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Dream'd in a Dream
#BAMNextWave #DMUSA Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Dream’d in Executive Producer a Dream BAM Harvey Theater Oct 7—10 at 7:30pm Running time: 70 minutes, no intermission Seán Curran Company and Ustatshakirt Plus Choreographed and directed by Seán Curran Lighting design by Robert Wierzel Costume design by Amanda Shafran Visual design by Mark Randall Season Sponsor: Support for Muslim Stories: Global to Local provided by the Building Bridges Program of the Doris Duke Foundation for Islamic Art. Leadership support for dance at BAM provided by Doris Duke Charitable Foundation and The Harkness Foundation for Dance. Major support for dance at BAM provided by The SHS Foundation. Dream’d in a Dream PERFORMED BY SEÁN CURRAN COMPANY Rebecca Arends, Dwayne Brown, Elizabeth Coker, Benjamin Freedman, David Gonsier, Michael Richman, Christina Robson, Shane Dennis Rutkowski, Jin Ju Song-Begin, Aaron R. White MUSIC PERFORMED BY USTATSHAKIRT PLUS ENSEMBLE Nurlanbek Nyshanov, Bek Alagushov, Aizada Kasabolotova, Makhabat Kobogonova, Adinai Kudabaeva and Tolgonai Osmonova ADDITIONAL PRODUCTION CREDITS Creative associate Richard Gammon Production manager/Lighting supervisor Joe Doran Producer Julia Glawe SEÁN CURRAN COMPANY Seán Curran Rebecca Arends Dwayne Brown Elizabeth Coker Benjamin Freedman David Gonsier Michael Richman Christina Robson Shane Dennis Jin Ju Aaron R. White Rutkowski Song-Begin Dream’d in a Dream I Dream’d in a Dream I dream’d in a dream I saw a city invincible to the attacks of the whole of the rest of the earth, I dream’d that was the new city of Friends, Nothing was greater there than the quality of robust love, it led the rest, It was seen every hour in the actions of the men of that city, And in all their looks and words. -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
Dance Alloy’S Artistic Director, Shares Her Vision of Building a Modern Repertory Touring Company That Showcases Great Choreographers
Beth Corning, Dance Alloy’s Artistic Director, shares her vision of building a modern repertory touring company that showcases great choreographers. hunk of cheese that is her makeshift lunch. “With BY GINA MAZZA HILLIER live performances, nothing can be done the same “This job is huge for me, didn’t come to hear the Dance Alloy’s new artistic way twice. TV, on the other hand, is redone until it’s perfect. There’s no humanity at that sub-level. and I still can’t believe director wax rhapsodic about the ethereal nature I of dance. (I’ll leave that to the dance critics.) My Our job as dancers is to give the audience a visceral sometimes that quest was for a vividly sketched reality check about experience rather than a spoon-fed experience.” the rigors of working as a professional dancer, espe- I wake up every day cially in a pop culture prone to TV, videogames and Getting The Company Back On Its Feet and get paid to do computer screens. As an internationally acclaimed choreographer and Beth Corning didn’t disappoint. On this teacher, Corning has what it takes to be the alche- what I absolutely brisk winter day, the refreshingly irrever- mist in charge of transforming Dance Alloy’s ele- love to do.” ent red-head is fighting the flu, but you’d mental mix of talent into a stronger, more lustrous never guess by the exuberance pouring amalgam of well-rounded performers. Upon arriving - Stephanie Thiel, from her as she wittingly philosophizes in Pittsburgh from Minnesota in 2003 to steer “a Alloy Dancer about contemporary dance and ship that was rudderless,” she lunged into tightening conveys her vision for rejuvenating the organization financially and artistically. -
Jerry Pearson CV.Pdf
