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Title: Dance%20Resource%20Guide%202010


1
Dance Resource Guide 2010
  • Dancing is the poetry of the foot. - John
    Dryden

2
Dance 2009/2010
  • We are covering many dance categories this year
    with some of our performances.
  • September 25th 2009 The Southwest Symphony
    brought us the Otero Dance Troupe.
  • December 18th 2009 The Hispano Chamber of
    Commerce is bringing us the Mariachi Dancers.
  • February 16th-19th 2010 The National Dance
    Institute will do a performance with a group of
    Edison Students.
  • March 11th12th 2010 Our Fine Arts Program is
    bringing Mills Elementary and Sanger Elementary
    some Pueblo Dancers for the Pojaque Nation.
  • March 17th 2010 The Maciolek School of Dance is
    bringing us the Irish Dancers.

3
Dance 2009-2010
  • This resource guide contains some background
    information about those diverse types of dances
    so you can discuss it or even try a few with your
    students in PE.
  • You can keep up with our Elementary Dance
    activities on this link
  • Elementary Fine Arts Dance

4
Otero Dance Troupe
  • A Brief History Of Tango, Salsa And Gauchos.
  • TANGO There is no certainty about the origin
    and meaning of the word Tango, since it has many
    interpretations.
  • The dance and its music were born and evolved
    together in the final decade of the 19th century
    in the slums in the outskirts of Buenos Aires
    ,Argentina and in the neighboring Montevideo,
    Uruguay (just across the Rio de la Plata).
  • During its earliest years, from 1880 to 1900, few
    tangos were recorded or committed to paper. But
    during this final quarter of the 19th century was
    born a new generation of musicians who would soon
    take beyond its simple beginnings. These are
    composers of the Guardia Vieja, the old guard.
    From about 1900 to 1920 they develop the tango
    into one of this centurys most romantic and
    beautiful music forms.

5
Otero Dance Troupe
  • During the early years tangos might be played by
    a solo pianist in a café, or by a duo or trio
    with flute, violin and guitars. Around 1920 the
    vocal tango became much more prominent, initially
    propelled by the popularity of folksinger Carlos
    Gardel. An entire genre of vocal tango music
    evolved with lyrics that might be compared to our
    country-western music. During the 1920s as the
    tango become more widely accepted, bands expanded
    to meet this rising popularity.

6
Otero Dance Troupe
  • Through all its history up to the present
    Argentine tango was built by many artists
    writers, musicians, dancers and singers. Each one
    of them had a personal touch, but they all had
    two things in common The love for Buenos Aires
    music and the need of being Tango ambassadors.
  • Beyond doubt, the Tango is the essence of the
    modern soul of dancing, For it is not only a
    dance, it is a style to master the Tango one
    must first master its style, absorb its
    atmosphere. More than anything else, the Tango is
    about a connection, an empathy between two
    people, the need to embrace, and be in the arms
    of another, to escape, albeit for just a brief
    moment in time, and in that moment, to live a
    life time

7
Otero Dance Troupe
  • SALSA Salsa is not easily defined. Though many
    get caught up in the old debate as to who
    invented salsa (Cubans or Puerto Ricans), the
    truth of the matter is that salsa has and will
    always continuo to have a grate number of
    influences that have each played a large part in
    its evolution.
  • Salsa is a distillation of many Latin and
    Afro-Caribbean dances. Each played a large part
    in its evolution. In salsa turns have become an
    important feature Salsa has rhythm, passion,
    soul and many other feeling that you will
    understand and learn the more you get to know
    about it. This syncretism also occurred in
    smaller degrees and with variations in other
    countries like the Dominican Republic, Colombia,
    Puerto Rico and Cuba among others.

8
Otero Dance Troupe
  • New York created the term Salsa, but it did not
    create the dance. The term became popular as
    nickname to refer to a variety of different
    music, from several countries of Hispanic
    influence Rumba, Son Montuno, Guaracha, Mambo,
    Cha cha cha, Danzon, Son, Guaguanco, Guajira,
    Charanga, Cumbia, Bomba, Festejo, Merengue, among
    others. Many of this these has maintained their
    individuality and many were mixed creating
    salsa.
  • Salsa music is a fusion of traditional African
    and Cuban and other Latin-American rhythms that
    traveled from the islands (Cuba and Puerto Rico)
    to New York during the migration, somewhere
    between the 1940s and the 1070s, depending on
    where one puts boundary between real salsa and
    its predecessors.

