MAGAZINE
ISSU#1 October 2009
( CIRKUMFLEKS)
Art Of Empathy
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Anne Ueland OLEG KIRILLOW Stuilui Charlotte Spetalen Nadejda Efremenko yamasaki ko-ji
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Dunaewsky69 Stevie Kuner Street-Art by Julien Chaumet
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Photo by Svetlana Safin
I think... that human life is a dance... we are in constant motion... step... setback... left and right... dance steps... hand movements... turns head.... straight... stumble... we fall, that would stand up and dance... We dance. We dance. We dance. We live, as we dance. (CIRKUMFLEKS) Magazine
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OLEG KIRILLOW (CIRKUMFLEKS) Magazine
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KirilloW Oleg - aka dedalus, kirilus (76) 87-90ã. - studied at the Kirov Art school 90-95ã. - Kirovsk Art school of Rylova (painting) 95-2002ã. - UfRaZhViZ Àcademy of Painting of Sculpturing and Architecture (painting) Perm With 93ã. I am engaged in cinema, video, a digital drawing The designer-schedule, prepress, imposition, the graphic artist, painter, Creative, imposition, advertising ideas, printing EXHIBITIONS: 97-99-Labirintizn - M Gallery (Kirov) 99-2000- Permofrost - Perm 2000-exhibition young artists (Kirov) 2001- the Exhibition of young
editions, outdoor advertising working out. I own packages: Adobe: Illustrator, Photoshop, Premier, After Effect.Quark Xpress, Corel Draw, Bryce 3D, Painter, Expression, Poser, 3d Max, Maya I work with tablet Wacom. Participation in exhibitions and festivals:
artists Perm
CINEMA and VIDEO:
2002 - the All-Russia youth
96 - Regional festival of video and motion picture arts
Moscow
«the Constancy of Day» (The best experimental film) 98 - «The PETERBURZHSKY SCREEN» (bronze) for a film «ANIMA-PHANTAZMA» 98 - festival of cinema and video «Moscow Gold domed» 2001- Festivals of video and computer art Perm a film «ANIMA-PHANTAZMA» (GRAND PRIX) 1999 - festival «the Cultural hero of 21 centuries in search of the Cinderella» with the project «Zhabi Dreams» 2000. Festival «Neo - the Fashion» VJ (Perm) 2001 - 2002 - Together with pr-manager Daniel Lebedev and artist Andrey Mihajlovym the organisation and carryingout in Perm «Festival of electronic art and media-arts». 2002 - Festival «АРТ the PRO» Perm, VJ
(CIRKUMFLEKS) Magazine
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The international Festivals: 98 - festival the White nights (Peter) - (bronze) 98 -UNICA (AUSTRIA) a silver medal and the best experimental film 2002 - participation in the project «Mirror at the bottom artists portraiting themselves»,a Virtual Memorial in cooperation with le Musee di-visioniste 2002 - Festival "Pixxelpoint" - International Computer Art Festival, Kulturni dom Nova Gorica, Slovenia (from Nov. 22 to Nov. 29.). 2003 - Festival of media арт «MASHINISTA» Perm 2004 - MadNet ArtTech festival of digital arts Pancevo Serbia and Monte Negro
LINKS: http://www.myspace.com/kirillow http://kirilus.livejournal.com/ http://www.free-lance.ru/users/dedalus
e-Mail: dedalus@rambler.ru kirillowoleg@gmail.com
(CIRKUMFLEKS) Magazine
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by Oleg Kirillow
(CIRKUMFLEKS) Magazine
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by Oleg Kirillow
(CIRKUMFLEKS) Magazine
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by Oleg Kirillow
(CIRKUMFLEKS) Magazine
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by Oleg Kirillow by Oleg Kirillow
(CIRKUMFLEKS) Magazine
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DOWNLOAD FREE : http://www.safindesign.com/Cirkum/Cirkumfleks.zip
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10Ęť2009 (ISSU 1)
History of Hip Hop Dancing If you donʼt know anything else, you probably already know that hip hop has the beat that makes you want to get up and dance. But what do you really know about hip hop dance? Did you know that this energetic dancing evolved with hip hop music and street jazz? Itʼs true. Today, hip hop has taken its place alongside ballet, tap, jazz and ballroom dancing; to name a few. The first mention of hip hop dance dates back to the 70ʼs when some new moves were introduced to the dance world to accompany the funky sounds of hip hop music that was also being discovered. Most popular among African Americans and Latin Americans at first, there are many races who now lay claim to defining this diverse dance phenomenon. Across the United States from the ʻBoogie Downʼ Bronx, New York to the ʻBeat Streetʼ corners of Compton, California, young people everywhere took to this new style of dancing that included such feats as breaking, popping, locking, gliding, ticking, vibrating and krumping. In the earlier days, some hip hop dance moves such as the Humpty Dance were made popular by hip hop artists who had created the songs from which these dances were derived. Early on, dance competitions on sidewalks included beat boxing, a form of music-making that included raps and special sound effects made with the hands and mouth. Artists like The Fat Boys rose to fame and fortune with Buffyʼs beat boxing talents. After the outbreak of interest in hip hop dance, there were even several movies highlighting this new form of dancing that combined beats, sounds, and gravity-defying moves. Crush Groove and other movies saw their day in the spotlight as hip hop dance continued to expand to different cultures and races and locations around the globe. From freestyle forms that were often the spotlight of informal battles both indoors and outdoors to formally trained dancers who began to incorporate hip hop dance as a means of dance and physical exercise, hip hop dance has continued to evolve. Today, hip hop dance has earned a recognized place in dance studios and is practiced as regularly as other styles. Whether hip hop dance was the brain child of some who were simply looking for another form of expression or the intentional genius of creative souls who were looking to put another dance expression into the mix of music is not clear. What is clear is that hip hop music has survived challenge and change and fought its way into the dance scene around the world. In 2005, the popular television show “So You Think You Can Dance” presented yet another platform for hip hop dance artists to display their talents while competing for fame and fortune against other recognized dance forms such as ballet, tap, jazz and ballroom.
