Second Session Issu July 20, 2016
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dancers Go All Around the World
The Longest-Running Newspaper In Historic Hudson, Ohio VOLUME CIII WESTERN RESERVE ACADEMY JANUARY 2017 Model UN Conference Athlete Spotlight Bookbag Ban A Restaurant Review Afterthoughts from the Pioneers on Follow Megan ’17 on her swim journey. Zach ’17 and Charlie ’18 expresses their Find out which restaurant Caleigh ’17 their trip to Brown University. thoughts on the latest safety precaution. wants you to try in downtown Hudson. PAGE 2 | NEWS PAGE 3 |COMMUNITY PAGE 6 | THE COIN PAGE 7 | OPINION Dancers Go All Around the World ALAN DOE commented, “For me, the amazing spoke of moving on, traveling, dis- tuming was well appreciated. even nervous after the second show, Ilyana Smith ’20 part of the process is watching the tance, or the music represented a While some dancers admitted which was astonishing!” Contributing Editor growth of the students. From the certain place.” From “Manhattan” their initial feelings of stage fright, This was a splendid perfor- early stages of the rehearsal pro- to “Bombay” to “Amsterdam”, to it is clear that their love for what mance from the WRA dancers. It Lively music. Synchronized cess to the final performance, the the production’s eponymous song they do makes it all worth it. “I've was an enjoyable experience for all movement. Beautiful choreography. amount of improvement that takes “Leaving on a Jet Plane”, this per- been performing on stage since I involved, from the director to the Western Reserve Academy’s 2016 place is of course necessary, but also formance and its music certainly was very young. After ten years, dancers to the audiences. -
The Circulation of Popular Dance on Youtube
Social Texts, Social Audiences, Social Worlds: The Circulation of Popular Dance on YouTube Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alexandra Harlig Graduate Program in Dance The Ohio State University 2019 Dissertation Committee Harmony Bench, Advisor Katherine Borland Karen Eliot Ryan Skinner Copyrighted by Alexandra Harlig 2019 2 Abstract Since its premiere, YouTube has rapidly emerged as the most important venue shaping popular dance practitioners and consumers, introducing paradigm shifts in the ways dances are learned, practiced, and shared. YouTube is a technological platform, an economic system, and a means of social affiliation and expression. In this dissertation, I contribute to ongoing debates on the social, political, and economic effects of technological change by focusing on the bodily and emotional labor performed and archived on the site in videos, comments sections, and advertisements. In particular I look at comments and fan video as social paratexts which shape dance reception and production through policing genre, citationality, and legitimacy; position studio dance class videos as an Internet screendance genre which entextualizes the pedagogical context through creative documentation; and analyze the use of dance in online advertisements to promote identity-based consumption. Taken together, these inquiries show that YouTube perpetuates and reshapes established modes and genres of production, distribution, and consumption. These phenomena require an analysis that accounts for their multivalence and the ways the texts circulating on YouTube subvert existing categories, binaries, and hierarchies. A cyclical exchange—between perpetuation and innovation, subculture and pop culture, amateur and professional, the subversive and the neoliberal—is what defines YouTube and the investigation I undertake in this dissertation. -
Entire Issue (PDF 2MB)
