How about a dance
How Bout a Dance Sheet music Bonnie and Clyde
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“How Bout a Dance Sheet Music PDF From Bonnie & Clyde (The Musical)” for Piano Sheet Music, Scoring Piano / Vocal / Chords , Original key: Ab Major, number of pages sheet music PDF: 4, and Lyrics song How Bout a Dance Sheet Music PDF From Bonnie & Clyde (The Musical) Free Download.
|Title:||How Bout a Dance|
|Artist:||from Bonnie & Clyde|
|Instrument:||Piano Sheet Music|
|Scoring:||Piano / Vocal / Chords|
|Styles:||Broadway, Musical Theatre|
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VideoLyrics How Bout a Dance From Bonnie & Clyde (The Musical)
How Bout a Dance
How ‘bout a dance? What do you say?
I’ve got some moves that I’d love to show you.
Let’s find a spot and dance the night away.
How ‘bout a dance? It’s always fun.
Come over here. Let me get to know you.
Can’t beat a band to lift your spirits high.
You look so handsome.
How ‘bout a dance? Let’s make a start.
Music like this can really throw you.
You’ll lose the blues, and you may lose your heart.
Tonight is the night I’ve been waiting for.
Even the moon looks just right.
I’m sure the crowd will make room on the floor.
When they see you look like you do.
So how ‘bout a dance? Let’s make a start.
Music like this can really throw you.
You’ll lose the blues, and you may lose your heart.
You’ll lose the blues, and you may lose your heart.
“How Bout a Dance’” from Bonnie & Clyde is a musical with music by Frank Wildhorn, lyrics by Don Black and a book by Ivan Menchell.Broadway Musicals Sheet Music
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dance | Definition, Characteristics, Types, History, People, & Facts
Pieter Bruegel the Elder: Peasant Dance
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- Key People:
- Igor Youskevitch Pyotr Ilyich Tchaikovsky Claudio Monteverdi Igor Stravinsky Sergey Prokofiev
- Related Topics:
- Western dance Latin American dance ballet folk dance Native American dance
See all related content →
Read a brief summary of this topic
dance, the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself.
Dance is a powerful impulse, but the art of dance is that impulse channeled by skillful performers into something that becomes intensely expressive and that may delight spectators who feel no wish to dance themselves. These two concepts of the art of dance—dance as a powerful impulse and dance as a skillfully choreographed art practiced largely by a professional few—are the two most important connecting ideas running through any consideration of the subject. In dance, the connection between the two concepts is stronger than in some other arts, and neither can exist without the other.
Although the above broad definition covers all forms of the art, philosophers and critics throughout history have suggested different definitions of dance that have amounted to little more than descriptions of the kind of dance with which each writer was most familiar. Thus, Aristotle’s statement in the Poetics that dance is rhythmic movement whose purpose is “to represent men’s characters as well as what they do and suffer” refers to the central role that dance played in classical Greek theatre, where the chorus through its movements reenacted the themes of the drama during lyric interludes.
The English ballet master John Weaver, writing in 1721, argued on the other hand that “Dancing is an elegant, and regular movement, harmoniously composed of beautiful Attitudes, and contrasted graceful Posture of the Body, and parts thereof.” Weaver’s description reflects very clearly the kind of dignified and courtly movement that characterized the ballet of his time, with its highly formalized aesthetics and lack of forceful emotion. The 19th-century French dance historian Gaston Vuillier also emphasized the qualities of grace, harmony, and beauty, distinguishing “true” dance from the supposedly crude and spontaneous movements of early man:
Another Dance Quiz
Who pioneered the serious presentation of dance on film? What is the bedaja? Use this quiz to test what you know about dance around the world.
The choreographic art . . . was probably unknown to the earlier ages of humanity. Savage man, wandering in forests, devouring the quivering flesh of his spoils, can have known nothing of those rhythmic postures which reflect sweet and caressing sensations entirely alien to his moods. The nearest approach to such must have been the leaps and bounds, the incoherent gestures, by which he expressed the joys and furies of his brutal life.
John Martin, the 20th-century dance critic, almost ignored the formal aspect of dance in emphasizing its role as a physical expression of inner emotion. In doing so, he betrayed his own sympathy toward the Expressionist school of modern American dance: “At the root of all these varied manifestations of dancing . . . lies the common impulse to resort to movement to externalise states which we cannot externalise by rational means. This is basic dance.”