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made by ite that distributes popmusic bs we e th of me na e th is i ilu Stu at ailable for free in mp3 format Tove Nilsen. The songs are av w track per month. Uploads of ne e on se lea re to is n pla e Th . stuilui.com ced via released tracks will be announ dy ea alr of s xe mi w ne d an s track music. When I bought my first ke ma I w Ho : ys sa ve To . ds Myspace to frien ed the programs simplicity, lik I , on as Re d he nc lau st fir d soundcard, an me derstand what I did and made un to sy ea it de ma s, ble ca al the virtu the total manipulation to s me co it en wh d ha I ns tio realise how many op d it easy to make strange fin I , er lat s ar ye e re th w, no d of everything. An up of a song as something made ink th r ve ne I m ra og pr I en grooves. Wh I use st start up with a groove, then fir I e. ap sh a as it of ink th I s, by track ram. I' ve en make up the vocals as I prog th d an it, th wi ng alo y pla to Thor produces his co-singers and y ick Tr t tis ar sh iti Br e th y wa always liked the e good countrysingers. And or ad I d an at, be e th in th wi at how they flo a mix to myself I had to try and make id sa I d, ar dc un so e th ht ug bo before I s, like the song FAR FAR ing th w ne ar he to VE LO I e. out of the things I lik artist Captain Credible. ian eg rw No e th m fro sic mu e with M.I.A. and th ke things SOUND good, well, ma to s wa it lt cu diffi w ho n But had I know nt. re buying the sound equipme fo be nd mi my d ge an ch d ha I perhaps us(nightmare) when I cio an t ge I s:) ck tra ny ma o to That' s why I dont have , a song is just a shape to sing me r fo so , 32 ck tra on ine ur think of a tambo in. Tove http:// www.m
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(CIRKUMFLEKS) Magazine
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10Ęť2009 (ISSU 1)
Who we are? Art-group “Colorful 0 People” creates experimental performances, arranges art festivals and open-air projects. We are involved in organizing art exhibitions, concerts, thematic showings of movies and cartoons. In addition we work on programs for hospices and orphanages. “Arts. Provocation. Game” - this vital triad underlines all of our projects. The arts synthesis allows presentation of familiar subjects from the new angle and thus grasping the audienceʼs attention. Game is used to breed the interactive atmosphere and creative environment.
What’s our purpose? Our group was created in 2007 from the concept envisioned by Stasya Diomina. We aim for the following goals: * to provoke and inspire the emergence creativity in people, * to develop daring ideas, to promote bright individuals and interesting projects, * to cultivate the desire in people to get in touch with authentic arts. >>>
(CIRKUMFLEKS) Magazine
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We are a team of talented enthusiasts and nice people, who find time and resources to make the surrounding environment creative, fresh, bright, joyous, daring and playful. We attract people who crave for freshness, wit and dare in music, painting, photograph, dance, cinema… those open to exchange energies and to explore new grounds. We know that there are so many of you out there! “Colorful 0 People” is a filter. We work with those who create arts, who give birth to evolutionary impulses. This may sound global (but so it is!), but we find fellow travelers on our way with such an ease that it makes any doubt vanish. “The reaction” is how we call our events. The word “reaction” has many definitions. We see it as both the response to the currents in modern arts and society, and also as the process of synthesis, which leads us to emergence of the new artistic phenomena. We attempt to create art projects which could guide you to open your mind. Some of them encourage you deep dive to your childhood, others - the joint search of the Creator inside, third ones - sinking into color, sound or taste… We do not hide from you our attempts to provoke you and we acknowledge that we propose a game. Everyone who comes to us will find the way to discover him or herself.
