DOCSLIB.ORG

American Square Dance Vol. 58, No. 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Square Dance Vol. 58, No. 1 $3.50 January 2003 MONFICIRST'S TOPE RECORD SERVICE THE PROFESSIONAL SOURCE FOR CALLERS & CUERS Interested in the BEST? FREE Lifetime Technical Support. 30- Available wilt Day 100% Satisfaction Guarantee. Variab le Speed' Speedy 24-Hour Shipping...99% Same Day! Easy Toll-Free Ordering. The list of things that makes Hanhurst's Tape & Recoid Service the #1 supplier of music, tape services and audio equipment goes on and on! The bottom line? \Xt're the ultimate in customer service. (And, that's not lip service.) \Xt take extra car to ensure your complete satisfaction. Period. Hilton Sound Systems and W( STACK Speakers at Factory Prices! Call today for our FREE ProfessionaiSquareDance SON V Audio Buyers Guide. Authorized Reseller MiniDise Headquarters! SONY MiniDiscs HILTON Sound Systems YAK STACK Speakers and so much more! 1-800-445-7398 Come visit the largest website for information on Square & Round Dance Music & Sound Systems! 100% Secure Shopping! Single Click"' Convenience! FREE Online Music Previews Click... Listen... Buy! 100°/0 Secure Online Shopping www.Dosado.com/Music American SquareDance, January 2003 H 1 LT 0 N sound systems MA-150 Amplifier AC-205 Two channel and mixer amplifier with record reset Samson wireless microphone systems Gemini variable speed CD players altalso 40 at 11111=2111 Samson XP300 self contained sound system on wheels CHECK OUR WEB SITE AT: HILTONAUDIO.COM DWI Workshopper column speaker = II HILTON AUDIO PRODUCTS, INC. 1033-E Shary Circle - Concord, CA 94518 Phone: 925-682-8390 FAX: 925-682-8497 - e-mall: [email protected] - Web page: http.//www.hiltonaudio.com Ainern.an SquareDance. January 20W 5 From The Editors - Ed & Pat Juaire 65 Index Page 16 Moore On Contra - Paul Moore 38 Notes in a Nutshell - Frank I "(Tinier 20 On the Record - Rounds - Ralph & Joan Collipi 46 On the Record - Squares 58 52nd NSDC - Tom Rude/y(0c Square Dance Statue 56 Point of Order - Don Niva 31 A/C Lines - Ed Foote 36 Round Dance Pulse Poll 44 ACA Viewpoint - Bev & Bob Casteel - Gary Shoemake 54 Sewing 101 - Donna !pork 6 ASD News 26 Square-Up - John & Linda Saunders 34 ASD Profile - Tom Wallace 28 The Country Line - Mike Salerno 37 CALLERLAB 43 The Koreo Korner - Steve Kopman Alliance Planning Meeting 39 Three R's 50 CALLERLAB Applications 59 What's Ahead Review Committe Votes 53 CALLERLAB Board of Governors Election Results 18 CALLERLAB Viewpoints - Mike Seastrom 32 Club Leadership Notes - Bernie Coulthurst 51 Country Kitchen - Louise Harrop 24 Courtesy Between Clubs & Callers - John Nash 40 Creative Choreography - Lee & Steve Kopman 52 Cue Tips - Fran & Jan Kroll- 10 Easy Level - Bob Howell AMERICAN [f] Volume 58 Number 1 January 2003 SQUAREDANCE d ,0..., Editorial Assistants Subscriptions Louise Harrop Michelle Merchant Publishers - Editors Ed & Pat Juaire Michelle Merchant Cartoonist Corhen Geis 4 American SquareDance, January 2003 mum THE EDITORS ED & PAT JTFAXRE Loving this Recreation This publication would not be both he and Phyllis. They are two the same without the effort one of great people. its writers has put into it. It was Easy Level puts a different last October 28 when we received slant on our dance recreation and the e-mail from that contributing hardly a month goes by without editor and he off-handedly indi- comments coming in from read- cated how many years he had been ers saying thanks for the writing the column - 34 years. column. We don't normally take Well credit has to be given up space with these comments where credit is due and we say but we felt this month we had too. Thanks to Bob Howell for his We have Bob's February column many years of dedication to this and we know he's hard at work on effort. We first