Biography Cyril Diallo
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Internationale Turniere B-Kategorie Spesenbeitrag Max
A-Kategorie Spesenersatz ÖBV Grundlagen für die Einsatzplanung österr. Schiedsrichter - Internationale Turniere B-Kategorie Spesenbeitrag max. € 200.- Die Beschickung erfolgt grundsätzlich nur durch das Schiedsrichterreferat (SRR) ! R……….Referee C-Kategorie Spesenbeitrag max. € 150.- U……….Umpire bestätigt vorgemerkt abgesagt D-Kategorie kein Spesenbeitrag Basis ist eine vorliegende Einladung für das Turnier, die Kategorie und die Qualifikation des SR`s A……….Assessor E ….. BEC-Event Spesenersatz ÖBV, Beitrag von BEC € 200.- N…national, I…international, BEC…Badminton Europe Confederation a/c, BWF…Badminton World Federation a/c. a…Assessment/Appraisal Participant F ….. BWF-Event Spesenersatz ÖBV (Interkontinental max. 50%) (T)…mögliches Trainingsturnier für Kandidaten zum Intern. SR in Begleitung eines erfahrenen Intern. SR`s C……..Course Instructor G ….. BWF-Event Spesenübernahme BWF Die Kollegen sind höflichst aufgefordert Ihre Einsätzewünsche dem SRR rasch bekannt zu geben. c……..Course Participant JA-JD ….. BEC-Junior Kategorien A-D wie oben beschrieben Die Zahlen geben die letzte Stelle des Jahres an, in dem das Turnier zuletzt besucht wurde (unabhängig von der Funktion). Einsätze die mehr als 10 Jahre zurückliegen werden nicht berücksichtigt. Season Date Tournament Venue Status Invitation Category Requirement Delegation Yes/No Personal Closing Minimum Course Date Level 2021 Assessment Appraisal Schwerin David BWFc-Ref.- BWFc - CejnekBWFa-Ref. Ewald - NemecItric Katarina Michael - BECcSchlieben KlausShahhosseini - BECc SaraWolf - BECcDaniel - BECcBöhm Andreas -Herbst BECa Miriam - KöchelhuberBECa ThomasSteiner - BECaMichael Eckersberger- BECa MarkusKleindienst ClaudioMittermayr LukasPfeffer-Jaoul ClaireRudolf Britta Steurer Fabian Svoboda MichaelWetz Peter Jan-21 11.-16.01.2021 BWF World Junior Team Championships 2020 cancelled Auckland/NZL BWF - Grade 1 G BWF 9 6 12.-17.01.2021 Asia Open 1 new date Bangkok/THA BWF - Super 1000 N G BWF 14.-17.01.2021 Estonia International cancelled Tallinn/EST BEC - Int. -
Dissecting Orpheus in Baz Luhrmann's Moulin Rouge!
