1.
Irish language
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Irish, also referred to as Gaelic or Irish Gaelic, is a Goidelic language of the Indo-European language family originating in Ireland and historically spoken by the Irish people. Irish is spoken as a first language by a minority of Irish people. Irish enjoys constitutional status as the national and first official language of the Republic of Ireland and it is also among the official languages of the European Union. The public body Foras na Gaeilge is responsible for the promotion of the language throughout the island of Ireland and it has the oldest vernacular literature in Western Europe. The fate of the language was influenced by the power of the English state in Ireland. Elizabethan officials viewed the use of Irish unfavourably, as being a threat to all things English in Ireland and its decline began under English rule in the 17th century. In the latter part of the 19th century, there was a decrease in the number of speakers. Irish-speaking areas were hit especially hard, by the end of British rule, the language was spoken by less than 15% of the national population. Since then, Irish speakers have been in the minority, efforts have been made by the state, individuals and organisations to preserve, promote and revive the language, but with mixed results. Around the turn of the 21st century, estimates of native speakers ranged from 20,000 to 80,000 people. In the 2011 Census, these numbers had increased to 94,000 and 1.3 million, there are several thousand Irish speakers in Northern Ireland. It has been estimated that the active Irish-language scene probably comprises 5 to 10 per cent of Irelands population, there has been a significant increase in the number of urban Irish speakers, particularly in Dublin. In Gaeltacht areas, however, there has been a decline of the use of Irish. Údarás na Gaeltachta predicted that, by 2025, Irish will no longer be the language in any of the designated Gaeltacht areas. Survey data suggest that most Irish people think highly of Irish as a marker of identity. It has also argued that newer urban groups of Irish speakers are a disruptive force in this respect. In An Caighdeán Oifigiúil the name of the language is Gaeilge, before the spelling reform of 1948, this form was spelled Gaedhilge, originally this was the genitive of Gaedhealg, the form used in Classical Irish. Older spellings of this include Gaoidhealg in Classical Irish and Goídelc in Old Irish, the modern spelling results from the deletion of the silent dh in the middle of Gaedhilge, whereas Goidelic languages, used to refer to the language family including Irish, comes from Old Irish
2.
Folk dance
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Folk dances are dances that are developed by people that reflect the life of the people of a certain country or region. Not all ethnic dances are folk dances, for example, ritual dances or dances of ritual origin are not considered to be folk dances, ritual dances are usually called Religious dances because of their purpose. The terms ethnic and traditional are used when it is required to emphasize the roots of the dance. In this sense, nearly all folk dances are ethnic ones, if some dances, such as polka, cross ethnic boundaries and even cross the boundary between folk and ballroom dance, ethnic differences are often considerable enough to mention, e. g. Czech polka vs. Dances not generally designed for performance or the stage, though they may later be arranged. Execution dominated by a tradition from various international cultures rather than innovation. New dancers often learn informally by observing others and/or receiving help from others, more controversially, some people define folk dancing as dancing for which there is no governing body or dancing for which there are no competitive or professional institutions. The term folk dance is sometimes applied to dances of historical importance in European culture and history, for other cultures the terms ethnic dance or traditional dance are sometimes used, although the latter terms may encompass ceremonial dances. A number of modern ballroom dances originated from folk ones, varieties of European folk dances include, Sword dances include Longsword dances and rapper dancing. Some choreographed dances such as dance, Scottish country dance. Country dance overlaps with contemporary dance and ballroom dance. Most country dances and ballroom dances originated from folk dances, with gradual refinement over the years, people familiar with folk dancing can often determine what country a dance is from even if they have not seen that particular dance before. Some countries dances have features that are unique to that country, for example, the German and Austrian schuhplattling dance consists of slapping the body and shoes in a fixed pattern, a feature that few other countries dances have. Folk dances sometimes evolved long before current political boundaries, so that certain dances are shared by several countries, for example, some Serbian, Bulgarian, and Croatian dances share the same or similar dances, and sometimes even use the same name and music for those dances. International folk dance groups exist in cities and college campuses in many countries, in which dancers learn folk dances from many cultures for recreation
3.
Metre (music)
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The metre of music is its rhythmic structure, the patterns of accents heard in regularly recurring measures of stressed and unstressed beats at the frequency of the musics pulse. A variety of systems exist throughout the world for organising and playing music, such as the Indian system of tala. Later music for such as the pavane and galliard consisted of musical phrases to accompany a fixed sequence of basic steps with a defined tempo. The term is not very precisely defined, macPherson preferred to speak of time and rhythmic shape, Imogen Holst of measured rhythm. This perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a definition of musical metre requires the possibility of identifying a repeating pattern of accented pulses — a pulse-group — which corresponds to the foot in poetry. Frequently a pulse-group can be identified by taking the accented beat as the first pulse in the group, frequently metres can be broken down into a pattern of duples and triples. The level of musical organisation implied by musical metre includes the most elementary levels of musical form, metrical rhythm, measured rhythm, and free rhythm are general classes of rhythm and may be distinguished in all aspects of temporality. Measured rhythm is where each time value is a multiple or fraction of a time unit. Free rhythm is where there is neither, some music, including chant, has freer rhythm, like the rhythm of prose compared to that of verse. Some music, such as some graphically scored works since the 1950s and non-European music such as Honkyoku repertoire for shakuhachi, may be considered ametric. Senza misura is an Italian musical term for without metre, meaning to play without a beat, Metric levels may be distinguished, the beat level is the metric level at which pulses are heard as the basic time unit of the piece. Faster levels are division levels, and slower levels are multiple levels, a rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level. In duple metre, each measure is divided into two beats, or a multiple thereof, for example, in the time signature 24, each measure contains two quarter-note beats, and with the time signature 68, each measure contains two dotted-quarter-note beats. Corresponding quadruple metres are 44, with 2 ×2 =4 quarter-note beats per measure, triple metre is a metre in which each measure is divided into three beats, or a multiple thereof. For example, in the time signature 34, each contains three quarter-note beats, and with a time signature of 98, each measure contains three dotted-quarter beats. Simple metre and compound metre are distinguished by the way the beats are subdivided, Simple metre or simple time is a metre in which each beat of the measure divides naturally into two equal parts. The top number in the signature will be 2,3,4,5
4.
Folk music
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Folk music includes both traditional music and the genre that evolved from it during the 20th century folk revival. The term originated in the 19th century, but is applied to music older than that. Some types of music are also called world music. Traditional folk music has been defined in several ways, as music transmitted orally, music with unknown composers and it has been contrasted with commercial and classical styles. Starting in the century, a new form of popular folk music evolved from traditional folk music. This process and period is called the revival and reached a zenith in the 1960s. This form of music is called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times and this type of folk music also includes fusion genres such as folk rock, folk metal, electric folk, and others. Even individual songs may be a blend of the two, a consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions and they are extensions of the term folklore, which was coined in 1846 by the English antiquarian William Thoms to describe the traditions, customs, and superstitions of the uncultured classes. Traditional folk music also includes most indigenous music, however, despite the assembly of an enormous body of work over some two centuries, there is still no certain definition of what folk music is. Some do not even agree that the term Folk Music should be used, Folk music may tend to have certain characteristics but it cannot clearly be differentiated in purely musical terms. One meaning often given is that of old songs, with no known composers, the fashioning and re-fashioning of the music by the community that give it its folk character. Such definitions depend upon processes rather than abstract musical types, one widely used definition is simply Folk music is what the people sing. For Scholes, as well as for Cecil Sharp and Béla Bartók, Folk music was already. seen as the authentic expression of a way of life now past or about to disappear, particularly in a community uninfluenced by art music and by commercial and printed song. In these terms folk music may be seen as part of a schema comprising four types, primitive or tribal, elite or art, folk. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre
5.
