Culture Club Dance

[Alma Wass]

Featuringthe numerous culture clubs, Multicultural Day (MCD) at Cherry Hill East is a yearly tradition loved by many students. Each year, the day consists of students showcasing their culture through booths, activities, food and dance. Many culture clubs participate in the annual dance competition in which their club members perform a seven-to-ten-minute dance from their culture.

A s Zhang mentioned, Kung Fu is incorporated into the CSA dance. Some clubs choose to include non-dance aspects in their dance to truly represent what their culture is all about. Zhang and Zhou choreograph the dance parts and Fu choreographs the Kung Fu parts.

Lee mentioned that the hardest part about choreographing for her is connecting all of the ideas and making sure the performance runs smoothly. Similarly, Zhang and Zhou believe that a big challenge is deciding what to include and what not to include and making sure that the dance is feasible for all experience levels.

Around 50 to 60 club members typi- cally participate in the ICS dance. Gupta noted that, in previous years, club members had to audi- tion to be able to do the dance. However, this year, Gupta and Vinod decided to not make club members audition because they want everyone to be able to participate in the dance if they want to do so.

Clubbing (also known as club culture, related to raving) is the activity of visiting and gathering socially at nightclubs (discotheques, discos or just clubs) and festivals. That includes socializing, listening to music, dancing, drinking alcohol and using other recreational drugs. It is often done to hear new music on larger, high-end audio systems than one would usually have in one's home, or for socializing and meeting new people. Clubbing and raves have historically referred to grass-roots organized, anti-establishment and unlicensed all night dance parties, typically featuring electronically produced dance music, such as techno, house, trance and drum and bass.[1]

Club music varies from a wide range of electronic dance music (EDM), which is a form of electronic music, such as house (and especially Deep house), techno, drum and bass, hip hop, electro, trance, funk, breakbeat, dubstep, disco. Music is usually performed by DJs who are playing tunes on turntables, CD players or laptops, using different additional techniques to express themselves such as beat juggling, scratching, beatmatching, needle drop, back spinning, phrasing and other tricks and gigs, depending on the type of music they are playing. They can mix two or more prerecorded tunes at the same time, or sometimes music is performed as a live act by musicians who play the sounds over a basic matrix, sometimes combined with a VJing performance.[citation needed]

Clubbing was rooted in the disco wave of the 1970s, and developed in the American club scene in Chicago, New York and Detroit.[2] It was initially predominantly popular with gay, black Americans, due to the social exclusion they had faced elsewhere.[2] Mixing pre-existing musical styles to create their own, and combining this with newly available recreational drugs like MDMA, created a sense of hedonism and escape, and the formation of a community.[2] Other more mainstream clubs and DJs began to adopt the music, styles and drugs of the scene, which expanded the audience beyond the original black gay community.[2] The subculture took shape in the late 1980s and early 1990s at underground rave parties in the U.S. and London (Reynolds 1998). A particular contributor to this in the UK was the Ibiza club scene, through which British tourists were exposed to the twelve hour clubbing cycle.[2] Numerous social changes have, however, occurred since then to transform this subculture into a mainstream movement, youth-oriented lifestyle and global activity (see Bennett 2001, Reynolds 1998; Hill 2002)[3]

Featured Image: "The Shiva of the 5 Elements of Hip-hop" by O.T. Pasha aka PASHA I recently received some awesome questions from the BYU (Brigham-Young University) Hip-hop Club about the origins, dissemination, and current state of Hip-hop culture and Street/Club dances. I want to share it as I believe it can be a great resource [...]

However, the meetings and activities of the Indian Culture Club are about more than just getting involved and trying new things. This club is a focal point for all the good qualities of Indian culture on campus.

The dance team captain, Maithili Patel, who is also trained in Indian classical dance outside of school, says the team has gone off campus to perform. This also makes others aware of the Indian culture.

Some of the many different Indian classical dancing moves and routines include Punjab in the northern part of India called Bhangra, Gujarat in the western part of India, which is called Garba, and belly dancing, a Middle Eastern influence in the dance culture.

