Maria Mclintock Soft Landing
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Abbotsford Centre 2017 Annual Report
COUNCIL REPORT Regular Council Report No. PRC 010-2018 Date: May 24, 2018 File No: 7900-20 To: Mayor and Council From: Kurt Houlden, Interim GM, Parks, Recreation & Culture Subject: Abbotsford Centre Annual Report for 2017, presented by Andrew Nash, General Manager, Abbotsford Centre RECOMMENDATION THAT Council receive for information the 2017 Annual Report of the Abbotsford Centre. REPORT CONCURRENCE General Manager City Manager The Interim General Manager concurs with The City Manager concurs with the the recommendation of this report. recommendation of this report. SUMMARY OF THE ISSUE The Abbotsford Centre 2017 Annual Report provides Council with an overview of the success of the operation including a highlight of the activities, trends and financial performance of the facility. BACKGROUND Spectra Venue Management (Spectra) has operated the Abbotsford Centre - a multi-use community, entertainment, cultural and sports facility on behalf of the City of Abbotsford since 2008. In 2014, the City of Abbotsford and Spectra Venue Management agreed to a new five year management and operating agreement, which included the “New Game Vision” (New Game), with enhanced community access; streamlined operating agreements; and revenue positive special events and anchor tenants. DISCUSSION In the past four years since the New Game was launched, the venue has increased community access, and generated a significant economic vibrancy for the businesses and residents of Abbotsford and surrounding area through successful event and community bookings. Report No. PRC 010-2018 Page 2 of 2 The “Abbotsford Centre 2017 Annual Report” (Attachment A) provides substantial detail. It was clearly another good year for the venue with 52 concerts and special events and hosting over 175,000 guests last year. -
Blas International Summer School of Irish Traditional Music and Dance Irish World Academy of Music and Dance University of Limerick
Blas International Summer School of Irish Traditional Music and Dance Irish World Academy of Music and Dance University of Limerick DANCE TUTORS COLIN DUNNE Colin Dunne is a leading figure in the world of traditional Irish dance, who has made the cross over into contemporary dance and theatre. Best known internationally for his performances and choreography in Riverdance and Dancing on Dangerous Ground, he has been forging a new creative path since his time as artist in residence at University of Limerick where he completed an MA in contemporary dance in 2002. In 2007 he was nominated for a UK Critics Circle National Dance Award (best male: modern dance) for performances at The Barbican in Fabulous Beast’s production of The Bull. His first solo show Out of Time premiered in January 2008. Colin Dunne was born in 1968 in Birmingham, England to Irish parents. He took his first lesson in Irish step dance at the age of three with the locally based Comerford School. At the age of 9, he won his first World Championship title and was the first dancer to win the World, All England and All Ireland titles in the same year. From the age of 12 he was taught by Marion Turley in Coventry and when he retired from competition at the age of 22, he had won a total of nine World, eleven Great Britain, nine All Ireland and eight All England titles. He was influenced from an early age by tap dance – Gregory Hynes in particular – which contributed to his often complex approach to rhythm within the structures of traditional Irish music. -
TS.09 Issue 14 Megan