England
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England is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west, the Irish Sea lies northwest of England and the Celtic Sea lies to the southwest. England is separated from continental Europe by the North Sea to the east, the country covers five-eighths of the island of Great Britain in its centre and south, and includes over 100 smaller islands such as the Isles of Scilly, and the Isle of Wight. England became a state in the 10th century, and since the Age of Discovery. The Industrial Revolution began in 18th-century England, transforming its society into the worlds first industrialised nation, Englands terrain mostly comprises low hills and plains, especially in central and southern England. However, there are uplands in the north and in the southwest, the capital is London, which is the largest metropolitan area in both the United Kingdom and the European Union. In 1801, Great Britain was united with the Kingdom of Ireland through another Act of Union to become the United Kingdom of Great Britain and Ireland. In 1922 the Irish Free State seceded from the United Kingdom, leading to the latter being renamed the United Kingdom of Great Britain, the name England is derived from the Old English name Englaland, which means land of the Angles. The Angles were one of the Germanic tribes that settled in Great Britain during the Early Middle Ages, the Angles came from the Angeln peninsula in the Bay of Kiel area of the Baltic Sea. The earliest recorded use of the term, as Engla londe, is in the ninth century translation into Old English of Bedes Ecclesiastical History of the English People. According to the Oxford English Dictionary, its spelling was first used in 1538. The earliest attested reference to the Angles occurs in the 1st-century work by Tacitus, Germania, the etymology of the tribal name itself is disputed by scholars, it has been suggested that it derives from the shape of the Angeln peninsula, an angular shape. An alternative name for England is Albion, the name Albion originally referred to the entire island of Great Britain. The nominally earliest record of the name appears in the Aristotelian Corpus, specifically the 4th century BC De Mundo, in it are two very large islands called Britannia, these are Albion and Ierne. But modern scholarly consensus ascribes De Mundo not to Aristotle but to Pseudo-Aristotle, the word Albion or insula Albionum has two possible origins. Albion is now applied to England in a poetic capacity. Another romantic name for England is Loegria, related to the Welsh word for England, Lloegr, the earliest known evidence of human presence in the area now known as England was that of Homo antecessor, dating to approximately 780,000 years ago. The oldest proto-human bones discovered in England date from 500,000 years ago, Modern humans are known to have inhabited the area during the Upper Paleolithic period, though permanent settlements were only established within the last 6,000 years
6.
Continental Europe
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Continental Europe, also referred to as mainland Europe, or, by Europeans, simply the Continent, is the continuous continent of Europe, excluding surrounding islands. This historical core of Carolingian Europe was consciously invoked in the 1950s as the historical basis for the prospective European integration. In both Great Britain and Ireland, the Continent is widely and generally used to refer to the mainland of Europe, an apocryphal British newspaper headline supposedly once read, Fog in Channel, Continent Cut Off. It has also claimed that this was a regular weather forecast in Britain in the 1930s. In addition, the word Europe itself is regularly used to mean Europe excluding the islands of Great Britain, Iceland. The term mainland Europe is also sometimes used, derivatively, the adjective continental refers to the social practices or fashion of continental Europe. Examples include breakfast, topless sunbathing and, historically, long-range driving often known as Grand Touring. Differences include electrical plugs, time zones for the most part, the use of traffic, and for the United Kingdom, currency. Britain is physically connected to continental Europe through the undersea Channel Tunnel and this route is popular with refugees and migrants seeking to enter the UK. Especially in Germanic studies, continental refers to the European continent excluding the Scandinavian peninsula, Britain, Ireland, and Iceland. The reason for this is that although the Scandinavian peninsula is attached to continental Europe, kontinenten is a vernacular Swedish expression that refers to the area excluding Sweden, Norway, and Finland but including Denmark and the rest of continental Europe. In Norway, similarly, one speaks about Kontinentet as an entity, usually referring to Germany, France, Italy, Spain, Portugal, the Benelux countries. Today, the Scandinavian peninsula is accessible by train and road with several bridge/tunnel structures connecting the Danish peninsula of Jutland to Scania in Sweden. The Continent may sometimes refer to the part of Italy, the continental part of Spain, the continental part of France. The term is used from the perspective of the residents of each country to describe the continental portion of their country or the continent as a whole. Continental philosophy Geopolitical divisions of Europe Geographical midpoint of Europe Mainland Western Europe Hajnal line
7.
Baroque
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The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
8.
Gigue
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The gigue or giga is a lively baroque dance originating from the British jig. It was imported into France in the century and usually appears at the end of a suite. The gigue was probably never a court dance, but it was danced by nobility on social occasions and it often has a contrapuntal texture. It often has accents on the beats in the bar. In early French theatre, it was customary to end a performance with a gigue, complete with music. A gigue, like other Baroque dances, consists of two sections. In Bachs gigues, each section begins as a fugue, in which the theme used in the first section is inverted in the second section. An early Italian dance called the giga probably derives its name from a small, historians, such as Charles Read Baskerville, claim that use of the word in relation to dancing took place in England prior to such usage on the Continent. Giga probably has a separate etymology, jonathan Littells novel The Kindly Ones is structured in different parts, each one of these named after a Baroque dance, the last part being called Gigue. Jig Loure Simone Voyer, La Gigue, Québec, GID,2003 ISBN 2-922668-31-2
9.
Irish dance
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Irish dancing or Irish dance is a group of traditional dance forms originating in Ireland which can broadly be divided into social dances and performance dances. Irish social dancing can be divided further into céilí and set dancing, Irish set dances are quadrilles, danced by four couples arranged in a square, while céilí dances are danced by varied formations of two to sixteen people. In addition to their formation, there are significant stylistic differences between two forms of social dance. Irish step dancing, popularised in 1994 by the world-famous show Riverdance, is notable for its rapid leg and foot movements, body and arms being kept largely stationary. The solo stepdance is generally characterised by a controlled and rigid body, straight arms and back. The solo dances can either be in soft shoes or hard shoes, soft shoes are often called ghillies or pumps. They are constructed of very soft kid leather - similar to ballet shoes in texture and their laces crisscross across the top of the feet and are tied up either around the ankle or under the arch of the foot. Hard shoes are called heavy shoes or jig shoes. They are used to create the beautiful rhythmical percussions and they are made of black leather with fibreglass heels and taps on the tips of the shoes with a leather strap across the top of the foot. The dancing traditions of Ireland probably grew in association with traditional Irish music. Although its origins are unclear, Irish dancing was later influenced by dance forms from the Continent, travelling dancing masters taught all over Ireland, as late as the 18th and early 19th centuries. During this time, places for competitions and feis were always small and they had to dance on tabletops, sometimes even the top of a barrel. Because of this, the styles were very contained, with hands rigid at the sides. As time went on, larger places for competitions and performances were found, so styles grew to include more movement, more dancing across the stage as seen, for example. Irish social, or céilí /ˈkeɪli/ dances vary widely throughout Ireland, a céilí dance may be performed with as few as two people and as many as sixteen. Céilí dances may also be danced with an number of couples in a long line or proceeding around in a circle. Céilí dances are often fast and some are quite complex, in a social setting, a céilí dance may be called – that is, the upcoming steps are announced during the dance for the benefit of newcomers. The céilí dances are danced to Irish instruments such as the Irish bodhrán or fiddle in addition to the concertina, guitar
10.
Scottish country dance
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A Scottish Country dance is a form of social dance involving groups of couples of dancers tracing progressive patterns according to a predetermined choreography. When it first became popular around the 18th century it was as a shorter, quicker form of dance that was a relief from the more courtly dances normally danced. Scottish country dancing should not be confused with Scottish highland dance, Scottish country dances are categorised as reels, jigs, and strathspeys according to the type of music to which they are danced. The first two types feature fast tempos, quick movements and a lively feel, the third type has a much slower tempo and a more tempered, stately feel. Scottish country dancing is generally danced in organised formations referred to as sets, sets consist of three or more couples, usually four but sometimes as many as eight. A couple is formed of two dancers referred to as the man and the lady, however, due to the larger number of women dancing SCD compared to men, women often dance as the man. The usual set shape is longwise - each man opposite his partner with all the men in one line facing a line of women. When the set is not longwise then the lady starts the dance beside her partner with him on her left, Scottish country dances are made up of figures of varying length to suit the phrasing of Scottish country dance tunes. For the most part figures are 2,4, or 8 bars of music long, there are various kinds of figures ranging from the very simple to fairly intricate convolutions involving three or four couples at the same time. Dances are generally made up of eight bar phrases with a time through lasting between 24 and 64 bars and repeated as many times as there are couples in the set. Some dances are performed a single time through however these normally last between 96 and 160 bars. Dances are described by their type, length and number of repetitions. Unlike cèilidh dancing or English country dancing, which are usually done using walking or running steps, some dances also involve setting steps from Highland dancing, such as the rocking step, high cuts, or Highland schottische. In quick time, there is also the step for quick sideways movement. In SCD classes there is often a focus on correct technique, this applies especially to footwork. A much more important aspect of good SCD technique is for a dancer to ensure that they are at the location at the proper time. Phrasing is the execution of figures appropriately timed to the music, covering, another common term, calls for moving dancers to progress in unison, this forms lines, squares etc. that last for only a second but which are clearly visible to an audience watching a dance. Many SCD groups like putting on demonstrations to display the best dancing ability of the group, principally SCD is a social dance
11.