Curriculum Vitae Jerry Pearson Professor, University of California, Santa Barbara Department of Theater and Dance Education Murray High School, Saint Paul, MN University of Minnesota, Bachelor of Science, Dance and Religious Studies, 1971 Professional Training and Teachers Guild of the Performing Arts, Minneapolis, MN 1966-1973 Nancy Hauser, Margaret Dietz, Molly Lynn Colorado College Summer Sessions, Colorado Springs, CO 1967, 1971 Hanya Holm California State University at Long Beach Summer Session, 1972 Gladys Bailin, Beverly Blossom Nikolais/Louis Dance Theatre Lab, New York, NY 1973-1978 Alwin Nikolais, Murray Louis, Hanya Holm Alexander Technique and Somatic Bodywork 1973-1988 Andre Bernard, Regina Wray, Ann Rodiger Ballet Technique, New York, NY 1980-1987 Cynthia Babet Ashtanga Yoga, Santa Barbara, CA and Mysore, India 2002-2010 Steve Dwelley, Pattabhi Jois, Sharath Jois Anusara Yoga Intensives and Teacher Trainings, Santa Monica, CA and Utah, 2002-2011 John Friend, Noah Maze, Christina Sell Tai Chi for Health Instructor Certification, Terre Haute, IN 2012 Dr. Paul Lam Professional Experience 1967-1973 Nancy Hauser Dance Company, Minneapolis, MN Dancer, Choreographer 1973-1986 Sara and Jerry Pearson Dance Company, New York, NY Co-Artistic Director, Dancer, Choreographer 1974-1981 Murray Louis Dance Company, New York, NY Dancer 1975-1979 Nikolais Dance Theatre, New York, NY Dancer 1979-1981 Rudolf Nureyev and Friends, NYC, London, Paris Dancer 1986-1991 Pearson Dance Company, New York, NY Artistic Director, Dancer, Choreographer -
Symposium on South Asian Dance
SYMPOSIUM ON SOUTH ASIAN DANCE one-day international Fifteen papers were pre She outlined the programme's words:"I discovered a whole A symposium titled 'Dance sented at the symposium. commitment to the integrated world of movement from in South Asia: New App These papers and the array approach to the discipline of within, as well as in the space roaches, Politics, and Aesthe of dance activities that dance that includes history, outside." She set the tone tics', was held at Swarthmore complimented them reflected theory, and practice. In this for the rest of the day by College, near Philadelphia, the proliferation and range context she pointed out encouraging participants in in Pennsylvania, U.S.A., on of scholarship, choreography, Kumudini Lakhia's appro each field to push the boundary 2 March. The symposium- and performance in the field priateness to be the keynote and strive for originality of was followed hy a dance of South Asian dance. Needless speaker for the occasion. thought and movement. presentation titled Dust, an to say, although titled Dance international collaboration in South Asia, the dance-forms Kumudini Lakhia, coming Throughout the day, which between Dance Alloy of discussed were predominantly from a practice-based orien was packed with papers, dance Pittsburgh and Arangham Indian in origin. tation, spoke about her own videos, and a documentary Dance Theatre of Chennai, personal journey as a Kathak film, the presenters spoke India. The event was an unprece dancer and choreographer. about their own exploration -
Transmissions and Traces: Rendering Dance
INAUGURAL CONFERENCE Transmissions and Traces: Rendering Dance Oct. 19-22, 2017 HOSTED BY THE DEPARTMENT OF DANCE Sel Fou! (2016) by Bebe Miller i MAKE YOUR MOVE GET YOUR MFA IN DANCE AT THE UNIVERSITY OF MICHIGAN We encourage deep engagement through the transformative experiences of dancing and dance making. Hone your creative voice and benefit from an extraordinary breadth of resources at a leading research university. Two-year MFA includes full tuition coverage, health insurance, and stipend. smtd.umich.edu/dance CORD program 2017.indd 1 ii 7/27/17 1:33 PM DEPARTMENT OF DANCE dance.osu.edu | (614) 292-7977 | NASD Accredited Congratulations CORD+SDHS on the merger into DSA PhD in Dance Studies MFA in Dance Emerging scholars motivated to Dance artists eager to commit to a study critical theory, history, and rigorous three-year program literature in dance THINKING BODIES / AGILE MINDS PhD, MFA, BFA, Minor Faculty Movement Practice, Performance, Improvisation Susan Hadley, Chair • Harmony Bench • Ann Sofie Choreography, Dance Film, Creative Technologies Clemmensen • Dave Covey • Melanye White Dixon Pedagogy, Movement Analysis Karen Eliot • Hannah Kosstrin • Crystal Michelle History, Theory, Literature Perkins • Susan Van Pelt Petry • Daniel Roberts Music, Production, Lighting Mitchell Rose • Eddie Taketa • Valarie Williams Norah Zuniga Shaw Application Deadline: November 15, 2017 iii DANCE STUDIES ASSOCIATION Thank You Dance Studies Association (DSA) We thank Hughes, Hubbard & Reed LLP would like to thank Volunteer for the professional and generous legal Lawyers for the Arts (NY) for the support they contributed to the merger of important services they provide to the Congress on Research in Dance and the artists and arts organizations. -
