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#RAMAYANA SDCC PANEL REACTION: TRAILER IS FIRE, BUT DANCE PERFORMANCE DISAPPOINTS! 💥 Creator praised the team's enthusiasm & trailer, but called the ending dance choice a major letdown given India's rich culture! 🎭✨ "The cast & crew were so passionate, but that end dance performance... India has thousands of... show more

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124,298 次观看 • 6 天前 •via X (Twitter)

艺术教育新闻政治 #RAMAYANA

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To her students, Dr. Meenu is more than a professor — she is a mentor, a guide, and a campus mom far away from home. ❤️ So when her students requested a dance performance, she happily said yes. Blending grace, culture, and joy, she reminded everyone that health is not just about fitness, but also about happiness, connection, and staying true to your roots. And as she twirled with a smile on her face and fire in her spirit, she proved something beautiful — age is never a limit when the heart is young, the soul carries rhythm, and the passion to inspire others never fades. ✨ Credits : minikandari97 | meenu_unofficial on IG #WomenInspiringWomen #AgeIsJustANumber #IndianCulture #DanceWithJoy #TheBetterIndia [Ghoomar Dance Performance, Inspiring Woman Professor, Age Is Just A Number, Cultural Dance Inspiration]

To her students, Dr. Meenu is more than a professor — she is a mentor, a guide, and a campus mom far away from home. ❤️ So when her students requested a dance performance, she happily said yes. Blending grace, culture, and joy, she reminded everyone that health is not just about fitness, but also about happiness, connection, and staying true to your roots. And as she twirled with a smile on her face and fire in her spirit, she proved something beautiful — age is never a limit when the heart is young, the soul carries rhythm, and the passion to inspire others never fades. ✨ Credits : minikandari97 | meenu_unofficial on IG #WomenInspiringWomen #AgeIsJustANumber #IndianCulture #DanceWithJoy #TheBetterIndia [Ghoomar Dance Performance, Inspiring Woman Professor, Age Is Just A Number, Cultural Dance Inspiration]

The Better India

18,612 次观看 • 2 个月前

kinjaz's mike song talks about hanging out with bailey sok and #jacksonwang during the kcon weekend in la, and highlighted their respect for dance "..and then you have jackson in the room, who is this other wild titan who, you know, his version is in pushing for dances. and he joined kinjaz after being an artist, after being a globally recognized artist. he joins the crew, and i know a lot of people might think that that's just something he says, but beyond having the kinjaz choreographer dance behind him, he is literally down to be a member of the crew. he has actually performed as a kinja fully masked, and just as a member of the crew. he did that by choice, because he wanted to have that experience, and not be "jackson" in front of the kinjaz. he literally, you can look it up, if you look at our cartier x kinjaz trinity performance from last year, that was a whole event that was produced by jackson and his team, but the guest performance was by kinjaz, and jackson is performing just as one of the crew members in that. he's not a musical performance, he's picking up props and pushing... he's literally lifting dancers and literally being a crew member. and i just say that, i bring that up in this overarching theme, as like, i think he's just another person where i want to give flowers to for putting dance on that level and being down to just be a part of the crew and respect dance on that level. and i feel like, yeah, i just want to give my flowers to jackson and bailey as fellow kinjaz, but also, like, global titans that are really pushing the envelope for dance, and it really makes me hopeful and grateful that we're in this kind of chapter."

kinjaz's mike song talks about hanging out with bailey sok and #jacksonwang during the kcon weekend in la, and highlighted their respect for dance "..and then you have jackson in the room, who is this other wild titan who, you know, his version is in pushing for dances. and he joined kinjaz after being an artist, after being a globally recognized artist. he joins the crew, and i know a lot of people might think that that's just something he says, but beyond having the kinjaz choreographer dance behind him, he is literally down to be a member of the crew. he has actually performed as a kinja fully masked, and just as a member of the crew. he did that by choice, because he wanted to have that experience, and not be "jackson" in front of the kinjaz. he literally, you can look it up, if you look at our cartier x kinjaz trinity performance from last year, that was a whole event that was produced by jackson and his team, but the guest performance was by kinjaz, and jackson is performing just as one of the crew members in that. he's not a musical performance, he's picking up props and pushing... he's literally lifting dancers and literally being a crew member. and i just say that, i bring that up in this overarching theme, as like, i think he's just another person where i want to give flowers to for putting dance on that level and being down to just be a part of the crew and respect dance on that level. and i feel like, yeah, i just want to give my flowers to jackson and bailey as fellow kinjaz, but also, like, global titans that are really pushing the envelope for dance, and it really makes me hopeful and grateful that we're in this kind of chapter."

𝐣𝐨𝐲𝐜𝐞

11,906 次观看 • 11 个月前

For new Jimin's fans (SOLO or ARMY) Do not believe the misconception that JM's dance experience is limited to ballet & contemporary only. Since the age of 10/11, Jimin has been studying hip-hop, his first love, at the renowned Just Dance Academy during middle school. His teacher even vouched for him, waiving tuition fees due to the academy's high costs, as they didn’t want to lose a student with such exceptional talent &potential. This experience might be a key reason why JM is passionate abt donating to schools to support other students. Jimin also excels in popping, locking & isolation moves and has won numerous dance competitions. The media dubbed him "The Rising Star of Busan" after his performance at the Busan Festival. In addition to hip-hop, Jimin studied ballet, traditional Korean dance, and contemporary, but his primary passion was hip-hop. Here are videos of Jimin competing in several freestyle dance competitions at a very young age. He was incredibly talented even back then!😍🔥👏👏