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A truly universal definition of dance must, therefore, return to the fundamental principle that dance is an art form or activity that utilizes the body and the range of movement of which the body is capable. Unlike the movements performed in everyday living, dance movements are not directly related to work, travel, or survival. Dance may, of course, be made up of movements associated with these activities, as in the work dances common to many cultures, and it may even accompany such activities. But even in the most practical dances, movements that make up the dance are not reducible to those of straightforward labour; rather, they involve some extra qualities such as self-expression, aesthetic pleasure, and entertainment.
This article discusses the techniques and components of dance as well as the aesthetic principles behind its appreciation as an art. Various types of dance are discussed with emphasis on their style and choreography. The history of dance in various regions is treated in a number of articles; see dance, African; music and dance, Oceanic; dance, Western; arts, Central Asian; arts, East Asian; arts, Islamic; dance, Native American; arts, South Asian; and arts, Southeast Asian. The interaction between dance and other art forms is discussed in folk dance.
Beautiful phrases about dance - Catch phrases
Dancing, a person allows himself the luxury of being himself.
Dance is the vertical expression of horizontal desire.
When two dance, they dance - love ...
Dance is the only art for which we ourselves are the material.
Dancing always adds new colors to your life.
Sometimes it doesn't matter what kind of dance you dance... It's much more important who you do it with!
Dance is a poem, every movement in it is a word.
Dance is a bridge between soul and body.
Only dance makes music visible.
Everything in the universe is rhythmic. Everyone is dancing.
Only in silence can a word be heard. Only in complete darkness - to see the stars. And the great dance is always danced on the edge of the abyss, over the terrible abyss.
Dance is a breath of something new. Something that is hidden deep inside of you. Dance is an opportunity to become different for a while.
Dance like no one is watching!
When we give ourselves entirely to the spirit of dance, it becomes prayer.
Dance is a huge world, you need to have patience to conquer it.
Make time for yourself. Dance. It is so uplifting, inspiring and captivating! When you dance, you live!
Great dancers are not great because of their technique, they are great because of their passion.
If a man does not like how his woman dances, then this woman is not his.
When you dance, you express all your feelings.
Dance is a huge energy that nourishes every cell of the body and gives strength to move on. It is a feeling of freedom and flight.
To dance means to be outside of yourself, bigger, stronger, more beautiful. In the dance - power, in the dance - the greatness of the Earth, it is yours - take it entirely.
Dance is the song of the body, its joy or pain.
When you dance, you are who you want to be at that moment.
Dance is the secret language of the soul.
Dance is a conversation between two people: a man and a woman. The dance style determines the theme… The most eloquent conversation is the tango!
Life in dance is harder, but much richer.
People don't stop dancing because they get old, they get old because they stop dancing.
Dance is an art that reflects the soul.
A dance becomes perfect if it creates music.
The dancer's body is simply a luminous manifestation of his soul.
Dancing is not a drug, but oxygen!
Dancing with your feet is one thing, dancing with your heart is another.
Dance is a language that the whole world understands.
Dance can reveal all the secrets that lie in music.
Dance is your pulse, your heartbeat, your breath. This is the rhythm of your life. It is an expression in time and movement, in happiness, joy, sadness and envy.
To dance means to let your partner into your personal space, it means to trust one hundred percent. Life is the same dance.
Dance not with your body, but with your soul. So your dance will take on a life of its own, it will be life itself.
Dance for yourself. If someone understands - good, if not - it does not matter, continue to do what you love.
I dance because I am happy. I dance because I am free.
I'm not pretending. When I dance, I am who I am.
Dance is the world's favorite metaphor.
If you could explain something in words, there would be no point in dancing it.
When I dance I cannot judge, I cannot hate, I cannot separate myself from life. I can only rejoice and be whole. That is why I dance.
We must consider lost every day in which we did not dance at least once.
We live means we dance. Dancing means living!
Dance and Choreography as Copyrighted - n'RIS
Movies, music, literary works come to mind when you think about copyright - what about dance? They can be seen as an art form combining the original expression of choreography, rhythmic and plastic sets of movements. Many agree that the dance should be protected by copyright. Is this true, and what are choreographic works as an object of copyright?
What is a choreographic work
A choreographic work is a set of successive planned human movements that creates an integral choreographic image and is accompanied by music. In the civil legislation of the Russian Federation, choreographic works are classified as protected objects of copyright along with works of literature, science and art (Article 1259 of the Civil Code of the Russian Federation). The work will be protected both in part and in full.