Dissecting Orpheus in Baz Luhrmann’s Moulin Rouge! At the opening—and again at the closing—of Moulin Rouge!, Henri Toulouse- Lautrec sings “Nature Boy.” Dressed as the Magic Sitar in the fictional theater production of Spectacular! Spectacular!, he chants “The greatest thing you'll ever learn / Is just to love and to love in return.” These verses frame and emphasize the overarching theme of passionate love through the medium of music. That some form of personification of Love and Music lies at the heart of the Orpheus myth will be no surprise to classically trained reader. But what might be surprising is that in the publicity surrounding Moulin Rouge!, Baz Luhrmann insisted that this film was his expression of the Orpheus and Eurydice myth. Strong scholarly work on the classical allusions in Moulin Rouge! has already been begun, especially in detailing the counterpoints in allegory between both character and plot. My contribution to this subject, however, takes the analysis to a more abstract level. I argue that Luhrmann wanted not only to combine plot and character in order to create a new story, but that he used the idea of love emerging from music as an aesthetic theory in itself, emblematic for the very creative process of his original, cinematic production. This aesthetic philosophy and method creates a creative framework for the theme of rebirth in this ancient myth. I believe that Luhrmann was contemplating the Dionysiac ritual of sparagmos, central to the theory of drama and musical drama, as a working aesthetic for this film. This presentation will focus on musical composition of the film (rather than the static visual hybrids or the cinematic editing techniques), and in particular on duets sung between the Orpheus character Christian and the Eurydice character Satine. -
The American Film Musical and the Place(Less)Ness of Entertainment: Cabaret’S “International Sensation” and American Identity in Crisis
humanities Article The American Film Musical and the Place(less)ness of Entertainment: Cabaret’s “International Sensation” and American Identity in Crisis Florian Zitzelsberger English and American Literary Studies, Universität Passau, 94032 Passau, Germany; fl[email protected] Received: 20 March 2019; Accepted: 14 May 2019; Published: 19 May 2019 Abstract: This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanness, nationhood, and belonging. The incongruities arising from the segmentation into dual registers, realms complying with their own rules, destabilize the narrative structure of the musical and, as such, put the semantic differences between narrative and number into critical focus. A close reading of the 1972 film Cabaret, whose narrative is set in 1931 Berlin, shows that the cosmopolitanism of the American film musical lies in this juxtaposition of non-American and American (at least connotatively) spaces and the self-reflexive interweaving of their associated registers and narrative levels. If metalepsis designates the transgression of (onto)logically separate syntactic units of film, then it also symbolically constitutes a transgression and rejection of national boundaries. In the case of Cabaret, such incongruities and transgressions eventually undermine the notion of a stable American identity, exposing the American Dream as an illusion produced by the inherent heteronormativity of the entertainment industry. -
Authenticity in Electronic Dance Music in Serbia at the Turn of the Centuries
The Other by Itself: Authenticity in electronic dance music in Serbia at the turn of the centuries Inaugural dissertation submitted to attain the academic degree of Dr phil., to Department 07 – History and Cultural Studies at Johannes Gutenberg University Mainz Irina Maksimović Belgrade Mainz 2016 Supervisor: Co-supervisor: Date of oral examination: May 10th 2017 Abstract Electronic dance music (shortly EDM) in Serbia was an authentic phenomenon of popular culture whose development went hand in hand with a socio-political situation in the country during the 1990s. After the disintegration of Yugoslavia in 1991 to the moment of the official end of communism in 2000, Serbia was experiencing turbulent situations. On one hand, it was one of the most difficult periods in contemporary history of the country. On the other – it was one of the most original. In that period, EDM officially made its entrance upon the stage of popular culture and began shaping the new scene. My explanation sheds light on the fact that a specific space and a particular time allow the authenticity of transposing a certain phenomenon from one context to another. Transposition of worldwide EDM culture in local environment in Serbia resulted in scene development during the 1990s, interesting DJ tracks and live performances. The other authenticity is the concept that led me to research. This concept is mostly inspired by the book “Death of the Image” by philosopher Milorad Belančić, who says that the image today is moved to the level of new screen and digital spaces. The other authenticity offers another interpretation of a work, or an event, while the criterion by which certain phenomena, based on pre-existing material can be noted is to be different, to stand out by their specificity in a new context. -