Time signature
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The time signature is a notational convention used in Western musical notation to specify how many beats are to be contained in each bar and which note value is to be given one beat. A mid-score time signature, usually following a barline, indicates a change of meter. | Simple time signatures consist of two numerals, one stacked above the other, The lower numeral indicates the value that represents one beat. The upper numeral indicates how many beats there are grouped together in a bar. For instance,24 means two quarter-note beats per bar—38 means three eighth-note beats per bar, the most common simple time signatures are 24,34, and 44. The symbol is used for 44 time, also called common time or imperfect time. In modern notation, it is used in place of 22 and is called alla breve or, colloquially, in compound meter, subdivisions of the main beat are in three equal parts, so that a dotted note becomes the beat unit. Compound time signatures are named as if they were simple time signatures, in which the part of the beat unit is the beat. The lower number is most commonly an 8, as in 98 or 128,34 is a simple signature that represents three quarter notes. To the ear, a bar may seem like one singular beat, for example, a fast waltz, notated in 34 time, may be described as being one in a bar. Terms such as quadruple, quintuple, and so on are also occasionally used, as mentioned above, though the score indicates a 34 time, the actual beat division can be the whole bar, particularly at faster tempos. Correspondingly, at slow tempos the beat indicated by the time signature could in actual performance be divided into smaller units, on a formal mathematical level the time signatures of, e. g.34 and 38 are interchangeable. In a sense, all simple triple time signatures, such as 38,34,32, etc. —and all compound duple times, such as 68,616, a piece in 34 can be easily rewritten in 38, simply by halving the length of the notes. Other time signature rewritings are possible, most commonly a simple time signature with triplets translates into a compound meter, though formally interchangeable, for a composer or performing musician, different time signatures often have different connotations. First, a note value in the beat unit implies a more complex notation. Second, beaming affects the choice of actual beat divisions and it is, for example, more natural to use the quarter note/crotchet as a beat unit in 64 or 22 than the eight/quaver in 68 or 24. Third, time signatures are traditionally associated with different music styles—it might seem strange to notate a rock tune in 48 or 42. For all meters, the first beat is stressed, in time signatures with four groups in the bar
12.
William Kempe
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Roles associated with his name may include the great comic creation, Falstaff, and his contemporaries considered him the successor to the great clown of the previous generation, Richard Tarlton. Despite his fame as a performer and subsequent intent to continue his career, he appears to have died unregarded and in poverty circa 1603. Sir Thomas Kempe did indeed have a son named William, however, leicesters nephew, Philip Sidney, sent letters home by way of a man he called Will, my Lord of Lesters jesting player and it is now generally accepted this was Kempe. Sidney complained in a letter to Francis Walsingham that Will had delivered the letters to Lady Leicester rather than Sidneys wife, Frances Walsingham. After a brief return to England, Kempe accompanied two other future Lord Chamberlains Men, George Bryan and Thomas Pope, to Elsinore where he entertained Frederick II of Denmark. Kempes whereabouts in the later 1580s are not known, but that his fame as a performer was growing during this period is indicated by Thomas Nashes An Almond for a Parrot, nashe dedicated this work to Kempe, calling him vicegerent general to the ghost of Dick Tarlton. Similarly, the title-page of the quarto of A Knack to Know a Knave advertises Kempes merriments, critics have generally viewed the scene in which Kempe performs as rather flat and it is assumed that the scene provided a framework within which Kempe could improvise. Entries in the Stationers Register indicate that three jigs perhaps written by Kempe were published between 1591 and 1595, by 1592 Kempe was one of Lord Stranges Men, listed in the Privy Council authorisation for that troupe to play seven miles out of London. After his departure from the Chamberlains Men in early 1599, Kempe continued to pursue his career as a performer, later that year he published a description of the event to prove to doubters that it was true. However, his activities after this famous stunt are as obscure as his origins, the last undoubted mention of him occurs in Henslowes diary in late 1602. Parish records record the death of Kempe, a man in St. Saviour, Southwark, while this is not necessarily the comedian, the record fits his departure from the documentary record. In his time, Kempe was as famous for his stage jigs as for his acting in regular drama, the jig, a kind of rustic cousin to commedia dellarte, featured as many as five performers in a partially improvised song-and-dance routine. Jigs had plots, often bawdy, but the emphasis was on dancing, two of Kempes jigs survive in English, and two more in German. Examples of the jigs may be seen in the collection of John Dowland. A famous 17th century jig called Kemps Jig was named after Will Kempe and was published in the first book of John Playfords The English Dancing Master of 1651, the tune has received a number of modern renditions, including those by Jan Akkerman and Gryphon. As an actor, Kempe is certainly associated with two roles, Dogberry in Much Ado About Nothing and Peter in Romeo and Juliet, Falstaff is a more ambiguous case. Though Falstaff presents some features of an Elizabethan dramatic clown, his character is higher in class, Kempe appears as a character in The Return from Parnassus, or The Scourge of Simony, possibly written during his lifetime or very shortly after his death. In it he praises Shakespeare for outdoing university-educated playwrights, in the 1978 TV series Will Shakespeare Kempe is portrayed by Derek Royle as an oafish alcoholic
13.
French language
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French is a Romance language of the Indo-European family. It descended from the Vulgar Latin of the Roman Empire, as did all Romance languages, French has evolved from Gallo-Romance, the spoken Latin in Gaul, and more specifically in Northern Gaul. Its closest relatives are the other langues doïl—languages historically spoken in northern France and in southern Belgium, French was also influenced by native Celtic languages of Northern Roman Gaul like Gallia Belgica and by the Frankish language of the post-Roman Frankish invaders. Today, owing to Frances past overseas expansion, there are numerous French-based creole languages, a French-speaking person or nation may be referred to as Francophone in both English and French. French is a language in 29 countries, most of which are members of la francophonie. As of 2015, 40% of the population is in Europe, 35% in sub-Saharan Africa, 15% in North Africa and the Middle East, 8% in the Americas. French is the fourth-most widely spoken mother tongue in the European Union, 1/5 of Europeans who do not have French as a mother tongue speak French as a second language. As a result of French and Belgian colonialism from the 17th and 18th century onward, French was introduced to new territories in the Americas, Africa, most second-language speakers reside in Francophone Africa, in particular Gabon, Algeria, Mauritius, Senegal and Ivory Coast. In 2015, French was estimated to have 77 to 110 million native speakers, approximately 274 million people are able to speak the language. The Organisation internationale de la Francophonie estimates 700 million by 2050, in 2011, Bloomberg Businessweek ranked French the third most useful language for business, after English and Standard Mandarin Chinese. Under the Constitution of France, French has been the language of the Republic since 1992. France mandates the use of French in official government publications, public education except in specific cases, French is one of the four official languages of Switzerland and is spoken in the western part of Switzerland called Romandie, of which Geneva is the largest city. French is the language of about 23% of the Swiss population. French is also a language of Luxembourg, Monaco, and Aosta Valley, while French dialects remain spoken by minorities on the Channel Islands. A plurality of the worlds French-speaking population lives in Africa and this number does not include the people living in non-Francophone African countries who have learned French as a foreign language. Due to the rise of French in Africa, the total French-speaking population worldwide is expected to reach 700 million people in 2050, French is the fastest growing language on the continent. French is mostly a language in Africa, but it has become a first language in some urban areas, such as the region of Abidjan, Ivory Coast and in Libreville. There is not a single African French, but multiple forms that diverged through contact with various indigenous African languages, sub-Saharan Africa is the region where the French language is most likely to expand, because of the expansion of education and rapid population growth
14.