Tuesday ISSUE 14: 07.04.20 With Megan ! Dance & Theatre Background Michael Flatley is an Irish-American former dancer, choreographer and musician. He became internationally known for Irish dance shows Riverdance, Lord of the Dance, Feet of Flames, and Celtic Tiger Live. He started dancing when he was 11 and at the age of 17 was the first American to win a World Irish Dance title at Oireachtas Rince na Cruinne, the Irish dancing championships. Flatley's shows have played to more than 60 million people in 60 countries. He is credited with reinventing traditional Irish dance by incorporating new rhythms, syncopation, and upper body movements, which were previously absent from the dance. He is in the Guinness World Records for tap dancing 35 times per second and his feet were at one time insured for $57.6 million. Unfortunately Flatley retired in 2016 due to injury but before he retired Emma and I had the pleasure to go see one of his shows. This was defiantly the best show I had ever seen! Channel STUDIO today studio.youtube.com “Alexa, PARTY DANCE! “The Macarena “ play: “Pumped Up Kicks by Eyeliner Tutorial Flying Sammy! Great for balance, strength and fun! Foster The People please” Healthy Thinking A very important thing to do after exercise is stretch, and especially important for dance to help gain flexibility. Stretching is the process of placing particular parts of the body into a Sauté: position that will lengthen, or elongate, the muscles and associated soft tissues. Upon To Jump undertaking a regular stretching program a number of changes begin to occur within the body and specifically within the muscles themselves. -
On the Heels of Riverdance: Choreographic Process
ON THE HEELS OF RIVERDANCE: CHOREOGRAPHIC PROCESS IN CONTEMPORARY IRISH STEP DANCE 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 DARRAH EILEEN CARR, B.A., M.F.A. DENTON, TEXAS AUGUST 2017 Copyright © Darrah Carr, 2017 all rights reserved. iii DEDICATION For my giving mother, Eileen, who taught me how to teach my children and my students. For my devoted father, James, who brought me to Ireland to dance. For my loving husband, David, and our precious children— Cavan, Eamonn, Ettamoya, Manus Owen, and B. Byrne. iv ACKNOWLEDGMENTS This dissertation is an outgrowth of my love for Irish step dance and my passion for choreography—dual tracks that originated in the earliest days of my training and upon which I have built my career. Along the way, I have received immeasurable support from numerous colleagues, to whom I am deeply indebted. First, I extend my heartfelt thanks to my advisor, Dr. Rosemary Candelario, for her insight, guidance, and encouragement throughout the lengthy research and writing process. I am very grateful to my committee members, Dr. Linda Caldwell and Department Chair, Professor Mary Williford-Shade, for their time and attention to my work as well as for their expert instruction as faculty members during my coursework. I also thank Cornaro Professor of Dance Emerita, Dr. Penelope Hanstein, who sparked my desire to pursue practice-led research and provided invaluable feedback throughout my coursework and during the early stages of my study. -
Making Space for Irish Traditional Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by STÓR In: Spacing Ireland: Place Society and Culture in a Post-Boom Era ed. C. Crowley and D. Linehan Manchester University Press 2013 pp. 171-182 ‘Traditional Irish music here tonight’: Exploring the session space Daithí Kearney, Dundalk Institute of Technology It is a Tuesday night in November 2010, approaching half past nine in a bar in east Cork. The two television screens are showing European Champions League games featuring teams from the English Premier League. A scattering of people are gathered round watching with varied levels of interest; many of them are regulars in that they come here on occasion when the team they support is playing, or simply for a quiet pint. Séamus, the manager, is behind the bar, greeting many by name and knowing their order before they ask. There are fewer faces here now than there would have been five years ago. The pub trade has been