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Made in BC Dance on Tour
MADE IN BC - DANCE ON TOUR January 29, 2019 ARTIST INFO RAVEN SPIRIT DANCE EARTHSONG Starr Muranko (Artistic Associate), Heather Lamoureux (Outreach Coordinator) PROJECT DESCRIPTION Earth Song – a mixed program of contemporary Indigenous dance featuring choreography by Starr Muranko & Michelle Olson, two visionary choreographers bring their diverse voices to the act of connection. Moving from Spirit to form through currents of spatial tension, these are the songs of the land and body, deeply rooted and ever reaching. Starr Muranko’s Spine of the Mother and Michelle Olson’s Northern Journey traverse territories of impulse, memory, and landscape. Additionally, the program includes the solo, Frost Exploding Trees Moon, choreographed by Michelle Olson and Floyd Favel; this piece follows the breath, instinct & impulse of a woman on her northern trap line. ARTIST PROFILE The artistic vision of Raven Spirit Dance Society is to share stories from an Indigenous worldview. Our medium is contemporary dance; and, we incorporate other expressions such as traditional dance, theatre, puppetry and multi-media to tell these stories. By sharing this work on local, national and international stages, Raven Spirit Dance reaffirms the vital importance of dance to the expression of human experience and to cultural reclamation. Raven Spirit Dance aims to explore how professional artistic work is responsive and responsible to the community it is a part of and to continue to redefine dance’s place in diverse community settings. Raven Spirit is Vancouver-based yet indelibly tied to the Yukon through its projects and inspirations, as our Artistic Director, Michelle Olson is from the Tr’ondek Hwech’in First Nation. -
Why Stockton Folk Dance Camp Still Produces a Syllabus
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2018 FINAL In Memoriam Rickey Holden – 1926-2017 Rickey was a square and folk dance teacher, researcher, caller, record producer, and author. Rickey was largely responsible for spreading recreational international folk dancing throughout Europe and Asia. Rickey learned ballroom dance in Austin Texas in 1935 and 1936. He started square and contra dancing in Vermont in 1939. He taught international folk dance all over Europe and Asia, eventually making his home base in Brussels. He worked with Folkraft Records in the early years. He taught at Stockton Folk Dance Camp in the 1940s and 50s, plus an additional appearance in 1992. In addition to dozens of books about square dancing, he also authored books on Israeli, Turkish, Bulgarian, Hungarian, Greek, and Macedonian dance. STOCKTON FOLK DANCE CAMP – 2018 FINAL Preface Many of the dance descriptions in the syllabus have been or are being copyrighted. They should not be reproduced in any form without permission. Specific permission of the instructors involved must be secured. Camp is satisfied if a suitable by-line such as “Learned at Folk Dance Camp, University of the Pacific” is included. Loui Tucker served as editor of this syllabus, with valuable assistance from Karen Bennett and Joyce Lissant Uggla. We are indebted to members of the Dance Research Committee of the Folk Dance Federation of California (North and South) for assistance in preparing the Final Syllabus. Cover art copyright © 2018 Susan Gregory. (Thanks, Susan.) Please -
A Mixed Blessing at the Ballet 01
Daily Telegraph July 28 2001 A mixed blessing at the ballet Photo Sheila Rock As Anthony Dowell leaves the Royal Ballet, dance critic Ismene Brown assesses his 15-year regime as director - and stars pay tribute below AT THE Royal Ballet the countdown has begun to the end of an era. A week tonight, amid flowers, Champagne and tears, Sir Anthony Dowell, the longest-serving ballet director since the company’s founder, Ninette de Valois, will end his 15-year regime. He was undoubtedly one of the great world stars of dancing, and the “Celebration Programme” will mark his achievements as such. But about his success as director of the company, opinion is far from unanimous. What makes a good director? The question has never been more of a poser