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Crazy Legs: A B-Boy from the Boogie Down Bronx

為了解決Hip hop moves的問題，作者Acevedo, Linda J. 這樣論述：

A boogie-down picture book biography about the innovative dancer Richard Col n--better known as Crazy Legs--who became one of the pioneers of breaking.Step back, step back Crazy Legs about to bust a move.Born in the South Bronx, Richard Col n grew up with salsa dance parties at home and DJs battlin

g on turntables on the street. Inspired by these new beats and the moves of James Brown, neighborhood boys and girls started dancing with a mix of twists, slides, and shuffles. The rhythm of the Toprock. Drop of the Six-step. Wiggle of the Worm. A new dance form called breaking was being created, an

d Richard wanted to be a part of it.With a signature style of quick and fiery footwork, Richard became known as Crazy Legs. Together with the Rock Steady Crew, he went on to perform for the president of the United States and the Queen of England, travelling the world to showcase his moves. Then Holl

ywood came calling and breaking was everywhere. Crazy Legs and his crew had come a long way from dance battles on the streets Debut author Linda J. Acevedo introduces young readers to a Puerto Rican boy who pioneered a new style of dance inspired by his surroundings. Coupled with award-winning illus

trator Frank Morrison's sinuous and pulsating art, Crazy Legs is an energizing ode to the Boogie DownBronx and to Hip Hop--a movement that would forever change the course of music, art, and culture. To the beat, y'all Linda J. Acevedo is a New York City native who was known to do the Toprock and

Worm at birthday parties and in her backyard. Growing up, Acevedo couldn’t find too many other Puerto Rican kids she could look up to, besides Menudo. She is thrilled she gets to share Crazy Legs’s story and the origins of Hip Hop with young readers.This marks her authorial debut. You can visit her

online at lindajacevedo.comFrank Morrison has illustrated numerous award-winning books, including the Coretta Scott King Illustrator Honor winner Little Melba and Her Big Trombone, published by Lee & Low Books. Before becoming an illustrator, Morrison was a well-known graffiti artist and accomplishe

d dancer. Morrison lives with his family in Georgia. You can learn more about him at morrisongraphics.com.

Hip hop moves進入發燒排行的影片

音樂劇各種不同時期女聲代表唱腔演繹詮釋變化之研究

為了解決Hip hop moves的問題，作者黃上秦 這樣論述：

音樂劇是一種多元文化的一起碰撞出的華麗時代產物，在音樂劇的領域中，除了觀賞華麗的歌舞、服裝、豐富的感情線、場景的佈置，歌手的唱功也是音樂劇中看點之一，在在都顯現出多重文化藝術堆疊出的藝術層次表現。音樂劇既有劇有唱有舞蹈，有些人甚至分不清它與歌劇的區分。根據筆者學習聲樂的歷程，音樂劇是由歌劇演進而來的一種表演方式，除了添加大量的舞蹈動作外，以戲劇演出為主線入歌;已經成了他演出的一種特色，而音樂的角色瞬間從原本的主角地位，轉為刻畫場景與人物抒發情ˇ緒的媒介。音樂劇透過舞蹈刻劃人物角色，以戲劇從原本古典音樂的典雅、高貴與莊嚴的故事題材，漸漸轉變到市井小民、與貼近時事的題材設計，故事中編織許多不言而

喻的情感線。而在音樂上，也從原本的管弦樂器演奏，漸漸地加入了爵士色彩嘻哈、大樂隊的色彩，再加上現代流行音樂的薰陶，逐漸與之同型。在主角演唱的音色上，也漸漸從原本歌劇的美聲唱腔的方式，漸漸的轉變成角色定位音色的變化，例如：公主唱腔、動物音色的模仿。表現風格也較接近流行音樂的演唱模式。而對我而言最神秘的領域就是音樂劇的多變的聲腔變化，因此萌生其研究的主題。音樂劇雖說以劇為主線，但在演唱的演員，需要能歌善，演又要會跳舞，其中又以女主角的演技與音色，是樂迷收看音樂劇的最大賣點。一個音樂劇的女主角接演音樂劇的條件除了本身有好的外在條件、舞蹈身段、戲劇底蘊外，最重要是有一副好歌喉，才能擔當得起如此重要角色

