Swing to Bop

This chapter narrates the radical change in musical tastes and musical revolution of swing to bop, and the challenging positioning of the Nicholases within that musical revolution: the brothers’ insistence on remaining within the swing dance tradition and a musical aesthetic that was aligned with the classic jazz of Duke Ellington. This choice ran counter to the choices of such tap dancers as Teddy Hale, Jimmy Slyde, and members of the Hoofers, who forged a transition to the cadences of bebop. The Nicholas brothers carved a path between these two musical traditions, demonstrating a full-bodied expressiveness in their dancing that was steeped in classical jazz and the quintessence of swing.

Dancing Teachers Into Being With a Garden, or How to Swing or Parkour the Strict Grid of Schooling

The co-authors, collaborators in garden-based teacher education, question the hegemony of grids in Western time, space and relationship structures in education, while also delving into our own complicity and entanglement with these grids. We ask: (1) Can we reject the grid in environmental education and in garden-based learning when it is an intimate part of our way of being in the world? (2) Can we be teachers who are at once within and not-within the regime of the Western Enlightenment/Modernist grid? (3) How can we take a ludic approach to the grid? Can we ‘swing’ and ‘parkour’ the strict grid of schooling? Pleasures and failures of the grid and experiences of alternatives to the grid are documented and exemplified through stories from garden-based teacher education. Considering parallels with principles of the alter-global movement and with the performative, embodied practices of swing dance, parkour and clowning, we meditate on becoming ecological teachers together beside the grid — neither within nor without it, but with a deep awareness of its presence and structure. In uncertain, unchanging times, we want to take a playful, artistic approach to the old certainties and structures, swinging and parkouring from them rather than accepting or rejecting binary formulations.

Activity Levels of College Students Enrolled in Physical Activity Courses

This study examined the amount of PA (physical activity) students obtain during college PA class-es and reasons for enrolling in classes. Accelerometers measured PA levels of participants (n=66) in nineclasses (archery, flying-disc, jogging, karate, spinning, swing dance, weight-training, Tai Chi, yoga) acrosssix time points during one semester. Only one (flying-disc, period 3) of the 54 class periods accumulatedenough PA to meet PA recommendations. Participants indicated reasons (e.g., increase PA) for takingthe courses. Students did not obtain high levels of PA during course meeting times. College PA instructorsshould design courses to maximize time spent in PA.

DESAIN TARI PIRING LENGGOK SI ANAK DAGANG KOREOGRAFER ISKANDAR MUDA

Trade sianak plate swing dance is one dance originating from the Minangkabauthat developed in the city of Medan. The purpose of this study is to discuss theswing sianak Plate Dance Choreographers Trade Iskandar Muda views fromForm, Top Design, Design Floor.In the discussion of this study used the theories related to the topic of study suchas the Theory of Forms of Sal Murgiyanto Dance, Top of the Design Theory andDesign Theory Sudarsono floor of La MeriWhen the study to discuss Plate Dance Dance Choreographer swing sianak TradeIskandar Muda was conducted for two months. Place of research conducted at theStudio Dance Medan State University Faculty of Language and Art jl. IskandarWilliam. Data collection techniques including observation, interviews, literaturestudies and doumentasi, which is then analyzed by qualitative descriptive method.Based on the results of research conducted showed that dance Lenggo plate sianakthis trade is a dance that takes the movements of the Minang community activitiesare generally farmers, and developed into a new creation dance. There aremovements born / inspired by the movements of the flora, fauna and koreomatik.Form of motion which is divided into three energy intensity (weak, medium,strong), space (small and large), and time (slow medium, fast). There are 8 designon frequent / dominant in this dance that Spiral design, symmetrical,asymmetrical, curved, delayed, flat, low, and advanced. There are two designs onthe dance floor that occurred of which this is the floor design of straight lines andcurved lines flooring design. This dance had several times shown by the studiowidatra overseas parts of Asia and Europe, namely: Performance CompetitionCultural North Sumatra on "44" in Debrecen Flower Carnival in on Hungary andBelgrade Serbia Central Europe, and IMT-GT Prince of Songkla University ofThailand, performances which was attended by three countries, namely Malaysia,Thailand and Indonesia Hence dance swing plate sianak this trade very existencein the city of Medan. There are designs and forms of motion which draw heavilyon swing dance sianak Trade Plates Choreographer's Iskandar Muda.

Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture

Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.