Recital, Shoe, Tight and Mask Color 2021

Total Page：16

File Type：pdf, Size：1020Kb

Recital, Shoe, Tight and Mask Color 2021

Recital Tight & Shoe Color (required) and Mask Color All Tights should be Capezio Ultra Soft Note: All shoes can be sprayed to the appropriate color, Tan Spray- Chamois CLASS TIGHTS (Capezio)* SHOES Mask Color Monday 3:30 Acro Caramel Footless Tights Bare feet Nude Monday 3:40 Ballet Ballet Pink Footed Tights Pink Ballet Shoes Nude Monday 3:40 Tap Caramel Footed Tights Tan Tap Shoes Nude Monday 4:45 Ballet Caramel Footed Tights Tan (chamois) Ballet Shoes Nude Monday 6:00 Hip Hop No Tights White Sneakers Black Monday 6:50 Hip Hop No Tights Nike - Woman’s Black Revolution5 Running Black Sneaker from Finish Line Monday 7:35 Tap No Tights Bloch Jason Samual Smith Tap Shoes (black Black patent leather) Tuesday 3:30 Jazz No Tights Bare feet or Foot Undies Nude Tuesday 4:30 Tap Caramel Footed Tights Tan Tap Shoes Black Tuesday 4:45 Jazz No Tights No Shoes Nude Wednesday 4:45 Ballet Ballet Pink Footed Tights Pink Ballet Shoes Nude Wednesday 6:00 Modern Caramel Stirrup Tights Dance Paws or Bare Feet Nude Wednesday Pointe Ballet Pink Footed Tights Pointe Shoes Nude Thursday 3:30 Irish Step Caramel Tights w/ Ghillies or Hard Shoes Nude Poodle Socks (no sparkles) Thursday 5:00 Modern No Tights No Shoes Black Friday 1:00 CM Ballet Pink Footed Tights Pink Ballet Shoes Nude Boy Black Dress Socks Black Ballet Shoes Black Friday 3:45 Ballet Caramel Footed Tights Tan (chamois) Ballet Shoes Nude Friday 3:45 Jazz Caramel Footed Tights with Black Fishnets (no seam) Black Jazz Shoes Nude Friday 3:45 Tap Caramel Footed Tights Tan Tap Shoes Nude Friday 4:00 Comp Ballet No Tights Capezio Pirouette Nude Leather Half Sole Nude Friday 4:00 Comp Tap Caramel Footed Tights Tan Tap Shoes Black Saturday 9:00 Creative Caramel Footed Tights Chamois (tan) Ballet Shoes Nude Movement Boy Black Ballet Shoes Nude Saturday 10:00 Ballet Caramel Footed Tights Chamois (tan) Ballet Shoes Nude Boy Black Dress Socks Black Ballet Shoes Nude Saturday 10:00 Tap Caramel Footed Tights Tan Tap Shoes Nude Boy Black Dress Socks Black Tap Shoes Nude Saturday 11:15 Jazz Caramel Footed Tights Tan Bloch Neo Flex Slip-On Jazz Shoes Black Saturday 12:15 Hip Hop Black & White Vans SK8-HI Black Saturday 1:10 Hip Hop Black & White Vans SK8-HI Black.

Copy Link

Recommended publications

Trinity Irish Dance Study Guide.Indd
● ● ● ● ● Photo by Lois Greenfield. About the Performance The Performance at a Glance Each of these different elements can be the basis for introducing students to the upcoming performance. Who are the Trinity Irish Dance Company? Trinity Irish Dance Company were formed in 1990 by Mark Howard in an effort to showcase Irish music and dance as an art form. The company is made up of 18- 25 year olds, and has received great critical and popular acclaim from audiences throughout the world. They have performed all over the world, and have collaborated with many notable contemporary choreographers and musicians. Trinity holds a unique place in the dance world, offering a highly skilled presenation of progressive Irish step dance. Who is Mark Howard? Mark Howard is the founder and artistic director of the Trinity Irish Dance Company, and choreographs much of the company’s work. Born in Yorkshire, England, and raised in Chicago, Mark Howard began dancing at the age of nine, and later went on to become a North American champion Irish dancer. He started the Trinity Academy of Irish Dance at the age of 17, and dancers from this school have won 18 world titles for the United States at the World Irish Dance Championships in Ireland. Howard wanted to find a way for his dancers to do more than just compete for tropies and prizes, so in 1990 he founded the Trinity Irish Dance Company as a way to showcase Irish music and dances as an art form. Mark Howard continues to choregraph new works for the company, and he has expanded his independent career to work in theater, television, concert and film.
