DOCSLIB.ORG

Two Crews by Nick Power

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Two Crews by Nick Power Two Crews By Nick Power EDUCATION RESOURCE Resource developed by Deanne Bullen 2020. Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. The content remains the property of Adelaide Festival Corporation, 2020. The Adelaide Festival Education Program is generously supported by Lang Foundation & Thyne Reid Foundation. Contents Two Crews EDUCATION RESOURCE Show rundown .......................................................................... 1 Warnings .......................................................................... 1 Themes .......................................................................... 2 Production .......................................................................... 2 Curriculum links & activities .................................................. 3 CONTENTS Before the show ...............................................................4-5 OVERVIEW & WARNINGS After the show ................................................. 7 THEMES, PRODUCTION & CURRICULUM Meet the company .......................................................... 8 Additional resources ............................................................ 9-12 BEFORE THE SHOW AFTER THE SHOW ABOUT THE COMPANY ADDITIONAL RESOURCES Show rundown Two Crews In Two Crews, hip-hop choreographer Nick Power brings the techniques of street dance into the realm of contemporary dance while continuing the exploration of EDUCATION RESOURCE intercultural exchange. He works with existing movement language, using set tasks and improvisation to unravel then rebuild into a new choreographic landscape. “Crew Culture” The crew culture grew out of The project brings together two significant and unique crews - Lady Rocks from Paris the territorialism of street gangs and Riddim Nation from Sydney. of the Bronx in the 70s. Crews represented a locality, often including a common cultural background, dance style, philosophy, and a sense of pride CONTENTS and connection to place. A strong part of a crew’s identity is how they represent in a battle with OVERVIEW & WARNINGS another crew. THEMES, PRODUCTION & CURRICULUM BEFORE THE SHOW WARNINGS Performance contains haze and strobe AFTER THE SHOW lighting. The audience is required to stand for the entire duration of the performance. ABOUT THE COMPANY Wheelchair users can be accommodated. ADDITIONAL RESOURCES 1 Themes Production Set/stage Two Crews Two Crews explores crew culture. Style and Conventions Two Crews will bring the audience into The performance, aims to give the the space with the dancers to create EDUCATION RESOURCE The Two Crews – Lady Rocks and audience a cross cultural perspective an intimate experience. Initially the two Riddim Nation have contrasting styles. on hip hop as a global culture and how crews will dance in two circles side that gives voice to minorities and the Lady Rocks - sharp, precise, tightly by side. The audience will experience marginalized. choreographed sets and frontal, each crew separately, but in close combative style with a focus on Top proximity. The two circles open out for The performance explores two Rock styles, with influences of salsa, both crews to share and negotiate the questions: martial arts and Capoeira. same space. • How do a hip hop female group CONTENTS Riddim Nation – draws on from Paris and a multi-cultural its members’ diverse cultural group based in Sydney exist in a backgrounds, including Cambodian, OVERVIEW & WARNINGS separate space? Vietnamese, Chinese, Filipino, Latino, THEMES, PRODUCTION • What happens when they come Pacific Islander and French. A number & CURRICULUM together? of the dancers have traditional dance practices that they combine In exploring these questions, Two with their hip hop moves. They’ve BEFORE THE SHOW Crews deals with issues of gender, been described as cheeky, fluid and place, shared history and dance deceptively chilled style. AFTER THE SHOW lineage. ABOUT THE COMPANY Music and Lighting ADDITIONAL RESOURCES Sound Two Crews has an original score by Jack Prest. The music created by Two Crews has an original score by Prest is electro hip hop. Jack Prest. The music created by Prest is electro hip hop. Video – Lady Rocks and Karima Aktuel Force 2 Curriculum Links and Activities Two Crews This education resource Year 7 and 8 Year 9 and 10 is developed with links to In Dance, students: • explore meaning and EDUCATION RESOURCE the Australian Curriculum. Activities have been interpretation, forms and • explore meaning and elements, and social, created to reflect each interpretation, forms and of the achievement cultural and historical elements, and social, contexts of dance as they standards, depending on cultural and historical the year level, including make and respond to contexts of dance as they dance content descriptions make and respond to within each learning dance • evaluate dancers’ area and the general CONTENTS success in expressing capabilities. The resource • evaluate choreographers’ the choreographers’ aims to provide teachers intentions and expressive intentions and the use of OVERVIEW & WARNINGS with information to help skills in dances they view expressive skills in dances prepare students before and perform they view and perform THEMES, PRODUCTION attending the performance, & CURRICULUM as well as structured Analyse how choreographers Analyse a range of dance from learning activities for the use elements of dance contemporary and past times and production elements BEFORE THE SHOW classroom after viewing to explore differing viewpoints the performance. to communicate intent and enrich their dance…. ACADAR018 ACADAR025 AFTER