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 116 CONGRESS, FIRST SESSION Vol. 165 WASHINGTON, WEDNESDAY, SEPTEMBER 11, 2019 No. 145 House of Representatives The House met at 10 a.m. and was by what was happening that we paused COMMEMORATING THE 18TH ANNI- called to order by the Speaker pro tem- to sing God Bless America. I remember VERSARY OF THE SEPTEMBER 11 pore (Mrs. TORRES of California). at least one person sobbing. It was a ATTACKS f day when people within that courtroom The SPEAKER pro tempore. The were faced with uncertainties unlike Chair recognizes the gentleman from DESIGNATION OF SPEAKER PRO we had seen before, a day when all of Pennsylvania (Mr. THOMPSON) for 5 TEMPORE our first responders were challenged. minutes. The SPEAKER pro tempore laid be- But allow me, please, for just a mo- Mr. THOMPSON of Pennsylvania. fore the House the following commu- ment, to talk and say a few words Madam Speaker, I rise today, on the nication from the Speaker: about those who were there at the site 18th anniversary of September 11, 2001, of the Twin Towers. to reflect on the events of that fateful WASHINGTON, DC, We could see on television the cloud September 11, 2019. day and to honor the lives lost and the I hereby appoint the Honorable NORMA J. of dust as it started to emerge and set- heroes that united us. TORRES to act as Speaker pro tempore on tle, people rushing, bodies covered. -
32 - Bmm2020 the Get- Down Part
32 - BMM2020 THE GET- DOWN PART By Miles Marshall Lewis to hear the story and 2Pac. But their points of view underlined that “ YOU LOV E again and again,” hip-hop culture now stretches long enough (nearly said the legend- five decades) for different generations to have their ary MC Shan, “of how it all got started way back own “OK boomer” views about who’s hot and who’s when.” Back when the hip-hop holy trinity of DJs not in rap history. The almost 50-year passage of Kool Herc, Afrika Bambaataa and Grandmaster time since its beginnings at public-park jams in the Flash appeared together on the cover of The Source South Bronx also means that the genre spans from magazine in late 1993, only the hardcore adherents the mature dad rap of 4:44-era Jay-Z to the so-called of rap music knew its history in intimately famil- SoundCloud rhymes of the late Juice WRLD. iar terms. Things like the 1520 Sedgwick Avenue Still, even an outsider like Australian director Pictured above: address of Kool Herc or crews like the Universal Baz Luhrmann felt comfortable enough creat- DJs Afrika Bambaataa, Zulu Nation—of which DJ Jazzy Jay was an early ing the fictive world of The Get Down, a scripted Grandmaster Flash member—were largely unfamiliar outside of the Netflix series set in the mise-en-scène of hip-hop’s and Kool Herc. Bronx. As hip-hop developed throughout the years formative years in the ’70s. From the American into the pop music of the world, spawning docu- Book Award-winning Can’t Stop Won’t Stop to the mentaries and historical biographies, rap’s origin Peabody-winning docuseries Hip-Hop Evolution, story has become as well-known to music lovers as many have laid bare the origins of rap music for the Beatles’ roots in Liverpool. -
Dancesense, a Production of KET, the Kentucky Network
TEACHER’S GUIDE KET THE KENTUCKY NETWORK This Teacher’s Guide accompanies the ten-part television series DanceSense, a production of KET, The Kentucky Network. Timothy Bischoff, producer-director. Mary Beth Hester, production assistance. Katherine Kramer, content designer. Nancy Carpenter, executive producer. Teacher’s Guide Writer: Katherine Kramer Editor: Nancy Carpenter Design and Layout: Megan Canfield Production Photography: Dave Crawford KET gratefully acknowledges the contributions of the content advisors and all the dancers, choreographers, and others who appeared in the series and provided information and encouragement along the way. Content Advisors: Rayma Beal, University of Kentucky; Jimmie Dee Kelley, Hardin County Public Schools; and Liz Jewell, KET Humanities Instructor. This project was funded, in part, by contributors to the W. Paul and Lucille Caudill Little Arts Endowment. ©Copyright 2001 KET Foundation, Inc. 600 Cooper Drive Lexington, KY 40502-2296 ISBN 1-881020-47-9 2 DANCESENSE TEACHER’S GUIDE TABLE OF CONTENTS Introduction ................................................................................... 5 Program 1: Understanding Dance .................................................. 6 Why people dance Program 2: The Dance of Culture .................................................. 8 Origins and functions of dance in various cultures Program 3: Dance in America ...................................................... 10 The influence of Native American, African American and European dances on the development -