[Show full text]
Spelling Bingoes
SPELLING B-I-N-G-O-E-S Bingo-length ALTERNATE SPELLING are often foreign transliteration & challenge-safe. “~” separate spellings / [forms] compiled by Jacob Cohen, Asheville Scrabble Club F FACETED ~ FACETTED FACET, to cut small plane surfaces on [v] FAERIES ~ FAIRIES imaginary supernatural being [n] FAKEERS ~ FAQUIRS Hindu ascetic [n] FALAFEL ~ FELAFEL ground spiced vegetables formed into patties [n -S] FALCATE ~ FALCATED curved and tapering to point [adj] FALDERAL ~ FALDEROL ~ FOLDEROL nonsense [n -S] FANTASM ~ PHANTASM creation of imagination [n -S] FANTOMS ~ PHANTOMS FANTOM, phantom (something existing in appearance only) [n] FARADISE ~ FARADIZE to treat for faradism (use of faradic current for therapeutic purposes) [v -D, -SING, -S ~ -S, -ZING, -S] FARCERS ~ FARCEURS joker [n -S] FARFALS ~ FARFELS noodles in form of small pellets or granules [n] FAVELAS ~ FAVELLAS slum area [n -S] FELDSPAR ~ FELSPAR mineral [n -S] FELSITE ~ FELSTONE igneous rock [n -S] FEMINISE ~ FEMINIZE to make womanly [v -D, -SING, -S ~ -D, -ZING, -S] FENAGLE ~ FINAGLE to obtain by trickery [v -D, -LING, -S] FEOFFER ~ FEOFFOR one that grants fief (feudal state) to another [n -S] FERRELS ~ FERRULES ~ FERULES to furnish with metal ring or cap to prevent splitting [v] FETIALS ~ FETIALES priest of ancient Rome [n] FETICHES ~ FETISHES object believed to have magical power [n] FILAGREE ~ FILIGREE to adorn with intricate ornamental work [v -D, -ING, -S] FILETED ~ FILLETED to cut boneless slices from [v] FILIBEG ~ PHILABEG ~ PHILIBEG pleated skirt worn by Scottish Highlanders
[Show full text]
Wellesley News
ouLLtGE LIBRARY : : WELLESLEY COLLEGE WELLESLEY, MASS. tOellede Vol. XLIV WELLESLEY, MASS., OCTOBER 24, 1935 No. 5 1938 CHOOSES MR. MUSSEY DISCUSSES LEADERS SURVEY OF ITALO-ETHIOPIAN TRUSTEES NAME ETHIOPIAN SITUATION The sophomore class held a class QUESTION meeting on Thursday, October 17, for SCIENCE BUILDING is due to her need of Professor Suggests Neutrality the final election of class officers. Italy's interest in Ethiopia, evident for 50 years, The new officers are as follows: raw materials, an outlet for her population, and her desire to connect her While Following General through president Mary Bruce Taylor African possessions, Eritrea and Italian Somaliland, by a railroad Board Christens New Building Policies Of League vice-president Katherine H. Forsyth Ethiopia. Great Britain's resistance to Italian designs on Ethiopia arises from two Pendleton Hall Acting On treasurer . Marie L. Hinrichs parts recording secretary causes: self-interest in keeping open the communications with outlying "The United States is bound to be Edar Fleming Petition Of Students of her empire upon which 90 per cent of her population is dependent for concerned if the present Italian- corresponding secretary maintenance, and support of the League of Nations due to the overwhelming Ethiopian war develops into a gen- Frances S. Skinner conviction that it is necessary as a collective security of peace in Europe. eral European conflict," said Pro- song leader Virginia T. Spangler COLLEGE ENTHUSIASTIC fessor Henry R. Mussey in an in- executive Background of the Dispute terview last Monday. "Our immediate committee 1870-1887—Italy acquired Eritrea. Acting on a petition circulated by interest therefore is in keeping the Ethiopia.