THE SHOW SACE Stage 1 and 2 – the resources are created with Identify and connect specific features and purposes of ABOUT THE COMPANY links and in relation to the subject outlines. dance from contemporary and past times to explore ADDITIONAL RESOURCES viewpoints and enrich their dance-making… ACADAR018 3 Before the Show Two Crews Individually students read: An interview with Léa Cazauran, choreographer and founder of Lady A bit of history EDUCATION RESOURCE Rocks, a Parisian break group who will dance with Riddim Nation a Run DMC were hailed as one of the most break group from Sydney, in Two Crews. influential acts in the early history of hip hop The interview explores how Lady Rocks was formed, her interests, culture and one of the most famous hip hop acts what attracted her to breakdance and how Lady Rock became of the 1980’s. involved in the collaboration with Nick Power. Raw – gritty – completely revolutionary. Breakdancing has historically seen as the realm of males and it is They moved hip hop away from club funk and generally assumed that breakdance is a male-centred mode of disco dance music. Their sparse beats and expression that has often rigorously excluded female practitioners. CONTENTS aggressive rhymes were ground breaking. The Students select an idea to explore and research. lyrics often included taunts and socio-political commentary. OVERVIEW & WARNINGS For example: Watch a breakdance battle with a bgirl and a • What is the history of B-girls and breakdance? THEMES, PRODUCTION bboy crew breaking to Run DMC – It’s Like that. & CURRICULUM • How have women negotiated marginalisation in the breakdancing culture? BEFORE THE SHOW • What are the issues associated with the admiration of a b-boys While reading and researching students should masculine expression over b-girls and how does this affect the identify and list “keywords” and the “main ideas”. AFTER THE SHOW lives and careers of b-girls? Note: using a Cornell notes template will support students with this process. (simple template • Why has Paris been so influential in the Hip Hop scene? ABOUT THE COMPANY provided) • How does breakdance give young people a voice? ADDITIONAL RESOURCES • Power’s mentions the big influencers in his career like Ken Swift, Storm (German B*boy), Tracks Dance and Stalker Theatre. Find out more about one of these influencers. • How does Nick Power create and choreograph his dances? • Where did Breakdancing come from – i.e. the history – the social and cultural aspects? • How has Breakdancing changed over time? • Why are they thinking of including hip hop in the 2024 Olympic Games? 4 Links to research Keywords: b-girls and women and breakdance Keywords: global influence and breakdance, social and cultural and breakdance, Two Crews All the Ladies Say (trailer 4mins 19sec) The trailer is for b-girl Ana “Rokafella” Garcia’s first documentary film. “Breakdance”: Breaking global cultural boundaries EDUCATION RESOURCE A few of the themes explored and discussed by the dancers in the film through dance are femininity, motherhood and the representation of women in popular culture. Shake The Dust – Official Trailer (2mins 7secs) An interview with Ana “Rokafella” Garcia – she talks About Her B-Girl Film All The Ladies Say and MORE! (9mins 13sec) Shake the Dust is a documentary about the influence of breakdancing, exploring how it resonates with young people in the slums, favelas CONTENTS In reverence of Black B-girls – an article that explores black women’s and ghettos of the world. involvement in early breaking culture in New York city. OVERVIEW & WARNINGS RollingStone – Article in Rolling Stone that focuses THEMES, PRODUCTION A Breaking Battle Women Hope to Win on the big issues in the documentary Shake The & CURRICULUM While female breaking
Load more

Recommended publications
  • DFA Annual Report 2017-18
    February offered a challenging month due to water shortage, resulting in the schools closing early, in turn challenging the attendance of students, teaching in very hot classrooms and having to bring in litres of water to avoid dehydration. The students in Hlengisa had a great start with lots of beginners joining classes, enjoying every moment in class and also many showing lots of potential. Some of the Senior students have not been able to attend classes due to moving on to high schools in different areas and public transport being a challenge. Many of these students are also attending extra academic classes after school. The Cradle of Creativity, 19th ASSITEJ World Congress and International Theatre Festival for Children and Young People gave the opportunity for our students to be part of the closing ceremony at Artscape Theatre. Dancing with Basebone, a celebration with Basebone, a mobile entertainment company that provides value added services within the telecom industry across 4 continents and present in Africa, Europe and the UK, their celebration of 10 Years of Growth Delivering Mobile Entertainment. Like Basebone we believe that Entertainment Drives Change and play an important role in individual and social development. March was an especially exciting time for the students from the Rural Outreach programme in Barrydale. They were invited to work with Storytown Productions, showcasing some of the seniors, for a documentary called: Therefore, as part of their social responsibility, this year, Basebone is supporting Dance for All, to provide Behind the Rainbow with the storyline portraying how students overcome their difficulties in life through ballet children in historically disadvantaged communities, through the medium of dance, with new opportunities of and dancing with the final result of the documentary aired on SABC 2 during August.
