DOCSLIB.ORG

Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009 http://oac.cdlib.org/findaid/ark:/13030/c8c24wzf No online items Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009 Preliminary processing by Andrea Wang; fully processed by Mike D'Errico in 2012 in the Center for Primary Research and Training (CFPRT), with assistance from Jillian Cuellar; machine-readable finding aid created by Caroline Cubé. The processing of this collection was generously supported by Arcadia funds. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2012 The Regents of the University of California. All rights reserved. Lewis Segal Collection of Dance 1890 1 and Theater Materials, 1902-2011; Bulk, 1970-2009 Descriptive Summary Title: Lewis Segal Collection of Dance and Theater Materials Date (inclusive): 1902-2011; Bulk, 1970-2009 Collection number: 1890 Collector: Segal, Lewis Extent: 24 record cartons (24 linear ft.) Abstract: Lewis Segal is a performing arts critic who has written on various topics related to the performing arts, from ballet to contemporary dance and musicals. He began working as a freelance writer in the 1960s for a number of publications, including the Los Angeles Times, Performing Arts magazine, the Los Angeles Free Press, Ballet News, and High Performance magazine. He joined the staff of the Los Angeles Times in 1976. From 1996 to 2008 he held the full-time position of chief dance critic, writing full features and reviews on dance companies and performing arts organizations from around the world. Included in the collection are programs Segal collected from the various dance shows, movies, and musicals he has attended, as well as a set of 8mm early film reels, and VHS/DVD recordings of concerts and television features on dance-related topics. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Provenance/Source of Acquisition The collection was donated in 2011 by Lewis Segal. Processing Note Preliminary processing by Andrea Wang; fully processed by Mike D'Errico in 2012 in the Center for Primary Research and Training (CFPRT), with assistance from Jillian Cuellar. The processing of this collection was generously supported by Arcadia funds. Preferred Citation [Identification of item], Lewis Segal Collection of Dance and Theater Materials (Collection 1890). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. UCLA Catalog Record ID UCLA Catalog Record ID: 6946138 Biography/History Lewis Segal was born in Los Angeles in 1941. He attended UCLA and graduated with a BA in Language/Arts, an MA in Theatre History and Criticism, and an MFA in Theatre Directing. After graduating, he began working as a freelance writer for a number of publications, including the Los Angeles Times, Performing Arts magazine, the Los Angeles Free Press, Ballet News, and High Performance magazine. During the first half of the 1970s, he worked as a music publicist, first at Mercury Records, and later at ABC and Capitol Records. In 1976, he joined the staff of the Los Angeles Times as an assistant editor in the Book Review section, while continuing his freelance work for Calendar, the arts and entertainment section. In 1984, he was promoted to the position of Dance Writer, eventually becoming the chief dance critic for the newspaper in 1996. Regarding his professional accolades as a writer, he was one of two American critics participating in the 1990 India International Dance Festival, one of five American critics dubbed “Lord of the Dance” in Brills Content magazine in 2001, and the only American critic invited to submit a critical essay to Nina Alovert’s exhaustive study of Bolshoi Ballet star Nikolai Tsiskaridze, published in Moscow in 2010. Lewis Segal Collection of Dance 1890 2 and Theater Materials, 1902-2011; Bulk, 1970-2009 Although the Los Angeles Times downsized its arts section in 2008, Segal has continued to publish performing arts features and reviews as a freelancer. Aside from his work as a writer, he taught as an adjunct professor in the Department of Theater at the University of Southern California (USC) from 1999-2008. Scope and Content Collection primarily consists of programs and promotional materials from dance companies and performing arts venues from around the world, spanning the years 1922 to 2011. In addition to the vast collection of materials from ballet companies, international folk ensembles, and contemporary dance groups, there are souvenir programs from both movies and musicals, often containing detailed cast lists, production credits, and synopses. The video recordings include 8mm films from as far back as 1902, as well as VHS and DVD recordings of dance concerts and television features on performing arts groups and individual artists. Organization and Arrangement Arranged in two series: 1. Programs, 1922-2011 2. Video Recordings, 1902-2011. All series are arranged alphabetically. Physical Characteristics and Technical Requirements COLLECTION CONTAINS DIGITAL MATERIALS: Special equipment or further