File Name: afro caribbean drum and dance .zip
We live in a time of unprecedented access to information about and exposure to cultures from all over the world. The scholarly study of human customs, languages, religious beliefs, social institutions, family life, and so on is the subject of anthropology. The scholarly investigation of the music of different cultures is called ethnomusicology, and encompasses learning about how, why, where, and when music is created, who performs it, and its distinctive features.
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Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. Author notes that in these early descriptions the authors focus obsessively on eroticism, thus simplifying and exaggerating the dances as sexual, and ignoring their variety. Further, he analyses early chronicles on other widespread dances in the circum-Caribbean, such as stick-fighting dances, bamboula, djouba, and belair, comparing with present-day Caribbean dances, and on "challenge dancing" involving a dance soloist "challenged" by a lead drummer, found, for instance, in kalenda and rumba.
In addition, the author focuses on the dances' musical accompaniment by drums, and the drum types and methods, specifically transverse drumming and drumming with sticks on the side of the drum, found today in kalenda, and other Caribbean styles. He points at the inaccuracy of some chronicles, mixing up dance names, and recurring superficiality and stereotypes.
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African music , the musical sounds and practices of all indigenous peoples of Africa, including the Berber in the Sahara and the San Bushmen and Khoikhoin Hottentot in Southern Africa.
Dance educators at every level are aligning their teaching with wider educational goals. The general education movement in higher education, as well as the standards movement in the public schools, ask us to focus on student learning objectives that require analysis, critical thinking, multi-cultural awareness, and student engagement with social problems. This paper describes the pedagogical approach to Afro-Caribbean Dance at Bronx Community College, where the class combines a studio and lecture component. The integration of movement lessons, lectures, and writing assignments is discussed, focusing on addressing these broader educational concerns and motivating student activism. Bronx Community College is a two-year community college in New York City where Afro-Caribbean dance is offered as an elective, open to all students.
African dance also known popularly as "Afro" refers mainly to the dance of Sub-Saharan Africa , and more appropriately African dances because of the many cultural differences in musical and movement styles. These dances must be viewed in close connection with Sub-Saharan African music traditions and Bantu cultivation of rhythm. African dance utilizes the concept of as well as total body articulation. Dances teach social patterns and values and help people work, mature, praise or criticize members of the community while celebrating festivals and funerals, competing, reciting history, proverbs, and poetry; and to encounter gods.
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It communicates to performers and observers alike, either independently or interdependently, in a nonverbal, multichanneled manner. As a form of aesthetic, social behavior within hundreds of African and African-derived societies, dancing is revered for its individual as well as group benefits. African diaspora dance performance is centered within the articulate human body. Even though the dancing body yields essentially expressive culture from the aesthetic domain, it is often a nexus to religious, political, and even economic dimensions of social life. In one of the earliest
The best anthology to date of Caribbean rhythms for today's drummers. Over grooves from ten Caribbean nations, arranged for the drumset. Text in both English and French. Includes CD download with audio examples of each rhythm, plus a video of the author demonstrating 10 of the grooves. While the beats are authentic, there is a freshness with which Jean-Philippe plays and teaches these rhythms.
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Не упусти. - Спасибо, шеф. Голос шефа из смешливого вдруг стал жестким: - Сьюзан, я звоню потому, что ты нужна мне .
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Нуматака в очередной раз посмотрел на часы. Американец по кличке Северная Дакота должен был бы уже позвонить. Нуматака начал слегка нервничать. Он очень надеялся, что ничего не сорвалось. Если ключ так хорош, как о нем говорят, он взломает самый совершенный продукт компьютерной эры - абсолютно стойкий алгоритм цифрового кодирования.
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