What do we want? In essence, we would like you to, as the musician Oleg Nesterov would say, recall
your “decoders, which everyone switched off in their childhood, and later attempt to recover and bring them back to life again”. We would like to contribute to the awakening process of these wonderful devices hidden deep inside you, to help tuning them onto the wave of creation to be able to constantly accept it. We will be happy each time our art projects succeed in bringing you into this state of mind. 0With
great pleasure, Colorful People0
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10ʻ2009 (ISSU 1)
Foxtrot Dance History The Foxtrot originated in the summer of 1914 by Vaudeville actor Harry Fox. Born Arthur Carringford in Pomona, California, in 1882, he adopted the stage name of "Fox" after his grandfather. Harry was thrown on his own resources at the age of fifteen. He joined a circus for a brief tour and he also played professional baseball for a short while. A music publisher liked his voice and hired him to sing songs from the boxes of vaudeville theaters in San Francisco. In 1904 he appeared in a Belvedere Theatre in a comedy entitled "Mr. Frisky of Frisco." After the San Francisco earthquake and the fire of 1906, Harry Fox migrated East and finally stopped in New York. In early 1914, Fox was appearing in various vaudeville shows in the New York area. In April he teamed up with Yansci Dolly of the famous Dolly Sisters in an act of Hammerstein's. At the same time, the New York Theatre, one of the largest in the World, was being converted into a movie house. As an extra attraction, the theater's management decided to try vaudeville acts between the shows. They selected Harry Fox and his company of "American Beauties" to put on a dancing act. An article in Variety Magazine stated "Harry Fox will appear for a month or longer at a large salary with billing that will occupy the front of the theatre in electrics". At the same time, the roof of the theatre was converted to a Jardin de Danse, and the Dolly sisters were featured in a nightly revue. The May 29, 1914 issue of Variety Magazine reported "The debut of Harry Fox as a lone star and act amidst the films of the daily change at the New York Theatre started off with every mark of success. The Dolly Sisters are dancing nightly on the New York Roof. Gold cups will be given away next week to the winners of dance contests on the New York Roof." The Fox-trot originated in the Jardin de Danse on the roof of the New York Theatre. As part of his act downstairs, Harry Fox was doing trotting steps to ragtime music, and people referred to his dance as "Fox's Trot." In the rise to fame of the Vernon Castles, exhibition dancers of outstanding talent and charm, there was no doubt that the fox-trot was the most original and exciting of their various dances. The elite of the dancing world were soon trying to capture the unusual style of movement and when a very talented American, G.K. Anderson came over to London, and with Josephine Bradley won many competitions, he set the seal - so to speak - on the style of the foxtrot. As a result of the great popularity which ballroom dancing was enjoying, it was necessary to evolve a form of dance that could express the slow syncopated 4/4 rhythm and yet could remain "on the spot." This did not mean that the "traveling" fox-trot was dropped, but the "on the spot" dance did provide a means of enjoying the music in a background which large numbers of people could afford and enjoy, and where various bands were all producing excellent and individual musicians and experimenting with and perfect all of the new sounds and beats from America. The "on the spot" dancing was known appropriately as crush, then rhythm dancing. It is now called "social" dancing and possibly this conveys its purpose and limitations. It would be anti-social to attempt to stride around a ballroom crowded with dancers, to dance with only one partner when out with a party, or to be so engrossed with the performance of figures that any conversation is taboo. It can also create a very good base should it be desired - for the foxtrot. (CIRKUMFLEKS) Magazine
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Photo by Guro Torget
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Photo by Ed Safin
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by Tatjana Sedova
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Anastasia Zaitseva (CIRKUMFLEKS) Magazine
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Geografically: Was born in Moscow, last century. Habitat: periodically - St. Petersburg, mentally - Venice, physically - for long time at ahcnorage in Moscow. Travelling in Space & Time via auto-, moto- and horse transport. Spiritually: Weakness for - cold and firearms. Power in - friends, near and dear Life style - freedom and infinite confidence Dream - implant into my freedom a habit of always getting back to my harbour The gist: Professional translator The first book of proze and poetry "Tender Secrets" was published in 2006. Poetic map may be observed here http://stihi.ru/avtor/ambroisie and here http://stihi.ru/ avtor/erica. (CIRKUMFLEKS) Magazine
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nce after 3Da t
in what I am and where's my place g din an rst de un to me co i ce practically at on life t you are u manage to do it, it means tha dancing is like breathing: if yo completely alive. care o anything, a.n.y t.h.i.n.g you in this movement i may turn int ... just hold me if you can! your death, rain, a bird, a bride eyes the breath, look straight into the s. i learn how to keep the bonds, ast and on your lips with smile bre ur yo on t ea sw th wi n itte wr and see what's peless. derstand that all breaks are ho i accelerate and sometimes un ur pulse is that i am open. step. one more step. only for yo re step - modest this time. turn around. step. pause. one mo ht am i hold me tight. i wonder how lig nts. do it the right way in my thoughts, in my moveme that something goes astray to avoide this nagging feeling ed jump (= flight), due to a faulse pas, for a delay get that now every word is right. for any wrong word... don't for re to think hold me closer but don't you da you, that a poisonous sting that I will come to the end with ir fluite is now voicless. the s, lip ur yo o int y all fin wl cra of my kiss will ep on breathing. the point is i won't grant you my heart - ke end of the dance i'll be. the till d an u yo of f oti tm lei that i am only the us are supposed to keep. of th bo ich wh e, rul ple sim & that is the main t of freedom as the Dance - is a fantastic gif ds or limits. togetherness without any boun tion of fashion, Dance - is my life in contraven ers, which i cannot mention. justification of hundreds of lov passion, and not only it. Dance for me is sinonymous to us - the Dance will split if you and me have electricity in ll Happiness from Above, ca le, op pe , we at wh o int rse the whole Unive any burdens to fall in love. ut tho wi nt! rta po im t's tha and possibility now dance! t
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by GENNADIY SOROKIN
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Photo by Charlotte Spetalen
Photo by Charlotte Spetalen
Charlotte Spetalen
