*RAGTIME* a six week series Thursdays 4.7.16 – 5.12.16 8:35 -10pm

$68.00 not inc. tax

4 in stock

Description

WHEN: Thursdays April 7th -May 12th 2015 8:35-10pm

WHERE: Centered City Yoga  926 900 S, Salt Lake City, UT 84105

WHAT TO EXPECT: Once upon a time in not so far away era, there was a musical movement called *ragtime.  Within this series we will be dancing our way back in time to review this revolution era.  Meeting the women that shaped this dance history, and learning certain dances from this era.    Reviewing how ragtime music shaped a culture of dance liberation for women across the globe.  There is a reason why so many of us are still to this day, influenced by the 1920’s.  We will also take a look at how this movement shaped Tribal Fusion Belly Dance as we know it,  in a major way. You will gain an understanding of where your dance roots come from, and how exciting and elegant yet also messy, RAW, wild and fun this dance history really is.

Expect a yoga warm up and cool down, all that sign up for this series will receive a free cd of the music for this course!!

 

HOW MUCH: $68  non refundable yet maybe transferable **

WHAT TO WEAR: Comfortable clothes you can move freely in dance or yoga pants and for this series please feel free to get creative with what you’d like to wear.  If you have a skirt of wrap you feel fits the era bring it on.

 

*** Please note, no spaces will be held for this series, you must sign up on line or in person with Trisha to save your spot for the series.  To secure your spot in class, full tuition must be payed before the start of the first class.

 

*At the end of the nineteenth century, the growing influence of a new kind of popular music substantially changed the nature of dance. Ragtime had become a popular American style of music, chiefly composed for the piano, that flourished between 1890 and World War I. The sparkling and intoxicating rhythms of ragtime, with music by composers such as Scott Joplin, ushered in an era of expressive ballroom dancing, with dances that did not need formal training but which encouraged individualism. The first of these, the cakewalk–a strutting dance of African-American origins–with its imagined scandalous rhythms, was never performed by middle and upper class ballroom dancers in its original, vibrantly competitive form. Yet it did find its way into the stately quadrille and was, therefore, performed in some variation by a new generation of dancers.

By the turn of the twentieth century, key elements of society were also beginning to change, especially the roles of women. No longer the shrinking violets of the romantic era, women were becoming more physically active. Women joined men in playing tennis, bicycling, and mountain climbing. As early as the 1850s, a few brave writers such as Mrs. Alfred Webster (Dancing, as a means of physical education, 1851) had encouraged women to exercise. In the 1870s, numerous manuals were dedicated to “physical culture,” for example Coulon’s Coulon’s hand-book (1873), which contained exercises with poles, dumbbells, and elastics. Charbonnel’s 1899 La danse also encouraged exercise. Frank Leslie Clendenen’s 1919 The art of dancing placed great emphasis on physical fitness and included exercises, along with many alternative suggestions for healthy bodies, including pantomime, dramatic posture dances, Italian body exercises, and rhythmic dancing.

Freed from the binding constraints of tight corsets and the large puffed sleeves and long skirts that characterized dress during the late Victorian era, a new generation of dancers was swaying, hugging, and grinding to the new rhythms in dances, such as the Turkey Trot, Bunny Hug, and Grizzly Bear, shown in a photograph from P. Gavina’s 1922 Balli di ieri e balli d’oggi.