than during Dowell\s captaincy of the ballet, in the most turbulent years of the Royal Opera House’s history. There are many pluses on Dowell’s account sheet - his maintenance of high classical technical standards, his welcoming of key foreign artists into the Royal (particularly Sylvie Guillem and Irek Mukhamedov), his inspiring coaching, to which leading guest stars attest opposite. The rise of Darcey Bussell to world acclaim, the forging of a superb partnership between Mukhamedov and Viviana Durante, this final, nostalgic and beautiful 2000-01 season - these are positive memories. He will be noted as a conservative, and many welcomed this after an insecure period of modernising under his predecessor, Norman Morrice. Whether conservatism has served the company well for the future, though, is debatable. In the shifting landscape of ballet, conservatism is not enough to hold steady. -
Annual Review & Report 2012/13
ROYAL ACADEMY OF DANCE Annual Review & Report 2012/13 Royal Academy of Dance Annual Review & Report 2012/13 CONTENTS Chairman’s report 02 Chief Executive’s review 04 RAD leadership 06 The Trustees 10 The Academy 12 Examinations 14 Education 16 Continuing Professional Development 18 employees in UK and Republic As the professional membership body for 122of Ireland Membership 20 dance teachers, we will inspire and empower Student Activities 22 Step into Dance 24 dance teachers and students, members and Benesh Movement Notation 26 employees and representatives The Philip Richardson Library 28 staff to make innovative, artistic and lasting in international111 offices RAD Enterprises 30 contributions to dance and dance education Annual General Meeting 32 throughout the world. Summarised financial statements 34 freelance196 examiners Key performance indicators 36 Overview 37 At a glance 38 Statement of the Board of Trustees’ responsibilities 39 freelance teachers/guest lecturers 300 Independent auditor’s statement to the Trustees of Royal Academy of Dance 40 Group consolidated statement of financial activities 41 mentors 350 Group and charity balance sheets 42 Accounting policies 43 Scholarships, awards, bursaries & fundraising 45 practical teaching supervisors 200 Corporate governance 47 Offices 49 100tutors Our highlights of the year are produced in full in a separate publication, Your stories – Our highlights, created in conjunction with this Annual Review & Report. Photo: Evan Li; Cover photo: David photo: Tett Evan Li; Cover Photo: 02 Royal Academy of Dance Annual Review & Report 2012/13 03 CHAIRMAN’S REPORT The year under review has seen an almost unparalleled Along with our successes over the past year, we have level of activity at the Royal Academy of Dance. -
Darcey Bussell
Darcey Bussell Early Life Darcey Bussell was born on 27th April, 1969 in London. She started at the Arts Educational School at the Barbican until she auditioned for and joined the Royal Ballet School at White Lodge at the age of 13. In 1985, when she was 16, Darcey was accepted into the Royal Ballet’s Upper School at Barons Court. Success Her fantastic technique was spotted quickly and, in 1988, while she was a member of Sadler’s Wells Royal Ballet company, a lead role was created for her in the new ballet ‘The Prince of the Pagados’. This led to led to her move to the Royal Ballet. In December 1989, when Darcey was just 20 years old, she was promoted to principal dancer, becoming the youngest ballerina to achieve this at the time. Throughout her career, she played many iconic roles, including Princess Aurora in ‘The Sleeping Beauty’, Odette/Odile in ‘Swan Lake’, the Sugar Plum Fairy in ‘The Nutcracker’, and Giselle in ‘Giselle’. In total, she performed more than 80 different roles and 17 roles were created for her. She was a guest performer with many of the most popular ballet companies around the world, including the New York City Ballet, Paris Opera Ballet, Hamburg Ballet and the Australian Ballet. Photo courtesy of scillystuff (@flickr.com) - granted under creative commons licence Page 1 of 2 Darcey Bussell Accomplishments Over the years, she has won many honours and awards for her contribution to dance, not to mention an OBE and a CBE. She has performed for the Queen of England and several American presidents, and had the lead role in the closing ceremony of the 2012 Olympics. -