Digital Program
DIRECTOR | CHOREOGRAPHER JANESSA CLARK EXECUTIVE PRODUCER ATTACK THEATRE DIRECTOR OF PHOTOGRAPHY JOSHUA SWEENY ASSISTANT DIRECTOR | EDITOR DANE TONEY PRODUCTION DESIGNER | COLLABORATOR PETER KOPE COMPOSER DAVID SHANE SMITH PERFORMERS | COLLABORATORS MICHELE DE LA REZA SIMON PHILLIPS DANE TONEY SARAH ZIELINSKI COPYRIGHT © 2021 WANDERING CAMILLE FILMS A note from Attack Theatre’s Artistic Directors Wow! Here we are. We are thrilled to welcome you into this new home, our creative process, and into this new year of hope and possibility. It has been a long journey, and we are so grateful for the artists, staff, board, supporters, interns, and all of you. Tonight you’ll experience a virtual performance in two parts. First, it is an Attack Theatre open house – in your house. While we look forward to the time when we can all gather together, we’ve crafted this adventure to share our new space and the creativity that enlivens it. If you’ve ever been to an Attack Theatre performance, you know that we design interactive curtain speeches that center the humanity of each performer and offer the audience a lens to view the work. Why should this be any different? We invite you to participate to your interest and desire. The second part of the performance is the world premiere of the new dance film, | : |. When we began this project with Janessa Clark months ago, we approached the collaboration as a process of reflection, a creative lab for new ways of working during a time of isolation, and as an intentional space for new voices. With Janessa we found a collaborator, an imaginator, and a friend. -
Community Arts
between theater, puppetry, dance puppetry, between theater, Pittsburgh, PA 15222 Pittsburgh, PA Academy Way 130 CLO and music with nationally known Featured Guest Artists Day Community artists and performers! Cheryl Capezzuti is a visual artist and puppetmaker Explore the collaboration Community Arts Day best known for her giant puppets seen at events all over Pittsburgh. She is the creative force behind a number of Arts Explore the connection between theater, community-interactive, public art projects including The puppetry, dance and music with nationally National Lint Project, Everyday Art Assignments and known artists and performers! Puppets for Pittsburgh. Her puppets have been spotted at the Carnegie Museum of Art, the Detroit Festival of the Arts, the Philadelphia Fringe Festival, the Pittsburgh International Children’s Festival and First Night Pittsburgh. Her work has been featured on the “Ellen Degeneres Show”. Gwyneth Welling has been teaching acting and Join us for a day of workshops designed exclusively musical theater classes in the Pittsburgh area for the for our younger students ages 5 - 11! last 20 years. Having graduated from Point Park with Ages 5 -7 Where The Wild Things Are a BFA and a Secondary Education degree, she was able to combine her passions of teaching and theater. During this very special day, younger students willl go on She performed in local productions while teaching at an imaginary adventure to the Island of the Wild Things her alma mater, The Center for Theater Arts, Montes- with actress Gwyneth Welling and musician Charles sori School, The JCC and CLO Academy. Currently she Hall. Using improvisation, children will discover their own is right at home in the Theater Department at Lincoln “creature” to bring to life with movement and music. -
Easier Said Than Done: Talking Identity in Late Twentieth-Century American Concert Dance
Easier Said Than Done: Talking Identity in Late Twentieth-Century American Concert Dance By Sima Vera Belmar A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Shannon Jackson, Chair Professor Judith Butler Professor SanSan Kwan Spring 2015 Copyright © Sima Vera Belmar All Rights Reserved Abstract Easier Said Than Done: Talking Identity in Late Twentieth-Century American Concert Dance By Sima Vera Belmar Doctor of Philosophy in Performance Studies University of California, Berkeley Professor Shannon Jackson, Chair This dissertation examines how choreographers Bill T. Jones, Joe Goode, and Wallflower Order Dance Collective mobilize auditory, visual, and kinesthetic modes of communication to underscore the unstable relationship between