Italian language
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By most measures, Italian, together with Sardinian, is the closest to Latin of the Romance languages. Italian is a language in Italy, Switzerland, San Marino, Vatican City. Italian is spoken by minorities in places such as France, Montenegro, Bosnia & Herzegovina, Crimea and Tunisia and by large expatriate communities in the Americas. Many speakers are native bilinguals of both standardized Italian and other regional languages, Italian is the fourth most studied language in the world. Italian is a major European language, being one of the languages of the Organisation for Security and Cooperation in Europe. It is the third most widely spoken first language in the European Union with 65 million native speakers, including Italian speakers in non-EU European countries and on other continents, the total number of speakers is around 85 million. Italian is the working language of the Holy See, serving as the lingua franca in the Roman Catholic hierarchy as well as the official language of the Sovereign Military Order of Malta. Italian is known as the language of music because of its use in musical terminology and its influence is also widespread in the arts and in the luxury goods market. Italian has been reported as the fourth or fifth most frequently taught foreign language in the world, Italian was adopted by the state after the Unification of Italy, having previously been a literary language based on Tuscan as spoken mostly by the upper class of Florentine society. Its development was influenced by other Italian languages and to some minor extent. Its vowels are the second-closest to Latin after Sardinian, unlike most other Romance languages, Italian retains Latins contrast between short and long consonants. As in most Romance languages, stress is distinctive, however, Italian as a language used in Italy and some surrounding regions has a longer history. What would come to be thought of as Italian was first formalized in the early 14th century through the works of Tuscan writer Dante Alighieri, written in his native Florentine. Dante is still credited with standardizing the Italian language, and thus the dialect of Florence became the basis for what would become the language of Italy. Italian was also one of the recognised languages in the Austro-Hungarian Empire. Italy has always had a dialect for each city, because the cities. Those dialects now have considerable variety, as Tuscan-derived Italian came to be used throughout Italy, features of local speech were naturally adopted, producing various versions of Regional Italian. Even in the case of Northern Italian languages, however, scholars are not to overstate the effects of outsiders on the natural indigenous developments of the languages
15.
Old English
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Old English or Anglo-Saxon is the earliest historical form of the English language, spoken in England and southern and eastern Scotland in the early Middle Ages. It was brought to Great Britain by Anglo-Saxon settlers probably in the mid 5th century, Old English developed from a set of Anglo-Frisian or North Sea Germanic dialects originally spoken by Germanic tribes traditionally known as the Angles, Saxons, and Jutes. As the Anglo-Saxons became dominant in England, their language replaced the languages of Roman Britain, Common Brittonic, a Celtic language, Old English had four main dialects, associated with particular Anglo-Saxon kingdoms, Mercian, Northumbrian, Kentish and West Saxon. It was West Saxon that formed the basis for the standard of the later Old English period, although the dominant forms of Middle. The speech of eastern and northern parts of England was subject to strong Old Norse influence due to Scandinavian rule, Old English is one of the West Germanic languages, and its closest relatives are Old Frisian and Old Saxon. Like other old Germanic languages, it is different from Modern English. Old English grammar is similar to that of modern German, nouns, adjectives, pronouns, and verbs have many inflectional endings and forms. The oldest Old English inscriptions were using a runic system. Old English was not static, and its usage covered a period of 700 years, from the Anglo-Saxon settlement of Britain in the 5th century to the late 11th century, some time after the Norman invasion. While indicating that the establishment of dates is a process, Albert Baugh dates Old English from 450 to 1150, a period of full inflections. Perhaps around 85 per cent of Old English words are no longer in use, Old English is a West Germanic language, developing out of Ingvaeonic dialects from the 5th century. It came to be spoken over most of the territory of the Anglo-Saxon kingdoms which became the Kingdom of England and this included most of present-day England, as well as part of what is now southeastern Scotland, which for several centuries belonged to the Anglo-Saxon kingdom of Northumbria. Other parts of the island – Wales and most of Scotland – continued to use Celtic languages, Norse was also widely spoken in the parts of England which fell under Danish law. Anglo-Saxon literacy developed after Christianisation in the late 7th century, the oldest surviving text of Old English literature is Cædmons Hymn, composed between 658 and 680. There is a corpus of runic inscriptions from the 5th to 7th centuries. The Old English Latin alphabet was introduced around the 9th century, with the unification of the Anglo-Saxon kingdoms by Alfred the Great in the later 9th century, the language of government and literature became standardised around the West Saxon dialect. In Old English, typical of the development of literature, poetry arose before prose, a later literary standard, dating from the later 10th century, arose under the influence of Bishop Æthelwold of Winchester, and was followed by such writers as the prolific Ælfric of Eynsham. This form of the language is known as the Winchester standard and it is considered to represent the classical form of Old English
16.
Music of Ireland
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Irish Music is music that has been created in various genres on the island of Ireland. The indigenous music of the island is termed Irish traditional music and it has remained vibrant through the 20th and into the 21st century, despite globalising cultural forces. It has occasionally been fused with rock and roll, punk and rock, some of these fusion artists have attained mainstream success, at home and abroad. It is still a vibrant genre with many composers and ensembles writing and performing art music in the classical tradition. On a smaller scale, Ireland has also produced many musicians of note. 1011, Connmhach Ua Tomhrair, priest and chief singer of Cluain-mic-Nois,1168, Amhlaeibh Mac Innaighneorach, chief ollamh of Ireland in harp-playing, died. 1269, Aed Ó Finn, master of music and minstrelsy,1329, Maol Ruanaidh Cam Ó Cearbhaill, tiompanist, murdered during the Braganstown Massacre in County Louth. 1330, Mael Sechlainn Mac Carmaic, an entertainer, died. 1343, Donnchad Clereach Ó Maol Braonáin, a canon of Elphin, was killed by an arrow. 1357, Donn Shléibhe Mac Cerbaill, an accomplished musician,1360, Gilla na Naem Ó Conmaigh, music ollamh of Thomond. Magraith Ó Fionnachta, Chief Musician and Tiompanist to the Síol Muireadaigh,1364, Bran Ó Brain, a skilful tympanist. 1369, John Mac Egan, and Gilbert Ó Bardan, two accomplished young harpers of Conmaicne, died,1469, Ruaidrí mac Donnchad Ó Dálaigh, the most musical-handed harpist in all Ireland. 1490, Diarmait MacCairbre, harper, was executed,1553, Tadhg, son of Ruaidhri Ó Comhdhain, i. e. the ollamh of Éire and Alba in music, died. 1561, Naisse mac Cithruadh, drowned on Lough Gill, daighre Ó Duibhgeannáin, a most affable, musical man, died. Early Irish poetry and song has been translated into modern Irish and English by notable Irish poets, song collectors and musicians. The 6th century hymn Rop tú mo baile by Dallán Forgaill for example, was published in 1905 in English by Mary Elizabeth Byrne, the Blackbird of Belfast Lough has been notably translated by poets such as Seamus Heaney, Ciaran Carson and Frank OConnor. Some musicians were acclaimed in places beyond Ireland, cú Chuimne lived much of his adult life in Gaelic Scotland, and composed at least one hymn. Foillan, who was alive in the century, travelled through much of Britain and France, around 653 at the request of St. Gertrude of Brabant
17.
Slip jig
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Slip jig refers to both a style within Irish music, and the Irish dance to music in slip-jig time. The slip jig is in 98 time, traditionally with accents on 5 of the 9 beats — two pairs of crotchet/quaver followed by a dotted crotchet note. The slip jig is one of the four most common Irish stepdances, the others being the reel, the jig and it is danced in soft shoes. At one time only men danced it, then for decades only women. This dance is graceful and controlled, with very high. There are also traditional Irish céilí dances which are slip jigs, though these are less common than reels. Because of its timing, the jig is longer than the reel for the same number of bars of music. Stepdance judges prefer sliding motions with the feet and graceful movements that seem to slip across the floor, the tunes are fast-paced and lively in contrast to the slower Irish stepdance tunes. Music of the slip jig Drops of brandy, Other dances in 98 time are the Scottish Lilt in Highland dancing, comhaltas Ceoltoiri Eireann, Tom Finucane Branch newsletter, November/December 2010 Arrington, Mark. Understanding Your “Slippery” Slip Jigs Diddlyi Magazine,18 November 2009, Slip jig and hop jig accompaniment Irish-Banjo. com
18.