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Charlotte Spetalen, Norway. Educated at BI Oslo, (Bachelor in economy). Additional language and culture studies in Aix-en-Provence, France. She finished her photographic education at the "Nordic School of Photography" in 2006 after spending some wonderful years with her family and small children. Today she is working in Oslo as a photographer and participating in different workshops all over the world. Currently working on a project to be shown in 2010. Her element is water. Water is essential for the prescence of life. As a symbol, it is remarkably compelling and, when combined with an equally powerful icon, the human form, it allows a rich visual exploration to unfold. Life is change, and you can never step again into the same stream you are crossing now. Water sweeps across, under, around, over and through all boundaries. Water reflects and transmits lights. This is the ultimate element in matter of energy, space and time. www.charlottespetalen.com
10Ęť2009 (ISSU 1)
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10ʻ2009 (ISSU 1)
History of Jazz Dance by Lori Heikkila
World War I had ended and a social revolution was under way! Customs and values of previous generations were rejected. Life was to be lived and enjoyed to the fullest. This was the era of the "lost generation", and the "flapper" with her rolled stockings, short skirts, and straight up-anddown look. They scandalized their elders in the cabarets, night clubs, and speakeasies that replaced the ballrooms of pre-war days. Dancing became more informal - close embraces and frequent changes of partners were now socially acceptable. Only one kind of music suited this generation - jazz, the vehicle for dancing the fox-trot, shimmy, rag, Charleston, black bottom, and various other steps of the period. Jazz originated at the close of the nineteenth century in the seamy dance halls and brothels of the South and Midwest where the word Jazz commonly referred to sexual intercourse. Southern blacks, delivered from slavery a few decades before, started playing European music with Afro modifications. The birthplace of jazz has many origins: New Orleans, St. Louis, Memphis and Kansas City are just a few. But New Orleans was and still remains an important jazz center. The ethnic rainbow of people who gravitated to the bars and brothels were a major factor in the development of jazz. The city had been under Spanish and French rule prior to the Louisiana purchase. By 1900, it was a blend of Spanish, French, English, German, Italian, Slavic and countless blacks originally brought in as slaves. The first jazz bands contained a "rhythm section" consisting of a string bass, drums, and a guitar or banjo, and a "melodic section" with one or two cornets, a trombone, a clarinet, and sometimes even a violin. Years later, jazz was taken over by large orchestras; a "society jazz band" contained fifteen or more musicians. Today, there is a renewed interest in the "big band" era, even though the music has very little to do with real jazz. True jazz is characterized by certain essential features. The first is a tendency to stress the weak beats of the bar (2nd and 4th) in contrast to traditional music which stressed the first and third beats. The second feature is syncopation through an extensive repetition of short and strongly rhythmic phrases or "riffs". The third feature of jazz is swing (regular but subtle pulsation which animates 4/4 time). The swing must be present in every good jazz performance. (CIRKUMFLEKS) Magazine
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Photo by renata Safin
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Simon Goinard Phelipot
Simon Goinard Phelipot is a self-taught illustrator. He works for advertising agencies, cg and games companies, graphic novels and illustration. Currently lives and works in France (http://www.resonance-art.com/)
(CIRKUMFLEKS) Magazine
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by Parker Gibson
Talented American graphic designer Parker Gibson creates "noir" futuristic artworks mixing photography with vector art. Great examples of style.
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Anna Litvinceva
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Ukrainian musician Alexandr Gladun known as Dunaewsky69 has bigun to take active part in music since 1997.That time he was making reseach with hard music tendency death metal, grind core, noise core, noise. Had taken part in loads Kyiv projects he together with her school mate decided to create own music formations which were built on noise experiments. In 1997 was released project Haimorith (DAC Productions label) together with well-known Japanese group C.S.S.O, Alex Gladun play on guitar and Serhej Zhyrikhin drummed. В 1997 проект Haimorith. At the heart of stylistic of Haimorith was put funny noise core. At the same time DAC Productions realised their second project Outer Orgasm, there they changed the instruments and music became more tough. There Alex by means of mixing and imposition of bass on noise works reached dirty analog phonation , so he went on working under noise . Simultaneously Alex took part in well known noise core group Basin. After such experiments in this brunch Alex recorded and released his personal project Dunaewsky on Sososki label . Edition was limited of 107 copy. From 1997 till 2001 Alex played with brass band on drums. He took part in recording of hits 70-80-yy, jazz works. He took part in different concerts and programms. From 2001 Alex was in electronic music.He recorded many interesting composition ,played in Kyiv clubs Shelter and Cinema, and also took part in I Love Techno`03 festival. In June 2004 on Moscow label Shaped Harmonics (well-known Russian electro musicisian Roman Belousov(Novel 23)) released album Dunaewsky69 «Contiguity».) (CIRKUMFLEKS) Magazine
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http://missmoonlight.com/musicstore.htmll
http://www.myspace.com/missmoonlightmusic http://missmoonlight.com/
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The Merengue is the national dance of the Dominican Republic, and also to some extent, of Haiti, the neighbor sharing the island. There are two popular versions of the of the origin of the Dominican national dance, the Merengue. One story alleges the dance originated with slaves who were chained together and, of necessity, were forced to drag one leg as they cut sugar to the beat of drums. The second story alleges that a great hero was wounded in the leg during one of the many revolutions in the Dominican Republic. A party of villagers welcomed him home with a victory celebration and, out of sympathy, everyone dancing felt obliged to limp and drag one foot. Merengue has existed since the early years of the Dominican Republic (in Haiti, a similar dance is called the Meringue). It is possible the dance took its name from the confection made of sugar and egg whites because of the light and frothy character of the dance or because of its short, precise rhythms. By the middle of the nineteenth century, the Merengue was very popular in the Dominican Republic. Not only is it used on every dancing occasion in the Republic, but it is very popular throughout the Caribbean and South America, and is one of the standard Latin American dances. There is a lot of variety in Merengue music. Tempos vary a great deal and the Dominicans enjoy a sharp quickening in pace towards the latter part of the dance. The most favored routine at the clubs and restaurants that run a dance floor is a slow Bolero, breaking into a Merengue, which becomes akin to a bright, fast Jive in its closing stages. The ballroom Merengue is slower and has a modified hip action. The Merengue was introduced in the United States in the New York area. However, it did not become well known until several years later. Ideally suited to the small, crowded dance floors, it is a dance that is easy to learn and essentially a "fun" dance.
