How to dance stomp

The Stomp Dance - NORTHERN CHEROKEE NATION

The Stomp Dance is performed by various Southeastern tribes and Native American communities, including the Muscogee, Euchi, Cherokee, Chickasaw, Choctaw, Delaware, Miami, Ottawa, Peoria, Shawnee, Seminole, and Natchez tribes. Stomp Dance communities are active in North Carolina, Oklahoma, Alabama, Mississippi, and Florida.

Structure and function of a Stomp Dance Society
The Stomp Dance is a ceremony that contains both religious and social meaning. To the Muscogee Creeks, Cherokees, and other Southeastern Indians the Stomp Dance is affiliated with the Green Corn Ceremony.

The term “Stomp Dance” is an English term, which refers to the “shuffle and stomp” movements of the dance. In the native Muskogee language the dance is called Opvnkv Haco, which can mean “drunken,” “crazy,” or “inspirited” dance. This usually refers to the exciting, yet meditative effect the dance and the medicine have on the participants. In the native Shawnee language, the dance is called Nikanikawe which refers to a dance involving friends or nikane. It is also called the Leading Dance by many Shawnees, but most simply call it the “Stomp Dance.”

Kituwah stomp dance grounds are encircled by seven clan arbors. These are influenced by the traditionalist revival among Cherokees during the late 19th century, inspired by Redbird Smith. In 1907, 22 ceremonial grounds were active on Cherokee lands in Oklahoma.

Stickball games are often played at stomp dance grounds. Euchi stomp dances are held in conjunction with their ritual football games. Especially in Oklahoma, different tribes will participate in each other’s dances.

Leadership
A traditional Stomp Dance grounds is often headed by a male elder.

Ceremony
The chief speaker calls the people to the dance for each round in the Native language. Every dance must have at least one woman to carry the rhythm. The order of the dancers is male-female-male-female in a continuous spiral or circle with visitors to the ground, then young children, and the odd numbers trailing at the end. The song is led by a lead man who has developed his own song on the multitude of variations of stomp dance songs. The songs are typically performed in call and response form. The dancers circle the fire in counterclockwise direction with slow, stomping steps set to the rhythm created by the women stomping with their shell shakers.[1] As the dance progresses, as many as several hundred people may join the circle. The dance continues until at least four rounds or four songs are completed by the dance leader. At this point, the dance concludes until the next leader is called out to sing. There is normally a 2-5 minute break between leaders. Participants who are making a religious commitment of the ceremony will begin fasting after midnight and “touch medicine” at four different times over night. The medicine is made from specific roots and plants which have been ceremonially gathered by selected “medicine helpers” and prepared by the Hillis Hiya at dawn of the morning of the Dance. This medicine is intended for the physical and spiritual benefit of the members of the dance at the ceremonial ground.

The dance frequently continues throughout the entire night until dawn of the next day. The Stomp Dance is not meant to be a grueling and physically challenging event, but almost every participant on the grounds will dance most of the night.

Dance grounds
Stokes Smith Stomp Dance Ground, which is located in an isolated area of the Cherokee Nation tribal lands, is one of approximately seven active Cherokee grounds. Other grounds include, Hossossv Tvlvhvse Ceremonial Ground on the Poarch Creek Indian Reservation near Atmore, Alabama, the White Oak Shawnee Tribe’s grounds and various other Creek and Seminole grounds in Oklahoma and Florida. The Eastern Band Cherokee stomp grounds is currently located in Raven’s Roost, North Carolina, on the Qualla Boundary. The Creek tribe today has 16 active ceremonial grounds located throughout North East Oklahoma. One of which is located west of Eufaula south of Mill Creek called Flat Rock.

Music
Men sing stomp dance songs in a call-and-answer format. A leader is chosen for a song and the other men provided a chorus. Male dance leaders often carry a handheld turtle shell rattle – most commonly made from box turtles. Among some tribes rattles can be made of gourds or coconuts. Women provided the rhythm with shakers worn on their legs, which are traditional made from turtleshells but can be made from condensed milk cans. During certain dances, a water drum can be used. Ethnomusicologist Victoria Lindsay Levine writes that, “Stomp dance songs are among the most exhilarating and dramatic musical genres in Native America.”