Dance, including plastic and rhythmic movements, can be attributed to a choreographic work. But how do you know which dance will be copyrighted and which won't? Is there a difference between dance moves in a club, a theater production, or dancing in a music video?
In order for a choreographic work to be protected by copyright, it must have two features:
- expressed in some objective form, for example, it can be a sound and video recording, images, text form
- have a creative component
For protection the word "work" plays an important role, since a work is the result of the author's creative work, with a plot and in the form of a finished product. A choreographic work, along with films, performances and novels, can have a plot, culmination and denouement, that is, a single composition with a pronounced idea, images, characters, style and message. Impromptu dances in a club would hardly fit the definition of "choreographic work".
Moreover, a choreographic work may include not only dance, but also an audiovisual show, singers' numbers, theater scenes, and so on. Therefore, the dance, as part of a choreographic work, will be protected by copyright.
The copyright for a choreographic work belongs to the choreographer or other author who is staging it. If several choreographers took part in the creation of a choreographic work, they will be co-authors, regardless of who and what part contributed to the final work. A work created in co-authorship is used jointly by co-authors, unless otherwise provided by agreement between them. In the case when such a work forms an inseparable whole, none of the co-authors has the right to prohibit the use of such a work without sufficient grounds (Article 1258 of the Civil Code of the Russian Federation).
How to copyright a dance performance
Claiming copyright for a dance is not as easy for a choreographer as, for example, for a poet who has written a poem. As stated above, dance as an object of copyright must be expressed in an objective way. There are several ways to express the dance:
- Make a written description of the dance in as much detail as possible (the choreographers know the name of each movement). The description should not be too general, otherwise it will not be possible to prove the right to it
- Record the dance on video. It is important to understand here that the creators of this video (cameraman, editor, etc.) can be recognized as co-authors if they made a creative contribution to the recording of the video (clause 2 of article 1228 of the Civil Code of the Russian Federation). If the operator only presses the button and only controls the filming process, he will not be recognized as a co-author. You can record yourself by mounting the camera on a tripod. Be sure to set the shooting date and time so that they appear on the recording
- Take successive photographs of each movement and, again, photograph yourself, for example, using a timer, without involving other persons for this
Under civil law, it is not necessary to register copyright, they arise at the time of creation of the work. Despite the fact that copyright does not require registration, in the event of a dispute, the author may need proof of authorship, so they can and should be recorded. For example, there is an increasing number of controversies on TikTok, where the dance spreads across the social network at lightning speed, copied and repeated by thousands of users, making it difficult to ascertain who the original creator was.
If a situation arises in which someone appropriates the authorship of the dance or copies it, the author will need proof that he was the creator of it. Therefore, creators are increasingly resorting to electronic (digital) depositing of their works, that is, fixing copyrights. In n'RIS, you can deposit a work in a few minutes.
When depositing, the author places the file in a secure digital cell, the contents of which are not available to third parties. During the procedure, authorship, date and time of registration are recorded. The uploaded file may contain consecutive photographs of the dance, a video recording or a textual description of the movements. If the authors of the dance were several choreographers, when depositing, you can indicate the co-authors and the percentage of their shares in the work. After uploading the file, the author receives a certificate of deposit - it will become a document confirming the authorship of the object.
Deposit a video of your choreography -
make sure the dance number is credited
Associated rights: when a dance has multiple authors
Initially, the copyright for a dance belongs to the person who created it - the choreographer. In order for the dance to be conveyed to the viewer, someone must perform (dance) it. This is how related rights arise - these are rights related to copyright. Related performance rights may belong to the dancer, but may also belong to the theater, if the dancer has an employment contract (then he creates "service performances", for which he is paid remuneration).
A related right arises when a theatrical performance (performance) is staged by the production director, and it can also belong to the theater, as in the case of a dancer, if it is a service object.
There is no difference between copyright and related rights in terms of turnover. It is not necessary to register related rights, they arise at the moment when the author's object becomes available for perception. For example, the choreographer who created the dance will own the copyright, and the theater on the basis of which the dance was realized will own related rights.
To exercise related rights, you need the consent of the author of the choreographic work - the choreographer. If you do not first obtain permission to use the copyright object, this will be considered an infringement. Usually, consent is obtained by concluding a license agreement, in which the rights to the object (dance) are transferred in a limited way, for example, for a period of 5 years.
Examples of protected choreographic works
Copyright for a choreographic work extends in any case if it is expressed in an objective form and has a creative component. Some choreographers' work has become so famous that if someone implements their work in their work, it will obviously be considered plagiarism.