met Bob about the March feature. eleven years ago at a seminar he Again, thanks Bob. Keep up the was giving for the Narragansett good work! Callers Association in Rhode PS: Bob also writes a similar, but Island. We immediately struck up different column for our other a friendship which we are proud to publication, the Northeast Square say continues to this day with Dancer. Did we mention dedication? Get comfortable with... manutactul' tic-tac-toes m out lactOri MADE IN USA Ladies' 41522 ...and Dance, Look and Feel Great! I Hamilton Street • P.O. Box 953 (f0 Glo‘erslille, NY 12078 4411111origit+ Telephone (518) 773-8187 Fax (518) 725-8116 % KW. t ictictoes.corn Ladies' #955 SHOES FOR MEN AND WOMEN AVAILABLE IN MANY STYLES AND COLORS CALL OR WRITE FOR A FREE COLOR CATALOG: 800-648-81126 American &laurel:lance. January 2003 &SD NEWS Pink Ribbon many door prizes were all donated. Not Breast Cancer Benefit a penny taken in is used for overhead. Three years ago Dave & Rosie Sperl All income is turned over to the Cancer conceived an American Cancer Society Society. Almost the same amount has Breast Cancer Benefit dance in memory of beer► raised each year with this year their daughter and others who have lost being the largest. their lives to breast cancer. The first dance The callers donating their time for was held at Sun City Palm Desert. CA and the past three year's are Gina Darcy. the second at Palomares Hall in Pomona. Carrie Masters, and Cliff Simpson as (MC). This year Paul Moore helped when Car- rie had to leave early. The cuers were Bob Friesen and Mel Branham. They all kept the energy level of the floor high and happy. The 41h annual "Pink Ribbon" dance will be held on October 19, 2003 in Beaumont with the same callers and cuers This year it was held in Beaumont. again working their magic. Unfortunately, this year just six With the help of our many dancers, weeks before the October 27 dance, we are hoping someday to have a cure Dave suddenly passed away. His able for this terrible disease. Square co-chair people Emil & Diane Welden, dancers helping others. Tyndra & Fernando Duran, Debbie Peggy Simpson Dexter, and Sun Lakes Birdies & Co-chair 2003 Bogies did a wonderful job of finalizing the dance plans and more than 40 Square Dancers squares attended. What a wonderful Name Dancer and sight to see wall to wall dancers out to Caller of the Year benefit this very worthy cause. Many Members of the Houston Square & more "Pink Ribbons" than the 40 Round Dance Council named Bob & squares were sold and we thank all Edna Bullock the 2002 Square Dancer that bought a ribbon to help out even of the Year and Bob Baier as the 2002 though they couldn't attend the dance. Square Dance Caller of the Year. These This year $4,450 was raised. Each awards were announced during the year the cities have donated the hall. Houston Square & Round Dance Flyers, ribbons, advertisement and Council's 54'h Annual Hoe-Down. 6 American SquareDance. January 2003 It is with deep sadness we report the passing of Ellen Cole. In the few short years we knew her, we can not say enough about how her vibrant personality and enthusiasm for life inspired everyone she touched. Our deepest condolenses to Larry and the entire Cole family. Ed & Pat Juaire The Bullocks are members of the The directors and hosts were George Meadowbrook Mavericks Square Dance & Onie Senyk of Sharpes, and it was Club. Bob & Edna have held numerous attended by 77 dancers from age 12 up to leadership positions in the Meadowbrook whatever. The program consisted of Mavericks club and at the state and Saturday daytime workshops for 3 levels national level. They have been described of expertise, open dancing on Friday as friendly, fun-loving square dancers evening and Sunday morning, and a who are an inspiration to others. dress ball in both