    [Show full text]
  • 1 Soulsister the Way to Your Heart 1988 2 Two Man Sound Disco
    1 Soulsister The Way To Your Heart 1988 2 Two Man Sound Disco Samba 1986 3 Clouseau Daar Gaat Ze 1990 4 Isabelle A He Lekker Beest 1990 5 Katrina & The Waves Walking On Sunshine 1985 6 Blof & Geike Arnaert Zoutelande 2017 7 Marianne Rosenberg Ich Bin Wie Du 1976 8 Kaoma Lambada 1989 9 George Baker Selection Paloma Blanca 1975 10 Helene Fischer Atemlos Durch Die Nacht 2014 11 Mavericks Dance The Night Away 1998 12 Elton John Nikita 1985 13 Vaya Con Dios Nah Neh Nah 1990 14 Dana Winner Westenwind 1995 15 Patrick Hernandez Born To Be Alive 1979 16 Roy Orbison You Got It 1989 17 Benny Neyman Waarom Fluister Ik Je Naam Nog 1985 18 Andre Hazes Jr. Leef 2015 19 Radio's She Goes Nana 1993 20 Will Tura Hemelsblauw 1994 21 Sandra Kim J'aime La Vie 1986 22 Linda De Suza Une Fille De Tous Les Pays 1982 23 Mixed Emotions You Want Love (Maria, Maria) 1987 24 John Spencer Een Meisje Voor Altijd 1984 25 A-Ha Take On Me 1985 26 Erik Van Neygen & Sanne Veel Te Mooi 1990 27 Al Bano & Romina Power Felicita 1982 28 Queen I Want To Break Free 1984 29 Adamo Vous Permettez Monsieur 1964 30 Frans Duijts Jij Denkt Maar Dat Je Alles Mag Van Mij 2008 31 Piet Veerman Sailin' Home 1987 32 Creedence Clearwater Revival Bad Moon Rising 1969 33 Andre Hazes Ik Meen 't 1985 34 Rob De Nijs Banger Hart 1996 35 VOF De Kunst Een Kopje Koffie 1987 36 Radio's I'm Into Folk 1989 37 Corry Konings Mooi Was Die Tijd 1990 38 Will Tura Mooi, 't Leven Is Mooi 1989 39 Nick MacKenzie Hello Good Morning 1980/1996 40 Noordkaap Ik Hou Van U 1995 41 F.R.
    [Show full text]
  • Hip Hop Dance: Performance, Style, and Competition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations.
    [Show full text]
  • Alvin Ailey American Dance Theater
    teacher resource guide schooltime performance series alvin ailey american dance theater Samantha Figgins and Jeroboam Bozeman Photo by Andrew Eccles TRG-ailey.indd 1 4/3/19 2:13 PM about the about alvin performance ailey Magnetic. Electrifying. Passionate. Beautiful. Soulful. Born on January 5, 1931, in Rogers, Texas, Alvin Ailey In 1969, Ailey established a school in New York City, These are just some of the words that audience members came from quite modest beginnings. His mother was Alvin Ailey American Dance Center, now called The and critics use to describe Alvin Ailey American Dance a teenager when she gave birth to him. When Alvin Ailey School. He also formed the Alvin Ailey Theater (AAADT), a uniquely American modern dance was young, his father left. Ailey grew up poor but steeped Repertory Ensemble, now Ailey II, in 1974. Both company known for its vibrant blend of modern, ballet in the arts. Church services and a local dance hall institutions supported Ailey’s pioneering work, and other dance styles. Audience members will be treated introduced him to music and the arts. When he was 12 promoting arts in education, particularly to to a wonderful experience that will touch their hearts and years old, he moved to Los Angeles, where he excelled benefit underserved communities. inspire a greater appreciation for dance and the arts. in school as an athlete and a natural at languages. In 1987, Alvin Ailey received the Samuel H. Scripps This storied dance company had humble beginnings but He was introduced to dance through performances of American Dance Festival Award, modern dance’s a grand vision from the very start.
