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Donald Mckayle's Life in Dance
ey rn u In Jo Donald f McKayle’s i nite Life in Dance An exhibit in the Muriel Ansley Reynolds Gallery UC Irvine Main Library May - September 1998 Checklist prepared by Laura Clark Brown The UCI Libraries Irvine, California 1998 ey rn u In Jo Donald f i nite McKayle’s Life in Dance Donald McKayle, performer, teacher and choreographer. His dances em- body the deeply-felt passions of a true master. Rooted in the American experience, he has choreographed a body of work imbued with radiant optimism and poignancy. His appreciation of human wit and heroism in the face of pain and loss, and his faith in redemptive powers of love endow his dances with their originality and dramatic power. Donald McKayle has created a repertory of American dance that instructs the heart. -Inscription on Samuel H. Scripps/American Dance Festival Award orld-renowned choreographer and UCI Professor of Dance Donald McKayle received the prestigious Samuel H. Scripps/American Dance Festival WAward, “established to honor the great choreographers who have dedicated their lives and talent to the creation of our modern dance heritage,” in 1992. The “Sammy” was awarded to McKayle for a lifetime of performing, teaching and creating American modern dance, an “infinite journey” of both creativity and teaching. Infinite Journey is the title of a concert dance piece McKayle created in 1991 to honor the life of a former student; the title also befits McKayle’s own life. McKayle began his career in New York City, initially studying dance with the New Dance Group and later dancing professionally for noted choreographers such as Merce Cunningham, Martha Graham, Sophie Maslow, and Anna Sokolow. -
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In 1949, Janet Collins—the first Black artist to appear Jean-Léon Destiné’s company along with Spanish and African Artists of the African Diaspora on the stage of the Metropolitan Opera—and Jean-Léon Hindu dances. It was a bold move, and its legacy is seen Destiné made their debut appearances at Jacob’s Pillow. today in the all-encompassing dance programming at Famous for his work with Katherine Dunham, Destiné Jacob’s Pillow. In 1970 Ted Shawn presented Dance Theatre and Jacob’s Pillow Dance Festival: was the first of many Black artists to teach in The School of Harlem’s first formal “engagement.” Critic Walter Terry American at Jacob’s Pillow in 1949, and returned to direct the praised the company’s debut and Shawn referred to the Inception to Present Cultural Traditions Program in 2004. Over 100 students Dance Theatre of Harlem performance as a “highlight of from around the world attend this professional-track the summer.” School at Jacob’s Pillow each year. f v f Heritage Beginning in the 1980s, African-American companies The ground-breaking Lester Horton Dance Theatre appeared at the Pillow more and more frequently. “Dance includes every way that men of all races in every period of the made its Pillow debut in 1953. Several of its young Highlights since then have included engagements by Participate in African Diaspora activities at JACOB’S PILLOW DANCE members, James Truitte, Carmen de Lavallade, and tappers Savion Glover, Gregory Hines and Jimmy Jacob’s Pillow Dance world’s history have moved rhythmically to express themselves.”—Ted Shawn (1915) Alvin Ailey, would leave a lasting impression on the Slyde, hip-hop from Rennie Harris, and world premiere dance world. -
BUSINESS Klan Plans Teacher's Halli Boston College,] I N B R Ie F ' 5; to Return Remembered Villanova Lose 8.6% Real GNP
20 - MANCHESTER HERALD. Sat., March 20, 1982 BUSINESS Klan plans Teacher's Halli Boston College,] I n b r ie f ' 5; to return remembered Villanova lose 8.6% Real GNP ... page 4 ... page 9 ... page 13 Hale elected Barter thrives Gross National Product ~ Seasonally adjusted annual CHICAGO — William H. Hale, president of ra te Heritage Savings and Loan Association of Manchester, Conn., has been appointed to the 1982 as mofiey tight Secondary Market Committee of the United States League of Savings Associations. Percentages reflect change The appointment was announced by Roy G. METAIRIE, La. (UPI) — Businesses ’That means members continue to earn from previous quarter Green, chairman of the league and president of and professionals are turning more and their full profit margin under the system Fair tonight Manchester, Conn. Fidelity Federal Savings and Loan Association, more to bartering in today’s depressed when “selling.” And, when "buying,” and Tuesday Jacksonville, Fla. economy, making a growth industry of the members do not have to spend cash Mon., March 22, 1982 The U.S. League is the principal trade organiza the centuries-old system of exchange. that could be used for inventory or — See page 2 tion for the savings and loan business and “The thing is cash flow,’’ said George capital improvements. 