How to do the double dutch bus dance
Double Dutch Bus (12" Mix) by Frankie Smith on Beatport
Artists Frankie Smith
- Length 8:26
- Released 1981-01-01
- BPM 120
- Key A♯ maj
- Genre Dance / Electro Pop
- Label Unidisc Music
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Theatre. • Israeli contemporary dance: dance at the bus station
Francesca Foscarini in the one-act ballet “Gut gift”, choreography by Yasmine Godder, 2003
How did the phenomenon of Israeli contemporary dance come about? Theater. I asked this question to the choreographers and dancers, the director, the journalist and the creators of the dance school. Their answers formed into a conversation not so much about dance as about freedom, physicality and the nature of the national character.
The fact that the phenomenon of Israeli contemporary dance, in principle, exists, became obvious from the end of 1990s, when, following Ohad Naarin, head of the Batsheva Dance Company, young Israeli choreographers began to enter the international dance scene one after another. Some with tours of their independent companies, others working in the best dance troupes in Europe and America. Today, European theaters are full of both Israeli dancers who went to study abroad and already recognized choreographers of Israeli origin: Hofesh Schechter stages in Great Britain, Emmanuel Gat and Yuval Pick in France, Itzik Galili in Holland, the duet Matanicola (Matanicola) in Germany. This is not counting those who, while living at home, are actively working abroad, such as Yasmine Godder, Sharon Eyal, Inbal Pinto with Avshalom Pollak and others. nine0003
In Israel itself, meanwhile, new stars are shining and new small companies are being created. And the best audience in Israel, young and intelligent, gathers for modern dance performances. Neither in the Israeli theater with its focus on entertainment, nor in the local classical ballet, you will see this.
Where did all this come from? Why did modern dance experience such a flourishing in Israel? Why in Israel, and not in another southern country, where everyone is also completely musical? Answering this question, you will definitely be told about the two main folklore sources - Yemenite dances and Hasidic dances. They will be supplemented by a story about the local dances of European settlers in the 20s of the twentieth century, from which new "folk dances" were formed, and often specially composed. The country was being created anew and an important intention was the emergence of a new culture here and the emergence of new people - free, strong, dexterous. Not like those Jews whom we are accustomed to represent in the countries of dispersion - weak, humiliated scribes. Actually, this duality - "Jews vs Israelis" - is still relevant, and Jews who grew up in Israel are very different from those who were born in New York, Frankfurt or Kyiv. nine0003
In addition to the folklore line, the genealogy of local contemporary dance also includes ballet: since the 1920s, many professional dancers and choreographers came to Palestine - both from the Russian area, bringing with them a school of classical ballet (like Mia Arbatova from Riga), and from Germany and Austria - with the school of expressionist dance (like Gertrude Kraus). After the war, the strongest influence on Israeli dance was American ballet, in particular, Martha Graham, who for a while became something of an artistic director created in 1964 Baroness Batsheva de Rothschild of the dance ensemble named after her. And in the early 1970s, the Kibbutz Contemporary Dance Company (still based in the Galilee, in Kibbutz Gaaton) arose, for which several ballets were staged by masters of European choreography.
But the main events took place at the turn of the 1980s-90s. In 1990, Ohad Naharin, who was born in a kibbutz and started dancing at Batsheva, returned to Israel to lead the Batsheva ensemble, and then managed to learn and work as a dancer and choreographer in America and Europe, and by that time had already become a recognized star. At 19On 1989, the dance center Suzanne Dellal (named after the daughter of patrons) was created in Tel Aviv, which accumulated everything related to dance - a rehearsal base, a place for tours, festivals and competitions. At the same time, the Curtain Rises festival appeared, a startup for young and independent choreographers, and a little later, the next Shades of Dance festival, which financed new productions created specifically for the show. All this together provoked the Israeli choreographic explosion. nine0003
Although the local contemporary dance is extremely diverse, Naharin remains the most influential Israeli choreographer to this day - both for the whole world and for his country, where he is the god of dance. He invented the "gaga" system, a whole philosophy of movement, at the center of which is the ability to listen to one's own body and gaining freedom, not constrained by canons. Batsheva trains gaga teachers who travel all over the world, and in Israel, wherever you study dance, your teacher will be a person who has gone through the gaga school. Batsheva also conducts classes for amateurs, for the past few years, annually in the huge hangar of the Tel Aviv port of Naharin, they have been organizing open lessons for hundreds of people with very cheap tickets, the proceeds from which go to charity. For the first time, this money was collected for flood victims in New Orleans. nine0003
What keeps Israeli contemporary dance alive and what keeps it alive? Where did he come from and does he have a recognizable face? With such questions, I turned to people with a wide variety of experience in this area.