ballrooms on Saturday Bob Baier has been square dancing evening with music by the Tunbridge and calling since he was a teenager. Trio. The staff included Rusty Wright, Today he is a well known and New Mexico; Stew Shacklette, Ken- respected international square dance tucky; John Daly, Ed Swan, Pam Russo, caller. Bob calls regularly for three Colette Moore, Charlie Dyer, Fred Houston area square dance clubs the Minster, Bob Parkhurst, all from Florida, Hey Lollies, Frontier Squares, and and George & Onie. Bob's Best. He also calls special A special surprise was the musi- engagements in Houston and around cianship of John Daly, Rachael the nation and world, and for exhibi- Conrad and Val Vonheeder who tions. He is always enthusiastic and played for some of the English energetic. Bob has the ability to know Country dances on Friday evening where each square dancer should be in and Sunday morning. the square, no matter how large the George & Onie Senyk number of square dancers at a dance. Coca, FL Bob is also a square dance teacher. Carolyn Smith 40" Anniversary Celebration Sharpes Assembly The Tokyo Square Dance Club Dance Weekend celebrated its 40th Anniversary with a The 5' Annual Sharpes Assembly weekend celebration at the Hotel Contra and English Country Dance Urashima. Five American guest call- Festival was held during the first ers and many fine Japanese callers weekend in October. The venue was provided a terrific program to over 770 the venerable 1915 Kenilworth Lodge dancers. Wade Driver, Mike Seastrom, in Sebring, Florida with two wooden Dee Dee Dougherty-Lottie, Randy ballroom floors for both genre. Dougherty, and Tim Marriner called American SquareDance. January 2003 7 LEARN BY VIDEO GOLD STAR VIDEO PRODUCTIONS P.O. BOX 215734 — SACRAMENTO, CA 95821 (916) 929-6606 OR (800)-874-4643 EMAIL: [email protected] SINCE t115-1 WEB SITE: www.squaredancevideos.com VHS TAPES - $32.95 PAL TAPES - $39.95 SQUARE DANCE VIDEOS ROUND DANCE VIDEOS I.
Load more

Recommended publications
  • 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]
  • 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.
    [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]
  • 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]
  • Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay Area
    Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years.
    [Show full text]
  • June 2 15 Phoenix AZ 85032 602.324.7119 * Al Ro M S De [email protected] Sun Mon Tues Wed Thurs Fri Sat
    Fatcat Ballroom & Dance Company 3131 E Thunderbird Road, #33 June 2 15 Phoenix AZ 85032 602.324.7119 www.FatcatBallroomDance.com * al ro m S de [email protected] Sun Mon Tues Wed Thurs Fri Sat Ballroom 1 5:30 - 6:30 2 3 4 5 6 12:00 - 3:30 Argentine Tango East Coast Country Night West Coast Swing Milonga Dance Silver & Gold After w/Terry Swing Night w/Mona w/Mona $7 Lesson/Party/$7 Rhumba Church! 6:30 - 7:30 7:00 Basic West Coast w/Terry Argentine Tango $7 $7 Swing w/Bridgette & Ballroom Dance w/Helmut 7:00 Beg. Sunday 7:30 Swing 7:45 Int. West Coast Jaime Lesson/Party-$5 6:30 - 8:30 Country Cha Cha Swing Lesson 7:30 Beg. Arg. w/Terry 2:00-4:00 Arizona Ballroom 7:45 Int Country 8:30 WCS Party Tango Teachers’ Academy w/Steve Conrad 6:30 - 8:30 7:30 Beg. Hustle Cha Cha 8:15 Int. Arg. All Churches 7:30-9:30 8:30 ECS Party 8:30 Arizona Ballroom 8:15 Int. Hustle Teachers’ Academy Tango Argentine Tango Dance Party 9pm Dance Party Welcome Practica Semester 1 9pm Dance Party 7 Swing 8 5:30 - 6:30 9 10 11 12 13 12:00 - 3:30 Sunday School Argentine Tango East Coast Country Night West Coast Latin Dance Silver & Gold w/Terry w/Mona Swing w/Mona $7 Lesson/Party/$7 Rhumba w/Steve Conrad 6:30 - 7:30 Swing Night 7:00 Basic West w/Terry 3:00- 6:00 Argentine Tango $7 $7 Coast Swing w/Bridgette & w/Helmut 7:30 Swing 7:00 Beg.