For new Jimin's fans (SOLO or ARMY) Do not believe the misconception that JM's dance experience is limited to ballet & contemporary only. Since the age of 10/11, Jimin has been studying hip-hop, his first love, at the renowned Just Dance Academy during middle school. His teacher even vouched for him, waiving tuition fees due to the academy's high costs, as they didn’t want to lose a student with such exceptional talent &potential. This experience might be a key reason why JM is passionate abt donating to schools to support other students. Jimin also excels in popping, locking & isolation moves and has won numerous dance competitions. The media dubbed him "The Rising Star of Busan" after his performance at the Busan Festival. In addition to hip-hop, Jimin studied ballet, traditional Korean dance, and contemporary, but his primary passion was hip-hop. Here are videos of Jimin competing in several freestyle dance competitions at a very young age. He was incredibly talented even back then!😍🔥👏👏

VOTE FOR JIMIN¹³ (VFJ)

42,005 次观看 • 1 年前

Belly dancing history crosses many cultural boundaries, getting its start in Middle East and Africa, and moving on to evolve in western cultures as both a form of cultural dance and exotic entertainment. In 21st Century, genre has gained considerable popularity all around the world. Belly dance, an exotic form of dance that has a rich history that dates back over 6000 years. Some people consider ‘Oriental dance’ to be a dance of seduction, whilst others believe that belly dance originated as fertility ritual. Throughout Middle Eastern history, belly dance has been performed at special celebrations and occasions like weddings, birth announcements, and festivals. All over the world, belly dancing courses are taught to teach freedom of movement and to empower women to love their bodies and to have more confidence. Term "belly dance" a westernized name that originally referred to traditional Middle Eastern dancing. Earliest forms of belly dance were Egyptian ghawazi dance during 19th Century and Raqs Sharqi, an Arabic dance of 20th Century. Despite Egypt's location in Africa and contributions from other nations such as France, Turkey and United States, term belly dance is usually used today to include all traditional dances of Middle Eastern region, including those not geographically situated there. French explorers travelling in Egypt, in 18th Century CE, witnessed dancers performing an exotic dance that they decided to call ‘dance du ventre’ (dance of the stomach). In 1893 CE, promoter Sol Bloom, introduced belly dance to America, at Chicago World’s Fair. In those days, it was considered to be daring if a woman revealed so much as an ankle. Belly dance was therefore initially seen as being risqué and shocking. Interest in intriguing dance grew and quickly spread to other cities. Westernised form of belly dance grew in popularity following Hollywood film industry’s involvement in publicising dance as a form of entertainment. Egyptian dancers Tahia Carioca and Samia Gamal wore elaborate belly dance costumes in their movies and became international stars. Belly dance has been active in Turkey since 1400s, when travelling tribes known as ‘chengis’ performed on streets. Today, chengis still dance to entertain tourists and perform a style of belly dance that is authentically Turkish. In traditional Muslim society, women often gathered to perform a dance in evening. Known as Raks sharki (dance of the East), this type of belly dance helped women to ready stomach muscles for childbirth, and was also danced by young women to display their readiness for marriage. In present-day Egypt, it’s customary to hire a belly dancer to perform at a wedding, in order to bless happy couple with a fertility ritual blessing. In Egypt, belly dance performers used props like veils, canes and swords to entertain public on streets and during festivals and religious celebrations. Before 20th Century CE, public dance was not something that was tolerated by authorities, but it was accepted as part of cultural tradition. After this time, belly dancers performed at weddings, nightclubs and at other events. It was these Egyptian performers who popularised skirt and beaded bra (bedlah) that is widely accepted as being traditional belly dance costume of today. 🎥 : Helena Vlahos performing her Nine Quarters Belly Dance Act, 1979 ... #archaeohistories

Belly dancing history crosses many cultural boundaries, getting its start in Middle East and Africa, and moving on to evolve in western cultures as both a form of cultural dance and exotic entertainment. In 21st Century, genre has gained considerable popularity all around the world. Belly dance, an exotic form of dance that has a rich history that dates back over 6000 years. Some people consider ‘Oriental dance’ to be a dance of seduction, whilst others believe that belly dance originated as fertility ritual. Throughout Middle Eastern history, belly dance has been performed at special celebrations and occasions like weddings, birth announcements, and festivals. All over the world, belly dancing courses are taught to teach freedom of movement and to empower women to love their bodies and to have more confidence. Term "belly dance" a westernized name that originally referred to traditional Middle Eastern dancing. Earliest forms of belly dance were Egyptian ghawazi dance during 19th Century and Raqs Sharqi, an Arabic dance of 20th Century. Despite Egypt's location in Africa and contributions from other nations such as France, Turkey and United States, term belly dance is usually used today to include all traditional dances of Middle Eastern region, including those not geographically situated there. French explorers travelling in Egypt, in 18th Century CE, witnessed dancers performing an exotic dance that they decided to call ‘dance du ventre’ (dance of the stomach). In 1893 CE, promoter Sol Bloom, introduced belly dance to America, at Chicago World’s Fair. In those days, it was considered to be daring if a woman revealed so much as an ankle. Belly dance was therefore initially seen as being risqué and shocking. Interest in intriguing dance grew and quickly spread to other cities. Westernised form of belly dance grew in popularity following Hollywood film industry’s involvement in publicising dance as a form of entertainment. Egyptian dancers Tahia Carioca and Samia Gamal wore elaborate belly dance costumes in their movies and became international stars. Belly dance has been active in Turkey since 1400s, when travelling tribes known as ‘chengis’ performed on streets. Today, chengis still dance to entertain tourists and perform a style of belly dance that is authentically Turkish. In traditional Muslim society, women often gathered to perform a dance in evening. Known as Raks sharki (dance of the East), this type of belly dance helped women to ready stomach muscles for childbirth, and was also danced by young women to display their readiness for marriage. In present-day Egypt, it’s customary to hire a belly dancer to perform at a wedding, in order to bless happy couple with a fertility ritual blessing. In Egypt, belly dance performers used props like veils, canes and swords to entertain public on streets and during festivals and religious celebrations. Before 20th Century CE, public dance was not something that was tolerated by authorities, but it was accepted as part of cultural tradition. After this time, belly dancers performed at weddings, nightclubs and at other events. It was these Egyptian performers who popularised skirt and beaded bra (bedlah) that is widely accepted as being traditional belly dance costume of today. 🎥 : Helena Vlahos performing her Nine Quarters Belly Dance Act, 1979 ... #archaeohistories

