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DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 <br /> 1 1 <br /> 1 1 <br /> > Body Beat 1 <br /> 1 Choreography: Zahi Patish and Danny Rachom (2001) 1 1 <br /> 1 Style: Body Drumming, Vocalization, Hip-Hop j <br /> 1 Music: a cappella 1 <br /> > This dance was choreographed by members of Sheketak (Tel 1 <br /> 1 Aviv), an Israeli dance group that takes its name from Hebrew 1 <br /> 1 words for silence (sheket) and sound (tak). Sheketak dancers j <br /> 1 and instrumentalists combine body drumming, tap, hip-hop, 1 <br /> 1 vocalization, and live music into their internationally acclaimed 4) <br /> 1 performances. l <br /> I <br /> Blue Rondo a la Turk j <br /> 1 Choreography: Sam Weber (2000) 1 <br /> 1 Style: Rhythm 1 <br /> 1 Music: Blue Rondo a la Turk (Dave Brubeck) 1 <br /> 1 1 <br /> 1 Blue Rondo a la Turk is based on the Turkish 9/8 meter, one of the j <br /> 1 Dave Brubeck quartet's most famous experiments with non- 1 <br /> traditional meter (the most famous was Take Five). This dance <br /> 1 began as a technique exercise for practicing even or unbroken 1 <br /> 1 rhythms. The choreography demands the dancers first tap the j <br /> S straight rhythms of the melody and then switch to a medium 1 <br /> swing blues as three extra beats are added to each measure. 1 <br /> After building to a frenzy of double-time rhythms and turns in the 1 <br /> 1 blues section, the piece returns to 9/8 for a dizzying finish. (Sam 1 <br /> 1 Weber) 1 <br /> 1 l <br /> 1 • Traditional Copasetic Soft Shoe <br /> 1 Choreography: Brenda Bufalino (1999) 1 <br /> 1 Style: Vernacular 1 <br /> 1 Music: Me and My Shadow (Al Jolson and Dave Dreyer) j <br /> Z Serenade in Blue (Harry Warren and Mack Gordon) 1 <br /> 1 The Copasetics Club was formed in 1949 by a group of 1 <br /> 1 legendary dancers to honor the memory of Bill "Bojangles" 1 <br /> 1 Robinson. Copasetic was a word favored by Mr. Robinson, j <br /> 1 being used to describe things that were perfect. The first part of 1 <br /> Sthis dance is a soft shoe, staged by Ms. Bufalino as it was 1 <br /> 1 performed by the Copasetics during the 1950s and 1960s. In the 1 <br /> 1 second part, Ms. Bufalino weaves together past and present, 1 <br /> 1 blending traditional soft-shoe steps she learned from the j <br /> Copasetics into her own distinctive choreography. 1 <br /> 1, North Carolina Youth Tap Ensemble- Guide for teachers 13 1 <br />