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Nadejda Efremenko (CIRKUMFLEKS) Magazine
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Waltz Colorful flowing ball gowns! Tails! Weddings! Beautiful music! Strong melodies! Waltz: from the old German word walzen to roll, turn, or to glide. Waltz: a ballroom dance in 3/4 time with strong accent on the first beat and a basic pattern of step-step-close. Waltz: to move or glide in a lively or conspicuous manner (to advance easily and successfully). Waltz: a dance born in the suburbs of Vienna and in the alpine region of Austria. As early as the seventeenth century, waltzes were played in the ballrooms of the Hapsburg court. The weller, or turning dances, were danced by peasants in Austria and Bavaria even before that time. Many of the familiar waltz tunes can be traced back to simple peasant yodeling melodies. During the middle of the eighteenth century, the allemande form of the waltz was very popular in France. Originally danced as one of the figures in the contredanse, with arms intertwining at shoulder level, it soon became an independent dance and the close-hold was introduced. By the end of the eighteenth century, this old Austrian peasant dance had been accepted by high society, and three-quarter rhythm was here to stay. However popular the waltz, opposition was not lacking. Dancing masters saw the waltz as a threat to the profession. The basic steps of the waltz could be learned in relatively short time, whereas, the minuet and other court dances required considerable practice, not only to learn the many complex figures, but also to develop suitable postures and deportment. The waltz was also criticized on moral grounds by those opposed to its closer hold and rapid turning movements. Religious leaders almost unanimously regarded it as vulgar and sinful. Continental court circles held out obstinately against the waltz. In England, (a land of strict morals), the waltz was accepted even more slowly. In July of 1816, the waltz was included in a ball given in London by the Prince Regent. A blistering editorial in The Times a few days later stated: "We remarked with pain that the indecent foreign dance called the Waltz was introduced (we believe for the first time) at the English court on Friday last ... it is quite sufficient to cast one's eyes on the voluptuous intertwining of the limbs and close compressure on the bodies in their dance, to see that it is indeed far removed from the modest reserve which has hitherto been considered distinctive of English females. So long as this obscene display was confined to prostitutes and adulteresses, we did not think it deserving of notice; but now that it is attempted to be forced on the respectable classes of society by the civil examples of their superiors, we feel it a duty to warn every parent against exposing his daughter to so fatal a contagion." (Source: The Times of London, 16th July 1816) (CIRKUMFLEKS) Magazine
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Even as late as 1866 an article in the English magazine Belgravia stated: "We who go forth of nights and see without the slightest discomposure our sister and our wife seized on by a strange man and subjected to violent embraces and canterings round a small-sized apartment - the only apparent excuse for such treatment being that is done to the sound of music - can scarcely realize the horror which greeted the introduction of this wicked dance." A lot of the disapproval was voiced by the older generation, but seldom mentioned is the fact the reigning Queen (Victoria) was a keen and expert ballroom dancer with a special love of the waltz! But as history repeats itself over and over again, the antagonism only served to increase the popularity of the waltz. The bourgeoisie took it up enthusiastically immediately after the French revolution. Paris alone had nearly seven hundred dance halls! A German traveler to Paris in 1804 stated, "This love for the waltz and this adoption of the German dance is quite new and has become one of the vulgar fashions since the war, like smoking." Reportedly, the first time the waltz was danced in the United States was in Boston in 1834. Lorenzo Papanti, a Boston dancing master, gave an exhibition in Mrs. Otis' Beacon Hill mansion. Social leaders were aghast at what they called "an indecorous exhibition." By the middle of the nineteenth century, the waltz was firmly established in United States society. Music plays an important role in dance, and every dance is dependent upon the availability of the appropriate music. The waltz was given a tremendous boost around 1830 by two great Austrian composers - Franz Lanner and Johann Strauss. These two composers were by far the most popular during the nineteenth century: they set the standard for the Viennese Waltz, (a very fast version of the waltz). By 1900, a typical dance program was three quarter waltzes and one quarter all other dances combined. Around the close of the nineteenth century, two modifications of the waltz were developed. The first was the Boston, a slower waltz with long gliding steps. Although the Boston disappeared with the first world war, it did stimulate development of the English or International style which continues today. The second was the hesitation, which involves taking one step to three beats of the measure. Hesitation steps are still widely used in today's waltz. Fortunately, the violent opposition faded out and the Waltz weathered an exciting and varied career, emerging today in two accepted forms, both reflecting the main characteristics of the dance. They are known as the Modern Waltz and the Viennese (Quick) Waltz. www.centralhome.com (CIRKUMFLEKS) Magazine