Archaeo - Histories

13,395 次观看 • 10 个月前

The Trump Dance: From SNL Skit to Cultural Phenomenon The Trump Dance has become a fixture in political rallies and sports celebrations, sending the left into fits of seething rage when they witness it. But its roots trace back to an unexpected place: a comedy skit on Saturday Night Live in April 2004. Here's how President Trump's unique dance moves evolved into the global cultural phenomenon known today as the Trump Dance. The Origin: Back in the dark ages of 2004, before liberals knew how to use their safe spaces, Donald Trump, the mastermind who would later make America great again, appeared on Saturday Night Live. In a skit called "Donald Trump's House of Wings," Trump, dressed in a suit that was more blinding than a solar eclipse, did what can only be described as the Dance of the Chicken King. The skit featured Trump dancing alongside SNL cast members dressed as chickens, performing to a parody of the Pointer Sisters' hit song "Jump." It opened with Trump uttering his now infamous line: "Cock-a-doodle-doo folks, I'm Donald Trump." This dance, characterized by side-to-side hip movements and fist-pumping, was comedic and memorable, showcasing Trump's self-deprecating humor. From Skit to Political Rally: Fast forward to Trump's presidential campaigns, particularly in 2020, where the Trump Dance took on a life of its own. At his rallies, Trump would engage in similar dance moves, especially to the Village People’s "Y.M.C.A.," which he humorously dubbed the "gay national anthem." These moments, captured and shared widely on social media, turned into a signature move, reflecting his persona of being non-conforming yet confident, much like his political style. The Sports Connection: The dance permeated popular culture when it was adopted by athletes, particularly in the NFL. Following Trump's victory in the 2024 election, players like Nick Bosa, Za'Darius Smith, and others began performing the "Trump Dance" as a celebration after significant plays during games. This trend was highlighted around November 2024, when Trump's dance moves to "Y.M.C.A." at a rally in Grand Rapids, Michigan, just before the election, were mimicked by athletes. After scoring, instead of the usual woke celebrations, these patriots would break into the Trump Dance, which looked like a beautiful fusion of freedom and defiance. It was like watching the Declaration of Independence being signed, but with better rhythm. These performances went viral, turning the Trump Dance into the meme that makes Democrats' blood boil. Public Reaction and Cultural Impact: The dance reflects how political figures can become part of meme culture, where actions are often detached from their original context and repurposed for entertainment or commentary. The Trump Dance elicits a range of reactions. For most, it's a source of amusement, highlighting Trump's unique charisma and dance skills. For TDS victims, it represents a polarizing figure's influence extending dangerously into areas like sports and entertainment Conclusion: The Trump Dance isn't just a cultural phenomenon. It's the troll move that keeps on giving. Whether this dance will be forgotten or will continue to haunt the nightmares of liberals, only time will tell. But for now, each time someone does the Trump Dance, they're not just celebrating. They're sticking it to the woke crowd, one fist pump at a time.

The Trump Dance: From SNL Skit to Cultural Phenomenon The Trump Dance has become a fixture in political rallies and sports celebrations, sending the left into fits of seething rage when they witness it. But its roots trace back to an unexpected place: a comedy skit on Saturday Night Live in April 2004. Here's how President Trump's unique dance moves evolved into the global cultural phenomenon known today as the Trump Dance. The Origin: Back in the dark ages of 2004, before liberals knew how to use their safe spaces, Donald Trump, the mastermind who would later make America great again, appeared on Saturday Night Live. In a skit called "Donald Trump's House of Wings," Trump, dressed in a suit that was more blinding than a solar eclipse, did what can only be described as the Dance of the Chicken King. The skit featured Trump dancing alongside SNL cast members dressed as chickens, performing to a parody of the Pointer Sisters' hit song "Jump." It opened with Trump uttering his now infamous line: "Cock-a-doodle-doo folks, I'm Donald Trump." This dance, characterized by side-to-side hip movements and fist-pumping, was comedic and memorable, showcasing Trump's self-deprecating humor. From Skit to Political Rally: Fast forward to Trump's presidential campaigns, particularly in 2020, where the Trump Dance took on a life of its own. At his rallies, Trump would engage in similar dance moves, especially to the Village People’s "Y.M.C.A.," which he humorously dubbed the "gay national anthem." These moments, captured and shared widely on social media, turned into a signature move, reflecting his persona of being non-conforming yet confident, much like his political style. The Sports Connection: The dance permeated popular culture when it was adopted by athletes, particularly in the NFL. Following Trump's victory in the 2024 election, players like Nick Bosa, Za'Darius Smith, and others began performing the "Trump Dance" as a celebration after significant plays during games. This trend was highlighted around November 2024, when Trump's dance moves to "Y.M.C.A." at a rally in Grand Rapids, Michigan, just before the election, were mimicked by athletes. After scoring, instead of the usual woke celebrations, these patriots would break into the Trump Dance, which looked like a beautiful fusion of freedom and defiance. It was like watching the Declaration of Independence being signed, but with better rhythm. These performances went viral, turning the Trump Dance into the meme that makes Democrats' blood boil. Public Reaction and Cultural Impact: The dance reflects how political figures can become part of meme culture, where actions are often detached from their original context and repurposed for entertainment or commentary. The Trump Dance elicits a range of reactions. For most, it's a source of amusement, highlighting Trump's unique charisma and dance skills. For TDS victims, it represents a polarizing figure's influence extending dangerously into areas like sports and entertainment Conclusion: The Trump Dance isn't just a cultural phenomenon. It's the troll move that keeps on giving. Whether this dance will be forgotten or will continue to haunt the nightmares of liberals, only time will tell. But for now, each time someone does the Trump Dance, they're not just celebrating. They're sticking it to the woke crowd, one fist pump at a time.

