Lindy hop is an African-American dance that originated in the Savoy Ballroom Harlem, New York in 1926. It is a mix of different dances including the Charleston, Jazz and Tap. The dance came around the time that Jazz music evolved and is a member of the swing dance family. It is a partner dance that consists of both 8 and 6 count steps and is quite fast. The dance style involved many kicks flicks and turns.
In contrast to the smooth strokes in the old-school jazz dance, the hand and feet switches and transition movements are swift in street jazz. They may be different in some ways but all three forms contain the same basic elements, and still use the foundation of ballet. the 1930’s, and was lead by amazing artists such as Count Basie, Duke
Swing music was dance music performed by big bands and featured complex solo improve acts by some of the best musicians in the scene. Swing was broadcast on the radio from coast to coast nightly and many Americans would tune in to dance all night to the upbeat tempo. In the 1930s, the Kansas City Jazz movement marked the transition from the big band style usually seen to the more improvised bebop. Bebop started to emerge in the 1940s and shifted from the danceable styles like swing, to more of a challenging musician’s music. Differing greatly from swing music, bebop was music that was supposed to be enjoyed by listening to and not danced to.
These amusing rides attract all different types of people. Its trilling nature what makes rollercoasters the main attraction at most amusement parks. Most rollercoasters are known as big thriller rides, and are many fans’ favorites. People from near and far visit Six Flags for the sole purpose of getting a chance of riding these high flying attractions. Lines are usually very long for high intensity rides, but the anticipation that is created waiting in lines are a thrill itself.
Fall 2012 Choreographers’ Showcase I had the pleasure to attend the Fall 2012 Choreographers’ Showcase presented by Austin Community Colleges’ Dance Department. The location of the performance was at the Rio Grande auditorium on Friday, December 7. I am going to discuss the three dances that stood out to me, which are “Missing”, “Falling, Catching”, and “The Catcher”. The dance titled “Missing” is a contemporary piece choreographed by Roman Morgan. The music is an instrumental piece by Max Richter, and the costumes were black and red all different styles but with corresponding fabric.
While viewing this piece the tone or quality that I feel is one that is very tribal or simple. The dancing does not come across as very complex although it very well may be. The first movement I noticed was a performer leaping suddenly into the air. This reminded me of a bird taking off for flight. Another movement I noticed was the performers tip-toeing very quickly.
Alvin Ailey’s: Revelations is a Gospel Performance show. Alvin Ailey was an American choreographer who founded the Alvin Ailey American Dance Theater in New York City. He was known for popularizing modern dance and brining forth the participation of African-American in the 1900s. Ailey's choreographic masterpiece Revelations is believed to be the best known and most often seen modern dance performance. In Revelations, there are seven sections that we watched in class.
Gene Kelly choreographed several dance and drama films, one called “An American in Paris” (1951). Michael Kidd is also an outstanding choreographer, who produced motion picture choreographer, in which dance further is the story line. Debbie Reynolds was another familiar name in movie musicals of the 1950’s. She was not a trained dancer but had great stage charisma. Her breakthrough in 1950 was in “Two Weeks with Love”, starring
The dance and drawing sound became so big that people worldwide fell in love with dance. The dance is rather simple and can be very fun to participate in. 1. Have lots of rhythm be loose and remember it is repetitive. 2.
Most historians mark this production as the beginning of minstrelsy. The form was so natural, it seemed improvised – and, in fact. much of the evening, because of the talents of the four, was. But most of all, there was exuberance and excitement. The minstrels, in their wide-eyed, large-lipped, ragged-costumed absurdity, rolled onto the stage in a thundercloud of energy which hardly ever dissipated.