[Show full text]
President Orders V Iet T Roop Buildup
■■■ •■ ' . .............. Avaragu DsJ^ Net Pn sb Roi Viw She Week Ended The Weather MIy 2S, 1001 Cloudy and humid tonlgM and tomorrow with periods of show- ers; low tonight 65-70, high to- 14,729 morrow In 80s. ‘ ) Manehetter— A CUy o f Vittage Ch arm VOL. LXXXVI, NO. 258 (TWENTY PAGES—TWO SECTIOifS) MANCHESTER, CONN., THURSDAY, AUGUST 3, 1987 (Classified AdvertisiBf on Pago 11) PRICE SEVEN CENTS U«S. Planes Used Congolese Move President Orders Against Rebels KINSHASA Congo anything the OongoIeM (AP) — U.S. Air Force deploy in the remote V iet T roop Buildup planes flew Congdese InacceadWe forert area anny reinforcements to ^ ^ “0®^ the CS«£lese*^roop^' tw e p t a powerful force of the reinforceniOTta flown to Bu- GM Seeking Wnite mercenaries and Kar kavu seemed unlikely to stop tangu mutineers moving the rebel*, eastward toward the bor- Military obMrvera in Klmha- Asks 10%. Cooperation der of the Rwanda repub- was rtui imcertain iiC. whetherAm the rebel force, was Surcharge TheCUO planes took‘*160 Con- heading for Bukavu or Ooma, From Union gMlese soldiers to Bukavu to bol- Congolese cities almost astride ■ter Ihe strei^Ui and morale of the Rwanda border some 75 DE’TROIT (AP) — In the first Congolese forces routed by the mUes away. proposal It has laid on the b u - On Taxes gainlng table. General Motors rebels 80 mUes northwest of the The force was last reported WASHINGTON (AP)— dty Tuesday. some 110 mUes east of Punia, at Corp. today called upon the United Auto Workers Union for President Johnson ordered The Congolese lost at least 50 a road Junction from which they could turn either toward Bidca- cooperation in bringing to a halt today an accelerated build- dead in the Tuesday engage- ment and three of their small 'vu or Goma.
[Show full text]
The Flying Ghillies Collection
The Flying Ghillies Collection Volume 1 The Flying Ghillies Scottish Country Dancers Dayton, OH, USA June 2003 INTRODUCTION June 2003 In the spring of 2003, it became apparent that The Flying Ghillies Scottish Country Dancers, the Dayton, Ohio, USA class of the Cincinnati Branch of the Royal Scottish Country Dance Society, had accumulated enough dances devised by our members to warrant publication. This booklet, ambitiously titled “Volume 1” of The Flying Ghillies Collection, is the result. We hope that over time additional volumes will appear and enhance the enjoyment of our fellow Scottish Country Dancers. To obtain additional copies of this booklet, or to contact The Flying Ghillies, please address correspondence to: The Flying Ghillies Scottish Country Dancers c/o Lee Fuell and Patty Lindsay 1127 Meadow Drive Beavercreek, OH, USA 45434-7033 e-mail: [email protected] [email protected] Special thanks to Waverley Station (Liz Donaldson, David Knight, and Ralph Gordon) for their album of SCD music, “First Stop!”, which provides the music for many of the dances in this booklet. Copies of the CD can be obtained from Liz Donaldson at: http://lizdonaldson.com …or by calling 301 986-1291 HAPPY DANCING! 1 TABLE OF CONTENTS Introduction……………………………………………………………….1 Table of Contents…………………………………………………………2 The Flying Ghillies (32J 3C)…………………………………………….. 3 Bon Voyage, Bennett (16S/16R 4C)…………………………………….. 4 Crazy Eights (32R 3C)……………………………………………………5 Joyce’s Birthday Surprise (40S 4C)………………………………………6 Kilmartin Glen (32J 3C)…………………………………………………..7 Leigh House Strathspey (32S 3C)…………………………………………8 MacLellan’s Brook (16S/16R 3C)…………………………………………9 Patty Lindsay’s Rant (32R 3C)…………………………………………...10 Pinwheels (32R 3C)………………………………………………………11 Poor Molly (32S 2C)……………………………………………………...12 Reel of the Scotia Country Dancers (32R 2C)……………………………13 The Road to Montgomery (32J 3C)………………………………………14 Slip the Surly Bonds (32S 2C)……………………………………………15 2 THE FLYING GHILLIES A 32-bar jig for three couples in a four-couple longways set.