British Ballet Charity Gala
BRITISH BALLET CHARITY GALA HELD AT ROYAL ALBERT HALL on Thursday Evening, June 3rd, 2021 with the ROYAL BALLET SINFONIA The Orchestra of Birmingham Royal Ballet Principal Conductor: Mr. Paul Murphy, Leader: Mr. Robert Gibbs hosted by DAME DARCEY BUSSELL and MR. ORE ODUBA SCOTTISH BALLET NEW ADVENTURES DEXTERA SPITFIRE Choreography: Sophie Laplane Choreography: Matthew Bourne Music: Wolfgang Amadeus Mozart – Gran Partita and Eine kleine Nachtmusik Music: Excerpts from Don Quixote and La Bayadère by Léon Minkus; Dancers: Javier Andreu, Thomas Edwards, Grace Horler, Evan Loudon, Sophie and The Seasons, Op. 67 by Alexander Glazunov Martin, Rimbaud Patron, Claire Souet, Kayla-Maree Tarantolo, Aarón Venegas, Dancers: Harrison Dowzell, Paris Fitzpatrick, Glenn Graham, Andrew Anna Williams Monaghan, Dominic North, Danny Reubens Community Dance Company (CDC): Scottish Ballet Youth Exchange – CDC: Dance United Yorkshire – Artistic Director: Helen Linsell Director of Engagement: Catherine Cassidy ENGLISH NATIONAL BALLET BALLET BLACK SENSELESS KINDNESS Choreography: Yuri Possokhov THEN OR NOW Music: Piano Trio No. 1, Op. 8 by Dmitri Shostakovich, by kind permission Choreography: Will Tuckett of Boosey and Hawkes. Recorded by musicians from English National Music: Daniel Pioro and Heinrich Ignaz Franz von Biber – Passacaglia for solo Ballet Philharmonic, conducted by Gavin Sutherland. violin, featuring the voices of Natasha Gordon, Hafsah Bashir and Michael Dancers: Emma Hawes, Francesco Gabriele Frola, Alison McWhinney, Schae!er, and the poetry of -
Dancing My Way Through Life; Embodying Cultural Diversity Across Time and Space: an Autoethnography
The Qualitative Report Volume 25 Number 1 Article 7 1-13-2020 Dancing My Way Through Life; Embodying Cultural Diversity Across Time and Space: An Autoethnography Nan Zhang Monash University, Australia, [email protected] Maria Gindidis Monash University, Australia Jane Southcott Monash University, Australia Follow this and additional works at: https://nsuworks.nova.edu/tqr Part of the Art Education Commons, and the Bilingual, Multilingual, and Multicultural Education Commons Recommended APA Citation Zhang, N., Gindidis, M., & Southcott, J. (2020). Dancing My Way Through Life; Embodying Cultural Diversity Across Time and Space: An Autoethnography. The Qualitative Report, 25(1), 88-104. https://doi.org/10.46743/2160-3715/2020.4022 This Article is brought to you for free and open access by the The Qualitative Report at NSUWorks. It has been accepted for inclusion in The Qualitative Report by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Dancing My Way Through Life; Embodying Cultural Diversity Across Time and Space: An Autoethnography Abstract In this paper, I research how my background, in different times and within diverse spaces, has led me to exploring and working with specific Content and Language Integrated Learning (CLIL) programs. I am forever motivated to engage students learning second languages by providing them with possibilities to find out who they are, to know other ways of being and meet diverse peoples, to maintain languages more effectively and maintain culture(s) more authentically. I employ autoethnography as a method to discover and uncover my personal and interpersonal experiences through the lens of my dance related journeys. -
Carl Alan Awards 2010 the Oscars of the World of Dance