1982 Single copy 25<( represents over 4,000 associations throughout the Hesse, director of the New Orleans ’That television dealer who received a country. Trade Exchange. $1,000 debit will receive credits when Savings and loan associations are the second “People have inventory but no cash. If someone in the system comes to him for largest t> pe of financial Institution in America and they can spend $2,(X)0 on buying things a TV set. -
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change. -
Mccarter THEATRE CENTER FOUNDERS Arthur Mitchell Karel
McCARTER THEATRE CENTER William W. Lockwood, Jr. Michael S. Rosenberg SPECIAL PROGRAMMING DIRECTOR MANAGING DIRECTOR presents FOUNDERS Arthur Mitchell Karel Shook ARTISTIC DIRECTOR EXECUTIVE DIRECTOR Virginia Johnson Anna Glass BALLET MASTER INTERIM GENERAL MANAGER Marie Chong Melinda Bloom DANCE ARTISTS Lindsey Donnell, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Kouadio Davis, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher McDaniel, Sanford Placide, Anthony Santos, Dylan Santos ARTISTIC DIRECTOR EMERITUS Arthur Mitchell Please join us after this performance for a post-show conversation with Artistic Director Virginia Johnson. SATURDAY, FEBRUARY 8, 2020 The taking of photographs and the use of recording equipment of any kind during performances is strictly prohibited. Support for Dance Theatre of Harlem’s 2019/2020 professional Company and National Tour activities made possible in part by: Anonymous, The Arnhold Foundation; Bloomberg Philanthropies, The Dauray Fund; Doris Duke Charitable Foundation; Elephant Rock Foundation; Ford Foundation; Ann & Gordon Getty Foundation; Harkness Foundation for Dance; Howard Gilman Foundation; The Dubose & Dorothy Heyward Memorial Fund; The Klein Family Foundation; John L. McHugh Foundation; Margaret T. Morris Foundation; National Endowment for the Arts, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; New England -
Theresa Payton
COLUMBUS, GA | AUGUST 31 | AUGUST GA COLUMBUS, PRESENTED BY The Forum 2021 | Leadership Reinvented | Leadership Institute at Columbus State University table of Theresa Payton contentsAGENDA 3 12 LETTERS 4 Executive Director Shana Young Tara President Chris Markwood Westover Acting Chancellor Teresa MacCartney 14 Governor Brian Kemp OUR TEAM 8 Photo Credit: Paul Stuart DINE AROUND 10 BOOK SIGNINGS 11 Kat SPEAKERS 12 Cole Theresa Payton 20 Tara Westover Debbie Kat Cole Allen Debbie Allen 22 Norman Nixon HONORS 18 2021 Blanchard Award 2021 Helton Scholarship OUR LEADERSHIP 26 Norman LEGACY Nixon 2021 SPONSORS 30 24 The leadership effect. Your impact starts here. As a founding sponsor, Synovus is proud to welcome you to the 16th Annual Forum at CSU. A true leader endeavors to awaken the leadership qualities of others. This has long been the inspiration behind the leadership of our company and the vision behind an epic annual gathering of the world’s brightest minds right here in our community. It is our hope you will discover the true leader within and be challenged to have an impact that will inspire others to lead as well. We call it the leadership effect. 1-888-SYNOVUS | synovus.com Synovus Bank, Member FDIC. The Forum 2021 | Leadership Reinvented | Leadership Institute at Columbus State University event agenda Registration 8:00 am Welcome 9:00 am Shana Young, Assistant Vice President of Leadership Development and Executive Director, Leadership Institute at Columbus State University Dr. Chris Markwood, President, Columbus State University -
Cablefax Dailytm Tuesday — October 3, 2017 What the Industry Reads First Volume 28 / No