Attire
The dress of most Stomp Dancers is casual but nice. Most Stomp Dancers keep special attire for ceremonial occasions, but the physical nature of the dance and summery, outdoor conditions of the dance make comfort more important than flair. Women wear skirts and blouses that usually incorporate traditional patterns. The men wear blue jeans or slacks and hats, which are usually cowboy or ballcap styles, usually with a single eagle, hawk or crane feather in the hatband. The ribbon shirt is the standard ceremonial attire for both men and women, which consists of a loose-fitted tunic decorated with ribbons. Cherokee women typically wear full cotton skirts featuring ribbonwork in a rattlesnake pattern.

The women wear turtle shell shakers, or shackles, on both legs (typically 6 to 12 on each leg). The shakers are hollowed out shells which have holes drilled in them and are filled with rocks, shot, soda can lids or anything else that will make them rattle. The traditional Creek and Seminole shell shakers are made of terrapin or box turtle shells. Lydia Sam, a Natchez-Cherokee traditionalist, was the first to dance with tin, condensed milk can leg shackles in the 1920s. Some ground leaders insist on the use of the terrapin by head lady shell shakers. This tradition continues today and most women start out with a set of “cans” before moving up to having their own set of shells. Women stomp dancers are called “Shell Shakers” or “Turtles.”

Etiquette
Participants and visitors to a stomp dance ground cannot be under the influence of alcohol or drugs. Depending upon the grounds, they cannot have partaken of either for a prescribed period of time before or after the dance. Photography is not allowed at ceremonial dances. The ceremonies are religious, and many participant do not feel comfortable discussing details with non-Indians, particularly in regards to medicine.Pregnant or menstruating women do not enter the dance circle at ceremonial grounds. Depending on the ground, they may or may not touch medicine.

Secular Stomp Dance
During the off-season, Stomp Dances are sometimes performed indoors to avoid the winter cold. Some societies incorporate Stomp Dance into pow wows or as educational demonstrations. Caddos,Delaware, and other Woodland and Southern tribes have a secular or social stomp dance tradition. The Chickasaw Nation and Choctaw Nation of Oklahoma currently maintain non-ceremonial grounds for stomp dances and stickball.

Stomp Dance Demonstration | Chickasaw Cultural Center

APRIL 4 - DECEMBER 31, 2022

Tuesdays:	11 a. m. - 11:30 a.m.
	2 p.m. - 2:30 p.m.
Wednesdays:	11 a.m. - 11:30 a.m.
	2 p. m. - 2:30 p.m.
Thursdays:	11 a.m. - 11:30 a.m.
	2 p.m. - 2:30 p.m.
Fridays:	11 a. m. - 11:30 a.m.
	2 p.m. - 2:30 p.m.
Saturdays:	11 a.m. - 11:30 a.m.
	2 p. m. - 2:30 p.m.

Chikasha Inchokka' Traditional Village

The stomp dance is a treasured tradition in Chickasaw culture that illustrates our spiritual and musical connection to nature through a variety of songs and dances, beginning with the "Friendship Dance." Stomp dancers perform in traditional clothing and visitors are encouraged to participate.

Dependent upon weather, the stomp dance demonstration will be held in the Chikasha Inchokka' Traditional Village, Kochcha' Aabiniili' Amphitheater or Chikasha Poya Exhibit Center.

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Rather than stomp your feet in anger, learn to tap: fan_project — LiveJournal

Fred Astaire is one of those few personalities whose life story is also a story about the development of the American musical. For almost three decades, he defined the image of this genre.