    [Show full text]
  • The History of Square Dance
    The History of Square Dance Swing your partner and do-si-do—November 29 is Square Dance Day in the United States. Didn’t know this folksy form of entertainment had a holiday all its own? Then it’s probably time you learned a few things about square dancing, a tradition that blossomed in the United States but has roots that stretch back to 15th-century Europe. Square dance aficionados trace the activity back to several European ancestors. In England around 1600, teams of six trained performers—all male, for propriety’s sake, and wearing bells for extra oomph—began presenting choreographed sequences known as the morris dance. This fad is thought to have inspired English country dance, in which couples lined up on village greens to practice weaving, circling and swinging moves reminiscent of modern-day square dancing. Over on the continent, meanwhile, 18th- century French couples were arranging themselves in squares for social dances such as the quadrille and the cotillion. Folk dances in Scotland, Scandinavia and Spain are also thought to have influenced square dancing. When Europeans began settling England’s 13 North American colonies, they brought both folk and popular dance traditions with them. French dancing styles in particular came into favor in the years following the American Revolution, when many former colonists snubbed all things British. A number of the terms used in modern square dancing come from France, including “promenade,” “allemande” and the indispensable “do-si-do”—a corruption of “dos-à-dos,” meaning “back-to-back.” As the United States grew and diversified, new generations stopped practicing the social dances their grandparents had enjoyed across the Atlantic.
    [Show full text]
  • Be Square Caller’S Handbook
    TAble of Contents Introduction p. 3 Caller’s Workshops and Weekends p. 4 Resources: Articles, Videos, etc p. 5 Bill Martin’s Teaching Tips p. 6 How to Start a Scene p. 8 American Set Dance Timeline of Trends p. 10 What to Call It p. 12 Where People Dance(d) p. 12 A Way to Begin an Evening p. 13 How to Choreograph an Evening (Programming) p. 14 Politics of Square Dance p. 15 Non-White Past, Present, Future p. 17 Squeer Danz p. 19 Patriarchy p. 20 Debby’s Downers p. 21 City Dance p. 22 Traveling, Money, & Venues p. 23 Old Time Music and Working with Bands p. 25 Square Dance Types and Terminology p. 26 Small Sets p. 27 Break Figures p. 42 Introduction Welcome to the Dare To Be Square Caller’s handbook. You may be curious about starting or resuscitating social music and dance culture in your area. Read this to gain some context about different types of square dancing, bits of history, and some ideas for it’s future. The main purpose of the book is to show basic figures, calling techniques, and dance event organizing tips to begin or further your journey as a caller. You may not be particularly interested in calling, you might just want to play dance music or dance more regularly. The hard truth is that if you want trad squares in your area, with few ex- ceptions, someone will have to learn to call. There are few active callers and even fewer surviving or revival square dances out there.
    [Show full text]
  • New Square Dance Vol. 24, No. 11
    THE EDITORS' PAGE 41 A recent letter challenged us to re- quest that minority groups be sought out and especially included when pro- moting new classes. We're going to re- neg on this, and here's why — Most of us are pretty proud of our square dance reputations — the trouble free, nuisance free atmosphere of our conventions and festivals, the neatness and color or our costumes, the smooth- ness and beauty of our dances, and the phrase of the music and move rhyth- friendliness and warmth of our dan- mically to and fro where it leads us? cers. We'd just like to hope and believe Why do we shout in triumph when we that dancers everywhere would main- emerge from a series of smooth, intri- tain this pride in their dancing and ex- cate figures to catch our corners for an tend a welcome to every individual allemande? who comes tb participate in the joy Because, oh readers, we are doing and happiness of dancing. Why must our "thing", a thing that man has been we seek to involve a single ethnic or doing since he stretched skins and racial group for special attention? We made the first tomtom -- DANCING! want more people who love dancing, "A rhythmic stepping in time to the whether their eyes are slanted, their beat of the music" used by mankind skins dark, their eyes blue, their ac- as a form of self-expression. We are cents Latin, their hair white or their not usually very introspective about ages in the teens. our hobby.
