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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. -
Ballroom Basics Timing/Tempo/Count/Beat Value Time – E.G
Ballroom Basics Timing/tempo/count/beat value Time – e.g. 3/4 (Waltz, Viennese Waltz), 4/4 During lessons, we discuss many of the following (most ballroom dances), 2/4 (Samba) elements of ballroom dancing. Tempo – speed of music, beats per minute (bpm), measures/bars per minute (mpm) Dance Styles Count – the timing of a dance which determines when a dancer steps in relation to the music Styles Beat value – regular rhythmic pulse in music; the o International – Standard & Latin; ISTD number of beats of music for each step, weight Syllabus change or action o American – Smooth & Rhythm Examples: Rumba – Slow, quick, quick, slow, o Nightclub dances quick, quick (SQQSQQ) – the slow is equal to Standard/Smooth – traveling dances e.g. Waltz, twice the value of a quick Viennese Waltz, Tango, Foxtrot, Quickstep Samba – the slow is equal to one beat; the quick Latin/Rhythm – spot dances e.g. Cha Cha, is a half beat Rumba, East Coast Swing, Mambo, Merengue, Recommend: count out loud or to yourself. It will West Coast Swing, Bolero, Jive, Samba help with timing and footwork Nightclub – Nightclub Two Step, Hustle, Salsa, Lindy Hop, Argentine Tango Dance positions – the relationship of the partners to each other Dance Etiquette Closed position Leading partner on and off the floor Open position Lady’s choice – dance to lady’s ability and Shadow position “closeness” Promenade Position – create Promenade Line of Dance (LOD) – fast lanes, slow lanes, position by rotating the body, not by pushing counter-clockwise with the arms, which results in breaking your Navigation – “floor crafting” frame. -
Teaching English Through Body Movement a Pa
AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection -
Tango Fundamentals (Year-1) - Course Syllabus
Tango Fundamentals (Year-1) - Course Syllabus The course aims to provide a solid foundation in the key elements of Argentine Tango in an enjoyable sociable environment. The first ten weeks concentrates on how to lead and follow the fundamental steps of Tango to enable you to quickly get dancing. Once completed you will be able to move on to follow the full year-1 syllabus. During the full course you will learn • how to lead or follow this improvised dance (there are no long set sequences) • how to execute turns, pivots, ochos and cross steps • some fun easy ‘foot and leg play’ – paradas (blocks) and barridas (sweeps) • to develop musicality in the dance, and how to adjust the elements of Tango to suit the different musical styles found on a typical Buenos Aires dance floor. We will focus on developing skills so that you can enjoy dancing at a Tango social event (called a milonga) and to be able improvise the dance with any partner – wherein lies the pleasure of dancing Tango. There will be time to practice what you have learnt both in the class and also at optional prácticas (practice sessions) on Sunday evenings at Martlesham Leisure. The first 10 week term What is Argentine Tango? – the nature of dance and the music and the improvisation which makes it so different from other dances. The Connection: how to ‘connect’ with your partner and its importance for leading and following. Walking: Walking in ‘two-track’ with your partner in an open embrace (‘parallel system’) Leading and following side-steps Dancing the pauses in the music More -
International Dance Conservatory – Ballroom Program
INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM YEAR FALL SPRING Year 1 Latin Ballroom School Figures Latin Ballroom School Figures (Bronze level) (Silver & Gold levels) Standard Ballroom School Figures Standard Ballroom School Figures (Bronze level) (Silver & Gold levels) Year 2 Latin Technique 1 Latin Technique 2 Latin Ballroom 1 Latin Ballroom 2 Standard Technique 1 Standard Technique 2 Standard Choreography 1 Standard Choreography 2 Year 3 American Smooth 1 American Smooth 2 Student Choreography 1 Student Choreography 2 Advanced Ballroom Technique 1 Advanced Ballroom Technique 2 Year 4 Business of Ballroom Intro to Ballroom Instruction Advanced Choreography 1 Advanced Choreography 2 INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM Advanced Ballroom Technique 1 & 2 This is an advanced class that focuses on the body mechanics, timing, footwork, partnering, style, expression, and