARTISTIC DIRECTOR, DR SANJUKTA GHOSH .....................5 DEVELOPING RESEARCH AGENDAS .................................................... 6 MAJOR HIGHLIGHTS ................................................................... 8 THE NOOR INAYAT KHAN DISSERTATION PRIZE . 9 SSAI IN NORTH AMERICA..............................................................10 SSAI IN INDIA .........................................................................11 ARTISTIC AND OTHER EVENTS........................................................ 12 SOUTH ASIA PROGRAMMES AT SOAS ................................................ 18 TRAVELLING SSAI MEMBERS ......................................................... 20 VISITING SCHOLARS AT SSAI ..........................................................22 RECENT PUBLICATIONS BY SSAI SCHOLARS . .24 SSAI STAFF PROFILES ................................................................ 28 A NOTE FROM THE SSAI DIRECTOR Welcome to this Review of the events of 2018-19. It gives me great pleasure to South Asia initiatives and given money to self-promotion introduce the second annual and hyperbole. Along with uncertainties in UK and review since I have been
    [Show full text]
  • Ethnoforgery and Outsider Afrofuturism Feature Article Trace Reddell University of Denver (US)
    Ethnoforgery and Outsider Afrofuturism Feature Article Trace Reddell University of Denver (US) Abstract This essay detours from Afrofuturism proper into ethnological forgery and Outsider practices, foregrounding the issues of authenticity, authorship and identity which measure Afrofuturism’s ongoing relevance to technocultural conditions and the globally-scaled speculative imagination. The ethnological forgeries of the German rock group Can, the work of David Byrne and Brian Eno, and trumpeter Jon Hassell’s Fourth World volumes posit an “hybridity-at-the-origin” of Afrofuturism that deconstructs racial myths of identity and appropriation/exploitation. The self-reflective and critical nature of these projects foregrounds issues of origination through production strategies that combine ethnic instrumentation and techniques, voices sampled from radio and TV broadcast, and genre-mashing hybrids of rock and funk along with unconventional styles like ambient drone, minimalism, noise, free jazz, field recordings, and musique concrète. With original recordings and major statements of Afrofuturist theory in mind, I orchestrate a deliberately ill-fitting mixture of Slavoj Žižek’s critique of multiculturalism, Félix Guattari’s concept of “polyphonic subjectivity,” and Marcus Boon’s idea of shamanic “ethnopsychedelic montage” in order to argue for an Outsider Afrofuturism that works along the lines of an alternative modernity at the seam of subject identity and technocultural hybridization. In tune with the Fatherless sensibilities that first united black youth in Detroit (funk, techno) and the Bronx (hip-hop) with Germany’s post-WWII generation (Can’s krautrock, Kraftwerk’s electro), Outsider Afrofuturism opens up alternative routes toward understanding subjectivity and culture—through speculative sonic practices in particular—while maintaining social behaviors that reject multiculturalism’s artificial paternal origins, boundaries and lineages.
    [Show full text]
  • Workshops & Research
    WORKSHOPS & RESEARCH 19 JULY - 15 AUGUST 2015 Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Seven phases which can be attended independently from each other (each week- workshop: 1 class per day, each intensive-workshop: 2 classes per day) «impressions'15»: 19 July ! Week1: 20 - 24 July Intensive1: 25 + 26 July Week2: 27 July - 31 July ! Intensive2: 01 + 02 August! Week3: 03 - 07 August! Intensive3: 08 + 09 August! Week4: 19 - 14 August ! «expressions'15»: 15 August Index 3 Artists listed by departments 4 - 134 All workshop descriptions listed by artists 135 - 146 All Field Project descriptions listed by artists 146 - 148 Pro Series descriptions listed by artists 2 AMERICAN EUROPEAN CONTEMPORARY Conny Aitzetmueller | Kristina Alleyne | Sadé Alleyne | Amadour Btissame | Laura Arís | Iñaki Azpillaga | Susanne Bentley | Nicole Berndt-Caccivio | Andrea Boll | Bruno Caverna | Marta Coronado | Frey Faust | David Hernandez | Florentina Holzinger | Peter Jasko | German Jauregui | Kira Kirsch | Clint Lutes | Simon Mayer | Rasmus Ölme | Sabine Parzer | Francesco Scavetta | Rakesh Sukesh | Samantha Van Wissen | Angélique Willkie | Hagit Yakira | David Zambrano IMPROVISATION Eleanor Bauer | Susanne Bentley | David Bloom | Alice Chauchat | DD Dorvillier | Defne Erdur | Alix Eynaudi | Jared Gradinger | Miguel Gutierrez | Andrew de Lotbinière Harwood | David Hernandez | Keith Hennessy | Claudia Heu | Jassem Hindi | Inge Kaindlstorfer | Jennifer Lacey | Benoît Lachambre | Charmaine LeBlanc | Pia Lindy
    [Show full text]
  • 2021 Class Schedule