9
Otero Dance Troupes Instruments
  • Gauchos Theyve been called the wanderers of
    the Pampas (from the Indian word flatland).
    Gauchos have been known to wonder the countryside
    of Argentina as early as the 1600s, time in
    which the Pampas were overpopulated by Cimarron
    cattle, brought to South America by Pedro de
    Mendoza in 1538. At this time and through many
    centuries, cow leather was one of the most traded
    goods between the old world and the colonies. The
    main importance of cattle was not the meat but
    the leather obtained from it.
  • The word gaucho came into existence for the
    first time in 1790 to describe a very rough
    individual, that would travel alone, or sometimes
    with a woman, having as his only baggage, a knife
    called facon. Gauchos belonged to the country
    side. They would be the ones who were familiar
    with all intricacies of the land and their
    animals, as well as the life of the natives they
    would fight. Gauchos would gather together for
    hunting purposes, they were in a good position to
    put to work all they had learned by themselves in
    those lonely moments living in close contact with
    animals. Soon commercial ranches developed that
    needed managers to control cattle production. No
    one can do a better job than the gauchos.
  • Gaucho show The modern gaucho dances are a
    combination of traditional folk dances and a
    modern interpretation incorporating elements used
    in his daily life.

10
Otero Dance Troupes Instruments
  • Bombo A percussion instrument, comparable to a
    drum. The body of the drum is made out of a
    hollow tree, with the mounted skins retaining the
    animal's fur (crude leather), thus producing a
    very distinctive mellow and deep tone.
  • The BOMBO is played with sticks, which strike the
    wooden rims and the head. The Indians used to
    play the BOMBO to communicate with others from
    long distances. Today it is also used as a
    background sound effect in dance acts with
    complex movements and variations.
  • Boleadoras Two ropes with a hard plastic ball at
    the end of each rope (originally made of stone).
    The "boleadoras" follows the beat of the music or
    the rhythm of the "bombo drum, and the "zapateo"
    (gauchos tap dance). The Gauchos hand clapping
    leads the compass of the tempo, the variations,
    and the accentuation of the beats on the floor. A
    hundred years ago these boleadoras were used by
    the Gauchos and the Indians to hunt animals.

11
Otero Dance Troupes other Dances
  • Malambo (gauchos tap) This dance is similar to
    the Flamenco Spanish tap dance it is a
    masculine and energetic dance consisting of
    "zapateo" (tapping with the feet). Traditionally
    it simulates a dispute among the gauchos, the
    main gaucho character challenges the other
    gauchos to see who makes better moves and more
    thunderous taps. The Malambo dance form was born
    in the early 17th century in the Pampas of
    Argentina, and originated as a tournament of
    gaucho (cowboy) skills, danced solely by men.
    Rhythmic, unruly and characterized by virtuoso
    foot work, malambo dancing incorporates an
    amazing series of heel tapping (resembling
    American tap dance), and cepillada (grazing the
    floor with the sole of the foot).
  • Poncho dance Poncho is a red piece of fabric
    made of cotton (wool). The gauchos wear ponchos
    in the winter time to protect themselves from the
    cold weather. The Gaucho uses the poncho in his
    choreography, twirling with the poncho opened,
    in the air, until it looks like a solid flat
    piece.
  • View Pictures of the Event

12
Mariachi Dancers
  • Stomping feet, ringing horns, swirling dresses
    and lively
  • violins fill the air as Mariachi Christmas
    returns to ring in the holiday season.
  • Vibrant music performed by nationally recognized
    Mariachi Monumental de America de Juan Jose
    Almaguer captivates audiences with elegant, and
    energetic performances providing an intense
    experience for traditional, contemporary, and
    classical tastes.
  • The exuberant dancing of Ballet Folklórico Paso
    del Norte brings the sites and sounds of Mexicos
    richly woven traditions of culture and faith to
    vivid life.
  • Feliz Navidad!
  • Presented by Noberta Fresquez Fiestas Unlimited
  • Performed by Mariachi Monumental de America
  • Ballet Folklórico Paso del Norte
  • You can read the full information about the
    Mariachi Christmas at this link
  • Mariachi Teacher Resource Guide

13
Irish Dancers
  • Houston Junior High student Kelly was among more
    than a dozen students who put on a demonstration
    of Irish tap dancing at Jefferson Elementary
    School.
  • The Maciolek School of Dance is one of our school
    districts many active community partners.