Table of Contents Dance
rtsource ® A The Music Center’s Study Guide to the Performing Arts Table of Contents Dance • Glossary 1 – 15 • Tools to Use 16 • Eight Effort Actions 17 • Assessment and Rubric 18 – 20 GLOSSARY OF TERMS FROM THE DANCE SECTION Just as verbal and written language has an alphabet • Space: with words, punctuation and intonation as its base, Space is the unlimited area which extends in all dance has a vocabulary of movement terms, which directions and within which all things exist. We includes the dance elements, principles of design can describe space in terms of direction (forward, and technical terms. It is valuable to know some of backward, sideways, around), levels (high, low), these terms and to use them in the correct context and range (size, distance). Focus is also considered when teaching students. to be a factor in space because the focus of the dancer directs the viewer’s eye and can create The body is the instrument of the dancer. It distance, intimacy or self-absorption. There is also enables the dancer to convey ideas, thoughts and the concept that space can be positive (filled) or feelings, and to show relationships among people negative (empty). and between people and objects. • Shape: Dance differs from functional motion, which Dancers make shapes or poses with their bodies, people use in everyday life, because the movements both when they move and when they are still. used by a dancer are selected, developed, abstracted, Dancers can move separately, in pairs, trios and in combined in aesthetic ways and rehearsed. The groups to form designs. -
Hello, I Have Come Across a Letter Sent from the Office Florida Chief
From: Megan Reeves To: Open Government; Vendor Relations Subject: request for information - Vendor Ownership Survey Date: Thursday, June 25, 2020 12:19:10 PM Hello, I have come across a letter sent from the office Florida Chief Financial Officer Jimmy Patronis. It was addressed to "State of Florida Vendor" and requested responses to a "Vendor Ownership Survey" be sent to the state's vendor relations email address, [email protected]. I am requesting a list of businesses and/or individuals this letter was sent to, as well as the date it was sent and copies of any responses the state has received via email or otherwise. I also am hoping to get an explanation of who ordered the survey and why. Please let me know if you have any questions. Thank you. Megan Megan Reeves Staff writer, health and medicine Tampa Bay Times o: 352-754-6116 | c: 904-298-5213 | f: 352-754-6133 Website: tampabay.com Twitter: @mareevs Facebook: Gradebook by the Tampa Bay Times VENDOR_NM1 SNEADS FFA ALUMNI TREASURY BANK & INVESTMENT UNITED STATES POSTAL SERVICE PAN FOOD STORES HOLIDAY INN EXPRESS SEBRING BECK CHRYSLER DODGE JEEP OF STA 7‐ELEVEN LL BEAN TD BANK NA WALDO COUNTY GENERAL HOSPITAL SOUTHERN MAINE HEALTH CARE THE IRIS NETWORK MAINE COAST REGIONAL HEALTH COMMUNITY HEALTH & COUNSELING EASTERN MAINE HEALTHCARE MERCY HOSPITAL ST MARYS REGIONAL MEDICAL CENTE CALAIS REGIONAL HOSPITAL MOUNT DESERT ISLAND HOSPITAL SWEETSER ST JOSEPH HOSPITAL EASTERN MAINE HEALTHCARE SYSTEM THE BAKER COMPANY, INC BLUE HILL MEMORIAL HOSPITAL INC NORTHEAST HEARING & SPEECH -
1612855111-Get-Liteeric-Gross.Pdf