Minstrel show
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The minstrel show, or minstrelsy, was an American form of entertainment developed in the early 19th century. Each show consisted of skits, variety acts, dancing. The shows were performed by people in make-up or blackface for the purpose of playing the role of black people. There were also some African-American performers and all-black minstrel groups that formed and toured, Minstrel shows lampooned black people as dim-witted, lazy, buffoonish, superstitious and happy-go-lucky. Minstrel shows emerged as brief burlesques and comic entractes in the early 1830s and were developed into full-fledged form in the next decade, by 1848, blackface minstrel shows were the national artform, translating formal art such as opera into popular terms for a general audience. By the turn of the 20th century, the show enjoyed but a shadow of its former popularity. The form survived as professional entertainment until about 1910, amateur performances continued until the 1960s in high schools, the genre has had a lasting legacy and influence and was featured in a television series as recently as the late 1970s. Generally, as the civil rights movement progressed and gained acceptance, the typical minstrel performance followed a three-act structure. The troupe first danced onto stage then exchanged wisecracks and sang songs, the second part featured a variety of entertainments, including the pun-filled stump speech. The final act consisted of a slapstick musical plantation skit or a send-up of a popular play, Minstrel songs and sketches featured several stock characters, most popularly the slave and the dandy. These were further divided into such as the mammy, her counterpart the old darky, the provocative mulatto wench. Minstrels claimed that their songs and dances were authentically black, although the extent of the black influence remains debated, spirituals entered the repertoire in the 1870s, marking the first undeniably black music to be used in minstrelsy. Blackface minstrelsy was the first theatrical form that was distinctly American, during the 1830s and 1840s at the height of its popularity, it was at the epicenter of the American music industry. For several decades it provided the means through which American whites viewed black people, on the one hand, it had strong racist aspects, on the other, it afforded white Americans a singular and broad awareness of what some whites considered significant aspects of black culture in America. Although the minstrel shows were popular, being consistently packed with families from all walks of life and every ethnic group. Although white theatrical portrayals of black characters date back to as early as 1604, by the late 18th century, blackface characters began appearing on the American stage, usually as servant types whose roles did little more than provide some element of comic relief. Eventually, similar performers appeared in entractes in New York theaters and other such as taverns. Author Constance Rourke even claimed that Forrests impression was so good he could fool blacks when he mingled with them in the streets, Thomas Dartmouth Rices successful song-and-dance number, Jump Jim Crow, brought blackface performance to a new level of prominence in the early 1830s
19.
Master Juba
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Master Juba was an African-American dancer active in the 1840s. He was one of the first black performers in the United States to play onstage for white audiences and his real name was believed to be William Henry Lane, and he was also known as Bozs Juba following Dickenss graphic description of him in American Notes. As a teenager, he began his career in the saloons and dance halls of Manhattans Five Points neighborhood. Master Juba frequently challenged and defeated the best white dancers, including the period favorite, at the height of his American career, Jubas act featured a sequence in which he imitated a series of famous dancers of the day and closed by performing in his own style. Being a black man, he appeared with minstrel troupes in which he imitated white minstrel dancers caricaturing black dance using the phenomenon Blackface, even with his success in America, his greatest success came in England. In 1848 Bozs Juba traveled to London with the Ethiopian Serenaders, Bozs Juba became a sensation in Britain for his dance style. He was a favorite and the most written about performer of the 1848 season. Nevertheless, an element of exploitation followed him through the British Isles, records next place Juba in both Britain and America in the early 1850s. His American critics were less kind, and Juba faded from the limelight and he died in 1852 or 1853, likely from overwork and malnutrition. He was largely forgotten by historians until a 1947 article by Marian Hannah Winter resurrected his story. Existing documents offer confused accounts of Jubas dancing style, but certain themes emerge, it was percussive, varied in tempo, lightning-fast at times, expressive, and unlike anything seen before. The dance likely incorporated both European folk steps, such as the Irish jig, and African-derived steps used by plantation slaves, by having an effect upon blackface performance, Juba was highly influential on the development of such American dance styles as tap, jazz, and step dancing. Little is known about Jubas life, scant details appear in primary sources, and secondary sources—most dating to years after his death—are of dubious validity. Dance historian Marian Hannah Winter proposed that Juba was born to parents in 1825 or later. Showman Michael B. Leavitt wrote in 1912 that Juba came from Providence, Rhode Island, according to an item in the August 11,1895 edition of the New York Herald, Juba lived in New Yorks Five Points District. This was a slum where Irish immigrants and free people lived amidst brothels, dance houses. The Irish and black populations intermingled and borrowed elements of culture from each other. One area of exchange was dance, and the Irish jig blended with black folk steps, in this environment, Juba learned to dance from his peers, including Uncle Jim Lowe, a black jig and reel dancer who performed in low-brow establishments
20.
Blackface
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Blackface is a form of theatrical makeup used predominantly by non-black performers to represent a black person. The practice gained popularity during the 19th century and contributed to the spread of racial stereotypes such as the happy-go-lucky darky on the plantation or the dandified coon. In 1848, blackface minstrel shows were an American national art of the time, translating formal art such as opera into popular terms for a general audience. Early in the 20th century, blackface branched off from the show and became a form in its own right. Blackface was an important performance tradition in the American theater for roughly 100 years beginning around 1830, in both the United States and Britain, blackface was most commonly used in the minstrel performance tradition, which it both predated and outlasted. Later, black artists also performed in blackface, in some quarters, the caricatures that were the legacy of blackface persist to the present day and are a cause of ongoing controversy. Another view is that blackface is a form of cross-dressing in which one puts on the insignias of a sex, class, or race that stands in opposition to ones own. By the mid-20th century, changing attitudes about race and racism effectively ended the prominence of blackface makeup used in performance in the U. S. and it remains in relatively limited use as a theatrical device and is more commonly used today as social commentary or satire. Perhaps the most enduring effect of blackface is the precedent it established in the introduction of African-American culture to an international audience, there is no consensus about a single moment that constitutes the origin of blackface. Whites routinely portrayed the characters in the Elizabethan and Jacobean theater. The play attracted notice, and other performers adopted the style, from at least the 1810s, blackface clowns were popular in the United States. Rice introduced the song Jump Jim Crow accompanied by a dance in his act in 1828. Rice traveled the U. S. performing under the stage name Daddy Jim Crow, the name Jim Crow later became attached to statutes that codified the reinstitution of segregation and discrimination after Reconstruction. In the 1830s and early 1840s, blackface performances mixed skits with comic songs, stereotyped blackface characters developed, buffoonish, lazy, superstitious, cowardly, and lascivious characters, who stole, lied pathologically, and mangled the English language. By 1852, the skits that had part of blackface performance for decades expanded to one-act farces. The songs of northern composer Stephen Foster figured prominently in blackface minstrel shows of the period, though written in dialect and certainly politically incorrect by todays standards, his later songs were free of the ridicule and blatantly racist caricatures that typified other songs of the genre. Fosters works treated slaves and the South in general with a cloying sentimentality that appealed to audiences of the day. White minstrel shows featured white performers pretending to be blacks, playing their versions of black music, Minstrel shows dominated popular show business in the U. S. from that time through into the 1890s, also enjoying massive popularity in the UK and in other parts of Europe
21.
John Diamond (dancer)
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John Diamond, aka Jack or Johnny, was an Irish-American dancer and blackface minstrel performer. Diamond entered show business at age 17 and soon came to the attention of circus promoter P. T. Barnum, in less than a year, Diamond and Barnum had a falling-out, and Diamond left to perform with other blackface performers. Diamonds dance style merged elements of English, Irish, and African dance, for the most part, he performed in blackface and sang popular minstrel tunes or accompanied a singer or instrumentalist. Diamonds movements emphasized lower-body movements and rapid footwork with little movement above the waist, Diamond was most famous for a series of challenge dances. He regularly advertised that he could defeat all comers in a dancing contest, however, Diamond soon came to the attention of the dancer whom Barnum had replaced him with, a young black man known as Master Juba. Diamond and Juba fought dance-offs through the mid-1840s, records indicate that Juba won all, accordingly, historian Robert Toll calls Diamond the greatest white minstrel dancer. In 1840, Diamond won $500 in a New York City jig competition, Circus proprietor P. T. Barnum took notice and hired the boy, touring him throughout the United States and Europe. Ever the showman, Barnum claimed that the dancer was a mere 12 years old, Diamond performed solo and as part of a pair with blackface singers and musicians. For a time, he was teamed with the King of Banjo players, Diamond earned a bad reputation among promoters and managers. One source claimed that his dancing was considerably better than his temper, in February 1841, Diamond extorted money from P. T. Barnum and deserted his former mentor to go on a week-long binge of alcohol and women. Barnum sent a letter to his colleagues to caution them against hiring the dancer, Barnum claimed Diamond had overdrawn the money due him to the amount of $95 and has during the last week expended a hundred dollars in brothels and haunts of dissipation & vice. Free of Barnum, Diamond played in pairs or groups of three or four blackface performers. In January 1843, he was in a circus with other performers, the program promised Negro extravaganzas, songs, dances. The program does not make it clear whether they performed simultaneously or individually, after the Virginia Minstrels formed in 1843, Whitlock convinced Diamond to perform with them in order to increase the groups exposure. In 1845, Diamond was touring the United States with the Old Dominion Circus, in 1849, he was touring with the Olympic Circus. He was still performing regularly in the mid 1850s, Diamond eventually joined the Ethiopian Serenaders minstrel troup. In the 1840s, Diamond began a series of challenge dances wherein he dared his rivals to best him in a contest of skill, Diamond publicized his challenges in popular newspapers. Such trials usually had three judges, one who judged time, one style, and one execution. 00–$1,000.00, Diamond won match after match in city after city, and his fame grew exponentially
22.