Mapping Social Dialogue in the Commercial Live Performance Sector in Bulgaria, Czechia, Poland, Romania and Serbia
Annex 3. Country report: Poland Mapping social dialogue in the commercial live performance sector in Bulgaria, Czechia, Poland, Romania and Serbia Agnieszka Paczyńska March 2021 With the financial support of the European Commission Mapping social dialogue in the commercial live performance sector in Bulgaria, Czechia, Poland, Romania and Serbia Table of contents Executive summary 3 Introduction 6 Commercial live performance sector: a brief overview 7 Size 8 Key characteristics 9 Organisations 10 Individual performers 11 Business models 12 Social dialogue in the commercial live performance sector 16 Existing social partners 17 Other forms of self-organisation 19 Social dialogue - state of play 20 Key barriers to dialogue 20 What could stimulate dialogue? 21 The dialogue topics most important to stakeholder 23 The Covid-19 crisis and social dialogue 24 Recommendations: social dialogue for a stronger live performance sector 27 Annexes Country report: Bulgaria 31 Country report: Czech Republic 60 Country report: Poland 75 Country report: Romania 93 Country report: Serbia 113 This publication reflects only the author’s view, and the European Commission is not responsible for any use that may be made of the information it contains. Project number: VS/2019/0014 Executive summary This report maps the social dialogue situation in the commercial live performance sector in five European countries: Bulgaria, Czechia, Poland, Romania and Serbia. The sector covers all music, theatre, dance, circus and similar live performance activities run by private for-profit or not-for- profit entities operationally not fully dependent on the public sector even if partly rely on public subsidies. Precise statistics on the size of the sector in question are not available but existing data point to employment totalling around 100,000 in the five countries, while the number of entities concerned by far exceeds that of public institutions in the sector. -
Travel and Drug Use in Europe: a Short Review 1
ISSN 1725-5767 ISSN Travel and drug use in Europe: a short review 1 Travel and drug use in Europe: a short review PAPERS THEMATIC Travel and drug use in Europe: a short review emcdda.europa.eu Contents 1. Introduction 3 2. Travelling and using drugs 4 Young people 4 Problem drug users 4 3. Examples of drug-related destinations 6 4. Prevalence of drug use among young travellers 9 Young holidaymakers in Europe 9 Young backpackers 10 Young clubbers and partygoers 11 5. Risks associated with drug use while travelling 13 Health risks 13 Risk related to personal safety 14 Legal risks 14 Risks related to injecting drug use 14 Risks to local communities 15 6. Potential for prevention interventions 17 7. Conclusions 19 Acknowledgements 21 References 22 Travel and drug use in Europe: a short review 3 emcdda.europa.eu 1. Introduction Recent decades have seen a growth in travel and tourism abroad because of cheap air fares and holiday packages. This has been accompanied by a relaxation of border controls, especially within parts of Europe participating in the Schengen Agreement. As some people may be more inclined to use illicit substances during holiday periods and some may even choose to travel to destinations that are associated with drug use — a phenomenon sometimes referred to as ‘drug tourism’ — this means that from a European drug policy perspective the issue of drug use and travel has become more important. This Thematic paper examines travellers and drug use, with a focus on Europeans travelling within Europe, although some other relevant destinations are also included. -
Download Press