Twin

262,724 次观看 • 1 年前

#SEONGHWA about today's stage at the 2025 AAA ⭐️: I felt pressure because I was performing in front of someone who used to be my idol (IU), but since I prepared so hard for it, I did have confidence. But after the performance, I monitored it and in the first line I did one little pitch mistake. At least that’s how it felt for me, so… 🐶: It didn't show~! ⭐️: Yes.. I only realized it after I finished bc I was so immersed in the performance… so yeah, that’s what happened. 🐶: no but that.. ⭐️: it was a bit.. 🐶: everything's okay, it wasn't noticeable! ⭐️: I was a bit embarrassed… I felt embarrassed. 🐶: no.. it's because the members, I'm like that too, but on stage… when I go in, from the very beginning, from the intro, San is like that as well.. everyone looks at me with this sharp, cold gaze. Maybe it's because we all go in with that hyped-up and intense mood, yeah… (Reading a comment) "I was so excited because of the performance that I didn’t notice at all." ⭐️: Mm well, some people might have noticed and some might not, but still… What should I say? 🐶: But your dance break today was really cool, hyung ⭐️: I did my best. I really did my best, but I’ll make up for what was lacking today and show an even better performance tomorrow. 🐶: And today Seonghwa hyung had the center part in the dance break right? Yes, that was cool. ⭐️: Once again, after a long time... I ate well! 🐶: Yes, Seonghwa hyung practiced a lot to perfect the dance break center part. ⭐️: For Man On Fire as well.. that last part 🐶: For this stage hyung got all the dance breaks ⭐️: Oh, that's right.. The Man On Fire dance break was a genre we were doing for the first time back then, so it was a bit difficult. But as we performed it in this concert (tour), I became more familiar with it. Because of that, I think I could do it with a bit more confidence this time. 🐶: Each member has a different vibe when they take the dance center. Doesn't Seonghwa hyung have his own unique vibe? Like, restrained but still leaving that ‘killing part’ kind of vibe? ⭐️: Honestly, I’m still lacking a lot. 🐶: Oh, come on.. each member has their own dance-center vibe, but Seonghwa hyung seems to blend them all together? ⭐️: Like a chameleon, doing all sorts of different things right? 🐶: Yes yes.. that's very charming ⭐️: I really like mimicking the teachers’ dance styles too, so that’s why. Anyway, I had no regrets on stage, I had lots of fun. Also, I was happy to be able to show such a cool stage in front of ATINYs. Receiving the awards was great and it also was really good to perform on such a big stage. Personally, performing in front of seniors I admire was very meaningful. It gave me a bit more motivation. 🐶: That's right, Seonghwa hyung really respects that senior after all. ⭐️: I was so nervous.. 🐶: That’s totally understandable, I’d feel the same way in that situation.

#SEONGHWA about today's stage at the 2025 AAA ⭐️: I felt pressure because I was performing in front of someone who used to be my idol (IU), but since I prepared so hard for it, I did have confidence. But after the performance, I monitored it and in the first line I did one little pitch mistake. At least that’s how it felt for me, so… 🐶: It didn't show~! ⭐️: Yes.. I only realized it after I finished bc I was so immersed in the performance… so yeah, that’s what happened. 🐶: no but that.. ⭐️: it was a bit.. 🐶: everything's okay, it wasn't noticeable! ⭐️: I was a bit embarrassed… I felt embarrassed. 🐶: no.. it's because the members, I'm like that too, but on stage… when I go in, from the very beginning, from the intro, San is like that as well.. everyone looks at me with this sharp, cold gaze. Maybe it's because we all go in with that hyped-up and intense mood, yeah… (Reading a comment) "I was so excited because of the performance that I didn’t notice at all." ⭐️: Mm well, some people might have noticed and some might not, but still… What should I say? 🐶: But your dance break today was really cool, hyung ⭐️: I did my best. I really did my best, but I’ll make up for what was lacking today and show an even better performance tomorrow. 🐶: And today Seonghwa hyung had the center part in the dance break right? Yes, that was cool. ⭐️: Once again, after a long time... I ate well! 🐶: Yes, Seonghwa hyung practiced a lot to perfect the dance break center part. ⭐️: For Man On Fire as well.. that last part 🐶: For this stage hyung got all the dance breaks ⭐️: Oh, that's right.. The Man On Fire dance break was a genre we were doing for the first time back then, so it was a bit difficult. But as we performed it in this concert (tour), I became more familiar with it. Because of that, I think I could do it with a bit more confidence this time. 🐶: Each member has a different vibe when they take the dance center. Doesn't Seonghwa hyung have his own unique vibe? Like, restrained but still leaving that ‘killing part’ kind of vibe? ⭐️: Honestly, I’m still lacking a lot. 🐶: Oh, come on.. each member has their own dance-center vibe, but Seonghwa hyung seems to blend them all together? ⭐️: Like a chameleon, doing all sorts of different things right? 🐶: Yes yes.. that's very charming ⭐️: I really like mimicking the teachers’ dance styles too, so that’s why. Anyway, I had no regrets on stage, I had lots of fun. Also, I was happy to be able to show such a cool stage in front of ATINYs. Receiving the awards was great and it also was really good to perform on such a big stage. Personally, performing in front of seniors I admire was very meaningful. It gave me a bit more motivation. 🐶: That's right, Seonghwa hyung really respects that senior after all. ⭐️: I was so nervous.. 🐶: That’s totally understandable, I’d feel the same way in that situation.