For example, in 1983 Michael Jackson introduced Thriller, one of the most famous music videos in history. The musician collaborated with choreographer Michael Peters, who created the unique zombie dance Thriller, which instantly swept the world and still remains an important part of pop culture. Even though millions of people perform the dance, rights holders do not file infringement lawsuits. Another question is that if someone copied Thriller and performed it in a commercial video, this would be a violation of the rights of the authors.
In 2009, Beyoncé made the crowds move to the song Single Ladies. The dance in the video was created by choreographer Jaquel Knight and is based on a Bob Fosse dance performed by American dancer Gwen Verdon on The Ed Sullivan Show in 1969. Despite the fact that many noticed the similarity of the original performance with Beyoncé's dance, in fact, they turned out to be two different works.
As a result, in 2021, Jaquel Knight became the first ever choreographer to secure the rights to dance moves from Single Ladies. He also choreographed the music video for Lemon by rap rock band N.E.R.D. and Rihanna, and one of his latest viral works is a WAP clip from Cardi B and Megan Thee Stallion. Knight is now in the final stages of registering all of his known works.
Another high-profile incident occurred with the dance work of Martha Graham, a famous American dancer and choreographer. According to her will, after her death, the copyright for the choreography should pass to photographer Ron Protas. Despite this, the school she founded, the Martha Graham Center for Contemporary Dance, continued to use both the dancer's choreography and the trademark with her name, despite Protas's displeasure. After a lengthy legal battle, in 2002 the U.S. District Court ruled that 45 dances were copyrighted by the Center, 10 of them were in the public domain, 5 were reserved to the persons for whom they were created, and only one dance was owned by Protas.
The court found that Graham worked as an employee of the Center from 1956 to 1991 - during this period she was paid a salary, therefore the works created by her are considered official works, the rights to them belong to the Center. The Center now licenses Martha Graham ballets to professional dance companies and educational institutions. All licensing projects are managed by a professional registrar selected and trained by the Center.
Cases of plagiarism in choreography
Plagiarism is a partial or complete copying of the original work of the author, in which the plagiarist refers to himself as the author of the new work. Plagiarism happens in any work, including choreography.
German ballet dancer Kurt Joss showed how to protect yourself from plagiarism. After the musical Sensation in San Remo, starring Marika Röckk, was shown in theaters on September 6, 1951, the choreographer filed a lawsuit to temporarily ban the film from being shown in its original version at the Lichtburg cinema in Essen. He demanded that the scene called Die Sittlichkeit kommission (Moral Commission) be removed from the film, as the movements of the people dressed in black were strikingly similar to the images from his ballet Der grüne Tisch (The Green Table).
The Essen District Court was not long in coming: on September 26, 1951, the production company was ordered to cut the relevant scene from the film. Despite sworn statements by Rökk, director Georg Jacobi and producer Rolf Meyer that they knew absolutely nothing about Der grüne Tisch, the court ruled that there was "a high possibility that the table scene was borrowed in part from a dance drama by Kurt Joss" .
Another discussion about dance plagiarism arose after the release of Beyoncé's musical Countdown in 2011. The singer allegedly borrowed the choreography from two works of art by the Belgian dancer Anna Teresa De Keersmaeker: Achterland 1994 and Rosas danst Rosas 1997. Beyoncé acknowledged that the movements in the video were influenced by De Keersmaeker's ballet, noting that it was not her only inspiration.
Daniil Gleikhengauz, Russian figure skating coach and program director, made a performance for the song Bad Guy by Billy Eilish for the figure skater Alina Zagitova for the tour of Japanese ice shows Fantasy on ice. At the end of the two-week tour, a video of the performance hit the Internet. He was immediately noticed by American dancer and choreographer Jojo Gomez, writing on social media: “That feeling when your choreography for Bad Guy is stolen and broadcast on national television. Daniil Gleichengauz, I'm flattered that I inspired you so much, but next time just hire me and book me a flight to Japan instead of stealing the idea.
The issue of dance copyright is increasingly emerging on the social network TikTok. In March 2021, American singer and dancer Addison Rae appeared on The Jimmy Fallon Show where she performed eight dances popularized through the platform. Viewers were quick to note that most of the dances featured were created by other dancers, with Ray being the center of attention thanks to other people's merit. Later, to correct the dancers' resentment, Fallon invited dance creators to the show to discuss their creative process and perform dance routines (albeit virtually).