www.cablefaxdaily.com, Published by Access Intelligence, LLC, Tel: 301-354-2101 Cablefax DailyTM Tuesday — October 3, 2017 What the Industry Reads First Volume 28 / No. 189 Crisis Averted: Altice, Disney Avoid Blackouts with Last-Minute Carriage Deal There was a sense in the industry that the carriage negotiations between Disney and Altice USA were too important for both sides going forward for either to give an inch. Facing potential blackouts for NY-area Optimum customers late Sunday afternoon, however, the two sides reached a deal in principle that they could both tolerate. As of press time Monday, neither side would confirm that the deal has been finalized or discuss terms. But sources cited by SportsBusi- ness Journal shed some light on victories and concessions for the folks on each side of the table. Disney reportedly negotiated a price increase for its channels, including ESPN. The size of that increase isn’t clear, but a Bloomberg report cites sources as saying it wasn’t as significant as Disney had hoped. Disney, however, did reportedly score carriage of the SEC Network and soon-to-launch ACC Network despite the fact that neither conference has significant geographic ties to Optimum’s footprint. Other aspects of the deal, including whether Disney was able to obtain a higher penetration threshold for ESPN, remained unavailable Monday. That’s a critical detail for Disney as it seeks to limit distributors’ ability to leave ESPN—the highest-priced cable net—out of bundles. The Altice deal is the first one Disney has had to negotiate since late 2014, when ESPN was still a growth engine. -
NAB Comments Re: Video Competition
Before the Federal Communications Commission Washington, D.C. 20554 In the Matter of ) ) Annual Assessment of the Status of ) MB Docket No. 16-247 Competition in the Market for the ) Delivery of Video Programming ) To: The Commission COMMENTS OF THE NATIONAL ASSOCIATION OF BROADCASTERS Rick Kaplan Jerianne Timmerman Erin L. Dozier Patrick McFadden Scott Goodwin Emmy Parsons 1771 N Street, NW Washington, DC 20036 (202) 429-5430 Terry Ottina NAB Research September 21, 2016 TABLE OF CONTENTS EXECUTIVE SUMMARY .................................................................................................................... i I. AS THE MARKET FOR VIDEO DISTRIBUTION SHIFTS, DATA SHOW THAT FREE OVER-THE- AIR BROADCASTING CONTINUES TO SERVE AN IMPORTANT ROLE IN AMERICAN LIVES . 2 A. Over-the-Air Reliance and Cord-Cutting Trends Continue ............................................. 2 B. Local Stations Take a Multifaceted Approach to Providing High Quality News and Entertainment Content ................................................................................................... 6 II. AUTHORIZATION OF THE NEXT GENERATION TV STANDARD WILL SET THE STAGE FOR THE FUTURE OF TELEVISION ............................................................................................... 14 III. CONCLUSION ........................................................................................................................ 16 EXECUTIVE SUMMARY The state of competition in the video programming marketplace is stronger than ever. Today, in television’s -
Doug Elkins Choreography, Etc
Christopher Duggan Christopher doug elkins choreography, etc. Doug Elkins, Choreographer/Artistic Director Amy Cassello, General Manager Anne Davison, Dramaturg Randi Rivera, Production Stage Manager Justin Levine, Music Co-Director Matt Stine, Music Co-Director Dancers: Alexander Dones, Mark Gindick, Deborah Lohse, Cori Marquis, Kyle Marshall, Aaron Mattocks, Donnell Oakley, John Sorensen-Jolink PROGRAM Hapless Bizarre -Intermission- Mo(or)town/Redux Thursday, March 6 at 7:30 PM Friday, March 7 at 8 PM Saturday, March 8 at 2 PM & 8 PM Support provided by the New England Foundation for the Arts' National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts. Media Sponsor 8 | DANCE CELEBRATION PROGRAM NOTES Hapless Bizarre Originally conceived by Doug Elkins, Barbara Karger and Michael Preston Choreography by Doug Elkins in collaboration with the dancers Music Direction and Engineering by Justin Levine and Matt Stine Dramaturgy by Anne Davison Lighting by Amanda K. Ringger Costumes by Oana Botez Creative Consulting by David Neumann Dancers: Mark Gindick, Deborah Lohse, Cori Marquis, Kyle Marshall, Donnell Oakley, John Sorensen-Jolink Hapless Bizarre was made possible by the New England Foundation for the Arts' National Dance Project, with lead funding from the Doris Duke Charitable Foundation and additional funding from the Andrew W. Mellon Foundation, the MetLife Foundation and the National Endowment for the Arts. Hapless Bizarre was hatched and first previewed at The Yard, an artist residency and performance center dedicated to contemporary dance, theatre and related arts, as part of the 2012-2013 season. -