Everything Seonghwa

61,750 次观看 • 7 个月前

The Lindy Hop scene in Hellzapoppin' (1941) in full color. -History Of The Lindy Hop Dance- On May 21st 1927 the Lindy Hop dance was publicly introduced to the world. The Lindy hop is an African American dance which was born in Harlem, New York City. On that date, the Lindbergh Spirit of St. Louis airplane completed the first transatlantic flight by air, the Newspaper reported “Lindy Hops the Atlantic” and the dance style adopted the headline. The dance has evolved since then with the jazz music of that time and was very popular during the swing era of the late 1930s and early 1940s. Lindy was a fusion of many dances that preceded it or were during its development but is mainly based on jazz, tap, breakaway, and Charleston. It is frequently described as a jazz dance and is a member of the swing dance family. In its development, the Lindy hop combined elements of both partnered and solo dancing by using the movements and improvisation of African dances along with the formal eight-count structure of European partner dances most clearly illustrated in the Lindy's basic step, the swing-out. In this step's open position, dancers generally connected hand-to-hand; in its closed position, leads and follows are connected as though in an embrace on one side and holding hands on the other. Lindy hop is sometimes referred to as a street dance, referring to its improvisational and social nature. On March 27, 1932, twelve-year-old Norma Miller did the Lindy hop outside the Savoy Ballroom with her friends for tips. In 1935, 15,000 people danced on Bradhurst Avenue for the second of a dance series held by the Parks Department. Between 147th and 148th street, Harlem "threw itself into the Lindy hop with abandon" as Sugar Hill residents watched from the bluffs along Edgecombe Avenue. There was renewed interest in the dance in the 1980s from American, Swedish, and British dancers and the Lindy hop is now represented by dancers and loosely affiliated grass-roots organizations globally.

The Lindy Hop scene in Hellzapoppin' (1941) in full color. -History Of The Lindy Hop Dance- On May 21st 1927 the Lindy Hop dance was publicly introduced to the world. The Lindy hop is an African American dance which was born in Harlem, New York City. On that date, the Lindbergh Spirit of St. Louis airplane completed the first transatlantic flight by air, the Newspaper reported “Lindy Hops the Atlantic” and the dance style adopted the headline. The dance has evolved since then with the jazz music of that time and was very popular during the swing era of the late 1930s and early 1940s. Lindy was a fusion of many dances that preceded it or were during its development but is mainly based on jazz, tap, breakaway, and Charleston. It is frequently described as a jazz dance and is a member of the swing dance family. In its development, the Lindy hop combined elements of both partnered and solo dancing by using the movements and improvisation of African dances along with the formal eight-count structure of European partner dances most clearly illustrated in the Lindy's basic step, the swing-out. In this step's open position, dancers generally connected hand-to-hand; in its closed position, leads and follows are connected as though in an embrace on one side and holding hands on the other. Lindy hop is sometimes referred to as a street dance, referring to its improvisational and social nature. On March 27, 1932, twelve-year-old Norma Miller did the Lindy hop outside the Savoy Ballroom with her friends for tips. In 1935, 15,000 people danced on Bradhurst Avenue for the second of a dance series held by the Parks Department. Between 147th and 148th street, Harlem "threw itself into the Lindy hop with abandon" as Sugar Hill residents watched from the bluffs along Edgecombe Avenue. There was renewed interest in the dance in the 1980s from American, Swedish, and British dancers and the Lindy hop is now represented by dancers and loosely affiliated grass-roots organizations globally.

AFRICAN & BLACK HISTORY

313,379 次观看 • 1 年前

The Lindy Hop scene in Hellzapoppin' (1941) in full color. -History Of The Lindy Hop Dance- On May 21st 1927 the Lindy Hop dance was publicly introduced to the world. The Lindy hop is an African American dance which was born in Harlem, New York City. On that date, the Lindbergh Spirit of St. Louis airplane completed the first transatlantic flight by air, the Newspaper reported “Lindy Hops the Atlantic” and the dance style adopted the headline. The dance has evolved since then with the jazz music of that time and was very popular during the swing era of the late 1930s and early 1940s. Lindy was a fusion of many dances that preceded it or were during its development but is mainly based on jazz, tap, breakaway, and Charleston. It is frequently described as a jazz dance and is a member of the swing dance family. In its development, the Lindy hop combined elements of both partnered and solo dancing by using the movements and improvisation of African dances along with the formal eight-count structure of European partner dances most clearly illustrated in the Lindy's basic step, the swing-out. In this step's open position, dancers generally connected hand-to-hand; in its closed position, leads and follows are connected as though in an embrace on one side and holding hands on the other. Lindy hop is sometimes referred to as a street dance, referring to its improvisational and social nature. On March 27, 1932, twelve-year-old Norma Miller did the Lindy hop outside the Savoy Ballroom with her friends for tips. In 1935, 15,000 people danced on Bradhurst Avenue for the second of a dance series held by the Parks Department. Between 147th and 148th street, Harlem "threw itself into the Lindy hop with abandon" as Sugar Hill residents watched from the bluffs along Edgecombe Avenue. There was renewed interest in the dance in the 1980s from American, Swedish, and British dancers and the Lindy hop is now represented by dancers and loosely affiliated grass-roots organizations globally.