[Show full text]
Footwear Q1 2013
FOOTWEAR Q1 2013 PUMA AG Rudolf Dassler Sport_PUMA-WAY 1_D-91074 Herzogenaurach. © by PUMA AG 2012 SS13_Covers-Generic_A4vert.indd 3 11.05.12 17:11 СОДЕРЖАНИЕ MOTORSPORT MINI Male.............................................................................................................................................................. 7 Female.......................................................................................................................................................... 9 DUCATI Male............................................................................................................................................................ 10 BMW Male............................................................................................................................................................ 13 MERCEDES Male............................................................................................................................................................ 17 FERRARI Male+Unisex............................................................................................................................................... 18 Female........................................................................................................................................................ 22 Infant+Youth............................................................................................................................................... 23 MOTORSPORT LIFESTYLE Male+Unisex..............................................................................................................................................
[Show full text]
Historical Customs and Dress of Scotland
Historical Customs and Dress of Scotland Christy Morgan February 2014 Traditional Highland Dress - Male Includes: Kilts (“skirts”) or Trews (trousers) Sporran – pouches worn around the waist to function as pockets Sgian Dubh – short-bladed knife tucked into the kilt hose Ghillies Brogues – tongueless shoes Dress Act of 1746 The Dress Act of 1746 was part of the Act of Proscription which made wearing “the Highland Dress” illegal in Scotland. The intended purpose was to weaken Scottish support for the restoration of the Stuart King James II of England to the thrones of England, Scotland, and Ireland… known as the Jacobite Risings, which occurred between 1689 and 1746. Punishment for Noncompliance – “For the first offence, shall be liable to be imprisoned for 6 months, and on the second offence, to be transported to any of His Majesty's plantations beyond the seas, there to remain for the space of seven years.” (Wikipedia – Dress Act) The law was repealed 36 years later in 1782. By that time, kilts and tartans were no longer ordinary Highland wear. Clan Tartans Evidence in the literature suggests that the concept of a tartan being associated with an particular clan may be a relatively modern invention (after 1745). Some writings suggest that clan identification was achieved solely through decoration of the bonnet with the clan crest, colored ribbons, or other items such as sprigs of heather or feathers. At a meeting of the Celtic Union in Edinburgh in 1948, it was stated by Lord Lyon King of Arms, Sir Francis J. Grant that : “Records establish that tartans had been worn in Scotland as far back as 1440.