LA PINCE RECORDS RELEASES ARTISTS PUBLIC RELATIONS CONTACT # PRESS KIT PRESS L A PINCE RECORDS THE GENESIS HOUSE OF THE CREW TECHNO reated in 2016 by the collective dj’s03 DUB CREATORS (DJD2B, Steve Ko & Lucho Misterhands), La Pince Records stand out by Creleasing its records in vinyl & digital. Rocked since the 90’s by the sounds of Detroit & Berlin, has bring to the collective on subtle blend to them music. Definitely dedicated to the dance floor, all tracks can be classified in the Techno / House categories. EP RELEASE VINYLS P LA PINCE RECORDS / PRESS KIT / 03 RELEASES LPR001 DJ D2B - MONGOLISTIC EP irst EP, DJ D2B deliver to you 3 unique & exclusive directed pieces House/Techno influenced by the minimal trends. FAlong with deep beats05 & shaman inspiration vocals, hypnotic melodies with sensual tones, “Which promise you a nice trip into the clouds”. A1 - MONGOLISTIC (Original Mix) A2 - SENSUAL EMOTION (Original Mix) B1 - FLOAT IN THE CLOUD (Original Mix) Released on: June 2016. AVAILABLE ON CLICK HERE TO LISTEN Syncrophone Records shop, Techno Import, House Monkey Records. decks.de, deejay.de, juno.co.uk, hhv.de, technique.co.jp, redeyerecords. co.uk. Beatport, JunoDownload, TrackSource, Apple Music, Spotifiy, Youtube P RELEASES / PRESS KIT / 05 LPR002 DUB CREATORS - KANPEKINA EP or the LPR002 DUB CREATORS release on their own imprint La Pince Records. This trio deliver to us their KANPEKINA EP. 06FMade up with 4 strong-deep bassline tracks the original mix & 3 dance-floor remix witch goes from House to Tech-House. A1 - KANPEKINA (Original Mix) A2 - KANPEKINA (Lucho Misterhands Remix) B1 - KANPEKINA (DJ D2B Remix) B2 - KANPEKINA (Steve Ko Remix) Supported by DJ Handmade (Tresor Berlin) . -
BADMINTON EUROPE JUNIOR CIRCUIT Regulations
BADMINTON EUROPE JUNIOR CIRCUIT Regulations 1. Description 1.1 The Badminton Europe Confederation (BEC) Junior Circuit is a series of international tournaments open to all badminton players under 19 years of age throughout the respective calendar year who are eligible to play for BWF Members. 1.2 The referee shall have the power to check the player’s age at any time. This can be done on the referee’s own initiative or by request from a third party. Photo identification (e.g. passport) is considered as being valid documentation for age check. If the referee discovers that a player breaches the age limit defined in § 1.1, such a player shall be penalised by disqualification, removal of ranking points and return of awarded prizes. 1.3 Players from European Members earn points for the BEC Junior Circuit Ranking according to the classification of the tournaments in accordance with § 4.1. 2. Organisation and responsibility 2.1 A BEC Junior Circuit tournament may be organised by a group of individuals a club or some other specific body (private or corporate), but the Member must have the ultimate authority and is liable under BADMINTON EUROPE Disciplinary Regulations to ensure that the tournament is run in a satisfactory manner and in accordance with these BEC Junior Circuit Regulations and BWF Regulations. 2.2 Any Member failing to comply with these BEC Junior Circuit Regulations may be penalised following the BADMINTON EUROPE’S Disciplinary Regulations. The possible penalties shall be: administrative fines, a fine of up to 5.000,00 EUR, withdrawal of sanction. -
That World of Somewhere in Between: the History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I
That World of Somewhere In Between: The History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Rebecca Mullins Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Dr. Scott McCoy, advisor Dr. Graeme Boone Professor Loretta Robinson Copyright by Rebecca Mullins 2013 Abstract Cabaret songs have become a delightful and popular addition to the art song recital, yet there is no concise definition in the lexicon of classical music to explain precisely what cabaret songs are; indeed, they exist, as composer Richard Pearson Thomas says, “in that world that’s somewhere in between” other genres. So what exactly makes a cabaret song a cabaret song? This document will explore the topic first by tracing historical antecedents to and the evolution of artistic cabaret from its inception in Paris at the end of the 19th century, subsequent flourish throughout Europe, and progression into the United States. This document then aims to provide a stylistic analysis to the first volume of the cabaret songs of American composer Richard Pearson Thomas. ii Dedication This document is dedicated to the person who has been most greatly impacted by its writing, however unknowingly—my son Jack. I hope you grow up to be as proud of your mom as she is of you, and remember that the things in life most worth having are the things for which we must work the hardest. -
Your Itinerary