。除了需要消化大量台詞與各地的方言變化，多造型的服飾呈現，繁雜的情緒切換與複雜的舞蹈動作與臨危不亂的獨唱演出更是尤為難得。因此本文想要研究不同時期音樂劇的女主角以了解音樂劇中聲腔與角色變化的演變。在面對表演藝術也隨著VR、虛擬實境等時代產物結合時，筆者過去主修女高音，對於這種多樣形式的藝術表演一直存在著無比的興趣以及好奇，因為每一齣設計出來的音樂劇的表演及女主角的聲音角色變化都是新鮮的源頭活水，提供人類極高的娛樂價值；本文希望藉由各人的所學專業為音樂劇女高音唱腔的領域當中開闢一條研究之路，未來可以讓更多喜歡表演藝術的朋友有更多思考的空間！

Freedom Moves: Hip Hop Knowledges, Pedagogies, and Futuresvolume 3

為了解決Hip hop moves的問題，作者 這樣論述：

H. Samy Alim is the David O. Sears Presidential Endowed Chair in the Social Sciences and an Associate Director of the Ralph J. Bunche Center for African American Studies at UCLA, where he directs the Hip Hop Initiative. His books include Neva Again: Hip Hop Art, Activism, and Education in Post-Apart

heid South Africa, Roc the Mic Right: The Language of Hip Hop Culture and Culturally Sustaining Pedagogies: Teaching and Learning for Justice in a Changing World. Jeff Chang is a writer, organizer, and teacher. His books include Can’t Stop Won’t Stop: A History of the Hip-Hop Generation, Water Mirro

r Echo: Bruce Lee and the Making of Asian America, Who We Be: A Cultural History of Race in Post-Civil Rights America, and We Gon’ Be Alright: Notes on Race and Resegregation. Casey Wong is an Assistant Professor in Georgia State University’s College of Education and Human Development. His forthcomi

ng book is adapted from his dissertation, Pray You Catch Me: A Critical Feminist and Ethnographic Study of Love as Pedagogy and Politics for Social Justice. He has helped organize four Hip Hop Think Tank gatherings and worked in the field of Hip Hop pedagogies for over 15 years.

丹尼爾·雲·坎波斯《樂音工人》街舞跨領域研究

為了解決Hip hop moves的問題，作者李昆翰 這樣論述：

本研究主題為丹尼爾‧雲‧坎波斯之《樂音工人》(The musichanical)街舞跨領域研究，以丹尼爾‧雲‧坎波斯個人Youtube頻道影像"THE MUSICHANICAL" - VIBE XXll (Campos, 2017, February. 26)做為研究之主要版本。以「舞蹈宏觀分析法」理論為基礎，由動作分析的角度切入進行跨領域的舞作探討。首先，研究者進行由資料蒐集法，蒐集丹尼爾‧雲‧坎波斯歷年的相關作品，《樂音工人》之影音資料，以及由《電子布格魯》舞團(The Electric Boogaloos)舞蹈視頻，從中挑選出有助個案研究之資料，以便探討丹尼爾雲的表現手法與「震感舞」的

相關性，對於「震感舞」(Popping)作一個初步的定義研究。研究者再以拉邦舞蹈學(Choreological Studies)領域發展出的拉邦動作分析(Laban Movement Analysis) 以及「舞蹈宏觀結構分析」(Macrostructural analysis)（趙玉玲，2005，頁159）的研究方法，發現丹尼爾‧雲‧坎波斯如何運用電器工具產生的「聲音」搭配「動作」、「燈光」、「道具」等，運用組合變化，呈現一位電機工人築房的過程。 本研究挑選《樂音工人》，用交叉比對的方式探討「震感舞」、「霹靂舞」在結合戲劇元素的肢體語彙後，發現丹尼爾‧雲‧坎波斯在街舞中的表現風格，突破以往街

舞的抽象表現，展現了更多情緒元素在「震感舞」中，產生了屬於丹尼爾‧雲‧坎波斯的一種「雲式風格」。本研究發現在《樂音工人》中，丹尼爾‧雲‧坎波斯運用施工音效及施工道具，結合「音樂取樣」的「迴圈取樣」及「切片取樣」的方式製作出表演性的重複聲響。以不斷疊加產生規律的旋律，搭配戲劇元素及「震感舞」技巧，將整部作品完美的調合來呈現。巧妙的運用街舞元素整合了「音樂」、「舞台區位」、「燈光」、「投影」等多項劇場元素，豐富了街舞動作，增加更多的情感層面與功能性。研究者期許透過此篇研究，提供未來街舞舞者探討「街舞劇場」風格的參考。