Clog dancing
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Clog dancing is dancing whilst wearing clogs. Clogging an American style which is not necessarily danced in clogs, klompendansen a Dutch style of dance. Morris dance sometimes danced in clogs, tap dance which developed in part out of clog dancing
23.
Tap dance
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Tap dance is a form of dance characterized by using the sounds of tap shoes striking the floor as a form of percussion. Two major variations on tap dance exist, rhythm tap and Broadway tap, Broadway tap focuses on dance, it is widely performed in musical theater. Rhythm tap focuses on musicality, and practitioners consider themselves to be a part of the jazz tradition, the sound is made by shoes that have a metal tap on the heel and toe. There are different brands of shoes which sometimes differ in the way they sound and it preceded what is currently considered to be modern tap, but has since declined in popularity. Tap dance is believed to have begun in the mid-1800s during the rise of minstrel shows, as the minstrel shows began to decline in popularity, tap dance moved to the increasingly popular Vaudeville stage. Due to the rule, which forbade blacks from performing solo. This gave rise to the famous pair Buck and Bubbles, which consisted of John Bubbles Sublett tap dancing, the duo perfected the Class Act, a routine in which the performers wore impeccable tuxedos, which has since become a common theme in tap dance. The move is seen by some as a rebuttal to the minstrel show idea of the tap dancer as a grinning-and-dancing clown. John Bubbles Sublett is also known famously for popularizing rhythm tap which incorporates more percussive heel drops, another notable figure to emerge during this period is Bill Bojangles Robinson who was a protégé of Alice Whitman of The Whitman Sisters around 1904. Well versed in both Buck and Wing dancing and Irish Step dancing, Bill Robinson joined the Vaudeville circuit in 1902, the act quickly became famous, headlining events across the country, and touring England as well. In 1908, however, the two had an altercation, and the partnership was ended, gambling on his popularity, Robinson decided to form a solo act, which was extremely rare for a black man at that time. Despite this, he had success and soon became a world-famous celebrity. He went on to have a role in many films. Shortly thereafter, the Nicholas Brothers came on the scene, during the 1930s tap dance mixed with Lindy Hop. Flying swing outs and flying circles are Lindy Hop moves with tap footwork, in the mid- to late 1950s, the style of entertainment changed. Jazz music and tap dance declined, while rock and roll, what is now called jazz dance evolved out of tap dance, so both dances have many moves in common. But jazz evolved separately from tap dance to become a new form in its own right, well-known dancers during the 1960s and 1970s included Arthur Duncan and Tommy Tune. No Maps on My Taps, the Emmy award winning PBS documentary of 1979, the outstanding success of the animated film, Happy Feet, has further reinforced the popular appeal
24.
Kitty O'Neil (dancer)
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Kitty ONeil was one of the most celebrated American variety theatre dancers of the late 19th century. Kitty was born in 1855 in Buffalo, New York to William and Elizabeth ONeil, both immigrants from Ireland. She first performed in public at about the age of eight, proving to be so talented and precocious that her parents took her to a Prof. Newville of Rochester, New York to learn fancy dancing. In her earliest years on the stage, she danced at theaters in Buffalo, Chicago, Pittsburgh, variety impresario Tony Pastor heard of her talent and summoned her to New York City, where she made her debut at Pastors Bowery Opera House on January 23,1871. Kitty the dancer was, to the confusion of later chroniclers, the first, also known as Kathleen ONeil, was a Dublin-born singer who arrived in the U. S. in 1861 and began performing with Pastor the following year. The dancing Kitty ONeils reputation soon eclipsed that of her singing predecessor, from the fall of 1872 through 1876, Kittys theatrical home base was New Yorks Theatre Comique, managed by Josh Hart and, from 1876 on, by Edward Harrigan. She was most renowned, however, for her sand jig, in the later years of her career, she was most frequently booked at Hyde and Behmans theater in downtown Brooklyn, and at the Bowery and Eighth Avenue theaters operated in Manhattan by Henry C. Her last New York City performance was at the London Theatre, another Bowery variety house, Kitty then returned to her native Buffalo and, following an 1890 trip to California with Hydes Specialty Company, retired from touring. Her final public performance was in the summer of 1892 at Sheas Music Hall in Buffalo, around 1873, Kitty ONeil married Ed Power, who with song-and-dance man Frank Kerns kept a saloon catering to the theatrical profession at the corner of Crosby and Prince Streets in lower Manhattan. Power died of tuberculosis in 1878, after which Kitty married Harry Kernell, Kitty had two children by Kernell, neither of whom apparently survived infancy. She and Kernell divorced in 1887, after Kitty retired to Buffalo, she became the manager of the Alhambra Theater and, in 1892, married saloonkeeper Alfred Pettie. She died in 1893 of peritonitis and nephritis following an abdominal operation for an unspecified female complaint. Most of the tunes in Ryans were later reprinted in 1000 Fiddle Tunes, first published in Chicago in 1940 by M. M. Cole,1000 Fiddle Tunes served as the source of new repertoire for many American, Canadian and Irish traditional musicians. No composer was credited for the tune in Ryans, but it may have been a contribution of the editor, moore, Matthew S. Panara, Robert F. CS1 maint, Extra text Libby, Bill, ONeil, Kitty, Kitty, a story of triumph in a soundless world
25.
John W. Bubbles
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John William Sublett, known by his stage name John W. Bubbles, was a vaudeville performer. He performed in the duo Buck and Bubbles and he is also known as the father of rhythm tap. He was born in Louisville, Kentucky on February 19,1902, there, he formed a partnership with Ford L. Buck Washington in 1919. Their duo was known as Buck and Bubbles, Buck played on the stride piano and sang, and Bubbles tapped along. They were so popular that the duo moved to Manhattan, New York City in September of that year and they played together in the Columbia Theater, the Palace and played with artists Al Jolson, Eddie Cantor and Danny Kaye. They were on the Ziegfeld Follies of 1931 and they also became the first black artists to perform at the Radio City Music Hall. Though unable to read music, Bubbles was chosen by George Gershwin to create the role of Sportin Life in his opera Porgy, since he didnt understand the music score, Gershwin spent the time to teach it to him as a tap rhythm. Sublett caused some problems because he made up rhythms which caused confusion with other members of the cast. Sublett performed the role occasionally for the two decades. In 1920 he gave lessons in tap dancing to Fred Astaire, in the number Bojangles of Harlem from Swing Time Astaire dresses in blackface as the Sportin Life character and dances in the style of Sublett while ostensibly paying tribute to Bill Robinson. Sublett appeared in Hollywood films of the late 1930s and 1940s, including Varsity Show in 1937, Cabin in the Sky in 1943, in later life, he also made television appearances. During the Vietnam War, John Bubbles toured the war zone with the USO, in 1965, he appeared with Eddie Fisher on a USO tour, visiting many outposts and camps in the early war years. He appeared with Judy Garland in her 1967 concert at the Palace Theatre and that same year, he became partially paralyzed due to a stroke. In 1978, John Bubbles spoke at the Variety Arts Theatre in Los Angeles as a participant in a seminar on vaudeville, someone asked him who the best tap dancer was. Bubbles answered, Youre looking at him, then he added, Honestly, if I had to name the best dancer, it would be Fred Astaire. But he could ballroom, dance with a partner, all in all, hes the best. That same night, Bubbles mentioned that Astaire had brought him into the hall to work on Bojangles of Harlem. He performed at the Newport Jazz Festival in New York in 1979, Sublett died on May 18,1986, at his home in Baldwin Hills, California
26.