Journalist, specializing in the performing arts
Dance began to develop here no earlier than the 1920s (this was the time of free dance, Isadora Duncan), and it did not have time to stiffen. He has no canons, no one puts pressure on him, no one demands: "Do as our grandparents did." Do what you want, experiment! Today's main choreographers came from kibbutzim, where children grew up in complete freedom, and then studied either in New York and went to modern ballet, or in London and went to neoclassical. These are the two sides of Israeli dance. nine0003
Famous Israeli choreographer. Studied in New York, staging all over the world. Established her company Yasmeen Godder Studio in Jaffa in 2007. Works in an experimental manner, on the border with the physical theater and performance.
There is an obvious historical connection with dance in Israel, primarily through folklore, which was a powerful element of the culture here when I was a child. Folklore dance has a very free character: it invites everyone to join it, regardless of age, gender or appearance. In addition, from the very beginning in Israel (and even before its creation) there were many major choreographers from Europe and the USA. And this also played an important role in the formation of the local contemporary dance. nine0003 “Lie like a lion” by Yasmine Godder, 2014Climax” by Yasmine Godder, 2015
As for the issue of Israeli specificity: I think that over the past 15 years, Israeli dance has changed a lot, and now there is no one way or one property that would define it. I would say that, first of all, intense physicality is associated with Israeli dance, but this is only one of its many qualities.
Dancer. She worked in Russia, in the St. Petersburg company "Cannon-dance", then in the Kibbutz Contemporary Dance Company in Israel, now she works in Sweden, in Skånes Dansteater. nine0006
Anna Ozerskaya in "The Sway of Her Hips", choreography by Marina Mascarelli, Skanes Dansteater, Malmo, 2014
It seems to me that the peculiarity of Israeli dance is in absolutely crazy energy. The fact that Israel is geographically isolated from Europe played a huge role here. As a result, he developed his own style, his own vision of dance. Most choreographers and dancers do not have the usual education for us, and this allows them to dance at the "animal" level, "wildly", "how they feel". They are not bound by the usual aesthetic framework and standards for us. As a dancer, I have never danced as freely as I do here! Not a single generation has grown up here that has not seen the war. And this could not but affect creativity, every performance is danced here as if it were the last time. The local dancers are much more liberated than Europeans - bolder, brighter (although noticeably less educated and less erudite), more sexual and like to emphasize their sexuality. In addition, they are incredibly emotional! All these factors combine to create a disarming and inexplicable energy that you feel more in the body than in the mind. nine0003
Inbal Pinto and Abshalom Pollak
Inbal Pinto (choreographer, theater designer) and Avshalom Pollak (actor, director, choreographer, theater designer) — a married couple, creators and leaders of one of the most famous Israeli dance companies Inbal Pinto & Avshalom Pollak Dance Company, working on the border of dance and visual theater. Inbal studied graphic design at Bezalel Academy and danced at Batsheva. Avshalom studied at the acting school in Tel Aviv, played a lot in films, on TV and in the largest Israeli theaters. The two founded the company at 1992 year. They themselves are the artists of their productions. Performances are staged in Israel and abroad.
Inbal Pinto: Indeed, why did dance flourish here? I never thought about it. And the only thing that comes to my mind is that in the theater the director needs to maintain a large troupe, deal with the budget, etc. This destroys the art, since all resources go to administrative work. This may not be the case in dance. Dance in Israel started from scratch - without a budget and without administrative capacity. nine0003
Avshalom Pollak: I think the rule is to start from scratch. Modern dance invents itself, it is not burdened by cultural traditions, which are not so many in Israel.
Inbal: The Russians have a big, rich, well-known history of dance. They cannot start from scratch, they cannot reinvent themselves. They must start by breaking the rules. It's a completely different approach. Interestingly, in other countries where strong artists work, everyone feels their impact. For example, there was a time when many in Europe were under the influence of Forsythe. But there is something in Israel that allows every choreographer to be himself. There are many languages, many voices. nine0003 "Goldfish", Inbal Pinto & Avshalom Pollak Dance Company, 2014
Avshalom: I grew up in a theatrical family, studied drama theater. And, in my opinion, the pressure of the rules is stronger there. In modern dance, the desire to travel into the unknown, ask sharp questions, and do something unusual is more important. For us, dance is everything - a struggle, a challenge, an experiment, relationships with society and with the cosmos. This is a place where the spirit of freedom is blowing, imagination and excitement rule the ball. The physical energy of people working in modern dance makes them move forward. The energy needed to fight arises from the very need to physically work. They have something in their body that makes them different. nine0003
Inbal: I remember how we started in the early 90s, we lived like in a desert. There were only a few modern dance companies: "Batsheva", where American choreographers staged, the Bat Dor ensemble (it recently closed), to which Batsheva de Rothschild also gave money, the Kibbutz company and that's it. We had nothing to rent a studio for, we worked until midnight, without money. We carried all our curtains on our backs, painted them ourselves and made costumes, carried pieces of iron on a bicycle - and we learned a lot because of this. Then Ohad Naharin came to Batsheva and completely changed it. The Susan Dellal Center was built. And suddenly the dance was in the focus of attention. Ballet critics said: "But we didn't know that we had a dance." nine0009 Avshalom: Due to international interest in Israeli dance, choreographers began to leave Israel, and this turned out to be another impetus for development. I know this for sure about us - for 20 years we have been in contact with different cultures, and this helps us understand a lot about ourselves.
