Synonyms for song and dance Synonyms bafflegab , double-talk , gibberish , gobbledygook also gobbledegook , rigmarole also rigamarole Visit the Thesaurus for More. Examples of song and dance in a Sentence instead of simply denying our request, the mayor's representative gave us a song and dance about legal issues and municipal liability. Recent Examples on the Web Festivities on the wedding day featured traditional song and dance , archery, a public luncheon and congratulatory salutations tashi lekdar.
First Known Use of song and dance , in the meaning defined at sense 1. Learn More About song and dance. Share song and dance Post the Definition of song and dance to Facebook Share the Definition of song and dance on Twitter.
Time Traveler for song and dance The first known use of song and dance was in See more words from the same year. From the Editors at Merriam-Webster. Flamenco is a solo dance characterised by hand clapping, percussive footwork and intricate hand, arm and body movements.
For more information, including classes near you, visit Dance UK. Tap dance uses shoes with small metal plates on the soles to make the dance itself part of the music. It's as popular today as it was in the heyday of the great Fred Astaire and Gene Kelly musicals, and companies like Tap Dogs demonstrate how contemporary it can be.
Bollywood dance blends classical Indian dance forms, with its intricate hand gestures and footwork, with modern western styles, including hip hop and jazz. For more information, including classes near you, visit Akademi.
Jazz dancing is energetic and fun, consisting of unique moves, fancy footwork, big leaps and quick turns. Jazz dance evolved alongside jazz music and was popularised in ballrooms across the US by the big bands of the swing era. From the ballroom to the street, not forgetting ballet and group dances like Gangnam or line dancing, nothing is off limits for those wheels of steel. For more information and to find a class near you, visit Para Dance UK. Page last reviewed: 17 June Next review due: 17 June Dance for fitness - Exercise Secondary navigation How much exercise?
Benefits of exercise Why we should sit less Physical activity guidelines: children under 5s Physical activity guidelines: children and young people Physical activity guidelines: adults Physical activity guidelines: older adults Exercise as you get older. Well, he can dance. Virginia Woolf, an author who herself was queer at an even earlier time, once described the transformative and soothing power of dancing. They find the source: Several people are blaring the song from their car.
Even so, it is unique among coming-of-age romances for how precisely, but tenderly, it portrays the private lives of its queer characters. I then kept going back to this cafeteria, just to smile at the man. I often experienced situations like this in New York; the people were so ready to help. In New York I took on everything, which was offered to me. I wanted to learn everything and experience everything.
Almost every day I watched performances. There were so many things, all of them important and unique; therefore I decided to stay two years on the money that was only intended for one. That meant saving! I walked everywhere. For a time I live almost exclusively on ice cream — nut flavoured ice cream. Accompanying this was a bottle of buttermilk, a lot of lemon that was lying around on the tables and a large amount of sugar. All mixed together, it tasted very good.
It was a wonderful main meal. However, I liked getting thinner. I paid more and more attention to the voice within me. To my movement. I had the feeling that something was becoming purer and purer, deeper and deeper. Perhaps it was all in the mind. But a transformation was taking place. Not only with my body. The Met was another important experience. It was the time when Callas had unfortunately just left.
But you could still sense her. Apart from the fact that I was dancing a lot, I was also watching plenty of operas or would hear the singers in the changing room over the loudspeakers.
What a joy it is to learn to distinguish between voices. To listen very exactly. And then there was another very special experience. When I flew back from my stay in Europe to come to the Met, the plane was overbooked. In New York, I had an appointment with a lawyer who was intending to insert something into my passport so that I would be allowed to work at the Met. Consequently, I had to get to New York no matter what. And then, instead of waiting, I took a flight to New York via a roundabout route.
I had to change flights five times or more. It was madness: one flight to Toronto, then one to Chicago, and so it went on to yet another place — and it was all highly complicated. But I managed it somehow. The flight took a very long time. Finally, I arrived in New York, but at a different airport. I have no idea how — but somehow I also managed with my broken English to arrange for someone to fly me by helicopter to the right airport.
And they did actually do it. I had succeeded. After this flight, you could have sent me anywhere on earth. I had no more fear. Of course my luggage was no longer there. I received it 14 days later. And so I arrived with only my handbag. All of these actions were unexpected. Nothing was planned. I had no idea that I could act in this way. That I was capable of doing that. Even less so, that I could appear on the stage like that.
It just happened — without thinking. You do something without imagining or wishing. It is something different. After two years came a phone call from Kurt Jooss.
He had the chance again to have another small ensemble at the school, the Folkwang Ballet. He needed me and asked me to come back. I wanted both of these things so much. I loved it so much being in New York; everything was going wonderfully well for me. However, I returned to Essen after all. Jooss now had a company again — the Folkwang Ballet. I continued working with wonderful teachers and choreographers. Jooss placed so much trust and responsibility in me, not only by letting me dance in his old and new choreographies, but also by allowing me to help him.
I was hungry to dance a lot and had the urge to express myself… So I started to choreograph my own pieces. Simply out of respect. What I had seen and learnt was taboo for me. I put myself in the difficult situation: why and how can I express something? When Jooss left Essen, I took over the responsibility for what had become known as the Folkwang Tanzstudio.
The work and the responsibility were very fulfilling for me. I was trying to organize guest performances abroad. Choreographing small pieces. Twice I was also invited to do something in Wuppertal. I never actually wanted to work in a theatre. I was very frightened. I loved working freely.
In Fritz, my first piece, I was still following a plan. Then I gave up planning. Since that time, I have been getting involved in things without knowing where they will lead. Actually, the whole time I only wanted to dance. I had to dance, simply had to dance. That was the language with which I was able to express myself. Even in my first choreographed pieces in Wuppertal, I was thinking of course that I would be dancing the role of the victim in Sacre and in Iphigenie the part of Iphigenie, for example.
These roles were all written with my body. But the responsibility as choreographer had always held back the urge to dance. And this is how it came that I actually have passed on to others this love, which I have inside me, this great desire to dance. For the audience our new start was a big change. My predecessor in Wuppertal had done classical ballet and was very much loved by the public. A certain type of aesthetic was expected; there was no disputing that there were other forms of beauty apart from this.
The first years were very difficult. Again and again spectators would leave the auditorium slamming doors, while others whistled or booed. Sometimes we had telephone calls in the rehearsal room with bad wishes.
During one piece I went into the auditorium with four people to protect me. I was scared. You can simply shut your eyes. I wanted so much to develop something with the chorus. They turned down every idea. In the end I managed to have the chorus singing from the boxes — from amongst the audience — that was then very nice. That hurt a lot. I never wanted to provoke. Actually, I only tried to speak about us. The dancers were full of pride as they accompanied me on this difficult path.
But sometimes there were enormous difficulties as well. Sometimes I succeeded in creating scenes where I was happy that there were images like this. But some dancers were shocked. The shouted and moaned at me. Saying what I was doing was impossible. We therefore did Sacre with a tape recording. With a wonderful version by Pierre Boulez. In Bluebeard I was unable to put my idea into practice at all because they provided me with a singer who, although I liked him very much in all other respects, was not a Bluebeard at all.
In my desperation I thought up a completely different idea with Rolf Borzik. We designed a sort of carriage with a tape recorder that was fastened to the ceiling of the room with a long cable. Bluebeard could now push this carriage and run along with it wherever he wanted. He was able to rewind the music and repeat individual sentences.
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