Get Lite Written by Eric Gross VERVE/LIT We hear the sounds of a train coming to a stop. And read: If we’re not supposed to dance, Why all this music? Greg Orr 2. OVER BLACK. A stampede. The rush of commuters as they board a train. CONDUCTOR (O.S.) (intercom) Stand clear of the closing doors. As we hear the doors close, we open to -- INT. TRAIN - EARLY MORNING. Summer. New York City. The morning commute. 149th St. station left in the dust as the 2/3 heads downtown. The train is crowded, airless, miserable. CREDITS ROLL AS WE SEE -- A banker playing Candy Crush, a pregnant woman rubbing her belly, a Sikh with a Chihuahua in his kaftan, a construction worker reading the Wall Street Journal, triplets with a Trinidadian caretaker, a homeless man combing his beard. The MTA subway. The great democratizer. We end on a lanky black teen wearing khaki pants, Penny Loafers, and a button down which blooms sweat patterns. This is SAUNDERS BELL (17). His head is tilted at 45 degrees, ear buds are in, IG feed scrolls across his tired eyes. Bored as can be. But after checking his Casio watch, he smiles. And like clockwork, here they come. Right through the inter train doors. In SLOW MOTION. All wearing the same uniform: black track pants, wife beaters, flat brimmed Mets hats. And on their feet? Air Force 1’s with leather wings protruding from the heel, the Greek Gods of the subway. The leader of the crew is an enthusiastic though chubby black man with three days of stubble sprinkled on his tired face. -
Hallowell Found Guilty of Murder
Project1:Layout 1 6/10/2014 1:13 PM Page 1 Wimbledon: Djokovic reaches another grand slam final /B1 SATURDAY TODAY C I T R U S C O U N T Y & next morning HIGH 91 Partly sunny, LOW scattered storms. 75 PAGE A4 www.chronicleonline.com JULY 10, 2021 Florida’s Best Community Newspaper Serving Florida’s Best Community $1 VOL. 126 ISSUE 276 Hallowell found guilty of murder Faces life for adoptive mother’s premeditated killing BUSTER THOMPSON afternoon, July 9, a jury of six In closing statements, Assistant Staff writer found 19-year-old Hallowell guilty State Attorney Blake Shore de- of premeditated murder, ending a scribed to jurors the actions Hal- After Carlos Hallowell would three-day-long trial. Delibera- lowell took for around 26 minutes argue with Denise Hallowell, he’d tions toward a verdict lasted before the murder happened, chop wood outside and picture roughly an hour and 25 minutes. which included getting the the words of his adoptive mother Circuit Court Judge Richard weapon from a locked shed out- below his swinging axe. “Ric” Howard scheduled Sept. side and sharpening it while On July 13, 2019, when he was 9-10 for Hallowell’s sentencing. “stewing” with anger over his in- 17 years old, Hallowell’s imagina- Hallowell faces a prison term of tent to harm Denise Hallowell. tion crept into reality. up to life. He isn’t eligible for death “Each of those steps was a Enraged by a recent dispute row because he was a minor when chance for him to turn back .. -
Abranimations Dance Animation Times.Xlsx
Dance Length Times For Abranimations Dances Only recent dances, and dances Ive managed to locate original files of are included. Geisha Dance 1 27.4 Geisha Dance 229 Geisha Dance 3 28.3 Geisha Dance 4 29.5 Geisha Dance 5 29.8 Geisha Dance 630 Geisha Dance 730 Geisha Dance 8 27.9 Geisha Dance 9 26.3 Geisha Dance 10 27.9 Geisha Dance 11 26.5 Geisha Fan Dance 1 26.6 Geisha Fan Dance 2 27.4 Geisha Fan Dance 330 Geisha Fan Dance 430 Geisha Fan Dance 530 Geisha Fan Dance 630 Geisha Fan Dance 730 Geisha Fan Dance 8 28.5 Geisha Fan Dance 930 Geisha Fan Dance 10 30 Geisha Fan Dance 11 30 Geisha Fan Dance 12 29.5 Geisha Fan Dance 13 30 Geisha Fan Dance 14 25.3 Geisha Fan Dance 15 30 Commercial Hip Hop & RnB 1 26.3 Commercial Hip Hop & RnB 2 29.5 Commercial Hip Hop & RnB 3 28.1 Commercial Hip Hop & RnB 4 29.7 Commercial Hip Hop & RnB 530 Commercial Hip Hop & RnB 630 Commercial Hip Hop & RnB 7 29.8 Commercial Hip Hop & RnB 8 29.9 Commercial Hip Hop & RnB 9 29.5 Commercial Hip Hop & RnB 10 29.8 Commercial Hip Hop & RnB 11 30 Commercial Hip Hop & RnB 12 29.6 Commercial Hip Hop & RnB 13 30 Commercial Hip Hop & RnB 14 30 Commercial Hip Hop & RnB 15 30 Commercial Hip Hop & RnB 16 27.2 Commercial Hip Hop & RnB 17 30 Commercial Hip Hop & RnB 18 29.7 Commercial Hip Hop & RnB 19 30 Commercial Hip Hop & RnB 20 30 Funk Style Hip Hop 1 29.6 Funk Style Hip Hop 229 Funk Style Hip Hop 330 Funk Style Hip Hop 430 Funk Style Hip Hop 530 Funk Style Hip Hop 629 Funk Style Hip Hop 730 Funk Style Hip Hop 830 Funk Style Hip Hop 930 Funk Style Hip Hop 10 29.8 Funk Style -