    2021 Class Schedule Time Class Name Level Level (Age) Teacher Term Fee Casual Fee (inc. (Ability) (inc. GST) Based GST) Per Class on 10wk Term Monday 4:00pm to 4:30pm Hip Hop All Styles - Kindy Hip Hop Beginner 4yrs to 6yrs Srijit MG $120.00 $19.00 4:00pm to 4:45pm Hip Hop All Styles - Mini Funksters Beginner 6yrs to 9yrs Jasmin Buttery $160.00 $19.00 4:30pm to 5:15pm Hip Hop All Styles - FunkBeatz Beg/Int 9yrs to 12yrs Srijit MG $160.00 $19.00 5:30pm to 6:15pm Hip Hop All Styles - FunkCrew Beg/Int 13+yrs Vincent Bui $160.00 $19.00 5:30pm to 6:30pm K-Pop Beginner Open Age 10+ Jasmine Lynch $170.00 $19.00 6:15pm to 7:15pm Breaking (Breakdance) Beg/Int Open Age 10+ Vincent Bui $170.00 $19.00 7:15pm to 8:15pm Hip Hop All Styles Intermediate Open Age 20+ Michelle Stabile $170.00 $19.00 - Adult Intermediate 8:15pm to 9:15pm Hip Hop Foundation and Beginner Open Age 20+ Michelle Stabile $170.00 $19.00 Choreography - Adult Beginners Tuesday 4:00pm to 4:45pm Hip Hop All Styles Beg/Int 6yrs to 8yrs Vincent Bui $160.00 $19.00 - Mini Workshoppers 4:45pm to 5:30pm Hip Hop All Styles - KrushGroove Beg/Int 9yrs to 13yrs Vincent Bui $160.00 $19.00 5:30pm to 6:30pm Contemporary/Acrobatics Beginner Open Age 10+ Georgia Lloyd $170.00 $19.00 5:30pm to 6:30pm School of Hip Hop - Kids Beginner Open Age 10+ Vincent Bui $170.00 $19.00 5:30pm to 6:30pm School of Hip Hop - Adults Beginner Open Age 20+ Vincent Bui $170.00 $19.00 6:30pm to 7:45pm Junior Crew (Audition/Try outs) Intermediate 9yrs to 13yrs Chev Palada $180.00 N/A 7:45pm to 8:45pm Hip Hop Social Dance
    [Show full text]
  • Visit Us Online At
    This study guide was designed to help teachers prepare their classes to see a performance of BREAK! The Urban Funk Spectacular The guide describes the history of the company and includes a series of discussion questions, some activities you may want to do with your class as well as a few terms to remember. We hope it will be useful, and that you and your class find this performance both entertaining and educational. Visit us online at www.breakshow.com WHAT IS URBAN DANCE? URBAN DANCE or STREET DANCING, as we know it today involves Locking, Popping, Breaking, street style jazz and other forms of dance that developed out of urban culture rooted in American cities. It is deeply connected to Hip-Hop music and has become accepted as a legitimate art form seen across the world on television, videos and on theatrical stages as well as utilized in choreography by major dance companies. Locking Locking style involves a “clown look” fun movements like “the funky chicken” and other comedy moves. This was a dance style that was originally a “goof” dance or a “mistake” that became a media sensation with early 1970 TV shows based on unique characters and style. Some teachers out there might remember charactors like Re-Run! The significance of “Locking” was that it was the first style of Urban Dance gathering media attention. Robotics and Electric Boogaloo This style of dance became popular with the electronic funk sound and drum beat in songs in 70’s and 80’s. Many of you might have seen videos of “Michael Jackson’s Dancing Machine” and other Robotic dances of that era! WHAT IS BREAK DANCE? Although the exact beginning of Break dance is unclear, it seems to have emerged as a style of street dance during the 1970's.
    [Show full text]
  • Board of Governors of the Guildhall School of Music and Drama
    Public Document Pack Board of Governors of the Guildhall School of Music and Drama Date: MONDAY, 23 SEPTEMBER 2019 Time: 1.45 pm Venue: COMMITTEE ROOM - 2ND FLOOR WEST WING, GUILDHALL Members: Vivienne Littlechild (Chairman) Shreela Ghosh Graham Packham (Deputy Chairman) Steven Gietzen George Abrahams GSMD Student Representative Randall Anderson Michael Hoffman Deputy David Bradshaw Ann Holmes Deputy Michael Cassidy Jeremy Mayhew John Chapman Alderman William Russell Professor Geoffrey Crossick Andy Taylor Professor Maria Delgado Lynne Williams Marianne Fredericks Enquiries: Alistair MacLellan [email protected] Lunch will be served in the Guildhall Club at 1pm N.B. Part of this agenda could be the subject of audio or visual recording John Barradell Town Clerk and Chief Executive AGENDA NB: Certain matters for information have been marked * and will be taken without discussion, unless the Committee Clerk has been informed that a Member has questions or comments prior to the start of the meeting Certain non-contentious matters for decision have been marked + with recommendations to be agreed without discussion, unless the Committee Clerk has been informed that a Member has questions or comments prior to the start of the meeting Part 1 - Public Agenda 1. APOLOGIES 2. MEMBERS' DECLARATIONS UNDER THE CODE OF CONDUCT IN RESPECT OF ITEMS ON THE AGENDA 3. PUBLIC MINUTES To agree the public minutes and summary of the meeting held on 13 May 2019. For Decision (Pages 1 - 8) 4. * PUBLIC MINUTES OF COMMITTEE MEETINGS To receive the public minutes of recent meetings, as follows: - - Governance and Effectiveness Committee – 3 July 2019 - Audit and Risk Management Committee – 11 September 2019 (TO FOLLOW) For Information (Pages 9 - 14) 5.
    [Show full text]