emotion of many Ballroom & Latin dances. Students will continue to develop a deeper understanding of the techniques and stylings of each dance. Students will apply this training in the demonstration of their Latin, Ballroom, and Smooth competition routines. Advanced Choreography 1 & 2 This is an advanced class that focuses on learning open choreography in many Ballroom and Latin Dances. Students will experience this creative process first hand and apply their technique to this choreography. Students will perform these open routines with attention to technical proficiency and embodying the character of each dance. American Smooth 1 & 2 This is an advanced class that focuses on learning open choreography in all four American Smooth Ballroom Dances - Waltz, Tango, Foxtrot, & Viennese Waltz. Students will be prepared to compete in all four dances at the Open Amateur Level. -
Adjudicator Principles
DANCESPORT ADJUDICATING PRINCIPLES Developed by DSA Accreditation Commission DSA – Adjudicating Principles Version 2019 Page 1 Adjudicating Principles Index Chapter 1. Introduction 3. Aims of the Manual 4. Structure and Perspective 5. Technical Assessments 8. Chapter 2. Ethics and Conduct of Adjudicators 9. Roles and Responsibilities 9. Mentors 10. Chairman of Adjudicators 12. Scrutineers 12. Licensing Requirements 14. Adjudicators Code of Conduct 15. Adjudicator Dress Code 18. Rules Interpretation 18. Rule Enforcement 19. Chapter 3. Marking Requirements—Adjudicator Cards 21. Obligations -- requirements of Skating System 21. “N” Marking procedure 23. Sample Adjudicator Cards 25. Chapter 4. Scrutineering – The Skating System explained 27. Chapter 5. Assessment of Competitors 30. Priorities of Assessment 31. Technical Merit as a Basis for Adjudicating 33. Chapter 1. Introduction The cliché “It takes two to Tango” (or any other dance within the confines of DanceSport) identifies the activity as a “Team Sport”. In this respect DanceSport differs from most other “Team Sports” in so much as a successful partnership, IRRESPECTIVE OF WHETHER IT BE IN Standard, Latin American or New Vogue, is expected to produce, as a general principle, a single entity “performance”, whereas in Team DSA – Adjudicating Principles Version 2019 Page 2 Sports generally, success is dependent upon a combination of the individual (and generally singular) activities of the team members. As well, within the realms of “Team Sports”, DanceSport is unique in so much as results are determined directly by the collective marks of the Adjudicators as opposed to “point scoring definitive actions” by individual team members. The role of the DanceSport Adjudicator differs considerably from that of the “judgement” role of the sports Referee or Umpire whose concern is primarily with the “rules of play” whereas the marks of the DanceSport Adjudicator (and ultimately the collective marks of the panel) directly indicate an assessment of the particular competitive performances. -
Roundalab Abbreviations for Cue Sheets Compiled by Annette Woodruff
Roundalab Abbreviations for Cue Sheets Compiled by Annette Woodruff For use by choreographers when creating cue sheets. Also for use by dancers when trying to “decipher” cue sheets. 1-9 one through nine, etc. dr door outsd outside strll stroll 1/2 half DRC Diagonal Reverse Line of ovr over swch switch 1/4 quarter Dance and Center of Hall PD Paso Doble swd sideward 2x, 3x.... twice, 3 times, etc. drg drag Ph I...Ph VI Phase I...Phase 6 swhrt sweetheart abt about DRW Diagonal Reverse Line of plc place swvl swivel ack acknowledge Dance and Wall pos position sync syncopation/syncopated acrs across dwn down prep prepare/preparation TAMP Tamara [Position] adj adjust elev elevation prog progressive tch touch adv advance, advanced ESCP Escort [Position] PROM Promenade [Position] tele telemark amer American falwy fallaway prom promenade TG Tango approx approximately fc face prtzl pretzel thru through apt apart FCG Facing [Position] pt point thrwy throwaway arg Argentine fig figure ptr partner tim time arnd around fin finish PU Pickup [Position] tog together awy away flk flick pu pickup trans transition bal balance flr flare pvt pivot trav traveling bas basic fnc fence Q quick [as used in timing] trl trail bball basketball frnt front qk quick [not used in timing] trn turn bdy body fshtl fishtail QS Quickstep trpl triple BFLY Butterfly [Position] FT Foxtrot qtr quarter TS Two Step bhd behind ft foot R right twd toward BJO Banjo [Position] fthr feather R/D Round Dance/Dancing twkl twinkle bk back fwd forward RAL ROUNDALAB twrl twirl BL Bolero [Position] -