The Lindy Hop scene in Hellzapoppin' (1941) in full color. -History Of The Lindy Hop Dance- On May 21st 1927 the Lindy Hop dance was publicly introduced to the world. The Lindy hop is an African American dance which was born in Harlem, New York City. On that date, the Lindbergh Spirit of St. Louis airplane completed the first transatlantic flight by air, the Newspaper reported “Lindy Hops the Atlantic” and the dance style adopted the headline. The dance has evolved since then with the jazz music of that time and was very popular during the swing era of the late 1930s and early 1940s. Lindy was a fusion of many dances that preceded it or were during its development but is mainly based on jazz, tap, breakaway, and Charleston. It is frequently described as a jazz dance and is a member of the swing dance family. In its development, the Lindy hop combined elements of both partnered and solo dancing by using the movements and improvisation of African dances along with the formal eight-count structure of European partner dances most clearly illustrated in the Lindy's basic step, the swing-out. In this step's open position, dancers generally connected hand-to-hand; in its closed position, leads and follows are connected as though in an embrace on one side and holding hands on the other. Lindy hop is sometimes referred to as a street dance, referring to its improvisational and social nature. On March 27, 1932, twelve-year-old Norma Miller did the Lindy hop outside the Savoy Ballroom with her friends for tips. In 1935, 15,000 people danced on Bradhurst Avenue for the second of a dance series held by the Parks Department. Between 147th and 148th street, Harlem "threw itself into the Lindy hop with abandon" as Sugar Hill residents watched from the bluffs along Edgecombe Avenue. There was renewed interest in the dance in the 1980s from American, Swedish, and British dancers and the Lindy hop is now represented by dancers and loosely affiliated grass-roots organizations globally.

AFRICAN & BLACK HISTORY

2,304,110 次观看 • 3 年前

junmyeon: that day, i filmed a reaction video for the (who are you) mv with sehun, kai, and chanyeol. first of all, kai and sehunnie said it felt like watching a whole movie. especially since there’s also a music video for a song called 'medicine', which actually hasn’t been released yet. because that song has a performance dance in it, kai and sehunnie watched it closely and reacted like, “oh~ this is fun, hyung! ah, this one, i think the fans will really like too. it’s really unique and fun.” they also said, “honestly, i think the reaction to this will be really good.” but it hasn’t been released yet~

junmyeon: that day, i filmed a reaction video for the (who are you) mv with sehun, kai, and chanyeol. first of all, kai and sehunnie said it felt like watching a whole movie. especially since there’s also a music video for a song called 'medicine', which actually hasn’t been released yet. because that song has a performance dance in it, kai and sehunnie watched it closely and reacted like, “oh~ this is fun, hyung! ah, this one, i think the fans will really like too. it’s really unique and fun.” they also said, “honestly, i think the reaction to this will be really good.” but it hasn’t been released yet~

🌸 사랑둥이 귀염둥이 세훈이 🌸

31,001 次观看 • 10 个月前

🚨Don’t stop talking about Iran. Let me explain something to you. When you see Iranians dancing at the graves of their loved ones who were killed by the terrorist regime of the Islamic Republic, understand this clearly: That dance is not joy. It’s a vow of revenge. It’s blood vengeance. It’s a public promise that the killers will not get away with it. In Iranian culture, when a young life is stolen before marriage, before a future, families sometimes hold a symbolic “wedding” at the grave. They dance through tears. They clap with shaking hands. They cry and move at the same time. But don’t mistake it. That dance means: We will take back their blood. We will not forgive. We will not forget. It is a declaration of blood claim. It’s grief turning into fury. It’s mourning turning into a warning. The terrorist regime of the Islamic Republic thinks bullets end stories. But every grave they create becomes a promise — that justice, one way or another, will come. And when an entire nation starts dancing like that at graves, it means something much bigger is coming.

🚨Don’t stop talking about Iran. Let me explain something to you. When you see Iranians dancing at the graves of their loved ones who were killed by the terrorist regime of the Islamic Republic, understand this clearly: That dance is not joy. It’s a vow of revenge. It’s blood vengeance. It’s a public promise that the killers will not get away with it. In Iranian culture, when a young life is stolen before marriage, before a future, families sometimes hold a symbolic “wedding” at the grave. They dance through tears. They clap with shaking hands. They cry and move at the same time. But don’t mistake it. That dance means: We will take back their blood. We will not forgive. We will not forget. It is a declaration of blood claim. It’s grief turning into fury. It’s mourning turning into a warning. The terrorist regime of the Islamic Republic thinks bullets end stories. But every grave they create becomes a promise — that justice, one way or another, will come. And when an entire nation starts dancing like that at graves, it means something much bigger is coming.

✡︎𝐋𝐢𝐯𝐞𝐈𝐫𝐚𝐧𝐍𝐞𝐰𝐬🇮🇷🇮🇱

14,367 次观看 • 5 个月前

Fred Astaire explains how the outfit of the dancing partner can affect the performance by citing the example of this dance scene [Cheek to Cheek] in 'Top Hat' (1935): "The dancing dresses of my partners have, for years, been a working problem, and in 'Top Hat' I dare say it reached its dizzy peak. I seldom discuss the style of a dress but I am concerned with how it will dance, or rather, react to the dance. Therefore, my partners are usually willing to let me help in choosing them. Girls love to wear slacks when learning or rehearsing a dance. They are comfortable and convenient and allow complete freedom of movement. Ginger Rogers always wore them for rehearsal. In act, Hermes and I were so used to seeing Ginger on the rehearsal stage in slacks that one day when she showed up in a dress we didn’t know who she was. What I’m getting at is that when putting on a dance, experimenting over and over with various steps, the slacks work perfectly, but when we finally have to get ready to shoot, it is necessary to try everything with a dress, the actual dress if possible, to see how things will go. That’s when the awful awakening takes place, the realization that in some instances it is not possible to do the steps as planned with the dress. If the gown happens to be very full at the hem, for instance, it automatically becomes “our” dress instead of just my partner’s, as it wraps around my feet, causing no end of trouble and hindrance to both of us. If it is too tight, the lady cannot negotiate the routined movement, necessitating an alteration of the choreography or a splitting of the skirt. (1/3)