Sammy Davis Jr.
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Samuel George Sammy Davis Jr. was an American entertainer. Primarily a dancer and singer, he was also an actor of stage and screen, comedian, musician, at the age of 3, Davis began his career in vaudeville with his father and Will Mastin as the Will Mastin Trio, which toured nationally. After military service, Davis returned to the trio, Davis became an overnight sensation following a nightclub performance at Ciros after the 1951 Academy Awards. With the trio, he became a recording artist, in 1954, he lost his left eye in a car accident, and several years later, he converted to Judaism. Daviss film career began as a child in 1933, in 1960, he appeared in the Rat Pack film Oceans 11. After a starring role on Broadway in 1956s Mr Wonderful, he returned to the stage in 1964s Golden Boy, in 1966 he had his own TV variety show, titled The Sammy Davis Jr. Show. Daviss career slowed in the late 1960s, but he had a hit record with The Candy Man in 1972 and became a star in Las Vegas, earning him the nickname Mister Show Business. Davis was a victim of racism throughout his life, particularly during the pre-Civil Rights era, Davis had a complex relationship with the black community, and drew criticism after publicly supporting President Richard Nixon in 1972. One day on a course with Jack Benny, he was asked what his handicap was. This was to become a comment, recounted in his autobiography. After reuniting with Sinatra and Dean Martin in 1987, Davis toured with them and Liza Minnelli internationally and he died in debt to the Internal Revenue Service, and his estate was the subject of legal battles. Davis was awarded the Spingarn Medal by the NAACP and was nominated for a Golden Globe Award and he was the recipient of the Kennedy Center Honors in 1987, and in 2001, he was posthumously awarded the Grammy Lifetime Achievement Award. During his lifetime, Davis stated that his mother was Puerto Rican, as an infant, he was reared by his paternal grandmother. When he was 3 years old, his parents separated and his father, not wanting to lose custody of his son, took him on tour. Davis learned to dance from his father and his uncle Will Mastin, Davis joined the act as a child and they became the Will Mastin Trio. Throughout his career, Davis included the Will Mastin Trio in his billing, Mastin and his father shielded him from racism. Snubs were explained as jealousy, for instance, when Davis served in the United States Army during World War II, however, he was confronted by strong racial prejudice. He later said, Overnight the world looked different and it wasnt one color any more
27.
Howard Sims
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Howard Sandman Sims was an African-American tap dancer who began his career in vaudeville. They called the board my Stradivarius, Sims said of his sandbox, from the 1950s to the year 2000, Sims was a regular attraction — a fixture — at Harlems noted Apollo Theater, comedically ushering failed acts offstage with a hook, broom or other prop. He was also involved in New York Citys Hoofers Club, a venue primarily for Black tap dancers, as part of the resurgence of interest in tap dancing in the 1980s, Sandman Sims served as a cultural ambassador, representing the United States with dance performances around the world. He was featured in the 1989 dance film Tap, along with Sammy Davis Jr. Gregory Hines and Savion Glover, Sims also appeared in a 1990 episode of The Cosby Show as Rudys tap dancing teacher, facing off against Cliff in a good-natured tap challenge. In her review of the based on his life, New York Times critic Anna Kisselgoff wrote. To say Mr. Sims dances on sand is like saying Philippe Petit is a tightrope walker, born in Fort Smith, Arkansas on January 24,1917, Sims was one of 12 children. The family soon relocated to Los Angeles, California, where he was raised, describing his childhood, Sims said, It was just a whole big dancing family. He learned to dance from his father, and said he was dancing as soon as he could walk and he began tap-dancing at the age of 3. He attributed some of his love for tap dancing in particular to his mother, exasperated that he kept wearing out the toes of his shoes. Along with his brothers, Sims was dancing on the sidewalks of Los Angeles from a young age, as a young man, despite his dance talent, Sims aspired to be not a professional dancer, but a professional boxer. After twice breaking his hand, he decided he needed a different means of making a living and he began to consider dancing as a career alternative. Finally he found the solution, loose sand in a low-lipped box, people went for the scraping sound. So I made a board by sprinkling sand on a flat platform. His sandbox remained his trademark throughout his career, with some venues even telling Sims, If you dont bring your sandbox, dont come at all. During this period, it was common for dancers to carry tap shoes with them and, the culture of street dancing in the 1920s has been compared to the rise of break dancing six decades later. Despite performing at vaudeville venues, Sims found neither fame nor success as a dancer in Los Angeles. In 1947, he tagged along on one of his professional-boxer friend Archie Moores cross-country drives, and settled in New York City. After arriving in Harlem, Sims began performing on the street as he had done in California, there was a man who could dance on newspapers without tearing them
28.
Gregory Hines
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Gregory Oliver Hines was an American dancer, actor, singer, and choreographer. Hines was born in New York City on February 14,1946, the son of Alma Iola and Maurice Robert Hines, a dancer, musician, Hines began tapping when he was two years old and began dancing semi-professionally at the age of five. After that, he and his older brother Maurice performed together, Gregory and Maurice also learned from veteran tap dancers, such as Howard Sims and The Nicholas Brothers, whenever they performed in the same venues. The two brothers were known as The Hines Kids, making appearances, and later as The Hines Brothers. When their father joined the act as a drummer, the name changed again in 1963 to Hines, Hines, Hines performed as the lead singer and musician in a rock band called Severance in the year of 1975-1976 based in Venice, California. Severance was one of the bands at an original music club called Honky Hoagies Handy Hangout. Severance released their album on Largo Records in 1976. In 1986, he sang a duet with Luther Vandross, entitled Theres Nothing Better Than Love, Hines made his movie debut in Mel Brookss History of the World, Part I. Critics took note of Hiness comedic charm, and he appeared in such movies as The Cotton Club, White Nights, Running Scared alongside Billy Crystal, Tap. On television, he starred in his own series in 1997 called The Gregory Hines Show on CBS, in 1999, he would return to voice Big Bill, in Nick Jr. s television show Little Bill. In 2000, he starred in The Tic Code, Hines made his Broadway debut with his brother in The Girl in Pink Tights in 1954. He earned Tony Award nominations for Eubie, comin Uptown, and Sophisticated Ladies, and won the Tony Award and Drama Desk Award for Jellys Last Jam and the Theatre World Award for Eubie. In 1989, Gregory Hines created Gregory Hines Tap Dance in America, the PBS special featured seasoned tap dancers such as Savion Glover and Bunny Briggs. He also co-hosted the Tony Awards ceremony in 1995 and 2002, in 1990, Hines visited his idol, Sammy Davis, Jr. as he was dying of throat cancer, unable to speak. After Davis died, an emotional Hines spoke at Daviss funeral of how Sammy had made a gesture to him, Hines spoke of the honor that Sammy thought that Hines could carry on from where he left off. He did a lot of improvisation of tap steps, tap sounds and his improvisation was like that of a drummer, doing a solo and coming up with all sorts of rhythms. He also improvised the phrasing of a number of tap steps that he would come up with, a laid back dancer, he usually wore nice pants and a loose-fitting shirt. Although he inherited the roots and tradition of the black rhythmic tap, he influenced the new black rhythmic tap
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Shakespearean dance
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Shakespearean Dance refers to dancing in the time and plays of William Shakespeare and his contemporaries. Terms like measure and foot it can refer to dancing. Other dances referred to in English Renaissance plays such as the galliard, pavane, jigs often followed performances of plays in late sixteenth- and early seventeenth-century England, but we know very little about the actual steps of this dance. The History of Morris Dancing, 1458-1750, the Almain in Britain, c. 1549-c.1675, A Dance Manual from Manuscript Sources. The Early Stuart Masque, Dance, Costume, and Music, the Court Masque, A Study in the Relationship Between Poetry and the Revels. Early dance Elizabethan theatre English Renaissance Historical dance History of dance Renaissance dance Renaissance music Renaissance Dance Shakespearean Dance
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International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
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Michael Raven
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Michael Raven is an American pornographic film director. He is a member of the AVN Hall of Fame, while he was working as a car salesman, Raven met Sydnee Steele to whom he sold a new Miata. They married, finding a common interest in pornography and swinging and their marriage lasted for ten years. He was married to pornographic actress Julia Ann, they divorced in 2007 and he has one brother, named Thomas Priest
32.