George Balanchine called Astaire the most inventive dancer of all time. Even the usually stingy musical director Vincente Minnelli spoke of him with reverence: “Fred Astaire seemed as light as air itself. He had an absolutely individual style, and another dancer could not borrow it. This timid, shy person rarely and reluctantly talks about his work. But what cannot be taken away from him is his desire for excellence, the ability to work long and hard on the smallest details. He is a great artist who brought wonderful dance material to the cinema.”

Fred Astaire was not just a great actor, he was a legendary actor. Among the celebrities who danced with Fred Astaire was even the Queen of England.

Frederick Austerlitz (Fred Astaire) was born on May 10, 1899 in the American city of Omaha in the family of an Austrian immigrant.

At the age of five, Frederic was enrolled in a dance school. He attended classes with his older sister Adele. Three years later, they began to perform on the stages of vaudeville theaters. At the insistence of their mother, they changed the Austrian surname Austerlitz to the common artistic pseudonym Aster.

The second half of the 1920s was already unthinkable without the pair of Aster. They belonged to the stars of the New York show business. The famous Florenz Ziegfeld invited them to his theater, where they soloed with star Marilyn Miller in Vincent Youmans' "Smiles" show.

The Asters were recognized as the most successful couple in American musical theater. Adele is proclaimed the most charming partner. Her dancing and singing made an unforgettable impression on everyone. Fred was in the shadow of his lovely sister. The American critic Erlin Croce wrote in his book Fred Astaire and Ginger Rogers: “Fred had a lot of admirers at that time. He was much more than just a light comedian, more than a singer. In his dances, he achieved such magical perfection that it made the audience jump to their feet. He was relaxed and carefree and at the same time diligent. Obviously, this is what influenced his manner and style of dance and behavior. With internal composure and concentration, he was outwardly relaxed and carefree, and with such seeming carelessness, he nevertheless achieved magical perfection in his dances.

It seemed that nothing could destroy the magnificent dance duo, but in 1932 the lovely Adele married an English duke and left the stage.

Fred Astaire decided to try his luck at the movies. There are several anecdotes about this. In 1928, Fred came to Hollywood to audition for Funny Face. On Broadway, he starred in the musical of the same name. Aster did a screen test, after which the acting assistant made a note next to his name: “He can’t play. Can't sing. Slightly bald. Can dance a little." And when, four years later, Jack Warner invited Astaire to star in the musical "A Happy Divorce", he joked: "Who will play here? Cagney, right?

And yet Astaire signed a contract with the MGM film company. In 1933 he moved to Hollywood. His film debut is a small role in the musical Dancing Lady. Soon Fred meets the young Ginger Rogers. An excellent dancer performed in American vaudeville theaters, starred in musical films.

The idea to unite Ginger and Fred came from Lou Brock, the producer of the new film "Fly to Rio". This picture brought the artists the fame of the first couple of the film musical. For millions of viewers, Ginger and Fred became the perfect couple, although in real life they did not always get along with each other.

Subsequent films with their participation - "Joyful Divorce", "Cylinder", "Roberta" - were enthusiastically received by the public. Fred and Ginger are the fourth most popular movie stars behind Shirley Temple, Will Rogers and Clark Gable.

Aster invented many numbers himself. The choreographic scene from the film "Swingtime" (1936) "Squabble in Harlem" became the hallmark of the dancer. He performed a solo to the music of Jerome Kern against the background of the wall, which reflected the three huge shadows of the dancing Astaire. The climax came when the artist stopped and the shadows continued to dance.

Fred Astaire most often performed the role of a dancer, whose favorite costume was a tailcoat and a top hat. Hence the name of one of the most famous paintings of the famous couple "Cylinder". In total, from 1934 to 1939, Astaire and Rogers starred in eight more films. The following anecdote best tells about the public's sympathy for this couple. After it became known about Astaire's breakup with his partner, the studio began to receive letters from viewers in which they threatened to kidnap Astaire's children if the artist did not come to his senses.

In six films, Fred played the role of a dancer, twice he was a musician and once a magician. Almost all of the duo's films were made according to the same pattern. Fred meets Ginger and falls in love with her. She resists. The culmination of the film is Astaire's dance, with which he finally wins the heart of his chosen one.