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e l t s u H & o c Dis Most Disco dances have strong roots in Swing, Samba, Cha Cha, Mambo, Merengue, Fox Trot and Tango. The Hustle is believed to have originated in New York in 1970. It went through many variations in the seventies, with line dances for groups of people, solo movements that came and went, and partnership dances. These partnership dances included The Basic Hustle, Latin, Spanish and Tango Hustle, and the most popular Street, Three-Count or Swing Hustle that originated in California as the street Hustle by skaters in Venice and Malibu. John Travolta and "Saturday Night Fever" made dancing the "in" thing for many people, especially men. Popular disco music of the 70's included Bee Gees "Stayin' alive", "Night fever", "More than a woman", "Everybody Dance" (Chic) and Donna Summer's "Love to love you baby". Hustle is danced to the contemporary pop dance music of the last 20 years. It is a fast, smooth dance, with the lady spinning almost constantly, while her partner draws her close and sends her away. "Things may come to those who wait, but only things left by those who hustle." ... Abraham Lincoln.
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Stevie Kuner http://issuu.com/steviekuner
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My name is Stevie, i am 37 years old and live in Heidelberg/ Germany. I grow up in Alsace/France and live here in Heidelberg since 13 years. When i was younger in the 80`s i was infected by the HipHop Movement from New York. I loved the elements of hiphop, especially the Graffiti an Breakdance. I was drawing and painting and looked for my own styles. This times there was`nt a big scene like in today. I also started working and experience with an old camera from my father. Years later i started working as fashion designer for a hip streetwearlabel. I worked together with some friends and famous graffiti-artists. i was drawing, scanning and cleaning my scribbles on computer and i was also creating the advertisement for the label. I made the pictures by myself and it was funny creating this images. Later i was on a point i felt i has to decide now if i want to go and specialize now in photography or graphic and painting. It was no easy for me to decide and it was like a long end endless phase where i didn`t knew about what to do...but at least i found my way with the my actally works from today. It isn`t photography and it isn`graphic. It is photographic and you can see all my influences in this pictures. It`s a mix from all deep in my head, influenced by photography, graphic, painting, comics, movies and nightmares, reality and surrealism. It!s art and documentation of the new world . i want to show the scenarios behind an inmiddle the the high gloss scenarios from our cities around the world. Half an year ago i started with exhibitions and the feedback is really great. There was a lot of invitements for other galleries and it`s still going on. I`m also still looking for other gallerists in the countries around and i like the idea if somebody ist interested working with me from regions in Eastern Europe. I never was in eastern parts and i am very interested to go there. I love travelling around the world, especially the juggernauts/molochs fascinating me. Feeling like in the furure as in Blad Runner`s Los Angeles in the future, Gotham City or Neo - Tokyo in Akira. Back in the days i worked in Hong Kong and China for fashion. When i was the first time in Hong Kong i felt like inmiddle an Manga Movie and i liked the idea to transport waht i see and feel, to my works. It was the beginning of my new era and still today i love the urban jungle. I am walking for hours and days through the metropole areas to find my sceneries and the real places in this modern, cold and alarming world. At least there are still many peace and -colorfull places around the globe, so it`s worth going on and on, and looking for new places and meetings with nice people. Peace Stevie (CIRKUMFLEKS) Magazine
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History of Swing Dancing The history of swing dates back to the 1920's, where the black community, while dancing to contemporary Jazz music, discovered the Charleston and the Lindy Hop. On March 26, 1926, the Savoy Ballroom opened its doors in New York. The Savoy was an immediate success with its block-long dance floor and a raised double bandstand. Nightly dancing attracted most of the best dancers in the New York area. Stimulated by the presence of great dancers and the best black bands, music at the Savoy was largely Swinging Jazz. One evening in 1927, following Lindbergh's flight to Paris, a local dance enthusiast named "Shorty George" Snowden was watching some of the dancing couples. A newspaper reporter asked him what dance they were doing, and it just so happened that there was a newspaper with an article about Lindbergh's flight sitting on the bench next to them. The title of the article read, "Lindy Hops The Atlantic," and George just sort of read that and said, "Lindy Hop" and the name stuck. In the mid 1930's, a bouncy six beat variant was named the Jitterbug by the band leader Cab Calloway when he introduced a tune in 1934 entitled "Jitterbug". With the discovery of the Lindy Hop and the Jitterbug, the communities began dancing to the contemporary Jazz and Swing music as it was evolving at the time, with Benny Goodman leading the action. Dancers soon incorporated tap and jazz steps into their dancing. In the mid 1930's, Herbert White, head bouncer in the New York City Savoy Ballroom, formed a Lindy Hop dance troupe called Whitey's Lindy Hoppers. One of the most important members of Whitey's Lindy Hoppers was Frankie Manning. The "Hoppers" were showcased in the following films: "A Day at the Races" (1937), "Hellzapoppin" (1941), "Sugar