[Show full text]
CDTA Ballet Class Attire
C.D.T.A. Ballet Class Attire - Girls & Boys Class Shoes Attire Tights/Socks Hair Pink Mondor Hair pulled up {Girls} Pink Bloch #314 Ballerina RAD tank style in a bun with Preliminary Leather Full-Sole Pink Mondor bodysuit (pinch bangs gelled Ballet; Primary Ballet Slipper tights Ballet front) back. {Boys} White Bloch Black shorts & Preliminary Leather Full-Sole White socks n/a White t-shirt Ballet; Primary Ballet Slipper Ballet Navy Blue Hair pulled up Pink Bloch Mondor RAD #314 Ballerina {Girls} in a bun with Leather Full-Sole tank style Pink Mondor Grade 1 Ballet; bangs gelled Ballet Slipper bodysuit (pinch tights Grade 2 Ballet back. front) White Bloch {Boys} Black shorts & Leather Full-Sole White socks n/a Grade 1 Ballet; White t-shirt Grade 2 Ballet Ballet Slipper Pink Bloch Hair pulled up Leather Full-Sole Dark Purple {Girls} #314 Salmon in a bun with Ballet Slipper; Mondor RAD Grade 3 Ballet; Mondor tights bangs gelled Black Character bodysuit Grade 4 Ballet back. Shoes (Grade 4) White Bloch {Boys} Black shorts & Leather Full-Sole White socks n/a Grade 3 Ballet; White Leotard Grade 4 Ballet Ballet Slipper Pink Bloch Hair pulled up {Girls} Leather Split -Sole Black Mondor #314 Salmon in a bun with Grade 5- Ballet Slipper; RAD bodysuit Mondor tights bangs gelled Advanced Gaynor Minden back. Ballet Pointe Shoes {Boys} White Bloch White Leotard White socks worn Grade 5- Leather Split-Sole (tucked into over black tights n/a Advanced Ballet Slipper tights) (with dance belt) Ballet Acro, Lyrical & Musical Theatre Class Attire - Girls &
[Show full text]
Current Ppedoedothe Officialrr Publicationtt Ofhihi the Pedorthic Footcarecc Associationss
current PPedoedoThe Officialrr Publicationtt ofhihi the Pedorthic Footcarecc Associationss AthletesAthletes oror Artists?Artists? WhereWhere BiomechanicsBiomechanics meetsmeets PathomechanicsPathomechanics Vol. 51, Issue 1 | January/February 2019 | www.pedorthics.org current Pedorthics Editorial Staff COVER STORY EXECUTIVE EDITOR(S) Cover Story Christopher Costantini ART DIRECTOR Kristopher P. Gramza DESIGN/PRODUCTION KPG DESIGN Advertising & Sales Staff CURRENT PEDORTHICS [email protected] MEETINGS AND CONVENTIONS MANAGER Kathie Niesen EXHIBIT AND SPONSORSHIP SALES MANAGER Contact our Integrated Media and Events Manager at: [email protected] Headquarters Staff MARKETING AND COMMUNICATIONS MANAGER Christopher Costantini MEMBERSHIP AND CONTINUING EDUCATION Tanya Rivers & Jay Zaffater GOVERNMENT RELATIONS DIRECTOR Randy Stevens 42 | Athletes or Artists? Where Current Pedorthics (ISSN 1552-8111) is published bimonthly by the Biomechanics Meets Pedorthic Footcare Association (PFA), PO Box 72184, Albany, GA Pathomechanics 31708-2184. Telephone: (229)389-3440 Fax: (888)563-0945 Website: www.pedorthics.org By Melvyn P. Cheskin, MBS., Email: [email protected] C.Ped, L.Ped Copyright© 2018, PFA. All rights reserved. No part of this publica- tion may be reproduced in any manner without written permission. There are few sports more demanding on Letters to the Editor and other unsolicited material are assumed the body, especially the foot, than dance. intended for publication and are subject to editing. Both amateur and professional dancers Articles in Current Pedorthics do not necessarily reflect the opinion of subject their feet to extremes of pressure, PFA, its board of directors or its employees. Authors are responsible for impact and position. Mel discusses the validity of their content and credentials. Current Pedorthics’ use of footwear types common to various forms trademarked names is done in an editorial fashion intended to benefit of dance.
[Show full text]
An Historical Tracing of American Women"S Shoes
AN HISTORICAL TRACING OF AMERICAN WOMEN"S SHOES FROM COLONIAL DAYS WITH IDENTIFICATION CRITERIA FOR THE YEARS 1890 TO 1930 By JO ANN TAMMEN /I Bachelor of Science Oklahoma State University Stillwater, Oklahoma 1969 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE July, 1973 OKLAHOMA STATE UNIVEISl'IY UIIAlt'r NOV 16 1973 AN HISTORICAL TRACING OF Af1ERICAN WOMEN'S SHOES FROM COLONIAL DAYS WITH IDENTIFICATION CRITERIA FOR THE YEARS 1890 TO 1930 Thesis Approved: Dean of the Graduate College ii PREFACE This study was concerned with the identification of changes in style and construction methods of American women's shoes. The primary objective was to develop an instrument for the classification of American women's shoes from 1890 to 1930. This instrument was used to classify the shoes in.the Clothing, Textiles and Merchandising Depart ment Costume Collection at Oklahoma State University, The researcher wishes to express her appreciation to her major adviser, Dr. Donice H. Kelly, for her guidance and assistance throughout this study. Appreciation is also expressed to the other committee mem bers, Dr. Grovalynn Sisler, and Miss Leevera Pepin, for their invaluable assistance in the preparation of the final manuscript, A note of thanks is given to Mrs, Dorothy C. Colpitts, Oklahoma State University Interlibrary Loan librarian, for her assistance in obtaining numerous books used in the study. Thanks are also extended to the Tulsa City-County Central Library reference personnel for their aid in mal<:ing available rare copies of the earlier edit'ions of the Sears, Roebuck and Company mail order catalog.