“With Fred Astaire, dance becomes a stylized expression of feeling,” noted Hanisch, author of a book on the history of the musical. - His numbers are fused into the action of the film and motivated by it. Fred starts dancing when he doesn't have enough words to express his feelings. Astaire emphasized that he never turned to dance without motivation. There must always be a reason for it: be it a word, a person, a picture, an object. And if there is one, everything starts to dance. Fred Astaire's ingenuity knows no bounds."

Astaire and Rogers were considered by many to be husband and wife. Although in reality they often argued, there was little in common between them. Astaire was married and was considered an exemplary family man. Having married Phyllis Potter, he adopted her three-year-old son, and then they had children together. Ginger had an easy temper. Famous actors, directors and producers of Hollywood visited her husbands and lovers.

It seemed to Astaire that his partner was not as selfless as he would have liked. Ginger was jealous of her partner's fame and believed that the talent of a dramatic actress was dying in her. All this led to the fact that at 1939 Rogers and Astaire broke up.

There was magic in Astera, which arose from the incomparable lightness and jewelery refinement of the dance, behind which, of course, was hard work. The American Film Academy found the right words when, in 1949, on the occasion of Astaire's fiftieth birthday, he crowned him with a special Oscar for "unique artistry." This award was presented to him by Ginger Rogers.

After Ginger, Fred Astaire will no longer have a permanent partner. He danced and played with such stars as Judy Garland, Rita Hayworth, Sid Cheriss, Leslie Caron, Audrey Hepburn ...

In 1959, Astaire published his memoir Steps in Time, in which he outlined his philosophy of dance in his characteristic manner: ballet rules. From the very beginning, I felt that I was able to throw off these shackles, because I knew for sure that I would never devote myself to ballet. I felt that I was destined to become an interpreter of music and nothing else. And in this area there are no boundaries! .. I cannot perceive dance as something separate from me or as a means of expressing myself. I dance and that's all."

In 1956, as Astaire's dance career was in the doldrums, Paramount Studios decided to film the musical Funny Face by George and Ira Gershwin. The commercial calculation of the studio was that the partner of the famous dancer would be a young actress.

The choice fell on Audrey Hepburn. The young actress was filled with excitement and awe from the anticipation of working with the legendary Fred Astaire. “One look at this cheerful, elegant, extraordinary person was enough to make my arms and legs fill with lead, and my soul went to my heels. But suddenly I felt Fred, with inimitable grace and ease, wrap his arm around my waist and literally lift me off the ground (according to Astaire, Audrey was trembling so much that he had no other choice). I was overwhelmed with excitement. My dream has finally come true - the secret dream of all women in the world - to dance with Fred Astaire at least once in my life!

The film's choreography was not overly complex - Audrey lacked technical brilliance, and Fred Astaire had already lost his former unearthly lightness. But their dance numbers are still very good, imbued with feeling and humor. In addition, both "stars" sang themselves in the film, which gave the pretty Gershwinian tunes a special warmth and sincerity.

25 years after Funny Face, Astaire won another Oscar for his achievements in film. Presenting the honorary award, Audrey Hepburn remembered the days when they first met on the rehearsal stage of Paramount Studios.

His first wife, Phyllis, died of lung cancer in September 1954 while the actor was filming Daddy Long Legs. This was a big shock for him.

The last time Fred Astaire swept in a whirlwind of dance was in 1968 in the film Feinian's Rainbow. After that, the artist, although he continued to act, but already in dramatic roles. "I don't want to be called an old dancer, even the best in the world."

And at the age of eighty, Aster was still moderate in food, rarely allowed himself to miss a glass of alcohol. Astaire was in no hurry to tie the knot for the second time. However, at 19In 1980, at his Blue Plain ranch, he met a young rider, Robin Smith. Against the wishes of his family, Astaire married her in June of that year. He was then eighty-one, she was thirty-seven, but they made a devoted loving couple. Concerned about his wife's health, Astaire persuaded her to give up riding, and Robin reluctantly agreed. “I love to ride,” she said, “but I love Fred more. I can't combine both."