28Th November – 1St December 2018 Dance Course in Dresden - Ballroom Dances of the 19Th Century
update 20.01.2018 28th November – 1st December 2018 Dance Course in Dresden - Ballroom dances of the 19th century This year’s focus will be on couple dances in quadrilles, choreographed dances, lead and follow in free dances Dances to be taught Quadrille „Sleigh Bell Polka“ (Philadelphia, 1866) This polka-quadrille fits well the winter season. It consist 5 figures with beautiful quadrille figures in polka tempo and the polka waltz. It was published by Professor C. Brooks in Philadelphia in 1866 and became one oft he favorite dances at balls in North America and Europe. Quadrille „Strauss Quadrille“ Quadrille with polka, varsovienne, schottisch, mazurka, galop, waltz The favourite dances of the 19th century have been incorporated in this quadrille, containing 6 figures. Its enjoyment is further enhanced by the melodies composed by the members of the Strauss family. The figures are: La Bohémienne (dance: polka, music: „Fashion Polka“ by Josef Strauss), La Varsovienne (dance: varsovienne, music: „La Varsoviana“ by Johann Strauss the father), La Rhénane (dance: schottisch /Rheinländer polka, music: „Frühlingsluft Rheinländer“ by Josef Strauss), La Parisienne (dance: mazurka waltz and redowa, music: „Frauenherz“ by Josef Strauss), La Britannique (dance: galop, music: „Wien über alles“ by Eduard Strauss) and La Viennoise (dance: waltz, music: „Viennese Blood“ by Johann Strauss the son). They will be taught in accordance with the research into the original sources on step technique and figure set-up. Valse Russe „La Czarine“ (Paris 1857/ New York 1860) La Czarine is a Russian waltz, choreographed by Société Académique des Professeurs de Danse in Paris in 1857. Originating from the French ballroom, the dance records show several variations of this Russian waltz between 1860 and 1883. -
Cue Sheet Writing & Reading, This ½ Meas Is Not Carried Over and Meas 16 Starts Anew
CINDERELLA PAGE 1 of 3 BY: Curt & Tammy Worlock, 3613 Citrus Tree Court, Plant City, FL 33566 (813)-431-3235 MUSIC: “Cinderella” by Steven Curtis Chapman CD: Steven Curtis Chapman - This Moment Track #3 SEQUENCE: Intro, A, B, A (9-18), B, Inter, A (9-18), B (1-15 ½), Ending RELEASED: January 2017 WEB SITE: www.curtandtammy.com E-MAIL: [email protected] SPEED: Speed to 28mpm RHYTHM: Hesitation/Canter Waltz PHASE: VI FOOTWORK: Described for M - W opp (or as noted) (Dedicated to our 2 beautiful daughters Mandi & Kasandra married 10/22/2016, and getting married 3/18/2017 respectively.) INTRO 1 - 4 WAIT; SIDE SWAY EACH WAY; WALTZ AWAY w/LOCK; AND TOGETHER TO BFLY; ------ 1 - Wait 1 meas in BFLY POS M FCING WALL lead foot free for both; 1--4-- 2 - Sd L sway R drawing R to L no weight,-,-, sd R sway L drawing L to R no weight,-,-; 1--4-6 3 - Trng LF releasing lead hands fwd L LOD,-,-, bringing trailing hands thru twd LOD cont slight LF trn sd & fwd R,-, lk LIB of R to OPEN POS LOD V-Shape back to back; 1--4-6 4 - Fwd R starting to pull back joined trail hands trng RF,-,-, cont RF trn sd L LOD,-, cl R to L to BFLY WALL; PART A 1 - 4 ROLL 3 TO ½ OPEN; OPEN IN & OUT RUN;; CHAIR & SLIP; 1--4-6 1 - Fwd L LOD comm LF trn,-,-, fwd R cont LF trn,-, sd & fwd L LOD as you scoop up ptr w/R arm under W’s L arm; 1--4-6 2 - Thru R comm RF trn,-,-, fwd & sd L cont RF trn as you scoop up ptr with your L arm under W’s R arm,-, cont RF trn sd & fwd R LOD (thru L comm slight RF trn,-,-, fwd R between M’s feet cont RF trn,-, sd & fwd L) to V-SHAPE LEFT HALF -
International Choreographed Ballroom Dance Association
International Choreographed Ballroom Dance Association Convention 35 - Lakeland, Florida July 20-23, 2011 The Story of The Swans in Lakeland, FL Lakeland, whose lakes had been home to a varying number of graceful birds since at least 1923, saw its last swan fall victim to an alligator in 1954. Mrs. Robert Pickhardt, a Lakeland native living in England at the time, was fa- miliar with the royal flock of swans on the Thames – birds descended from the original pair given to Richard—he of the lion heart. She inquired about purchas- ing a pair for Lakeland. Queen Elizabeth, known to be a little tight with a far- thing, agreed to send a pair of swans to Lakeland if the