    [Show full text]
  • Social and Dynamic Productions of Breaking and Hip Hop Culture
    School of Media, Creative Arts and Social Inquiry “Our Lives are Lived in Freestyle”: Social and Dynamic Productions of Breaking and Hip Hop Culture Lucas Marie This thesis is presented for the Degree of Doctor of Philosophy of Curtin University September 2018 DECLARATION To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any other university. Signature: ………Lucas Marie………….……….. Date: …28/9/2018… ABSTRACT Based on fieldwork with breakers living in New York, Osaka, and Perth, as well from prior experiences within my field of study, this thesis builds on a growing body of scholarship which examines the productions, expressions and consumptions of hip hop culture. This study looks at how breakers—hip hop dance practitioners—work to produce, sustain and transform hip hop culture in ways that are local and unique. It is not, however, my intention to set out a definitive list of good or bad, authentic or unauthentic, notions of hip hop, or to suggest that there is one true or correct way in which to participate and identify as a member of. What is emphasised are the ways in which breakers, through their embodied dance practices, negotiate, express, understand and conceptualise hip hop. The title of this thesis, “Our Lives are Lived in Freestyle”, is a line from a spoken word poem, by a breaker from Texas named Marlon. In breaking, to “freestyle” means to improvise in the moment; to use the tools one has at their disposal to perform and create.
    [Show full text]
  • 2018 OSAI Dance Supply List
    2018 OSAI Dance Supply List All OSAI Students • Please refer to page 10 of the Student Handbook for a list of general items each OSAI student should bring. • Personal computers (including tablets) are NOT allowed at OSAI. For classes that require computers, OAI will provide them for you. We also suggest that you leave other valuable electronics at home. • For the donor thank-you note writing session (required as part of your scholarship): o STAMPS – You will need at least seven 50¢ or “Forever” stamps. Please note that some stationery will require additional postage if it does not use a standard-sized envelope. o STATIONERY or NOTE CARDS – Bring at least ten. No lined notebook paper, please! o ENVELOPES – Bring at least ten. Use envelopes that match your stationery, if possible. o RETURN ADDRESS LABELS (optional) – You will be asked to write your return address on the envelope. o TEMPLATE LETTER (recommended) – To ensure that you are prepared to complete your thank-you notes in the allotted time at Quartz Mountain, we highly recommend you begin drafting a template letter at home. Dance Students 1) Journal or notebook 2) Book: Technical Manual and Dictionary of Classical Ballet by Gail Grant Tennis ball (available on Amazon) – Please begin to familiarize yourself with the terminology. 3) Writing assignment – Please bring this with you to your first class session on June 9: • Name three dance companies with which you would like to dance. • Write 1-2 lines about two areas of your ballet technique you would like to strengthen during OSAI. • Write 1-2 lines about a dancer you admire in ballet, contemporary, musical theatre, jazz, or video.
    [Show full text]
  • Requirements for Company Member Ages 11+ As of July 2018 All Students Are REQUIRED to Take the Following Classes During the School Year
    Elite Dance Teams Audition Slip 2018-19 Elite’s dance teams are an amazing opportunity to develop technical dance skills, while making great friends and building confidence. Being on a dance team is a commitment and it is unfair to expect your child to excel in anything with limited weekly instruction. If dancing is something your child does in addition to other activities for fun that is great! However, joining a competition team under those circumstances would not benefit your child or the team as a whole. Please keep this in mind before you audition. The requirements, expectations, and commitment level for team members are as follows: Team Auditions: Friday May 4th 2018 Ages 4-6 3:00-4:00pm Ages 7-10 4:00-6:30pm Ages 11+ 6:30-9:00pm School Year and Summer Dance Requirements The Dance Company: Requirements for Company member ages 11+ as of July 2018 All students are REQUIRED to take the following classes during the school year: *Ballet Technique (1hr twice per week) *Performance Ballet (1hr) (pre-pointe or pointe may substitute this) *Stretch and Conditioning (1hr) *Jazz (1hr) *Leaps and Turns (1hr) *Contemporary or lyrical (1hr) *Hip-Hop (1hr) *Legs and Feet (1hr) *Tumbling (May be substituted) *This is a ten hour a week program. It is important that competitive team dancers keep up with their skills and flexibility throughout the summer before going into the dance season. All Company members are required to take at least one week of the Summer Dance Intensive. The intensives are July 16th-20th and August 6th-10th.
