Astro Findings
I fondly remember Leg Warmers from the 1980’s. Of course I was not a dancer then but it was a fashion statement made popular from the movie ‘Flash Dance’. That fad soon drifted to the wayside but history always repeats itself and when it does it is always hotter and hipper. In current trends you will see more toned-down colors in opposition to to the loud neon, fluorescent colors of the 80’s. There are ankle versions as well as full leg and calf high. Leg warmers are a great addition to kids dance clothes because of their fun playful look.
Traditionally, leg warmers were worn by dancers during the first parts of class or rehearsal, to keep the calf and ankle muscles and tendons warm until they have been loosened from stretching. The largest amount of incidences for dancers develop injuries is when their muscles are cold. Accordingly, sufficient warming up the body by stretching and keeping it warm with insulating materials like leg warmers can help dancers prevent injuries from occurring.?
Leg warmers are knitted footless stockings that slip over the feet up to just below the knee. In the beginning Leg Warmers were composed from wool but presently they can be made from several different elements including cotton, chenille, synthetic fibres and of course wool. Leg warmers can vary in length and are commonly worn to just below the knee, although many] dancers [spin]like to extend them to cover the lower parts of the thigh. Some leg warmers engulf the entire foot; these warmers can have a pad that grips the floor so that the dancer does not slip – however this has been known to cause injuries.
Plenty of modern fashion demigods wear leg warmers over tights matched with a short or long skirt, or worn over jeans or boots. Recently many famous people have been seen fashioning leg warmers including; The Black Eyed Peas, lil Wayne and P-Diddy. Leg warmers are heating up for fashion but for dancers they are more then a craze, they are a attractive way to avoid injury.
Leg warmers are simple to wear; Just slip them over your foot and onto your calf. Put on your dance sneakers and fold the leg warmers down so that it covers the top of your ankle. the leg warmers should only be used during ballet barre warm-ups and closing stretches. Slip off the leg warmers during the actual ballet class, due to the fact they inhibit movement on the floor.
Presently leg warmers are reappearing and represent some of the coolest fashions out there. When shopping for hot dancewear for children look at most department or fashion stores and in dance stores. If you are considerably resourceful and prefer an original look they are effortless to make yourself and what you require are some knitting needles, yarn and a pattern to follow from. Find for all your materials in a craft or yarn store.
So depending on your intrigued by fashion or ballet, leg warmers may be the way to go. Look good this year while averting injuries.
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Tags: childrens dancewear
Posted in Dance · June 25th, 2010 · Comments (0)
Prior to the rise of recorded rap music via Sugar Hill Gang’s highly influential and highly controversial 1979 recording “Rapper’s Delight,” Hip-Hop culture had already been created as a burgeoning culture driven by self-determination, a love for life, and a desire to have fun. When Kool Herc (Clive Campbell) arrived in the Bronx, bringing with him his passion for music and an extensive record collection, he also brought with him a youthful edge. As he walked the streets with some of the gangs and involved himself in some of the tagging cliques and dancing crews, his desire to be different and to infuse all of his diverse experiences with that edge propelled him to be a unique DJ who understood not only the importance of music but also the role that music played in healing the lives of the oppressed youths who made up his audience, even if only for a brief moment.
Born in the Kingston area of Jamaica, as a child Campbell heard the sounds of the DJs toasting over instrumental tracks played through their massive dub systems. These memories, along with the house parties that Campbell attended after relocating to the Bronx with his mother in 1967, inspired the new style of DJing that he promulgated. Focused on expanding the breakdown section of the record, Campbell, now called Herc, brought forth the break beat, which not only gave dancers a new canvas on which to present their fancy footwork and moves, but also offered a clean palette from which the DJ or an MC might motivate others to come to the dance floor and “get down.” With his collective, which included MCs, dancers (b-boys/b-girls), security, and roadies to help him transport his massive sound system, he created the first Hip Hop crew: Kool Herc and the Herculords (also referenced as Herculoids).
Although Kool Herc’s crew did not rid the Bronx of the tremendous gang crisis, it did contribute to changing the nature of gangs. By the mid-1970s, as Herc’s sound and idea were distributed around town and adapted by other innovative DJs, it appeared that each former turf area now had its own DJ and discoth?que. Herc played the West Bronx neighborhood and the East Bronx nightclubs; Grandmaster Flash (Joseph Saddler) played the South Bronx (from 138th Street to 163rd Street). Afrika Bambaataa held the southeast, and in the north, DJ Breakout and DJ Baron held court (Chang 2005, 83). Offering “shout-outs” to local gang leaders and members while also motivating them to dance, have fun, and leave crime and violent acts behind, early Hip Hop changed the nature of the times—temporarily. Kool Herc ignited the spark that created what would later be called rap music and Hip Hop Culture, yet it was Afrika Bambaataa who institutionalized it and served as its first ambassador.
During the mid-1970s, former gang warlord Afrika Bambaataa built the house from which Hip-Hop music would be introduced to the nation and world through the creation of the Universal Zulu Nation. Headquartered at the Bronx River Center, the Universal Zulu Nation brought together DJs, dancers (b-boys/b-girls), graffiti artists, MCs, and rap enthusiasts to party, providing a venue where they might express themselves via the four foundational elements (DJing, graffiti, b-boying/b-girling, and MCing). Former and present gangbangers and drug dealers would lay down their weapons and drug paraphernalia for a time at Zulu Nation functions and join the burgeoning Hip Hop community. Armed with the motto “Peace, Love, Unity, and Having Fun,” Bambaataa, through his “Infinity Lessons,” not only aimed to offer an expressive outlet but also encouraged intellectual pursuit via study, affirmations, and a systematic process of getting to know one’s self (ibid., 105). Zulu Nation events drew folks from as far as New Jersey and Connecticut who came to be involved in the new movement created by Herc and spread by Bambaataa. By the summer of 1976, Hip Hop was on the radar of many young people and establishing itself as a prominent force for change.
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Tags: hip hop lessons
Posted in Dance · June 9th, 2010 · Comments (0)