Inbal: We live in a hot country, in a very expressive culture, where people can easily communicate on the street and are very open to any communication. But we also bring the problems that exist here, the tension of life here, into performances. The peculiarity of the Israeli dance is difficult to define, it's like explaining the colors. nine0009 Avshalom: We don't want to define it. If we could do that, it would be a problem.
Dancer, choreographer. He studied in Israel, danced in Batsheva, then in various European companies. Worked with Ohad Naarin, William Forsyth, Amanda Miller, Emmanuel Gat and other famous choreographers. For the last ten years he has been working in Israel and abroad as an independent choreographer, collaborating with drama theaters.
To explain why Israeli dance is so successful abroad, one must understand the forces that brought it to life. I think the folklore dance was stronger among the Jews than among other peoples, because they had to maintain their identity for centuries. And dancing is one of the best ways to keep it. When the State of Israel was created, dance flourished here because the desire to move is in our genes. Perhaps the Israelites, more than other nations, think with the help of the body. They want to express themselves through the body. Hot climate, hot temperament. All out. Mediterranean people are extroverts, they communicate to express themselves, they love to say who they are, they love to demonstrate "I'm here". This gives the animal, hot energy that we see in dance. nine0003 Eldad Ben Sasson and Michael Hetman, "Face to Face", choreography by Michael Hetman, 2012
Even in dance there is such an Israeli property (and this property of the Israeli government too) - we do not want to think too much about tomorrow. The dance disappears as soon as you see it. The theater at least has a preliminary text, the dance does not even have that. It is spontaneous, intuitive and instantaneous. Something like this is happening in our society. We plan almost nothing, we act here and now, and come what may. nine0003
When I see Israeli dance performances abroad, I feel they are more sensitive to the very atmosphere of life than in performances from France, for example. It’s not that they are more ideological, it’s just that living conditions in Israel are more stressful than in France. That is why there is more tension in performances. Of course, there are exceptions to this rule. But in general it is. Abroad, I immediately recognize the work of Israeli choreographers: their musical choice (the music is quite illustrative in relation to the dance, sad dance is sad music) and work with space - as a rule, mise-en-scenes are frontal, not three-dimensional. nine0003
I think that for foreigners, dance is the main medium for contact with Israeli nature, which for them is attractive and mysterious. European dance is very conceptual, in Israeli it is not, it captivates with explosive energy. This quality is stronger in Israelis than in European dancers, it dominates. Maybe that's why Israeli dance and dancers are something special in the eyes of European and American audiences.
Naomi Perlov and Ofir Dagan
Naomi Perlov is a tutor, assistant choreographer, creator and co-director of the Maslool Professional Dance Program in Tel Aviv at the Bikurey HaItim Arts Center. She studied dance in Tel Aviv, Paris and New York, worked in France in the 1980s, and was an assistant to Angelin Preljocaj. In the 1990s, she was one of the artistic directors of Batsheva, and in the early 2000s, she was the artistic director of the Shades of Dance competition for young Israeli choreographers. She supervised the transfer of Preljocaj's ballets and Israeli choreographers to the largest theaters in the world (in particular, to the Mariinsky). In 2009She founded the two-year dance school Maslool.
Ofir Dagan is a director, teacher, creator and co-director of the Maslool Professional Dance Program in Tel Aviv. He studied physical theater in Paris, dance in New York, and at the Kibbutz Contemporary Dance Company in Israel. He has worked at the American Bread and Puppet Theater and at the Noah Dar Dance Company, directing performances in various theaters.