Alvin Ailey's Embodiment of African American Culture
DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J. -
TV Broadcasting 2021 Q1
AS OF March 31, 2021 Television Broadcasting INDUSTRY SUMMARY COGENT VALUATION identified Television Broadcasting publicly traded companies, IPOs, and recent M&A transactions within the Television Broadcasting industry, which provides a basis for market and transaction pricing that can be used by your firm in estimating market sentiment and its impact on your firm's value. Over the last year since March 31, 2020, the median 52-week share price return of the Television Broadcasting industry was 5.4%. Between March 31, 2020 and March 31, 2021, the median EV/EBITDA multiple increased from 9.8 to 9.9. However, the median price-to-earnings multiple decreased from 14.5 to 11.9 over the same period. The median revenue growth and EBITDA margins for the industry for the quarter were 1.9% and 23.1%, respectively. Median 3-Year CAGR Median 52-Week Return Median EV/Revenue Public Company Return Multiple Key Statistics 5.4% -.5% 2.7x Median EV/EBITDA Median Price/Earnings Median EV/Gross CF Multiple Multiple Multiple 9.9x 11.9x 11.6x TheThe disclosures disclosures and and limitations limitations of thisof this research research on onthis this page page are are an anintegral integral part part of thisof this report. report. Copyright Copyright © 2021© 2021 Cogent Cogent Va luaValuation.tion. All AllRights Rights Reserved. Reserved. COGENTVALUATION.COM COGENTVALUATION.COM | 1 INDUSTRY: Q1 2021 TELEVISION BROADCASTING Comparable Public Company Market Price Returns as of March 31, 2021 2021 3 Month 1 Year 2 Year 3 Year 2020 2019 2018 AMC Networks Inc. -4.4% -4.4% -11.9% -14.9% -4.6% 3.3% -29.9% 17.1% CBS Corporation -12.9% -12.9% -25.9% 11.9% 0.9% -7.3% 35.0% -14.8% Central European Media Enterprises -9.7% -9.7% 35.5% 31.5% 12.4% 82.4% -5.2% -16.2% Crown Place VCT PLC 4.3% 4.3% 14.1% -3.6% -9.8% 9.0% -14.8% -10.1% Discovery Communications, Inc. -
An Evening of Dance with Carmen De Lavallade
An evening of dance with Carmen de Lavallade January 9, 1967 Miss Carmen de Lavallade and her company will perform an evening of dance beginning at 8:30 p.m. Tuesday, January 17, in Sherwood Hall, La Jolla. The performance is being sponsored by the University of California, San Diego Committee for Arts and Lectures. Reserved seating for the single performance is $4.00 for the general public and $1.00 for UCSD students. Miss de Lavallade thinks of herself as a new breed in the theater. She is not a ballet dancer, although she studies the classical ballet and she is not really a modern dancer, although s1le studies with Martha Graham. She is not an admirer of purely abstract dance but believes, rather, that the dance should tell a story. She has gravitated to roles that are strongly dramatic. The dances she and her company will perform in Sherwood Hall include "Three Songs for One," with the recorded voice of Madeleine Gray as background; "Portrait of Billie," which follows the tragic career of the late Billie Holiday; and "The Captive Lark," which retells in dance the tale of the imprisoned Joan of Arc. Other numbers to be danced will include "Dear Quincy" by Quincy Jones, "Michel V, by Michel LeGran, "Bachianas No. 5" by Villa Lobos and arranged by Lalo Shiffren, "Reflections in D" by Duke Ellington, and a dance titled "Dedication to Jose Clemente Orozco." Miss de Lavallade was brought up in Los Angeles and began her career at the Horton School of the Dance. She has appeared as a dancer in several films, including "Carmen Jones." In 1954, at the age of 23, she auditioned for and won a starring role in the Broadway musical "House of Flowers." Since the close of that show, she has had a wide range of appearances.