Word: styling
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...competes at the Universal Dance Association College Dance Team National Championships in Orlando, Florida, in addition to performing at men’s and women’s basketball games and exhibition shows. Their choreography mostly focuses on jazz and hip-hop, but they performed pom—a style of dancing similar to cheerleading—when they competed at the National Dance Alliance Championships in years past. Despite their practice of pom, CDT members insist that their craft differs from cheerleading in method...
...particularly in Latin dances, revealing. Dancers also need to be extremely tan, both to draw attention and look appealing under bright lights. “You need to put forward confidence; there’s a certain beauty in it,” Shelton explains. Every ballroom style has its own character that requires performers to act to the music, so costumes help dancers fit the parts. “You play a role of elegance and high class for Standard and a role of sex appeal for Latin,” Perez-Moreno says. These extravagant costumes require dancers...
Dance teams are judged on various, partly subjective, criteria: technique, difficulty, passion, creativity, style, ability to communicate emotion, clarity, control, synchronization, and musicality—all of which highlight the hybrid aspects of the art. In ballroom, there are four principal aspects: musicality, beauty and technique, partnering, and speed and power. Musicality—or a dancer’s capacity to interpret the music through motions that fit the mood and rhythm—shifts these competitive dances from a sport to an art form. A competitive dancer should not just be robotically performing moves; there needs...
This is especially true for the lyrical style that CDT practices. A combination of ballet, jazz, and modern dance, lyrical style movements speak directly to the words and tone of a song using gestures and facial expressions. “If in the song the lyrics say that something is far away, then you extend your arm out to indicate that,” Szpak explains...
...underlying problems of “Theatre” is that Mamet’s style of writing does not lend itself to sophisticated argumentation. His dramatic dialogue is iconic—often referred to as “Mametspeak”—and his plays are full of terse and crude language. The effect translates to his nonfiction as well, and much of language in “Theatre” has the colloquial feel of dialogue, which does little to lend credibility to his opinions. Rhetorical questions abound—many of which he subsequently answers...