Naomi Perlov: Naharin turned Israeli dance culture upside down, and this is the first reason for the emergence of the Israeli contemporary dance phenomenon. The second reason is the creation of the Susan Dellal Center, which has given a platform to many artists. Previously, it was like a field without water, but "Suzan Dellal" seemed to offer the artists a drink so that they could create, and the creators began to crawl out of the ground like mushrooms. There were national competitions for young choreographers, an international competition. It was the end of 1980s - early 90s, at this time I returned to Israel after many years spent in France. In France, I worked during Mitterrand's time, I remember the support of artists by the socialist government: the ten years that I lived there was the heyday of art. When I returned to Israel, it also happened here.Naomi Perlov, tutor, creator and co-director of the Tel Aviv dance school Maslool Professional Dance Program at Bikurey HaItim Arts Center
So I personally saw a new wave twice in my career - in Europe and in Israel. Of course, there was no such atmosphere here as in France: when the Minister of Culture, Jacques Lang, came to the opera with an escort, everyone saw what culture meant, but we had an atmosphere of renewal because of the spirit that Naarin brought to Batsheva. nine0003
At the same time, there are no social conditions for dancers in Israel, almost all of them are freelancers. It's hard to survive here without co-productions with Europe. Many go to work abroad simply because they need European financial support. They can go to a festival in Montpellier, then to Vienna - and this prolongs their life in art. One very famous Israeli choreographer told me that in France he showed his performance for two days in a hall for 800 people, and in Israel he would have had such a number of spectators in a year. And yet, few people leave here at all, dancers and choreographers almost always return. There is something that draws you here. nine0009 Ofir Dagan: In Israel, there is always a feeling that you are living in a time of catastrophe. You feel it in the dancers and that makes Israeli dance unique. Our drama theater does not have any particularities of its own. Ballet is also not something we can be proud of. And the dance is special, it is connected with this earth.Ofir Dagan, director, teacher, co-director of Maslool Professional Dance Program
We did screenings last week and saw people who came to our school from abroad: how they stand, eat, how they look. Israelis never carry themselves like that, don't have such posture. Our whole dance seems to take place in a crowded bus station. The teachers who come here (from Russia, let's say) try to teach us the rules, but our students can only imitate them. But they have a passion for movement. They dance like they can't stop dancing. Now or never. nine0003
Dance and State
No matter how famous Israeli artists are, when they go abroad, they face the same problems as their small state itself, waging a permanent war. More than once or twice, the local left-wing intelligentsia, who came to Europe on a tour of Batsheva, staged obstruction, condemning the Israeli position on Palestinian problems. But the artistic intelligentsia of Israel itself is in conflict with the government on this issue. In addition, the dance groups of Israel are not state, but private theaters. State subsidies here are microscopic, a significant part of them goes to several large troupes that are Israel's showcase abroad, while small and independent companies get almost nothing: the share of state subsidies even in the budget of such a theater as Batsheva is about 5%, and independent young dancers during breaks between projects they work as waiters. And in general, the money going to support culture is almost indistinguishable in the country's budget. Not so long ago, Israeli cultural organizations started a whole movement called "1%" - they fought for the government to allocate at least a hundredth of the budget to culture. Then, for several months, Batsheva, all the orchestras, and many other organizations changed their avatars-logos on Facebook to the “1%” sign, but this, of course, did not help. nine0003
Types of dances and dance directions. Dance school Juventa
- Dance directions
Here you can get acquainted with all types of dances presented at the Juventa dance school. Get brief information about the history of dance styles and features of their performance. We are always waiting for you within the walls of our school, we will be happy to help you plunge into the wonderful world of dance! nine0003
Rock and roll
Acrobatic rock and roll is a dance that is perceived as a full-fledged sport. It is quite difficult to perform and requires good physical shape.
Latina is a mix of different dances such as bachata, salsa, mambo, cha-cha-cha, rumba and so on. Usually, latin refers to a pair performance, but there is also such a direction as solo latin, where the dancer performs alone. nine0003
When oriental dances are mentioned, luxurious translucent clothes are usually presented, richly decorated with beads and glass beads; lithe black-eyed women, trays of Turkish delight and a heavy aroma of spices.
Contemporary is an intellectual dance that allows you to balance the state of the body, mind and soul. Thanks to this harmony, not only mood improves, but also well-being. nine0003
This dance was a kind of revolution that took place at the turn of the 19th and 20th centuries. In America, stage choreography began to rapidly separate from the usual art of ballet, to look for new ways of becoming.
Kizomba is a colorful, juicy social dance that was born out of the carnival in Angola in the middle of the 20th century. It is based on ethnic Angolan dances and national rhythms.
Argentine tango is the essence of passion. There are few dances that bring partners together as much as this one. Already the Argentine tango conquers the hearts of the dancers, who faithfully and forever fall in love with these movements and emotions, and the spectators, who are conveyed a wave of courage from the stage. nine0003
The name paso doble is translated from Spanish as "double step", because this dance is characterized by an emphasis on every second step. Interestingly, at first its name was "One Spanish step", according to the rhythm when steps are taken for each musical beat.
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The cha-cha-cha dance style appeared in the middle of the 20th century as a result of a musical experiment by the Cuban composer Enrique Horrin, who composed the melody La enganadora, which was a cross between a rumba and a mambo dance. nine0003
Foxtrot is a very romantic pair dance, which is part of the European sports ballroom program. It is distinguished by smoothness and softness of movements, their freedom and maneuverability. Seeing a foxtrot once, it is impossible not to fall in love with it.
The Viennese Waltz is a slightly accelerated version of the classic (English) slow waltz.