Jewels of France including Normandy Your itinerary Start Location Visited Location Plane End Location Cruise Train Over night Ferry Day 1 Included Meals - Breakfast Arrive Paris (1 Night) Day 5 Ah Paris! Audrey Hepburn described it best when she said 'Paris is always a good Loire Valley sightseeing idea'. We're sure you'll agree. After checking in, meet your Travel Director for a glimpse into what lies ahead then hit the streets and explore the city your way, All that glitters really is gold which you'll come to discover as you explore the fairy perhaps seeking out delicious French flavours at a local café. This evening you may tale châteaux of the Loire Valley today. Your first stop is at Château d'Amboise wish to discover why Paris is so deserving of its title, the 'City of Lights'. Join your whose art and architecture were both inspired by the Italian Renaissance. Join an fellow travellers for an optional evening tour through Montmartre's maze of streets optional guided tour delving into the life of Renaissance master Leonardo da Vinci, which once nurtured the talents of great artists and writers. including a visit to the Manor House and gardens where he spent his last years. The next jewel to admire is stylish Chenonceau, straddling the Cher River. Join your Hotel - Ibis Alésia Montparnasse 14éme Local Specialist for a whimsical tour of this 16thcentury château and its garden, a pleasure palace deserving of its nickname the "château of the ladies". Admire the Day 2 priceless collections of Renaissance art and furniture and its extraordinary collection Paris – Rouen – Honfleur – Deauville (1 Night) of 16thcentury tapestries before returning to your hotel in Tours where you'll enjoy Retrace the steps of one of France's beloved daughters, St. -
Festivals As Integrative Sites Valuing Tangible and Intangible Heritage for Sustainable Development
Festivals as Integrative Sites Valuing Tangible and Intangible Heritage for Sustainable Development 1 Editors: Beth Perry, Laura Ager and Rike Sitas Contributors: Stephen Agong, Laura Ager, Beth Aggett, Chiara Badiali, Patrick Hayombe, Walter van de Leur, Annemiek van der Meijden, Fredrick Odede, Beth Perry, Loes Rusch, Naomi Roux, Gail Skelly, Karen Shannon, David Simon, Olle Stenbäck, Contents Tony Whyton and Marline Listette Wilders Forewords 4 Assistance: Introduction 5 Gloria Dawson and Vicky Simpson Africa Week: Activism, Diversity and Inclusion in Post-Apartheid Johannesburg 8 Funders: Bristol Radical Film Festival: Screening Marginalised Films in Non-traditional JPI Heritage Plus and Mistra Urban Futures Urban Spaces 10 Curaçao North Sea Jazz Festival: Marketing and Branding Jazz Heritage 12 Designer: Dunga Fish Night and Got Ramogi Festival: Preserving Nature, The University of Sheffield Myths and Sacred Sites 14 Print & Design Solutions Edinburgh Festivals: City, Culture and Sustainability 16 Electric Castle: Festivalising Conservation and Restoration 18 Fietas Festival: Reclaiming Streets, Performing Memory 20 Gamlestaden Jazz Festival: Jazz Festivals in Urban Spaces 22 Infecting the City: Artistic Interfaces and Happenings in Everyday Spaces 24 Into the Great Wide Open: Festival as Living Lab 26 Kaapse Klopse: Carnival and Conflict in Cape Town 28 Manchester Histories Festival: Multiplicity and Plurality in Narratives of the City 30 Manchester International Festival: Global Aspirations, Local Embeddedness 32 Musica Sulla Boche: -
MEDIA-INFO in Brief
EN MEDIA-INFO In Brief The The Street Parade has been an established cultural event for 27 years. (28th Edition) Street Parade Every year, it brings the world's best DJs, producers and musicians in the field of electronic music to Zurich. The most colourful house and techno parade in the world fascinates hundreds of thou- in brief: sands of dance fans from every continent year after year. Figures, Around 30 Love Mobiles – brightly decorated trucks carrying vast music systems, deco, DJs and Times, party people – drive at walking pace through the crowds around the lakeside in Zurich. In addi- tion to these 30 travelling stages, eight stages along the route round off the varied range of elec- Facts. tronic music available with top DJs, live acts and multimedia entertainments. As an innovative lifestyle event, the Street Parade presents innovations in the field of electronic music, fashion and digital art and has gained an international reputation as a contemporary music festival. Yet it is still a demonstration of the values of love, peace, freedom and tolerance, plus elec- tronic music. The Street Parade is an important generating force which not only triggers an en- thusiasm for this culture each year; it also provides a vital new impetus that encourages diversity in both the world of music and in the clubs. When & Where Saturday, August 10, 2019, kicking off at 1.00 pm at the Stages. Afterwards, the first Love Mobile starts at the «Utoquai»at 2.00 pm, proceeding along Lake Zurich via Bellevue, Quaibrücke and Bürkliplatz to Hafendamm Enge.