talk, dance, and gesture. I argue that this very instability affords dance theater its power to perform alternative racialized and gendered subjectivities. The project departs from dance studies’ long- standing investment in the notion of choreography as bodily writing to examine theories and ideologies of dance’s status as a form of speech. This dissertation is about how a generation of dance artists dealt with their anxiety around (modern, contemporary, postmodern, American, concert, art, stage) dance’s status as a language that could speak for them so that they could be heard—not only as individuals (hear my story) but as representatives, public figures of underrepresented groups, experiences, lifestyles. The works I have chosen best exemplify or perform a productive tension between talking, dancing, and gesturing that illuminates the historical terms and contexts, the very history itself, of western concert dance practice and its autonomizing discourses. -
Through the Distance and Birds of a Feather
CLARICE SMITH PERFORMING ARTS CENTER & UNIVERSITY OF MARYLAND DEPARTMENT OF DANCE PRESENT Through the Distance and Birds of a Feather A SHARED EVENING BY MFA CANDIDATES VANNIA IBARGUEN AND APRIL GRUBER THURSDAY, OCTOBER 22, 2009 • 8PM FRIDAY, OCTOBER 23, 2009 • 8PM DANCE THEATRE PROGRAM PROGRAM THROUGH THE DISTANCE Choreography: Vannia Ibarguen Costume Design: Stephanie Shaw Video by: Vannia Ibarguen and Betty Skeen THROUGH THE DISTANCE AND BIRDS OF A FEATHER Through the Distance was born as an idea based on the last seven years of my life after living in four different cities and visiting more than 12 different countries. Through this A SHARED EVENING BY MFA CANDIDATES VANNIA IBARGUEN journey, I have made amazing friends and seen extraordinary places but the hardest part was always to leave them behind. I would love being able to bring them with me, to have AND APRIL GRUBER close to me all the people who I care about the most. Pack them and check them at the airport? Probably not This evening’s shared concert is supported by an option. Directors: April Gruber and Vannia Ibarguen Technology offered me a way to stay in touch with those people and those places, Lighting Designer: Paul D. Jackson but it has been always limited. When will technology allow me to bring them with Stage Manager: Erin Glasspatrick me? When will I be able to go to them whenever I want disregarding where I am? Assistant Stage Manager: Baakari Wilder SECTION ONE “Doubt” PROGRAM ORDER Why separate miles from your friends and family? Why migrate? Why change? It is challenging to leave your place and go to another. -
Bios. 2017-18.Cdr
Meet OUR AMAZING TEAM onique Bowman is the owner of Art in Motion Reno LLC since 2003, her education includes, a Bachelors of Fine Arts in Dance Mfrom George Mason University, Masters of Fine Arts in Dance Monique Performance from George Washington University. She has studied Laban/Bartenieff Movement Institute of Movement in New York and she has a Dance Educators of America degree from studies in Las Vegas, as well as, receiving her American College Dance Festival certificates for two years of training at Duke University. She has taught dance and choreographed Jazz, Tap, Hip Hop, Ballet, Modern and Creative Ballet for over thirty years. She was a teacher and the Artistic Director for Mountain Jazz at West Virginia University; She was also an Assistant Professor and choreographer for George Mason University, George Washington University, Montgomery College and Northern Virginia Community College. She has choreographed for various high schools in Alaska, East Anchorage High School and West High School. Monique’s dance passion started with choreography, with 540 dances preformed on stage in her repertory (and counting). Monique was inspired to be a choreographer and teacher in the metropolitan area of the District of Columbia. at GWU on a dance scholarship, she auditioned a duet and received her first prestigious National American College Dance Award and has continued to showcase her choreography across the nation, in Maryland, Virginia, West Virginia, DC, Kentucky, Alaska, Las Vegas and Reno, Nevada. Monique performed professionally with ballet company Alaska Dance Theatre for three years and Virginia company the Claudia Murphey Dance Company for four years.