14
Irish Step Dancing
  • Step dancing is distinctively Irish, combining
    artistry, grace, and physical ability.
  • It has followed the Irish and Irish missionaries
    wherever they traveled including North America,
    Australia, New Zealand, Brittany, France,
    Singapore, and Africa.
  • Eight measures or bars of music are called a
    step, hence the term step dancing.

15
Irish Step Dancing
  • History records a variety of dances done by
    Irish in the mid 1500s. These include
  • Rinnce Fada or Fading where two lines with
    partners face each other
  • Irish Hey (round or figure dancing)
  • Jigs (likely done in groups with hands on hips)
  • Trenchmores (described as big free form country
    dance)
  • Sword dances. It is thought that the African
    beat and flamenco tapping sounds influenced Irish
    dancing.

16
  • During the 20th century, Irish dance has
    evolved in terms of location, costumes, and dance
    technique. During the period of the dance
    masters, stages were smaller including table
    tops, half doors, and sometimes the stage as
    simply a cross road. Many times the Irish danced
    for enjoyment in small crowded pubs and the foot
    movement had to stay quick and under the body
    with little room to travel. The arms had to stay
    tight to the sides.
  • Early descriptions of dancers sometimes note
    they were barefoot. Soft shoes were introduced
    around 1924 for girls dancing reels, jigs, and
    slip jigs. For awhile boys also wore soft shoes.
  • Dancers have adapted fiberglass toe tips and
    hollow heels. This allows clicks to become
    louder. Some studios use tap shoes because of
    the cost, and so these dancers are called Irish
    tap dancers.
  • There are four types of Irish dancing
  • Jig
  • Reel
  • Hornpipe
  • Set dances.
  • Tunes are lively and quick and reflect the joy
    and passion the Irish have for life.
  • Click on the link below to see last years Irish
    Dance Performance at Jefferson Elementary

Watch the Video
The majority of the information is from an
article written by Don Haurin and Ann Richens
(Richens Academy of Irish Dancing in Ohio).
17
Pueblo Dancers
  • March 11th and 12th 2010 the Pojoaque Pueblo
    Dancers are coming to Sanger and Mills Elementary
    to perform some of their dances as well as
    discuss different parts of their culture.
  • English Pronunciation "Po-wock-ee or
    Po-hock-ee"Traditional Name PO-SUWAE-GEHI-25
    north to Santa Fe, 84/285 north of Santa Fe 15
    miles. There is a sign on the highway.
  • Pojoaque Pueblo is one of the six Northern Tewa
    speaking Rio Grande Pueblos.  Archeological
    studies of the area have dated inhabitation of
    the historic Pojoaque Pueblo area as early as 500
    AD with a large prehistoric population in the
    late fifteenth and early sixteenth centuries. 
  • Pojoaque has always maintained a strong cultural
    identity and was known by its Tewa speaking
    neighbors as Po-suwae-geh the water drinking or
    gathering place.

18
Pueblo Dancers
  • In the early 1600s the first Spanish mission San
    Francisco de Pojoaque was founded.  During the
    Pueblo Revolt of 1680 and pre-Reconquest period
    the Pueblo of Pojoaque was ravaged by external
    pressures and scattered to neighboring tribes. 
    At the time of the Re-Conquest of New Mexico by
    Don Diego de Vargas, the Pueblo of Pojoaque was
    completely deserted.
  • In 1706 Pojoaque Pueblo was resettled by 5
    families.  By 1712 the population reached 79.  By
    the 1800s the land base was being encroached
    upon by non-Indians and an official land grant
    was patented by Abraham Lincoln with the
    presentation of a silver cane of authority to the
    Governor of Pojoaque. 
  • The Pueblo was further devasted by a smallpox
    epidemic, lack of water, encroaching non-Indians,
    and a lack of arable land base for agriculture. 
    Circa 1900 the las Cacique died and Governor Jose
    Antonio Tapia left the reservation for outside
    employment.  The Pueblo of Pojoaque was once
    again abandoned, its people migrating to other
    villages in the region. 