Irish stepdance
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Irish stepdance is a style of performance dance with its roots in traditional Irish dance. It is generally characterized by an upper body and quick. It can be performed solo or in groups, aside from public dance performances, there are also stepdance competitions all over the world. These competitions are often called Feis which is short for Feiseanna, in Irish dance culture, Feisenna is a traditional Gaelic arts and culture festival. Costumes are considered important for stage presence in competition and performance Irish stepdance, in many cases, costumes are sold at high prices and can even be custom made. Males and females can both perform Irish stepdance but for the most part in society, the dance remains predominantly female. This means that the costumes are mainly dresses, each dress is different, with varying colors and patterns, designed to attract the judges eye in competitions and the audiences eye in performance. General appearance besides the costume is also equally important, many dancers invest in curled wigs that match their hair color but add to the effect of a traditional Irish dancer. Poodle Socks are worn with the dresses and shoes and these are white socks that stretch to mid calf with ribs in them to keep the strings of the shoes tied up on the leg. Riverdance, an Irish stepdancing interval act in the 1994 Eurovision Song Contest that later became a successful theatrical production. Once Riverdance became a production, it changed the way that Irish dance was performed and viewed. Now that entrepreneurs could capitalize on Irish culture, they were able to tweak it to the audiences liking and this meant adding theatrical flair to the performance, including arm movements as well as sexualizing the dance and the costumes. To many this was a betrayal of tradition, but to some it was a way of expanding Irish culture, following after Riverdance was Lord of the Dance and many other theatrical productions based on Irish stepdance. Michael Flatley, an Irish stepdancer, became a known name within these shows. Two types of shoes are worn in Irish stepdance, hard shoes, which sounds similar to tap shoes, and soft shoes. The dances for soft shoe and hard shoe are generally different, different music with varying beats are played based on the dance, though they all share basic moves and rhythms. Most competitive stepdances are solo dances, though many stepdancers also perform and compete in traditional set, competition is organized by several organizations, and there are competitions from the local level to world championships. The dancing traditions of Ireland are likely to have grown in tandem with Irish traditional music and its first roots may have been in Pre-Christian Ireland, but Irish dance was also partially influenced by dance forms on the Continent, especially the quadrille dances
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Irish set dance
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Irish set dance, sometimes called country sets, is a popular form of folk dancing in Ireland. Set dances are based on quadrilles, which were court dances and these were transformed by the Irish into a unique folk dance of the Irish rural communities. Promotion of Céilí dance during the 1930s and 1940s, and the rise of rock, however, in the 1980s a revival started and many sets that have not been done for forty years or more are being recovered and danced again. To start, four couples are arranged in the form of a square to dance each couple being in the middle of the sides of the square. Both the eight dancers in the group and the dance itself are called a set, the dance is a sequence of several dance figures, which usually have a common theme or structure. The figures usually begin and end with repeated parts that everyone dances, in the set, the couple with their backs to the band are traditionally named First Tops with Second Tops facing them. The couple on First Tops left hand side is called First Sides with Second Sides facing, usually the First Tops are the first to dance, with some sets having First Sides and then Second Tops going next and some having Second Tops and then the First Sides. Set dances from a region usually have similar elements. Distinctive set dances and dance regions emerged in the beginning of the 19th century, in some homesteads a kitchen pot was placed under the flag stones as an extra acoustical element for the house dance. Set dance differs from square dance and round dance in that it not require a caller. Edition, J. G. O Keeffe, Art O Brien, the Story of Irish Dancing Helen Brennan, Mount Eagle Publications Ltd
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Irish music
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Irish Music is music that has been created in various genres on the island of Ireland. The indigenous music of the island is termed Irish traditional music and it has remained vibrant through the 20th and into the 21st century, despite globalising cultural forces. It has occasionally been fused with rock and roll, punk and rock, some of these fusion artists have attained mainstream success, at home and abroad. It is still a vibrant genre with many composers and ensembles writing and performing art music in the classical tradition. On a smaller scale, Ireland has also produced many musicians of note. 1011, Connmhach Ua Tomhrair, priest and chief singer of Cluain-mic-Nois,1168, Amhlaeibh Mac Innaighneorach, chief ollamh of Ireland in harp-playing, died. 1269, Aed Ó Finn, master of music and minstrelsy,1329, Maol Ruanaidh Cam Ó Cearbhaill, tiompanist, murdered during the Braganstown Massacre in County Louth. 1330, Mael Sechlainn Mac Carmaic, an entertainer, died. 1343, Donnchad Clereach Ó Maol Braonáin, a canon of Elphin, was killed by an arrow. 1357, Donn Shléibhe Mac Cerbaill, an accomplished musician,1360, Gilla na Naem Ó Conmaigh, music ollamh of Thomond. Magraith Ó Fionnachta, Chief Musician and Tiompanist to the Síol Muireadaigh,1364, Bran Ó Brain, a skilful tympanist. 1369, John Mac Egan, and Gilbert Ó Bardan, two accomplished young harpers of Conmaicne, died,1469, Ruaidrí mac Donnchad Ó Dálaigh, the most musical-handed harpist in all Ireland. 1490, Diarmait MacCairbre, harper, was executed,1553, Tadhg, son of Ruaidhri Ó Comhdhain, i. e. the ollamh of Éire and Alba in music, died. 1561, Naisse mac Cithruadh, drowned on Lough Gill, daighre Ó Duibhgeannáin, a most affable, musical man, died. Early Irish poetry and song has been translated into modern Irish and English by notable Irish poets, song collectors and musicians. The 6th century hymn Rop tú mo baile by Dallán Forgaill for example, was published in 1905 in English by Mary Elizabeth Byrne, the Blackbird of Belfast Lough has been notably translated by poets such as Seamus Heaney, Ciaran Carson and Frank OConnor. Some musicians were acclaimed in places beyond Ireland, cú Chuimne lived much of his adult life in Gaelic Scotland, and composed at least one hymn. Foillan, who was alive in the century, travelled through much of Britain and France, around 653 at the request of St. Gertrude of Brabant
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Hornpipe
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The hornpipe is any of several dance forms played and danced in Britain and Ireland and elsewhere from the 16th century until the present day. The earliest references to hornpipes are from England with Hugh Astons Hornepype of 1522 and it is suggested that hornpipe as a dance began around the 16th century on English sailing vessels. The hornpipe is an Irish, Scottish and English dance and it is done in hard shoes, which are used to help keep track of how the dancer keeps in time. There are two variations of the dance, fast and slow. Usually, more experienced dancers will do the slow hornpipe but younger dancers will start out with the fast hornpipe, there is a change of tempo in the music but not the dancing between these two speeds. The only difference in the dancing between the fast and slow steps are the dances that the competitor does and the rhythm/sound of how they move their legs, the rhythm for both fast and slow hornpipes is very even and should be executed that way by the dancer. The most common use of the term refers to a class of tunes in 44 time. The dance is done in hard shoes, perhaps the best known example is the Sailors Hornpipe. Some 19th-century examples mix the dotted and even styles and these led the form to being called the Newcastle Style The form dates back to the mid-18th century or earlier but became much more popular in the early 19th century. Many fine hornpipes were written in period, often with well-known composers. In Ireland, examples include The Groves Hornpipe and The Boys of Bluehill, in England, a noted composer of hornpipes on Tyneside was the influential fiddler-publican James Hill. The form also became popular in the United States – President Garfields Hornpipe being a fine example. A lively 32 time dance rhythm, which remained popular in northern English, many examples are still well known and widely played in Northumberland, such as the song Dance ti thy Daddy, and the variation set Lads of Alnwick. Often these tunes have off-beat accents, usually in even-numbered bars, the form, having short strains, with a simple fixed harmonic scheme, and recognisable tags at the ends, is very suitable for the playing of variations. This has probably accounted for its survival among players of the Northumbrian smallpipes, the term was also used formerly to refer to tunes in 94 or 98 time. These may have thought of as differing only inessentially from the 32 hornpipes. Some early examples of these are also syncopated, the form survives in Northumberland and Ireland. One example, Mad Moll, or The Peacock Follows the Hen, has remained current since at least 1698 when it appeared in The Dancing Master, such tunes are usually referred to nowadays by the Irish name slip jig