significantly hit by the economic downturn. It has also been felt by musicians and music lovers as pubs cut back on entertainment or close up altogether. In spite of the changes, at this pub tonight, a sign outside still advertises an Irish music session. The setting provides a multi-sensory engagement with life in Ireland at the end of the first decade of the twenty-first century, informed in particular by the soundscape. I am one of the performers for tonight’s Irish traditional music session. A session is often an informal gathering of musicians that usually takes place in a public house. -
Ron Wood © Felix Aeppli 08-2018 / 06-2020
Gimme Some Neck Ron Wood © Felix Aeppli 08-2018 / 06-2020 7001 June 1, 1947 Born in Hillingdon, Middlesex: Ronald David Wood. 7001A Late 1963 and early 1964 Yiewsley, Middlesex: RHYTHM AND BLUES BOHEMIANS (not recorded) RW, Tony Munroe: guitar; Robin Scrimshaw: vocals; Kim Gardner: bass; Bob Langham: drums; - When Ali McKenzie replaced singer Robin Scrimshaw in early 1964, the band changed their name to THE THUNDERBIRDS, soon to be shortened to THE BIRDS in order to avoid confusion with Chris Farlowe’s backing band. 7001B Early March, 1964 Live at the Crawdaddy Club, Station Hotel, Richmond, Surrey: THE YARDBIRDS (not recorded) RW (replacing Keith Relf for one gig): harmonica; Eric Clapton: guitar, vocals; Chris Dreja: guitar; Paul Samwell-Smith: bass, vocals; Jim McCarty: drums, back-up vocals. 7001C June, 1964 Demo recordings, Tony Pike Sound Studio, Putney, London: THE BIRDS, SAY THOSE MAGIC WORDS (Beat Rec. BLP-3 [UK], late Summer, 1997); THE COLLECTORS’ GUIDE TO RARE BRITISH BIRDS (Deram 564139-2, CD [UK], Aug. 1, 1999): 1. You Don’t Love Me [Demo] (McDaniel), 2. You’re On My Mind [Demo] (Wood) Line-up: same as next. Summer, 1964, onwards THE BIRDS, BRITISH BALLROOM & CLUB DATES 7002 Early November, 1964 Decca Studios, London: THE BIRDS, Single (Decca F 12031 [UK], Nov. 20, 1964); THESE BIRDS ARE DANGEROUS (Edsel Rec. NEST901;12" EP [UK], 1985); SAY THOSE MAGIC WORDS (Beat Rec. BLP-3 [UK], late Summer, 1997); THE COLLECTORS’ GUIDE TO RARE BRITISH BIRDS (Deram 564139-2, CD [UK], July, 1999); RONNIE WOOD, ANTHOLOGY: THE ESSENTIAL CROSSEXION (EMI 3 11735 2, CD [UK], June 26, 2006): 1. -
Michael Flatley Az Évből 197 Nap Telt El, Hátravan Név, Elemeinek Jelentése: Uralkodó Még 168
2019. július 16. 10 kedd Szolgáltatás KI KICSODA? KALENDÁRIUM HOROSZKÓP Július 16., kedd A Valter germán származású férfi - %&'(. Michael Flatley Az évből 197 nap telt el, hátravan név, elemeinek jelentése: uralkodó még 168. sereg. Walter Benjamin (1892–1940) , A világhírű ír származású ameri- német fi lozófus, irodalomkritikus, kai táncművész Chicagóban Névnapok: Valter, Kármen szociológus, illetve esszéista volt, a Kos márc. 21. – ápr. 20. született 1958. július 16-án. Egyéb névnapok: Aténé, Barót, 20. század egyik legnagyobb hatá- Édesapja kívánságára gye- Karméla, Karmelina, Kármin, Les- sú művészetteoretikusa. Nem sokkal Rendszerezze a felhalmozódott feladata- rekkorában fuvolázni tár, Mária, Marléne, Ria a halála előtt megírta önéletrajzát it, és mindaddig ne fogjon bele új tervek- tanult, majd ezzel a Berlini gyermekévek címmel. be, amíg a folyamatban lévő ügyeit nem hangszerrel több ki- Katolikus naptár: Kármelhegyi A Kármen spanyol eredetű női név, zárta le maradéktalanul! tüntetést is nyert. Boldogasszony, Irma amely a szentföldi Carmel-hegy Bol- Később bokszolni Református naptár: Valter dogasszonyára, a Szűz Máriára ve- % Bika ápr. 21. – máj. 20. kezdett, és tizenhét Unitárius naptár: Enikő, Ruth zethető vissza. A nevet többek között évesen megnyerte a Evangélikus naptár: Valter Georges Bizet 1845-ben komponált Úgy érzi, kissé túlvállalta magát. Most Golden Glove Cham- Zsidó naptár: Tammúz hónap Carmen című operájának főszerep- komoly ütemtervre, illetve szervezésre pionship versenyt. Ez- 13. napja lője viselte. lesz szüksége, ha a végére akar járni va- zel párhuzamosan (már lamennyi megbízásának. négyéves korától) táncol- ni tanult, aztán 11 évesen & Ikrek máj. 21. – jún. 21. bevették a Dennehy School of KISLEXIKON Irish Dance csapatába. Az intenzív Szinte mindenkivel képes megtalálni a edzések eredményeként számos amerikai közös hangot, ezáltal gyorsan halad az táncvetélkedőt nyert. -