19
Pueblo Dancers
  • In 1934, the Commissioner of Indian Affairs
    issued a call for all Tribal members to return to
    the area.  Under the Indian Re-organization Act,
    14 members of the Tapia, Villarial, Romero, and
    later the Gutierez/Montoya families were awarded
    land grants in the Pueblo land base. 
  • In 1936 the Pueblo of Pojoque became a federally
    recognized Tribal Reservation wutg 11m963 acres
    and current Tribal enrollment at 263 members.
  • Pojoaque is currently undergoing an economic
    renaissance due to Tribal economic development
    efforts in the Pojoaque basin area.  These
    projects include the Pueblos Cities of Gold
    Casino, Tribal and non-Tribal businesses, the
    Poeh Cultural Center and Museum, and the downs
    racetrack in Santa Fe.
  • In 1973, Pojoaque Pueblos progressive approach
    led to the election of the first woman governor
    in the Rio Grande villages, Thelma Talachy.  At
    present the Poeh Cultural Center is responsible
    for undertaking a vocational/educational approach
    to teaching Native Studio art to Indian students
    as part of a process of cultural regeneration. 
  • Annual traditional dances open to the public are
  • Pojoaques Feast Day December 12
  • Reyes Day dances on January 12 on the plaza.

20
Pueblo Dancers
  • All the pictures in the Pueblo Dancer information
    pages were taken at the Gathering of Nations in
    Albuquerque last year where all the pueblos in
    the United States competed.
  • Click on the link below to see the event
  • Watch the Video

21
National Dance Institute
  • The National Dance Institute is coming to Edison
    Elementary the week of February 16th-19th 2010.
  • National Dance Institute (NDI) was founded in the
    belief that the arts have a unique power to
    engage children and motivate them toward
    excellence. Under the artistic direction of Ellen
    Weinstein and a staff of professional
    dancer/choreographers and musician/composers, NDI
    strives to reach every child, transcending
    barriers of language, culture, and physical
    challenges.
  • Since it was founded in 1976 by New York City
    Ballet principal dancer Jacques d'Amboise, NDI
    has impacted the lives of over 2 million
    children.
  • NDI works with mainstream, bilingual, and special
    education classes. Each year, NDI transforms the
    lives of over 35,000 New York City public school
    students, their parents, teachers and local
    communities through classes, residencies and
    performances.

22
National Dance Institute
  • With an education in the performing arts,
    children learn social interaction and develop
    personal standards that become key aspects of
    their lives.
  • Children who are fortunate to have an early
    exposure to elements of the performing arts,
    dance and music during their primary education
    develop confidence in achievement, self
    discipline, learning techniques, social
    interaction, and learn the importance of
    structured routines, and the ability to work
    together that will serve these students well
    through their academic careers and in their
    achievements as adults.
  • The classes provided by NDI are taught by
    professional artists, who work with 3,500
    children for 32 weeks each year in their partner
    schools throughout Manhattan, Brooklyn, and the
    Bronx. The majority of NDI dancers come from
    low-income communities, and all NDI programs are
    offered to children free of charge.
  • This educational experience instills an
    appreciation for dance and music, and other
    important social skills, but also provides much
    more.

23
National Dance Institute
  • In 1976, former NYC Ballet dancer, Jacques
    dAmboise, founded National Dance Institute
    (NDI), a New York City non-profit dedicated to
    motivating public school children to strive for
    excellence through dance.
  • In 1990 Jacques brought NDIs innovative program
    to Santa Fe, New Mexico. In 1994, Catherine
    Oppenheimer, a teacher with NDI in New York,
    relocated to Santa Fe to co-establish National
    Dance Institute of New Mexico (NDI-NM).
  • In 1995, NDI-NM was incorporated as an
    independent nonprofit organization. While we have
    grown to serve thousands of children and their
    families each year, from Shiprock to Las Cruces,
    and from Silver City to Raton, we have also
    attracted an even greater demand for our
    services. Nearly 80 schools remain on the waiting
    list for an opportunity to work with NDI-NM.

24
National Dance Institute
  • The following information was from the NDI
    website and you can find out more about the
    National Dance Institute of New Mexico by
    clicking on the link below
  • National Dance Institute of New Mexico

25
Training Session 1
  • Rhythm Exercises Review
  • New Rhythm Exercises

26
Training Session 2
  • Traditional Mexican Folk Dance
  • Traditional Irish Folk Dance
  • Traditional Pueblo Dancing

27
Training Session 3
  • Model the different dances learned from Training
    Session 1 2 to students at Mills Elementary
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