Fred Astaire explains how the outfit of the dancing partner can affect the performance by citing the example of this dance scene [Cheek to Cheek] in 'Top Hat' (1935): "The dancing dresses of my partners have, for years, been a working problem, and in 'Top Hat' I dare say it reached its dizzy peak. I seldom discuss the style of a dress but I am concerned with how it will dance, or rather, react to the dance. Therefore, my partners are usually willing to let me help in choosing them. Girls love to wear slacks when learning or rehearsing a dance. They are comfortable and convenient and allow complete freedom of movement. Ginger Rogers always wore them for rehearsal. In act, Hermes and I were so used to seeing Ginger on the rehearsal stage in slacks that one day when she showed up in a dress we didn’t know who she was. What I’m getting at is that when putting on a dance, experimenting over and over with various steps, the slacks work perfectly, but when we finally have to get ready to shoot, it is necessary to try everything with a dress, the actual dress if possible, to see how things will go. That’s when the awful awakening takes place, the realization that in some instances it is not possible to do the steps as planned with the dress. If the gown happens to be very full at the hem, for instance, it automatically becomes “our” dress instead of just my partner’s, as it wraps around my feet, causing no end of trouble and hindrance to both of us. If it is too tight, the lady cannot negotiate the routined movement, necessitating an alteration of the choreography or a splitting of the skirt. (1/3)

DepressedBergman

64,018 次观看 • 7 个月前

So many times the views from the International Space Station cupola give us pause as we absorb the indescribable beauty in front of us. A time lapse of a rich star field cascading down and peeking through the Earth’s translucent upper atmosphere several weeks ago was just such a moment. Soak in the visual beauty but also sit with the moving original score “Satellite Dance” that my friend, Chicago based guitarist, Thomas Clippert composed for this video. His performance is magical. Enjoy. PS: Look for a collection of brighter objects dancing horizontally across the frame near the end of the video. These are satellites catching the sun’s rays as they orbit the Earth.

So many times the views from the International Space Station cupola give us pause as we absorb the indescribable beauty in front of us. A time lapse of a rich star field cascading down and peeking through the Earth’s translucent upper atmosphere several weeks ago was just such a moment. Soak in the visual beauty but also sit with the moving original score “Satellite Dance” that my friend, Chicago based guitarist, Thomas Clippert composed for this video. His performance is magical. Enjoy. PS: Look for a collection of brighter objects dancing horizontally across the frame near the end of the video. These are satellites catching the sun’s rays as they orbit the Earth.

Jeanette J. Epps, PhD

82,739 次观看 • 1 年前

📍NikeSKIMS pop-up on LG (Selfridges 🇬🇧) x Kim Kardashian! Q: Why did you think #LISA from BP was the perfect person to front the latest campaign? Kim: Well, I’m a kpop girlie, the biggest one, and i just, i love lisa.. we’ve done campaigns with other amazing women in that space and in that genre of music, but i wanted to see lisa dance, i wanted to see her, move in our product, and in the clothes, and it felt very feminine …. ballet inspired, and i just felt like, SHE WAS THE PERFECT CHOICE, and she was really into it, so to have someone be as passionate about knowing that they can execute a dance so easily and feel that, you want someone that’s just as confident when you’re shooting a campaign, so i’m so happy that everyone got to see the hard work that was put into this, and it’s such a beautiful campaign. 🔗 LLOUD Nike SKIMS #LISAxNikeSKIMS #LISAxNIKE

📍NikeSKIMS pop-up on LG (Selfridges 🇬🇧) x Kim Kardashian! Q: Why did you think #LISA from BP was the perfect person to front the latest campaign? Kim: Well, I’m a kpop girlie, the biggest one, and i just, i love lisa.. we’ve done campaigns with other amazing women in that space and in that genre of music, but i wanted to see lisa dance, i wanted to see her, move in our product, and in the clothes, and it felt very feminine …. ballet inspired, and i just felt like, SHE WAS THE PERFECT CHOICE, and she was really into it, so to have someone be as passionate about knowing that they can execute a dance so easily and feel that, you want someone that’s just as confident when you’re shooting a campaign, so i’m so happy that everyone got to see the hard work that was put into this, and it’s such a beautiful campaign. 🔗 LLOUD Nike SKIMS #LISAxNikeSKIMS #LISAxNIKE

LALICE UPDATES

471,067 次观看 • 5 个月前

[UPDATE] The choreographers of “That’s a No No” praised #YUNA’s dance skills in a recent interview ✨ 👤: Honestly, with Yuna, it feels like her physique and visuals already do all the work. Even if she’s just standing still, she’s the best 👤: That’s why whenever we work on her songs or choreography, we’re like: “This beautiful face… we have to show it off” 👤: It’s not even our own face, but we just want to showcase it so much 👤: And Yuna herself does such an amazing job. There are so many great dancers in the group, but now that she’s debuted as a soloist, it really shows. Her fundamentals are so solid and she dances incredibly well!

[UPDATE] The choreographers of “That’s a No No” praised #YUNA’s dance skills in a recent interview ✨ 👤: Honestly, with Yuna, it feels like her physique and visuals already do all the work. Even if she’s just standing still, she’s the best 👤: That’s why whenever we work on her songs or choreography, we’re like: “This beautiful face… we have to show it off” 👤: It’s not even our own face, but we just want to showcase it so much 👤: And Yuna herself does such an amazing job. There are so many great dancers in the group, but now that she’s debuted as a soloist, it really shows. Her fundamentals are so solid and she dances incredibly well!