    [Show full text]
  • Gainesville Ballet Announces 2015-16 Season
    Gainesville Ballet Contact: Elysabeth Muscat [email protected] 7528 Old Linton Hall Road www.gainesvilleballetcompany.org Gainesville, VA 20155 703-753-5005 FOR IMMEDIATE RELEASE May 12, 2015 GAINESVILLE BALLET COMPANY ANOUNCES 2015-16 SEASON After a very successful 2014-15 season, Gainesville Ballet Company is thrilled to announce its 2015-16 season, featuring an expanded resident company of ten international professional dancers supplemented by ten junior company dancers, led by Artistic Director Rafik Hegab of Cairo, Egypt, and Managing Director Elysabeth Muscat Hegab, of Virginia. Gainesville Ballet School is the official school of Gainesville Ballet Company. The 2015-16 season includes The Nutcracker in November with special guest stars Isabella Boylston and James Whiteside (current Principal Dancers with American Ballet Theatre); Carmen, a world premiere with contemporary choreography in February; Giselle, a romantic ballet in two acts in April, and a Spring Performance in conjunction with Gainesville Ballet School in June. The Nutcracker and Carmen will be performed at the prestigious Hylton Performing Arts Center, Merchant Hall, in Manassas, VA. Giselle will be performed at the Ernst Schlesinger Cultural Center in Annandale, VA. The Hylton Performing Arts Center belongs to George Mason University, and the Ernst Schlesinger Cultural Center is a part of Northern Virginia Community College. A detailed list including dates and locations is provided at the end of the Press Release. Following the incredibly enthusiastic response of audiences for Carmina Burana, which premiered on March 20, 2015 at the Hylton Performing Arts Center, Artistic Director Rafik Hegab will create a new, contemporary choreography to the music of the Carmen Suite, by Russian composer Rodion Shchedrin.
    [Show full text]
  • Programs Brochure Summer 2018
    Programs Brochure Summer 2018 For more information on special interest classes and other Parks and Recreation events, visit QueenCreek.org/Recreation or call 480-358-3700. QC PARKS AND RECREATION 21802 South Ellsworth Road, Queen Creek, AZ 85142 2 3 EXPERIENCETHEQC Table of Contents Registration Information ............................... 4 Arts and Hobbies ........................................ 5 Dance, Tumbling and Cheer.......................6-10 Equestrian Classes .................................... 10 LEARN Fitness ..................................................... 10 Preschool ............................................ 11-12 Sports and Martial Arts ......................... 12-14 Specialty Programs .................................... 14 Special Events and Festivals ....................... 14 PLAY The Town of Queen Creek wants to provide you and your family with the highest Special Interest Classes/ quality recreational activities by promoting social interactions through a variety of safe, fun and affordable special interest classes. Please join us at the Library Summer Session 2018 Recreation Annex at 21802 S. Ellsworth Rd., to participate in any of our one- day workshops and weekly programs. LIVE Where Character Leads to Success K-8 Tuition-Free Charter School Featuring: + Character Education + History of Academic Excellence + Art, Music, Sports, & Technology + Uniforms K-8 + Small Class Sizes LOCATED AT: TO ENROLL: 4815 W. Hunt Highway 480.655.6787 Queen Creek, AZ 85142 Or Visit Us Online: LeadingEdgeAcademy.com In accordance with Federal Law, Leading Edge Academy does not discriminate on the basis of race, religion, color, national origin, sex, or disability. 4 Registration Information Registration Methods • Registration must be completed two business Refund Policy Registrations are accepted via options listed below: days prior to the first class meeting. • Refunds will be given for cancellations • Class fees must be submitted in full at the time received prior to the first day of class.