city would pay the cost of capture, crating, and shipping, estimated at $300. Eventually the money was raised and a pair of White Mute Swans from England were released on Lake Morton on February 9, 1957. Descendants of that pair continue to grace the city’s many lakes; today there are more than 200 birds, including White Mutes, Australian Black Swans, White Coscorba Swans from the Falkland Islands, Black Neck Swans from South America, white peli- cans, ducks, geese, and other species. Lakeland has learned its lesson and is very protective of its swans now. There is an annual swan round-up, at which time the graceful birds are inocu- lated against disease, and the city provides feeding stations and breeding pens along Lake Morton’s perimeter. The swan is now the city’s official logo. A good place to view the swans of Lake Morton is at the corner of Lake Morton Drive and East Palmetto Avenue, near the Lakeland Library. -
Group Class Descriptions
Group Class Descriptions Social Foundation – Mr. Daniel Skyler A great way to refocus on your lead and follow and brush up on a few patterns you may have forgotten or are just being introduced to! Merenguito - Mr. Sergio Sanchez Learn exciting approaches and techniques along with fun new material to implement into your Merengue. And get an awesome cardio workout while you do it!! Other dances featured include: Salsa and Bachata. Salsa Shine Patterns – Mr. Brandon Romero Salsa Shine patterns are designed to be danced by yourself as a presentation of individual dance skill outside of the partner dance interaction. The focus of the dancer is on themself by using a combination of turns, syncopations, and body rhythms. Rhythm Techniques – Ms. Rachel Sayotovich Come and explore different techniques we use in dancing the American Rhythm style- including turns, rotations, Cuban motion, body action, footwork, and more! All levels of dancing are welcome! Latin – Mr. Oleksandr Kozhukhar Come and experience an introduction to the basic fundamentals and characteristics of the five Latin dances - Cha Cha, Samba, Rumba, Paso Doble, and Jive. We will cover basic characteristics of the dances, footwork, body actions, timing, and more! No Latin experience required. Line Dance Party Prep – Mr. Alexander Zarek This group class will go over some of the line dances that will appear at our Thursday night virtual parties so that you will have a head start on the material! The line dances and music selections will change from week to week. Social Club Dances for All Levels - Mr. Dana James You know those moves - the ones that teacher seem to lead at the parties but don’t always (or never) get to on lessons? That is because there is no box to check off once it has been taught. -
Tango Argentino Faqs
Survival Tango FAQs Tango Argentino Vocabulary! What is the difference between Argentine tango and ballroom tango? - Argentine tango refers to the style of social dance that is done in the tango clubs of Buenos Aires and now around the world. Fundamental to Argentine social tango is the improvisational basis of the dance. The dance is intended to abrazo embrace, hug express the music, so a desire to hear and respond rhythmically is essential. adorno adornment Rather than memorizing a prescribed group of steps, as is done in ballroom, amague a feint the students are encouraged to learn how to lead and follow with each step being an invitation to further exploration. Class rotation of partners and an arrastre drag emphasis upon learning the dance as an individual rather than a couple, allows barrida sweep students to master the language of tango as a universal communication so when traveling, they can easily dance with strangers in Moscow or San boleo a rebounding leg action Francisco. The connection between the two bodies is famously described by cabeseo nod Juan Carlos Copes, “One heart and four legs”. cadena chain http://tangonova.com/odfaq/index.php?cat=1 calesita carousel - Argentine Tango is THE TANGO danced at milongas around the world. caminada walk American and International Tango (or together, Ballroom Tango) are competi- tion sports that people study and practice for ballroom dance competitions. corrida a run The movements are loosely based on Argentine Tango (some say parodies of), cruzada, cruze crossed position but are very stiff and uncomfortable, and you will rarely find people dancing enrosque twisting movement these other Tangos socially.