A few years later, when Fred caught a cold and fell ill, Robin persuaded him to go to a Los Angeles hospital. Fred was hospitalized on 12 June 1987 under the assumed name of Fred Gilles. Tests showed pneumonia. On June 22, he died in the arms of his wife. Although the family is hiding the location of Astaire's grave, rumor has it that he was buried next to Phyllis.

Fred Astaire was a great dancer. But George Gershwin, Irving Berlin and Cole Porter noted that he sings even better than he dances. Fred Astaire did not have a strong voice, but his charm, sense of rhythm and rich stage experience made him a real actor and singer. In addition, he could easily sing and dance at the same time, which not everyone succeeds. Paul McCartney recalled: “The music that I liked at the age of seven was from American films. Who? Fred Astaire ... He was an outstanding dancer and singer ... "

In everything he did - sang, danced, put on enchanting dance numbers of musicals, recorded records with vocal versions of melodies by George Gershwin, Irving Berlin, Col Porter, who considered it an honor to write music for him - he was inimitable.

Many tried to imitate Aster. Yves Montand recalled: “At the age of fifteen, I was madly carried away by cinema. After the session, it was so good to walk through the night streets with a soft cowboy gait with the winged ease of Fred Astaire. A marvelous tap dancer in a tailcoat and a top hat who juggles a cane in the middle of a glittering platform, and then with a stately smile embraces a luxurious blonde in a tight-fitting satin dress ... At that time, I dreamed of being Fred Astaire. Mentally, I put on, like in a magical robe, in his tailcoat, opened the hat with one deft click, juggled along the road with a cane ... I will be an actor ... I will act in films ... Now I had a logical plan, the illusory nature of which I did not admit even to myself , and the dancing shadow of Fred Astaire flashed before me again.

Paying tribute to the skill of the famous dancing couple, Federico Fellini made the film "Ginger and Fred" in 1985, in which the main roles were played by Giulietta Masina and Marcello Mastroianni. Igor Mussky, 2007

Luneva E.G.

Luneva Elena Germanovna

music director GBDOU kindergarten No. 18 of the combined type of the Moskovsky district of St. Petersburg

Personal page on SAS TE GB DOU DOU DOU DOU No. 18

Methodological development:

Summary

Direct educational activities

in the field "Music"

Preparatory group in a guest of a party at the dance dance

Purpose of the lesson: Enriching children's perception of the world with the beauty and lyricism of music, poetry and painting. The development of creative imagination, the ability to interact with movement and music through drawing and penetrating words. Contribute to an increase in the emotional and musical-creative activity of children, the development of imaginative thinking, a sense of rhythm, and speech. Introduction to dance folk music.
Tasks:
1. To form knowledge that music is able to express the feelings, moods of people and their characters through the musical material of the lesson (dance music).
2. Foster a culture of listening to music.
3. Develop rhythmic skills.
Musical material:
1. P.I. Tchaikovsky "Sentimental Waltz"
2. P.I. Tchaikovsky Val from the ballet "Swan Lake"
3. P.I. Tchaikovsky "Dance of the Little Swans"
4. S. V. Rachmaninov "Italian Polka"
5. Quadrille - Russian folk dance
6. Kamarinskaya - Russian folk dance
7. Lezginka - Georgian folk dance

