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End-gaining is the tendency we have to keep our mind and actions focused on an end result whilst losing sight of, and frequently at the expense of, the means-whereby the result is achieved.
The Culture honors the lineage of Hip Hop through expression of its five pillars -- breakdancing, MCing, DJing, graffiti, and knowledge -- to spread the message of equality.
Using hip hop vocabulary, this piece challenges the idea of what concert dance and storytelling through movement has been and what it could become. For the past decade contemporary dance has universally been influenced by movement vocabulary from hip hop culture, however hip hop itself has not been widely accepted as a form of concert dance. This piece explores the use of "Breaking" as a tool of bringing meaning to movement for the purposes of storytelling.
Book Covers addresses hyper masculinity and challenges the narrative of what it means to be a male dancer.
"Game Show" brings attention to the ease with which those who are not ignored and marginalized can choose how much they will get involved with issues that don’t directly affect them.
Born into a royal family that ruled what is today Guinea-Bissau, Benkos Biohó was seized by the Portuguese slave trader Pedro Gomes Reinel, sold into slavery, then transported to what is now Colom- bia in South America. After many es-capes, he along with ten others, founded San Basilio also known as the “Village of the maroons”. The village of Palenque (walled city) de San Basilio, located in the foothills of the Montes de María southeast of Cartagena, is one of many Palenques that existed in the seventeenth century that served as a refuge for escaped slaves. San Basilio was home to the first free Africans in the Americas and many other famous Afro-Colombians, as well as the rich traditions that are embedded within Colombian
Champeta, a music and folk dance that originated among inhabitants of African descent of the Colombian city of Carta-gena De Indias, is linked with the culture of the Palenque of San Basilio. The word “champeta” originally denoted a short, curved knife, and in the 1920s started to be applied to residents outlying the districts of Cartagena, who were poor and of African descent. In the 1970s it was used to identify a dance and then a musical genre in the 1980s. The conception of champeta includes four central aspects: musical expression, the distinctive language, the loudspeakers (picós), and celebrations (perreos).
Race and ethnicity in Colombia descend mainly from three racial groups: Amer-indians (native indigenous), Africans, and Caucasian (White Colombians also descended from Spanish, Lebanese, and Syrian peoples) that have mingled throughout the last 500 years. Demographers describe Colombia as one of the most ethnically diverse countries in the Western Hemisphere and in the world, with 85 different ethnic groups.
With Champeta permeating through Colombian culture over the years, it has taken on other forms of expression, such as dance, political activism, costume, and literature. Lyrics often display the rebellious attitude of challenging social and economic exclusion or relate to dreams of change and progress. In addition, Champeta culture has become better-known in Colombia due to the develop-ment of complex dances set to the rhythms of salsa, jibaro, and reggae.
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