    [Show full text]
  • Self-Assessment Guide
    SELF-ASSESSMENT GUIDE Qualification: PERFORMING ARTS (BALLROOM DANCING) NCII PERFORM BASIC MODERN STANDARD DANCE FIGURES AND Project 1 : AMALGAMATIONS DEMONSTRATE UNDERSTANDING OF BASIC CONCEPTS AND Unit/s of ROUTINES Competency: PERFORM BASIC MODERN STANDARD DANCE FIGURES AND AMALGAMATIONS Instruction: Read each of the questions in the left-hand column of the chart. Place a check in the appropriate box opposite each question to indicate your answer. Can I? YES NO Perform Waltz* - LF Closed Change* - RF Closed Change - Natural Turn* - Reverse Turn* - Outside Change* - Whisk* - Back Whisk* - Reverse Corte* - Natural Spin Turn* - Hesitation Change* - Chasse’ from Promenade Position* - Weave in Waltz Time (After 1-3 Reverse Turn)* - Progressive Chasse to Right* - Backward Lock Step* - Forward Lock Step* - Reverse Pivot* - Double Reverse Spin* - Closed Telemark* - Open Telemark and Cross Hesitation* - Open Telemark to Wing* - Closed Impetus* - Open Impetus followed by a Cross Hesitation* - Open Impetus followed by a Wing* - Outside Spin* - Turning Lock to Left* - Weave from Promenade Position after a Whisk* - Weave from Promenade Position after an Open Impetus* And satisfies requirements in terms of : - Rhythm* - Technique* - Poise* - Presentation* Perform Tango* - Right Foot Walk to PP - Progressive Side Step* - Progressive Link* - Promenade Link* - Closed Promenade* - Open Promenade* - Back Open Promenade* - Basic Reverse Turn* - Open Reverse Turn Partner in Line Closed Finish* - Open Reverse Turn Partner Outside Open Finish* - Back
    [Show full text]
  • Latin Rhythm from Mambo to Hip Hop
    Latin Rhythm From Mambo to Hip Hop Introductory Essay Professor Juan Flores, Latino Studies, Department of Social and Cultural Analysis, New York University In the latter half of the 20th century, with immigration from South America and the Caribbean increasing every decade, Latin sounds influenced American popular music: jazz, rock, rhythm and blues, and even country music. In the 1930s and 40s, dance halls often had a Latin orchestra alternate with a big band. Latin music had Americans dancing -- the samba, paso doble, and rumba -- and, in three distinct waves of immense popularity, the mambo, cha-cha and salsa. The “Spanish tinge” made its way also into the popular music of the 50s and beyond, as artists from The Diamonds (“Little Darling”) to the Beatles (“And I Love Her”) used a distinctive Latin beat in their hit songs. The growing appeal of Latin music was evident in the late 1940s and 50s, when mambo was all the rage, attracting dance audiences of all backgrounds throughout the United States, and giving Latinos unprecedented cultural visibility. Mambo, an elaboration on traditional Cuban dance forms like el danzón, la charanga and el son, took strongest root in New York City, where it reached the peak of its artistic expression in the performances and recordings of bandleader Machito (Frank Grillo) and his big-band orchestra, Machito and His Afro-Cubans. Machito’s band is often considered the greatest in the history of Latin music. Along with rival bandleaders Tito Rodríguez and Tito Puente, Machito was part of what came to be called the Big Three.
    [Show full text]
  • Standard Technical Assessment
    DanceSport Australia Level 2 Coach / Championship Adjudicator Technical Assessment Candidate Assessment Information Standard Style COACH / CHAMPIONSHIPADJUDICATORS ACCREDITATION Developed by DSA Accreditation Commission 2006- Revised 2019 This tool covers Series 1-2 STANDARD STYLE LEVEL 2 STANDARD 5 DANCES. Level 2, Practical & Technical Module Duration: 150 Minutes Refer to ISTD (Ballroom Technique and Viennese Walz Technique) and Elizabeth Romain Reference Publications Questions & Answers, (refer DSA Syllabus Technical References). It is essential that candidates study all publications preceding the Technical Analyses. A sound general knowledge of the Syllabus dances is required. Candidate will be assessed on General, Practical, Theoretical, and Technical knowledge of Standard Dances as required by the DSA Syllabus for Adjudicator Level 2 Standard Style Assessment Criteria Details Assessment Criteria details and a list of Technical Terms is forwarded to the candidate after the application to Branch Executive Officer or Accreditation Officer has been processed. 1.1 Candidate will dance the 5 Standard dances to music with a partner. Specified figures must be included in demonstration. Candidate will only be required to dance as own gender 1.2 Candidate is required to dance solo to music as man or lady, an amalgamation of two or three syllabus figures from any of the Standard 5 Dances, as selected by the assessing panel. 1.3 Candidate will be required to count any figure of each time signature, in Beats and Bars as chosen by the Assessors. 1.4 Candidate will be required to give Beat Values in each of the dances. 1.5 Candidate is required to exhibit a basic understanding of technical terms, and is able to explain, describe and demonstrate competent knowledge of the Technical Terms as indicated on the Assessment Document.
    [Show full text]