Hill Masquerade" (1942), and "Killer Diller" (1948). In 1938, the Harvest Moon Ball included Lindy Hop and Jitterbug competition for the first time. It was captured on film and presented for everyone to see in the Paramount, Pathe, and Universal movie newsreels between 1938 and 1951. In early 1938, Dean Collins arrived in Hollywood. He learned to dance the Lindy Hop, Jitterbug, Lindy and Swing in New York City and spent a lot of time in Harlem and the Savoy Ballroom. Between 1941 and 1960, Collins danced in, or helped choreograph over 100 movies which provided at least a 30 second clip of some of the best California white dancers performing Lindy Hop, Jitterbug, Lindy and Swing. In the late 1930's and through the 1940's, the terms Lindy Hop, Jitterbug, Lindy, and Swing were used interchangeably by the news media to describe the same style of dancing taking place on the streets, in the night clubs, in contests, and in the movies. (CIRKUMFLEKS) Magazine
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IBy the end of 1936, the Lindy was sweeping the United States. As might be expected, the first reaction of most dancing teachers to the Lindy was a chilly negative. In 1936 Philip Nutl, president of the American Society of Teachers of Dancing, expressed the opinion that swing would not last beyond the winter. In 1938 Donald Grant, president of the Dance Teachers' Business Association, said that swing music "is a degenerated form of jazz, whose devotees are the unfortunate victims of economic instability." In 1942 members of the New York Society of Teachers of Dancing were told that the jitterbug (a direct descendent of the Lindy Hop), could no longer be ignored. Its "cavortings" could be refined to suit a crowded dance floor. The dance schools such as The New York Society of Teachers and Arthur Murray, did not formally begin documenting or teaching the Lindy Hop, Jitterbug, Lindy, and Swing until the early 1940's. The ballroom dance community was more interested in teaching the foreign dances such as the Argentine Tango, Spanish Paso Doblé, Brazilian Samba, Puerto Rican Merengue, Cuban Mambo and Cha Cha, English Quickstep, Austrian Waltz, with an occasional American Fox-trot and Peabody. In the early 1940's the Arthur Murray studios looked at what was being done on the dance floors in each city and directed their teachers to teach what was being danced in their respective cities. As a result, the Arthur Murray Studios taught different styles of undocumented Swing in each city. In the early 1940's, Lauré Haile, as a swing dancer and competitor, documented what she saw being danced by the white community. At that time, Dean Collins was leading the action with Lenny Smith and Lou Southern in the night clubs and competitions in Southern California. Lauré Haile gave it the name of "Western Swing". She began teaching for Arthur Murray in 1945. Dean Collins taught Arthur Murray teachers in Hollywood and San Francisco in the late 1940's and early 1950's. After the late 1940's, the soldiers and sailors returned from overseas and continued to dance in and around their military bases. Jitterbug was danced to Country-Western music in Country Western bars, and popularized in the 1980's. As the music changed between the 1920's and 1990's, (Jazz, Swing, Bop, Rock 'n' Roll, Rhythm & Blues, Disco, Country), the Lindy Hop, Jitterbug, Lindy, and Swing evolved across the U.S. with many regional styles. The late 1940's brought forth many dances that evolved from Rhythm & Blues music: the Houston Push and Dallas whip (Texas), the Imperial Swing (St. Louis), the D.C. Hand Dancing (Washington), and the Carolina Shag (Carolinas and Norfolk) were just a few. In 1951 Lauré Haile first published her dance notes as a syllabus, which included Western Swing for the Santa Monica Arthur Murray Dance Studio. In the 50's she presented her syllabus in workshops across the U.S. for the Arthur Murray Studios. The original Lauré Haile Arthur Murray Western Swing Syllabus has been taught by Arthur Murray studios with only minor revisions for the past 44 years. From the mid 1940's to today, the Lindy Hop, Jitterbug, Lindy, and Swing, were stripped down and distilled by the ballroom dance studio teachers in order to adapt what they were teaching to the less nimble-footed general public who paid for dance lessons. As a result, the ballroom dance studios bred and developed a ballroom East Coast Swing and ballroom West Coast Swing. (CIRKUMFLEKS) Magazine
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In the late 1950's, television brought "American Bandstand", "The Buddy Dean Show" and other programs to the teenage audiences. The teenagers were rocking with Elvis Presley, Little Richard, and Chuck Berry leading the fray. In 1959, some of the California dance organizations, with Skippy Blair setting the pace, changed the name of Western Swing to West Coast Swing so it would not be confused with country and western dancing. In the 1990's, dancers over 60 years of age still moving their Lindy Hoppin', Jitterbuggin', Swingin', and Shaggin' feet. (www.centralhome.com)