Carl Alan Awards 2010 The Oscars of the World of Dance The Carl-Alan Awards were first introduced in 1953 by Eric Morley and were named after the joint Chairmen of Mecca Carl Heimann and Alan Fairley. The International Dance Teachers' Association was proud to present the 2010 Carl Alan Awards on Sunday 7th February, in conjunction with the IDTA President’s Dinner and Dance. The IDTA were pleased that all three sections of the awards were presented: Freestyle Theatre Ballroom, Latin & Sequence There are five categories of awards in each section. Performer's Award Teacher's Award Competitive Coach/Choreography Award Outstanding Services to Dance Award Lifetime Achievement Award All recognised dance associations or societies were invited to make nominations in all categories and each member body of the British Dance Council or Theatre Dance Council International was invited to send a delegate to represent them on each of the selection committees. The IDTA remained independent in the selection process. From the many nominations received, the selection committees were asked to short-list up to three nominees in each category. To be nominated for a Carl Alan Award by your peers reflects the nominee's considerable contribution to the world of dance. IDTA would like to congratulate all the nominees; unfortunately there can only be one winner in each category. The IDTA would like to thank Mr Sam Kane and Miss Linda Lusardi for hosting the evening and presenting the Carl Alan Awards. ~~~o0o~~~ Performer's Award From the many nominations received, the selection committee short-listed the following nominees: Freestyle Performer's Award Arron Fowler Eilidh McCall Joanne McPhee Winner: Joanne McPhee Joanne has been involved in competitive dancing since the age of 10. -
Fit to Dance Survey: Elements of Lifestyle and Injury Incidence in Chinese Dancers
Fit to Dance Survey: elements of lifestyle and injury incidence in Chinese dancers Yanan Dang, MSc1,2; Yiannis Koutedakis, PhD1,3; Matthew Wyon, PhD1,4 1 Institute of Human Sciences, University of Wolverhampton, UK 2 Beijing Dance Academy, Beijing, China 3 Department of Sport Science, University of Thessaly, Greece 4 National Institute of Dance Medicine and Science, Walsall, UK Corresponding author Prof Matthew Wyon Institute of Human Sciences, University of Wolverhampton, Gorway Rd, Walsall, WS1 3BD, UK email: [email protected] Abstract The Fit to Dance survey has been conducted a number of times using primarily Western participants and has provided foundation data for other studies. The purpose of the current study was to replicate the Fit to Dance 2 survey focusing on features of health and injuries in pre-professional and professional Chinese dancers of different genres. Results revealed that respondents (n=1040) were from Chinese Folk dance (44.4%), Chinese Classical Dance (25.6%), ballet (10.2%) and contemporary dance (9.8%). Compared to the Fit to Dance 2 survey, alcohol consumption (29% vs 82%; p<0.01) and smoking (13% vs 21%; p<0.05) were significantly less in Chinese dancers, but a higher percentage reported using weight reducing eating plans (57% vs 23%; p<0.01) or having psychological issues with food (27% vs 24%; p<0.05). Reported injuries in a 12-month period prior to data collection were significantly lower in the current survey (49% vs 80%; p<0.01). The type of injury (muscle and joint/ligament) and perceived cause of injury (fatigue, overwork and reoccurrence of an old injury) were the same in both the current and previous survey. -
Royal Academy of Dance Graded Ballet Examination Information Pack
Royal Academy of Dance Graded Ballet Examination Information Pack Shore Dance ballet students have the opportunity to enter in a Royal Academy of Dance Graded Ballet exam. This is where the students perform their exercises from class in front of an examiner and receive a certificate and an assessment report. The ballet exams are a great experience for students and it also gives them something to work towards during the year. Please note that students must be aged 7 years and over to sit RAD graded ballet exams. What happens during an examination? Students who participate in an examination will enter the exam room with up to 3 fellow students. The examiner will then ask them to perform each of their exercises as they have learnt during their classes. The examiner will assess their performance and they will receive marks for each section, with an overall mark out of 100. When and where will they be held? They will be held at our Shore Dance studios, 17 Enterprise Street, Birkenhead. They could be any date between the 29th of July and the 2nd of September (scheduled by Royal Academy of Dance). Please note that exams are often scheduled on week days, and may require students to be taken out of school for a few hours on the day of their exam. What will students receive after they have passed their exam? Each student will receive an assessment report, with a mark out of 100 (must receive 40 out of 100 to pass). If the student passes the exam, they will receive a certificate with their grade (pass, merit, or distinction), and a medal (as shown below – bronze for pass, silver for merit, and gold for distinction). -
