Dance India Dance (also called by the acronym DID; tagline: Dance Ka Asli ID D.I.D.) is an Indian Hindi-language dance competition reality television series that airs on Zee TV, created and produced by Essel Vision Productions. It premiered on 30 January 2009. Here the judges are called Masters and Mithun Chakraborty was called Grand Master (until season 6). Season 7 premiered with a different concept. This show is a remake of Bengali show Dance Bangla Dance which premiered on 2007. After 3 successful season of Dance Bangla Dance, Zee TV remade this show for all-over Indian participants.
The show features a format where dancers from a variety of styles enter open auditions held in Indian metropolitan cities to showcase their unique style and talents and, if allowed to move forward, are then put through mega-audition rounds of auditions to test their ability to adapt to different styles. At the end of mega audition, the top 18 dancers are chosen as finalists who move on to compete in the competition's main phase where they will perform solo, duet and group dance numbers in a variety of styles in competition for the votes of the broadcast viewing audience which, combined with the input of a panel of judges, determine which dancers will advance to the next stage from week to week.[1]
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The show features a variety of Indian cultural and international dance styles ranging across a broad spectrum of classical, Contemporary, Bollywood, Hip-hop, Jazz, Kalaripayattu, Salsa, and Musical theatre styles, among others, with many sub-genres within these categories represented. Competitors attempt to master these styles in an attempt to survive successive weeks of elimination and win a cash prize and often other awards, as well as the title of India's Best Dancer - CJ. The show is choreographed by Indian choreographers, such as Mudassar Khan, Marzi Pestonji, Tanuj Jaggi and Mini Pradhan. The show has won several television awards for Most Popular Dance Reality Show.[2]
The second stage of the selection process, the Mega Auditions, is a several-day-long process in which the 100 hopefuls are tested for overall well-rounded dance, stamina, and their ability to perform under pressure. The dancers are put through a battery of rounds which test their ability to pick up various dance styles (typically some of the more well-represented genres that will later be prominent in the competition phase, such as Hip hop, Bollywood, Jazz, Bharat Natyam, Kathak, Mohiniyattam, Odissi and Contemporary). At the end of this process, only the top 36 competitors will be chosen. The top 36 are then again asked to give solo performances, after which 18 are chosen in the final auditions. Then, those top 18 get divided into 3 teams which are named according to the 3 masters of the show such as, Mudassar Ki Mandali, Marzi Ke Mastane and Mini Ke Masterblasters. Each team containing 6 dancers then competes in the show, learning new skills throughout the journey.[5]
You can download your dedicated DID app with features like appreciating your favourite participant while you watch them dance on television; chat with your favourite DID contestants and suggest dance steps to them; interact with the judges of DID Masters Remo, Geeta and Terence; and vote for your favourite participants (with in-built Missed call function), among others from your respective mobile app store.
The dance prodigy received the trophy of the ultimate dance superstar along with a cash prize of Rs 5 lakh. Sachin Sharma and Piyush Gurbhele, who were announced as the first and second runners-up respectively, were also awarded with cash prizes to celebrate their journey and achievements on the show. Dance India Dance 6 was hosted by Amruta Khanvilkar and Sahil Khattar.
My first idea was to compare Ausdruckstanz literature to work in other fields on the theorization of fascist aesthetics. This would establish a critical framework for the vexed question of the fascistization of German modern dance. As the research of Susan Manning, Marion Kant, and Laure Guilbert has made patently evident, Ausdruckstanz begs the question of dance and politics because of the easy and massive accommodation of German modern dance to the cultural policies of the Third Reich. The history of Ausdruckstanz has long been veiled, but the original research of these scholars persuades us to reconsider dance modernism from the political perspective. An early twentieth-century avant-garde art movement and an authoritarian state apparatus encounter each other at a moment crucial in the development of each; something new is being created, both artistically and politically, that reveals contradictory forces and tendencies at work. Only when these dance scholars lifted the veil and rewrote history could we begin to perceive dance in the full light of the political. They have inaugurated an area of inquiry that requires further work. But any serious critical development of dance study methodology must also be tested against their re-evaluation Ausdruckstanz.
Much has been said of the tradition of quadrille dancing that exists in the Caribbean. This dance and music repertory was first introduced there in the late eighteenth century by European colonists who wanted to recreate some of the aristocratic lifestyle they would have enjoyed in their country of origin. But soon after its introduction, people of African descent whom the Europeans had forcibly introduced in the Caribbean appropriated the dance and transformed it to fit the new environment.