Dance events are the major component of how the club spreads awareness of their culture. They also go to other schools such as Seton Hall University, Rutgers University and William Paterson University to perform their styles of Indian classical dancing and performances.

Meeting with other organizations is another part of the club that stands out as a favorite feature to Puja Patel and the others, adding that people of other organizations come to their meetings to learn about them and vice versa.

The group does different things every Wednesday at their 2:30 p.m. general meetings, such as learning about freedom fighters and inspirational figures such as Mahatma Gandhi, Kunwar Singh one week and the following week, naming the wonders of India and talking about the different architectural designs in India.

War, spirituality, desperation, passion, culture: All are forces driving a new collaborative dance work by a formidable trio of local dancer-choreographers: Anuradha Naimpally, Toni Bravo, and Sharon Marroqun. Women: Voices and Whispers, produced by Austin Dance India, will explore facets of women's realities through the essences of three powerful female figures in history, as captured by three distinct choreographic voices. A cast of dancers including schoolchildren and octogenarians will perform movement based in the languages of modern and classical Indian dance, accompanied by 13th century sacred music, contemporary compositions, and the songs of Edith Piaf.

The choreographers are all teachers as well as artists, which may explain their focus on the intergenerational. In a conversation about the project, it became evident that their roles render them all at once creators, interpreters, and protectors of the cultures they pass down. The performance, says Naimpally, aims to expose women's experiences and the human condition in general at the intersection of the broadness of culture, the horizontal, and cultural lineage, the vertical. That is, in mathematical terms, the origin.

Austin Chronicle: After at least a decade of working in overlapping circles and crossing paths, you're collaborating as a trio for the first time. How did this project come about?

Bravo: Also, it was an opportunity for us to concentrate on that one personality that was, for one reason or another, so attractive to each one of us. But it also helped us to be able to represent different kinds of women with different voices, with different intents. And because we started talking about legacy, we also thought we needed to figure out a way to talk in terms of how that figure has influenced me and how I have influenced, maybe for that reason, in a certain way, the next generations. And so it was a good way to narrow our narrative, as opposed to having to talk in general about women.

Marroqun: Yeah, well, women are so many things. I mean, they're wives, and they're mothers, and they're petty, and they're deep, and they're spiritual, and they're passionate. There are so many different facets that I think choosing these three women was a way of homing in on three aspects of women. They're probably present in all women, to one degree or another, but we're focusing in on three women who really embodied them.

Naimpally: I don't think this show has anything, really, to do with the traditional sense of feminism. It's just a celebration of spirit through these women, how they expressed themselves and how they live on.

Bravo: Well, if you think in terms of their significance, each of them is really, really at a point in history in which things changed because of them. I know Teresa [of Avila] was a very different religious woman than others had been up until that point. So she changed things in a sense.

Bravo: Piaf was definitely not the singer that Europe had been seeing up until that point. She started doing things that sounded like jazz and blues when there was no jazz or blues. And obviously this queen, Jhansi Ki Rani, she was a warrior.

Culture Night 2024 is shaping up to be a unique one as various clubs prepare to introduce new performances related to their culture. The highly anticipated annual event that promotes cultural diversity and worldwide peace takes place on March 13, at 7:00 pm and March 15 at 8:00 pm. Among the many clubs set to welcome new dances are the Latin America and Filipino clubs, whilst the Rotuma and Golden Mecca clubs make their debut performance at the event.

The Rotuma Club represents the island of Rotuma, a Fijian dependency located in the central Pacific. While the people of Rotuma are Fijian in nationality, they have unique cultures and practices that set them apart from their fellow Fijian cousins.

This book offers a comprehensive overview of electronic dance music (EDM) and club culture. To do so, it interlinks a broad range of disciplines, revealing their (at times vastly) differing standpoints on the same subject. Scholars from such diverse fields as cultural studies, economics, linguistics, media studies, musicology, philosophy, and sociology share their perspectives. In addition, the book features articles by practitioners who have been active on the EDM scene for many years and discuss issues like gender and diversity problems in general, and the effects of gentrification on club culture in Berlin.

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