Equipment

Multimedia projector.
Lesson progress.
Good afternoon, dear friends! Today we will get into the magical world of music and dance. To do this, let's sit comfortably, and the music will take us far, far away, into an unforgettable wonderful world of miracles and magic. Listen and watch!
("Sentimental Waltz" by P. I. Tchaikovsky sounds)
Quietly sit next to us,
Music enters our house
In an amazing dress,
In a colorful, painted!
And suddenly the walls will move apart -
The whole earth is visible around:
Sounds are floating like a foamy river,
Forest and meadow are quietly slumbering...
Forest paths are running,
Melting in a blue haze...
This music hurries and
Calls us to follow !
• Isn't it beautiful music and beautiful poetry?! Poems help us understand music, hear what it says. A waltz by the wonderful Russian composer Pyotr Ilyich Tchaikovsky sounded for you. Tchaikovsky wrote a lot of musical works of various genres, which are characterized by broad melodiousness and melodic richness.
(Portrait of Tchaikovsky)
Waltz is one of my favorite dances. This is an old ballroom dance, the popularity of which was promoted by the music of waltzes created by the classics of Russian music.
Let's listen to another Tchaikovsky waltz and think about what we can do to this music.
(Waltz from the ballet "Swan Lake" sounds).
You can spin smoothly to this music. Waltz music tells us softness in movement, slowness. Guys, imagine that we are at a ball, and the couples are spinning smoothly to the sounds of this enchanting dance.
The ball is in full swing. Everything is spinning,
A trace lies on the parquet
From flying light vapors
If you are not old yet,
Then feel the pleasure
From melody, movement.
Close your eyes and, swaying in different directions, try to convey the smoothness and whirl of this beautiful music.
(Children listen to the waltz and perform movements; a picture of the ball is shown)
Guys, this waltz is from the ballet "Swan Lake" by P. I. Tchaikovsky. Do you know what ballet is? This is the name of theatrical performances accompanied by music, in which the characters express various characters and thoughts through mimic movements and dances, i.e. ballet combines music and dance. You are all familiar with the "Dance of the Little Swans" from the ballet "Swan Lake", let's remember it.
(an excerpt from "Dance" sounds, a picture with a ballet scene is shown)
So, we got to know you with a waltz. And now let's listen to the dance, which was written by the wonderful Russian composer S. V. Rachmaninov.
. (An excerpt from “Italian Polka” by S. Rachmaninov sounds).
You can also dance to this music. I want to jump, jump, clap my hands, stomp my feet, because The music is upbeat and fun.
(Children listen to the music again highlighting strong beats with claps, beats on a tambourine or other percussion instruments).
Guys, we listened to a dance called polka. Polka is a Czech folk dance. Since the middle of the 19th century, it has spread throughout the world as a popular ballroom dance. The name comes from the Czech word pulka - half, which indicates a clear double measure of the dance. Polka is danced in pairs in a circle, cheerfully, at a fairly fast pace. (a picture of dancing couples is shown)

Many different peoples live in our country. Each nation creates its own songs and dances. Folk dance is an expression of feelings, temperament, character, way of life of the people, their national characteristics. So, the bright music of Russian folk dance evokes liveliness and fervor in performance. Russian dances are performed with stomp, jumps, squats and slides.
(Quadrille sounds, a picture of the dance is shown)
In addition, folk musical instruments are used in the instrumental accompaniment for folk dances. The most common: spoons, button accordion, psaltery, horn and balalaika.
(picture with tools is shown).
Guys, now we will visit the palace square, where folk festivals are held.
(An excerpt from “Kamarinskaya” sounds, showing the painting “folk festivals”).
The nature of this music is cheerful, perky, joyful. This is a Russian dance, in which each participant tries to come up with a new movement and outdo others in skill and dexterity. Participants show their prowess with the help of characteristic movements.
Dance, squat down,
Start up like a gallant,
Spin in a fast dance,
Turn around fifteen times,
Everything is without a strict order!
(Children are invited to stand in a circle and in an improvisational form show several movements of Russian folk dance).
Guys, now we will listen to another folk dance, which differs from the previous one in character and instrumental accompaniment.
(Lezginka sounds, picture is shown)
Lezginka is a favorite dance of Ossetians and Georgians. It is usually performed at mass holidays and on stage. This dance is characterized by fast, clear movements of the arms and legs with a calm position of the body. Dancing requires dexterity and strength.