Cypress Mill
CYPRESS MILL April 2015 Volume 15, Issue 4 Houston Repertoire Ballet's The Nutcracker will feature Cypress Mill resident Journey Rasmussen! TICKETS ON SALE NOW FOR THE APRIL 25 & 26 PERFORMANCES WHO: Houston Repertoire Ballet (HRB), Northwest Houston’s and danced with the Houston Repertoire Ballet. At age 15, Ms. Keller premiere pre-professional ballet company, featuring guest artists from was invited to train at Rock School of The Pennsylvania Ballet on Ballet Idaho: HRB Alumna Elizabeth Keller and Andrew Taft. full merit scholarship. There she was coached extensively by “Prima WHAT: Houston Repertoire Ballet proudly Ballerina Assoluta,” Ms. Violette Verdy, and danced presents the 2015 Celebration of Dance, a with the Pennsylvania Ballet for two seasons. In celebration of life, of beauty, of childhood 2002, she attended the Miami City Ballet School simplicity – a true celebration of the art of dance summer intensive and trained with the Miami City and its unique ability to express and walk us Ballet School for the year before joining as a fulltime through all of what life can lay before us! Included company member in 2003 under the direction of in the show are: Storybook Fantasy by Victoria the founder and Artistic Director Edward Villella. Vittum, a favorite among children and a special Ms. Keller danced with the Miami City Ballet for trip down memory lane for the adults; Paquita, an ten seasons. Her fondest memories of dancing with energetic classic with Spanish flair; Shostakovich MCB include Symphony in Three Movements, Suite by Steve Brule, celebrating the famous Symphony in C, Lilac Garden, Serenade, Who ballerinas of painter Edgar Degas; and two new Cares?, Donizetti Variations, Four Temperaments, works by emerging choreographers Leah Smith Balanchine’s full length Jewels, Giselle, Mercuric and Rebecca Webb, commissioned specifically for Tidings, Tarantella and Paquita. -
Defining Self: Performing Chinese Identity Through Dance in Belfast
eSharp Issue 24: Belonging and Inclusion Defining Self: Performing Chinese Identity through Dance in Belfast Wanting Wu (Queen's University Belfast) Abstract This paper takes an auto-ethnographic approach to questions of belonging and inclusion through anthropological analysis of my own experience as a Chinese dancer in Belfast, Northern Ireland. The Chinese community in Belfast has been well established since the 1970s, retaining a distinctive identity within a city dominated by ‘British’ and ‘Irish’ ethnici- ties. Dance plays a significant role in communal ceremonies and festivals as a symbol and enactment of Chinese identity. As a Beijing trained Chinese dancer who came to Belfast as a postgraduate student, I found myself playing a significant role in the expression of Chinese identity within the city, and having emotional experiences when dancing which were differ- ent to those I had experienced in China. These experiences led me to reflect upon the sources of my own identity as a Chinese person. Through a detailed auto-ethnographic account of my dance experience as a Beijing trained dancer performing in the context of a multi-cultural city far removed from China, I explore the ways that dance may form and transform embodied identities and redefine prac- tices and selves in interaction with different environments and audiences. The article will uti- lise theorisations of “flow,” “authenticity” and “habitus” to understand the emergence of identity in embodied action. The article concludes that the perceived ‘Chineseness’ of my dance performance, and my own experience of myself as a ‘Chinese’ dancer, are rooted in ways of being that have been embodied through extensive socialisation and training from an early age.