Showbericht Von CELTIC TIGER 9Th Juli Budapest - NEP Stadion (Hungary) Von Ines
Showbericht von CELTIC TIGER 9th Juli Budapest - NEP Stadion (Hungary) Von Ines Hallo an alle! Bernd und ich sind gerade aus Budapest zurückgekommen und ich möchte Euch nicht vorenthalten, was wir alles erlebt haben. Zuallererst muss ich anmerken, dass Budapest eine wunderschöne Stadt ist, die man nicht in drei Tagen besichtigen kann. Meine Füße sind jetzt noch rund vom vielen Sightseeing *grins*. Fangen wir einmal mit dem Veranstaltungsort an. Gleich nach unserer Ankunft im Stadion Hotel, das direkt neben dem Népstadion liegt, haben wir uns auf den Weg gemacht, um die nähere Umgebung des Stadions zu erkunden. Zu dieser Zeit war es noch überhaupt kein Problem sich im Stadiongelände aufzuhalten; nur in den inneren Teil konnte man nicht gelangen, denn dort wurde von örtlichen Securities alles hermetisch abgeriegelt, jedoch fanden wir eine kleine versteckte Stelle, von der aus wir einen einzigartigen Blick in das Innere des Stadions hatten und unbemerkt den Aufbau der unteren Tribünen, der Bühne und der Technik beobachten konnten. Es war grandios – Hyde-Park-Atmosphäre pur! Mehrmals täglich machten wir dort unseren Spaziergang, um die Fortschritte so gut wie möglich verfolgen zu können. Nur am Tag X gab es überhaupt keine Möglichkeit mehr das Gelände zu betreten. Unsere Aufregung stieg und vor allem ich lief fünf Spuren neben mir. Armer Bernd!! Er musste ganz schön was mitmachen mit mir! Bereits am ersten Abend stellten wir fest, dass alle Tänzer, Musiker, die Techniker-Crew und Mary Duffy-Messenger (habe gerade gesehen, dass im Programmheft Mary Duffy Pask steht- ja was nun?!) mit Ehemann in dem gleichen Hotel untergebracht waren wie wir. -
Media's Construction of Irish Musical Identity
The Search for Authenticity: Media’s Construction of Irish Musical Identity Author: Logan W. Macomber Persistent link: http://hdl.handle.net/2345/2610 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2012 Copyright is held by the author, with all rights reserved, unless otherwise noted. The Search for Authenticity: Media’s Construction of Irish Musical Identity by Logan W. Macomber A Senior Honors Thesis submitted to the Department of Communication, Boston College Thesis Advisor: Dr. Michael C. Keith May 2012 Copyright, LOGAN W. MACOMBER 2012 All Rights Reserved i Acknowledgements To my family and friends, for their support and encouragement. To Dr. Michael Keith, for his guidance and leadership. To all those who have fueled my passions for writing, music, and Irish studies, Thank you. ii TABLE OF CONTENTS PAGE ABSTRACT . 1 I. INTRODUCTION . 2 Chapter One includes an explanation of the thesis topic, an overview of the media to be examined, and a statement of the relevance of this research. II. IRISH RADIO AND TRADITIONAL MUSIC . 5 Chapter Two discusses the role that Irish radio has played in the transformation of Irish traditional music since the opening of 2RN in 1926. III. A BACKGROUND TO COMHALTAS . 13 Chapter Three traces the revival of Irish traditional music from the founding of Comhaltas Ceoltóirí Éireann in 1951 and provides a historical background to the leading organization in the preservation of Irish traditional music. IV. ANALYSIS OF COMHALTAS MEDIA . 24 Chapter Three examines Comhaltas media productions, including magazines, films, and album covers. It identifies and analyzes occurrences of stereotypical imagery and commercialization aimed at cultural tourism.