    [Show full text]
  • Pacifico Dance Company 9:30 Am & 11 Am
    THURSDAY PACIFICO MARCH 22 2018 DANCE 9:30 AM & 11 AM COMPANY 2017 > 2018 FIELD TRIP SERIES BROADEN THE HORIZONS LEARNING LINKS OF YOUR CLASSROOM. EXPERIENCE THE VIBRANT WORLD OF THE ARTS AT THE McCALLUM! CELEBRATING 20 YEARS! McCALLUM THEATRE EDUCATION PRESENTS PACIFICO “I knew if I was going to be doing DANCE Mexican folk dancing ... it was going to be theater.” COMPANY > ADRIANA ASTORGA-GAINEY WEDNESDAY FOUNDER JANUARY 24 2018 PACIFICO DANCE COMPANY 9:30 AM & 11 AM Connecting to Curriculum and Students’ Lives! HISTORY & CULTURE > Mexico GEOGRAPHY > The many states within Mexico; Los Angeles, California ARTS > Ballet, modern dance, theater, folk dance EXPANDING THE CONCEPT OF LITERACY What is a “text”? We invite you to consider the performances on McCallum’s Field Trip Series as non-print texts available for study and investigation by your students. Anyone who has shown a filmed version of a play in their classroom, used a website as companion to a textbook, or asked students to do online research already knows that “texts” don’t begin and end with textbooks, novels, and reading packets. They extend to videos, websites, games, plays, concerts, dances, radio programs, and a number of other non-print texts that students and teachers engage with on a regular basis. We know that when we expand our definition of texts to the variety of media that we use in our everyday lives, we broaden the materials and concepts we have at our disposal in the classroom, increase student engagement, and enrich learning experiences. Please consider how utilizing your McCallum performance as a text might align to standards established for reading, writing, speaking, listening, and language.
    [Show full text]
  • Mark Morris Dance Group & Music Ensemble
    PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Seth Stewart Williams TO OUR VISIONARY LEADERS The PillowNotes series comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through Mark Morris’ career to date has been bracketed by two phases in which he has brashly upended choreographic conventions. One was hard to miss, and the other easy to overlook. The first phase, when he burst onto the scene in the annual gifts of $10,000 and above. early 1980s, challenged a number of the dance world’s pieties: Morris foregrounded his queerness during an era when many choreographers favored a glass closet, questioned when and whether gender matters, and made dances marked by Their deep affliliation ensures the success and longevity of the a devotion to music that was at once brainy and deeply felt. Pillow’s annual offerings, including educational initiatives, free public programs, The School, the Archives, and more. This musicality might have seemed something of a throwback if not for the fact that few choreographers—perhaps not even George Balanchine—have been so precisely and wittily attentive to the structural nuances of a musical score, and if not for the fact that Morris directed his musicality at any genre whatsoever, from un-championed gems of the PRESENTS $25,000+ baroque repertory, to the Carnatic traditions of India, to deep cuts from mavericks like Yoko Ono and Harry Partch. MARK MORRIS DANCE GROUP Carole* & Dan Burack Christopher Jones* & Deb McAlister Morris’ choreography does not, like that of many other choreographers praised for their musicality, merely reflect the The Barrington Foundation Wendy McCain rhythm and mood of its music.
    [Show full text]
  • Dance Injuries and Muscular Strength in Pre-Professional Dancers
    JOÃO PAULO AZINHEIRA MARTINS MOITA DANCE INJURIES AND MUSCULAR STRENGTH IN PRE-PROFESSIONAL DANCERS Orientador: Professora Doutora Raquel Maria Santos Barreto Sajara Madeira Coorientador: Professor Doutor Luís Miguel Xarez Rodrigues Universidade Lusófona de Humanidades e Tecnologias Faculdade de Educação Física e Desporto Lisboa 2019 JOÃO PAULO AZINHEIRA MARTINS MOITA DANCE INJURIES AND MUSCULAR STRENGTH IN PRE-PROFESSIONAL DANCERS Tese apresentada para a obtenção do grau de Doutor em Educação Física e Desporto no ramo de Atividade Física e Saúde conferido pela Universidade Lusófona de Humanidades e Tecnologias. Presidente: Doutor Jorge dos Santos Proença Martins, FEFD - ULHT Arguentes: Doutor João Duarte Coelho do Sameiro Espregueira-Mendes, Universidade do Minho Doutor Ronaldo Eugénio Calçada Dias Gabriel, Universidade de Trás-os-Montes e Alto Douro Vogais: Doutora Raquel Maria Santos Barreto Sajara Madeira; Orientador, FEFD - ULHT Doutor António João Labisa da Silva Palmeira, FEFD - ULHT Doutor João Manuel Cunha da Silva Abrantes, FEFD - ULHT Doutor Francisco Alberto Arruda Carreiro da Costa, FEFD - ULHT Universidade Lusófona de Humanidades e Tecnologias Faculdade de Educação Física e Desporto Lisboa 2019 João Paulo Moita - Dance Injuries and Muscular Strength in Pre-Professional Dancers _____________________________________________________________________________________ Dubito ergo cogito, cogito ergo sum René Descartes _____________________________________________________________________________________ Universidade Lusófona de
    [Show full text]