[Show full text]
University of Dhaka Bangladesh Course
UNIVERSITY OF DHAKA BANGLADESH COURSE CURRICULUM FOR B. Sc. IN FOOTWEAR ENGINEERING (FOUR YEAR COURSE) Institute of Leather Engineering and Technology University of Dhaka, Hazaribagh, Dhaka-1209. ACADEMIC RULES AND REGULATIONS APPLICABLE FOR THE FOOTWEAR ENGINEERING DEPARTMENT OF THE INSTITUTE OF LEATHER ENGINEERING AND TECHNOLOGY: 1. The Institute of Leather Engineering and Technology (ILET), Hazaribagh, Dhaka shall be deemed to be an institute of the University of Dhaka. 2. The degree to be awarded by the University of Dhaka shall be designated as B. Sc. in Footwear Engineering. 3. The Courses for the B. Sc. in Footwear Engineering shall extend over four academic years. 4. The medium of instruction and examination shall be in English. 5. Every year there will be an admission test for new intakes. The rules and regulations and other necessary works for the admission purpose will be performed by the central admission committee of the University. 6. Candidates for admission to the first year B. Sc. in Footwear Engineering shall be required to have passed the Higher Secondary Certificate in Science with Physics, Chemistry and Mathematics or its equivalent from a recognized Board or Institution. Foreign students with requisite qualification may be admitted with the approval of the University of Dhaka. 7. Admission to the first year B. Sc. in Footwear Engineering programme shall be based on the results of S.S.C. and H.S.C. or its equivalent examinations and the admission test to be conducted based on current rules by the Central Admission Committee. 8. The detail syllabus for degree of Footwear Engineering shall be approved by Academic Council of the University of Dhaka.
[Show full text]
Class Descriptions 2020-2021
Class Descriptions Mommy and Me! (18 months - 3 years) This class requires the participation of a parent, nanny, or or guardian during class. In this class we will explore movement forms, use balance, exploration, rhythm, partner dance, and creative dance. Using props and musical instruments, we will engage budding dancers in movement and music activities. This class will not perform in the June recital. Dress Code: Comfortable clothes that you can move in during class. Many young dancers choose to wear a leotard with a dance tutu, tights and leather Ballet shoes. We recommend purchasing dance attire from our studio dance store. Twinkle Toes (2.5 - 3 years) and Pre-Ballet/Tap (3 - 4 years) This class introduces children to the preparatory movements for classical ballet (and tap in pre-ballet). Children will learn beginning ballet technique, spatial awareness, motor skills, dance vocabulary, and creative movement. Ballet/Tap (5 - 6 years) This class introduces children to basic classical ballet, tap movement, and vocabulary. Ballet/Tap/Jazz/Acro (6 - 9 years) This class introduces children to basic classical ballet, tap, jazz, stretch, creative movement, motor skills, tumbling, and vocabulary. Ballet/Jazz (7-10 years) and Jazz/Tap Beg (6-10 years) These classes expand on basic ballet, jazz, and tap skills introduced in earlier ballet, tap and jazz introductory classes. Classical Ballet (Beg Ballet I, Ballet Int I) 60 to 75 minute classical ballet class with an emphasis on beginning ballet terminology, alignment, stretch, proper technique, and development of core muscles. Classical Ballet (Ballet Int II, Ballet Int III) 75 minute classical ballet class with an emphasis on intermediate ballet terminology, alignment, stretch, ankle/foot strengthening exercises and a development of core muscles.
[Show full text]