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Tahitian and Hula Dance Yourself Happy Did you know that Hula dancing is often regarded as a type of prayer? Perhaps a look at the history of Tahitian and Hula Dance will give you a greater appreciation and understanding for these dances that are often imitated but never actually duplicated without lesson and skillful practice. Hula dates back to the periods of Hawaiian history when strict memorization was passed down through chants instead of written documentation. These chants contained the stories of Hawaiian people and their creation and were meticulously passed down from generation to generation for preservation. In support of these stories, the hula dance was developed. Today, there are many different variations of the original hula dance but all have the roots grounded to some extent or another in the original hula dance created centuries ago. In Hawaiian it has been and continues to be a tradition to enjoy hula dancing as part of a show. Hula dance is also still regarded with much reverence for certain events. Both men and women perform hula dancing although it has been made most famous by women who were wearing grass skirts and coconut bras. This style of dress has not only been alluring but gives an excellent visual presentation of the skill that is acquired by professional hula dancers. This is a beautiful presentation, to say the least and gives many people a feeling of the warmth and hospitality that Hawaiians want people to experience whenever they visit the islands. The songs or chants that are used to accompany hula dancing are known as a mele. The mele is made more dramatic by hula dancing and two acts combined are a most enjoyable experience for those who are fortunate enough to enjoy hula dance and a mele in person. You may be wondering what the difference is between Tahitian and Hula dancing. If so, you should know that there is little difference beyond the pace that the dances are set at. For some of the Tahitian dances, there is a much faster pace that is sometimes referred to as “hip shaking� while Hula dances may go similarly as fast but are considered far more graceful and includes the hands more in the storytelling aspect of the dance. Tahitian dance sources its beginning back to the ote, which was originally a pre-European dance that was done by men only. Today, the ote!a "amui is the dance which can be done by both men and women. The naming conventions are not the only differences between Tahitian and Hula dances. Tahitian dances are designed to be demonstrations of life occupations from day to day versus a story of the history of how the civilization came to be. So whether your preference is for Tahitian or Hula or you enjoy both, one thing is certain: these dances are designed to share something with you that the people of these countries appreciate, enjoy and want you to know. That alone should give you a good feeling every time you get a chance to watch a performance. (http://www.centralhome.com)
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Photo by romashka-biz
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by anne gundersen
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Art Of Empathy AOE starts at the point the kid Jef got touched by melancholic music... Never will he forget the overwhelming feeling of being impressed by 'Walking In The Air' (music from the animation movie 'The Snowman'). That!s why he started collecting his own melancholic guitar-riffs on tape, short after he got his first guitar. During his studies, he spent most of his free time playing in metal-bands, but once graduated, an old dream reappeared: turning those ancient riffs into spherical songs. The name 'Art Of Empathy' fitted perfectly with the music he had in mind: unassuming, melancholic music in which people can dream away in different worlds, in different thoughts, ... The recording started when his parents gave him an old computer. The track 'Winters Dancing' was one of the first experiments. It was a model-song during the creation of the other tracks. Lots of sweat and time later, the album 'Evening Sessions' was a fact. AOE got plenty of great reactions from all over the world and that!s why this story continues... More: http://www.artofempathy.be/ http://www.myspace.com/artofempathy (CIRKUMFLEKS) Magazine
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http://hiero.ru/Ximera
MARIA ZAITSEVA (CIRKUMFLEKS) Magazine
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by Maria Zaitseva
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by Maria Zaitseva
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by Maria Zaitseva
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При копировании обзоров ссылка на источник необходима и достаточна.
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T-shirt Ed[og]Lys Color: White/Black/ Gray Size: XS-XXL Price: 24.90
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LINKS:
Atle J. Goutbeek: http://www.fullframe.no/
Guro Torget: http://foto.no/cgi-bin/bruker/minside.cgi?brukerid=69884 Line Martinsen: http://tulipa.foto.no/ Charlotte Spetalen: http://www.charlottespetalen.com Anne Ueland: http://anneueland.foto.no Julien Chaumet: http://picasaweb.google.com/julienchaumet Stevie Kuner: http://issuu.com/steviekuner Nadejda Efremenko: http://efremenko.com http://foto-pro.gallery.ru/ Anne Gundersen: http://www.annegundersen.com Oleg Kirillow: http://www.myspace.com/kirillow http://kirilus.livejournal.com/ http://www.free-lance.ru/users/dedalus http://www.youtube.com/user/KIRILLOW76 Tatanik: http://www.photographer.ru/nonstop/author.htm?id=20605 Art Of Empathy: http://www.artofempathy.be Dunaewsky69: www.dunaewsky69.com.ua Miss Moonlight: https://missmoonlight.com Simon Goinard Phelipot: http://www.resonance-art.com Stuilui: http://www.stuilui.com/ Renata Safin: http://renata.safindesign.com Tatjana Sedova: http://sedova.safindesign.com Milkrun: http://www.myspace.com/milkrun2000 (CIRKUMFLEKS) Magazine
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LINKS:
Maria Zaitseva: http://hiero.ru/Ximera
Shu Okuyama: http://www.myspace.com/shuokuyama Romashka-biz: http://romashka-biz.gallery.ru/ Tatyana Ionova: http://hiero.ru/Tatvas Svetlana Safin: http://svetlan.safindesign.com yamasaki ko-ji: http://lifephotojournal.com http://www.yamasakiko-ji.com Anna Litvinceva: http://siniy-chulok.gallery.ru/
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