DANCE Grade 5 Table of Contents
DANCE Grade 5 Table of Contents • Key Concepts • The Dance Classroom • Lessons 1. Elements and Principles Review – Blast to the Past Dance Elements Checklist Dance Principles Checklist Unity, Variety and Contrast Rubric 2. Body Alignment – The Dancer’s Position 3. Isolations and the Development of Style – I’ve Got Style Worksheet/Checklist Isolations and Single/Double Dance Steps 4. Phrasing and Style – Baby, You’ve Got Style Phrasing Worksheet/Checklist 5. Phrasing and Style – Back in Style Canon Worksheet 6. Forming and Phrasing – Adding On… Dance Elements Checklist Canon Worksheet Group Dance Study Worksheet 7. Reproduction and Memorization – Hip, Hip…Hurrah!! Recalling and Reproducing Movement Rubrics 8. Building Dances – Hip, Hip…Hurrah!! Performance Rubric Participation Rubric Sequence Checklist 9. Staging and Performance – Hip, Hip…Hurrah!! Arranging and Staging Dancers Handout Performance Rubric Group Composition and Creativity Rubric Group Participation in Rehearsal Rubric Dance Illustrations • Dance Elements • Grade 5 Dance Core Learnings • Dance Glossary Key Concepts Based on the California State VAPA Standards (found in the Core Learnings at the end of this section) Grade 5 Dance Vocabulary: time, space, force/energy, choreography, unity, variety, contrast, phrase, transition, jazz, ballet, turnout, parallel, first and second position (ballet), isolation, style Skills and Knowledge: name, identify, distinguish, create, demonstrate, use: Dance Skill and Choreography • Proper focus, and body control, alignment and placement • Create and combine dance sequences into dance studies showing smooth transitions, variety, unity and contrast • Dance elements to change the original intent of a dance phrase • Create and perform a two or three part dance study using form (canon, ABA, AB) Cooperate and collaborate in creating and performing • Describe the choreographic (creative) process (brainstorm, explore, create, establish order, etc.). -
(Straight) White Men Can't Dance: the Dancing Body As
(STRAIGHT) WHITE MEN CAN’T DANCE: THE DANCING BODY AS RACIAL AND GENDERED IDEOLOGY IN AMERICAN POPULAR CULTURE FROM 1980 to 2018 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF DANCE COLLEGE OF ARTS AND SCIENCES BY ADDIE TSAI, M.F.A. DENTON, TEXAS AUGUST 2018 Copyright © 2018 by Addie Tsai DEDICATION For B, the only person to whom I can confess I can’t dance a single step. And for J, who believed, from the beginning, I did indeed have what it takes. ii ACKNOWLEDGMENTS I would like to offer my deepest gratitude to Dr. Linda Caldwell for her assistance, mentorship, and support throughout my doctoral coursework, qualifying exams, and dissertation process. Her guidance, patience, responsiveness, excitement, curiosity, investment, and openness have made this work what it most desperately sought to become. Thank you to Dr. Patrick Bynane and Dr. Rosemary Candelario for their assistance and guidance on this dissertation project from inception through the qualifying exams and the prospectus. I am especially appreciative for Dr. Patrick Byane’s willingness to serve on a doctoral committee outside of his department, and for his wisdom on canonical and profound texts and ideas I may not otherwise have found. I am immensely grateful to Dr. Rosemary Candelario for her guidance and support throughout doctoral coursework and the development of this project, and for agreeing to chair this dissertation committee at this late stage of the process. I am incredibly thankful to the entire Texas Woman’s University Dance Department, and especially to Professor Mary Williford-Shade, Dr.