YUNA STATS🍦

12,772 次观看 • 4 个月前

This is the thing I love most about having this page. I’m a curious mind, and every day I learn something new with you while putting these posts together. Today I fell into a fascinating discovery: the Apsara Dance, Cambodia’s most sacred and iconic art form. And here’s where it gets really interesting. Its origins go all the way back to the 7th century, when apsaras were carved into temple bas‑reliefs. For centuries, the dance was a royal court ritual, performed only for kings as a spiritual offering. During the Khmer Rouge era, the tradition almost disappeared. 90% of classical dancers were killed, but the few who survived rebuilt everything from memory in the 1980s. Their work saved a piece of Cambodia’s soul, and today the Apsara Dance is officially recognized as UNESCO Intangible Cultural Heritage. The dance is part of the Royal Ballet of Cambodia, performed by women whose slow, fluid gestures tell stories from classical myths and religious epics. And those movements? Extremely slow, insanely precise, with fingers bent backward into shapes that feel unreal. Seriously, zoom in! I think they have double joints because mine definitely don’t bend like that :) The dancers represent apsaras, celestial nymphs from Hindu and Buddhist mythology, the same figures carved by the thousands on the walls of Angkor Wat. The whole performance feels like a living echo of those ancient reliefs, a direct line between modern Cambodia and its Angkorian past. So very fascinating!!

This is the thing I love most about having this page. I’m a curious mind, and every day I learn something new with you while putting these posts together. Today I fell into a fascinating discovery: the Apsara Dance, Cambodia’s most sacred and iconic art form. And here’s where it gets really interesting. Its origins go all the way back to the 7th century, when apsaras were carved into temple bas‑reliefs. For centuries, the dance was a royal court ritual, performed only for kings as a spiritual offering. During the Khmer Rouge era, the tradition almost disappeared. 90% of classical dancers were killed, but the few who survived rebuilt everything from memory in the 1980s. Their work saved a piece of Cambodia’s soul, and today the Apsara Dance is officially recognized as UNESCO Intangible Cultural Heritage. The dance is part of the Royal Ballet of Cambodia, performed by women whose slow, fluid gestures tell stories from classical myths and religious epics. And those movements? Extremely slow, insanely precise, with fingers bent backward into shapes that feel unreal. Seriously, zoom in! I think they have double joints because mine definitely don’t bend like that :) The dancers represent apsaras, celestial nymphs from Hindu and Buddhist mythology, the same figures carved by the thousands on the walls of Angkor Wat. The whole performance feels like a living echo of those ancient reliefs, a direct line between modern Cambodia and its Angkorian past. So very fascinating!!

Muse

43,666 次观看 • 10 天前

WOW!!! 😳This Body to Body performance was another level!✨✨ The OP’s posted something in Italian. (English translation via app) it says : “Our seven knights are unmatched. When other artists dance and sing their repertoire, it can feel like riding the wave and gaining the attention of a huge audience. But in this particular performance, I see something different: if it’s about celebrating Korean culture, then dancing to Body to Body is a fitting tribute to the Korean group that, more than any other, has contributed to the global spread of K-pop and Korean culture. It’s a sign of recognition and respect for national icons (for us, global ones); it’s the perfect modern retelling of the nostalgic feeling expressed in Arirang, which is present in the song. In short, it simply couldn’t be left out!”

WOW!!! 😳This Body to Body performance was another level!✨✨ The OP’s posted something in Italian. (English translation via app) it says : “Our seven knights are unmatched. When other artists dance and sing their repertoire, it can feel like riding the wave and gaining the attention of a huge audience. But in this particular performance, I see something different: if it’s about celebrating Korean culture, then dancing to Body to Body is a fitting tribute to the Korean group that, more than any other, has contributed to the global spread of K-pop and Korean culture. It’s a sign of recognition and respect for national icons (for us, global ones); it’s the perfect modern retelling of the nostalgic feeling expressed in Arirang, which is present in the song. In short, it simply couldn’t be left out!”

HobiCasa ⊙⊝⊜ARIRANG l🏊‍♂️🔴

48,012 次观看 • 3 个月前

If I would’ve been on that flight, I must’ve given them 2 Rupees for their performance. Why are such visuals becoming so common?? Is it a sign of #Development and #Vikas that were promised to us in 2012. What makes these chaps indulge in such activities inside the flight. Who is supporting or promoting them!!! Is #DGCAIndia blind to ignore such acts and the discomfort to all the fellow passengers. Where is the end to it - Today it’s Music, tomorrow it could be dance or some other performance. What is India gaining out of it all. The reason I say, I am getting drifted away from my religion due to this #Dhakosla and #Tamasha P.S ~ Keep destroying the Religion for that’s what you vote for!!! #IndianCarriers #IndianFlights #FlightsInIndia #BhajanInFlights #IndianAircrafts

If I would’ve been on that flight, I must’ve given them 2 Rupees for their performance. Why are such visuals becoming so common?? Is it a sign of #Development and #Vikas that were promised to us in 2012. What makes these chaps indulge in such activities inside the flight. Who is supporting or promoting them!!! Is #DGCAIndia blind to ignore such acts and the discomfort to all the fellow passengers. Where is the end to it - Today it’s Music, tomorrow it could be dance or some other performance. What is India gaining out of it all. The reason I say, I am getting drifted away from my religion due to this #Dhakosla and #Tamasha P.S ~ Keep destroying the Religion for that’s what you vote for!!! #IndianCarriers #IndianFlights #FlightsInIndia #BhajanInFlights #IndianAircrafts

𝐒𝐢𝐝𝐝

101,154 次观看 • 4 个月前