In his overview of Caribbean music, Kenneth Bilby noted that the most ubiquitous music traditions of the Caribbean seem to be the ones that grew out of the European social dances and music genres of an earlier era (1985, 195). Establishing a parallel with the Creole music of the Seychelles, which bears strong resemblance to Caribbean forms, John Szwed and Morton Marks (1988) suggested that the French contredanse and quadrille were instrumental to the emergence of the Creole repertories, primarily because, just like many of the Caribbean islands, the Seychelles were French colonies in the eighteenth century.
Around the time Marcia Siegel's dance writing career began, an important predecessor's ended with the death in 1962 of Beryl de Zoete, critic and ethnologist. Of Dutch descent, de Zoete was born in London in 1879 into a family of brokers whose name still figures prominently on the British stock exchange. Traveling independently, using her gifts for meeting people and learning languages, she wrote three unprecedented ethnographies, beginning with the book she produced with Walter Spies, Dance and Drama in Bali (1938), and followed by The Other Mind: A Study of Dance in South India (1953) and Dance and Magic Drama in Ceylon (1957). From the late 1920s through the mid-1950s, de Zoete also published many articles on her encounters with European dance and music, and her reviews of performances and books appeared regularly in newspapers, most notably in the influential weekly New Statesman and Nation. After she died, her friend Arthur Waley completed her planned collection of short pieces, The Thunder and the Freshness (1963), titled after poet John Keats's description of a waterfall. This image evoked, for her, the sound of dance drumming before dawn.
In this talk, I sketch de Zoete's life and begin to think about how she worked as a writer. As part of my doctoral research, I investigated her connections with Dalcroze Eurhythmies, which teaches music through movement and improvisation. I also draw on previous work by Margaret Dale, who remembers de Zoete's visits to Sadler's Wells Ballet rehearsals in the 1940s and later consulted her about presenting Sinhalese dance on BBC television.
I am sorry not to be able to join you in person today, but I am glad for the chance to participate in this opportunity to honor Marcia Siegel. Marcia and I taught together in the Department of Performance Studies at New York University from 1985, when I joined the faculty, until her retirement in 1999. And I was honored when she came to do a workshop and speak in my class at Stanford when I began teaching there in 2003. Many of you in attendance today know the beauty and rigor of Marcia's writing about dance, so perhaps it might be better if I spend my time sharing some aspects of Marcia's work that might be less well known to you.
In their early years the institutes were of tremendous importance to dance criticism. Nothing like them had ever been attempted. They came at the beginning of the dance boom, when publications were suddenly expected to cover what, for many editors and writers, was a little-known art form. The institutes were sponsored by the National Endowment for the Arts specifically to train dance critics. A number of people passed through the institutes who went on to important careers in criticism and academe, including Sally Banes, Janice Ross, and Mindy Aloff.
As early as 1626 at the court of Louis XIII, king of France, the mysterious figure of Asia appeared in the Grand Bal de la Douairière de Billebahaut, a ballet danced by the king and his noble companions. In 1635 The Temple of Love, a court masque (as le ballet du cour was known in England), was presented at Whitehall Palace in London. In this spectacle, Persian youths voyaged to India to encounter Indamora, Queen of Narasinga, danced by Queen Henrietta Maria herself in a costume designed by Inigo Jones. Back in France, a Sanjac Indien represented the continent of Asia in another court ballet, Les Entretiens de la Fontaine de Vaucluse (1649).
Some readers may find the style and organization of Ms. Ameri's article different from those that they are used to finding in Dance Research Journal. One must keep in mind that in Iran the performance of dance, with the exception of male folk dancing in front of all-male audiences, has been banned for over twenty-five years. Even the performance of solo improvised dance in private parties, such as weddings, can result in severe punishment. Prior to the 1978/79 revolution only one serious, but deeply flawed, article (Zoka' 1979) in Persian had appeared in print. Ms. Ameri's article is a pioneering effort, the first serious scholarly article to appear in print in Iran by an Iranian in a quarter of a century, and one that the reader can more readily appreciate when he or she realizes that the research materials available to dance researchers in the West, Japan, and other parts of the world do not exist in Iran. Thus, the work Ms. Ameri undertook was burdened by a lack of knowledge of trends in contemporary dance research that many of us take as commonplace; the article took great personal courage to write. 2ff7e9595c
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