processing may be required for viewing. To access digital materials you must notify the reference desk in advance of your visit. Indexing Terms The following terms have been used to index the description of this collection in the library's online public access catalog. Subjects Dance --California --Archival resources. Theater --California --Archival resources. Other Index Terms Related to this Collection Segal, Lewis, collector. Related Material The following sources provide additional information on dance and the performing arts in the twentieth century: Collection of Dance Programs, 1890-1990 (866) at UCLA Library Special Collections Dance Program and Ephemera Collection, 1909-1987 (MS-P026) at UC Irvine Library Special Collections Don Bondi Collection of Dance Programs and Publications, 1938-2004 (6010) at USC Library Special Collections Institute for Dance and Experimental Art Records, 1956-1994 (1753) at UCLA Library Special Collections Isadora Duncan Dance Programs and Ephemera, 1900-1957 (MS-P033) at UC Irvine Library Special Collections Lewitzky Dance Company Records, 1966-1997 (0203) at USC Library Special Collections Mildred Davenport Dance Programs and Dance School Materials, 1914-1942 (MS-P029) at UC Irvine Library Special Collections Separated Material Two record cartons of dance books and seven oversized dance books have been removed from the collection to be cataloged. Lewis Segal Collection of Dance 1890 3 and Theater Materials, 1902-2011; Bulk, 1970-2009 Series 1: Programs. 1922-2011 Series 1: Programs. 1922-2011 Scope and Content Series comprises paper programs and promotional materials from dance companies, performing arts organizations, and performance venues from the years 1922 to 2011. While a large part of the programs in this series come from Los Angeles-based shows and performance groups, Asian, African, Latin American, and European companies take up a decent portion of the series. A great diversity of styles and genres are also represented, from classical ballet to contemporary jazz, folk, and urban dance, as well as aerial dance forms. Of particular historical interest are the back issues of the British magazine, The Dancing Times (1922-1924). Furthermore, souvenir programs from movie screenings and musicals are included within the series, containing detailed cast lists, production credits, and synopses of shows. Organization and Arrangement Arranged alphabetically by dance company and performance venue. Box 1, Folder 1 Aboriginal Artists of Australia. 1981 Box 1, Folder 2 Alia Royal Jordanian Folklore Troupe. 1983-1984 Box 1, Folder 3 Alvin Ailey American Dance Theater. 1973-1979 Box 1, Folder 4 Alvin Ailey American Dance Theater. 1980-1984 Box 1, Folder 5 Alvin Ailey American Dance Theater. 1985-1990 Box 1, Folder 6 Alvin Ailey American Dance Theater. 1993-1997 Box 1, Folder 7 Alvin Ailey American Dance Theater. 1998 Box 1, Folder 8 Alvin Ailey American Dance Theater. 2000-2002 Box 1, Folder 9 Alvin Ailey American Dance Theater. 2002-2003 Box 1, Folder 10 Alvin Ailey American Dance Theater. 2004-2008 Box 1, Folder 11 Aman Folk Ensemble. 1974-1996 Box 1, Folder 12 American Ballet Theatre. 1966-1971 Box 1, Folder 13 American Ballet Theatre. 1972-1975 Box 1, Folder 14 American Ballet Theatre. 1975-1976 Box 1, Folder 15 American Ballet Theatre. 1977-1978 Box 1, Folder 16 American Ballet Theatre. 1979 Box 1, Folder 17 American Ballet Theatre. 1980 Box 1, Folder 18 American Ballet Theatre. 1981 Box 1, Folder 19 American Ballet Theatre. 1982-1983 Box 1, Folder 20 American Ballet Theatre. 1984 Box 1, Folder 21 American Ballet Theatre. 1985 Box 1, Folder 22 American Ballet Theatre. 1986-1987 Box 1, Folder 23 American Ballet Theatre. 1987 Box 1, Folder 24 American Ballet Theatre. 1988 Box 1, Folder 25 American Ballet Theatre. 1989 Box 1, Folder 26 American Ballet Theatre. 1990-1991 Box 2, Folder 1 American Ballet Theatre. 1992-1993 Box 2, Folder 2 American Ballet Theatre. 1995 Box 2, Folder 3 American Ballet Theatre. 1996-1997 Box 2, Folder 4 American Ballet Theatre. 1999-2001 Box 2, Folder 5 American Ballet Theatre. 2002-2003 Box 2, Folder 6 American Ballet Theatre.
Load more

Recommended publications
  • Study Guide for Teachers and Students
    Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
    [Show full text]
  • 2019-2020 Season Overview JULY 2020
    ® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report.
    [Show full text]
  • FEBRUARY 1998-$1.50 Official Publication of the Folk Dance
    FEBRUARY 1998-$1.50 THE MAGAZINE OF INTERNATIONAL FOLK DANCING Official Publication of the Folk Dance Federation of California, Inc. Volume 55, No 2 February 1998 EDITOR & TABLE OF CONTENTS BUSINESS MGR, , Genevieve Pereira President's Message 3 FEBRUARY CONTRIBUTORS Festival of the Oaks 4 Barbara Bruxvoort EdKremers Sweetheart Festival 7 Max Horn Nadine Mitchell Statewide '98 8 Elsa Bacher Ruth Ruling Joyce Lissant Uggla George D. Marks International Cuisine 9 Larry Getchell Dancing on the Internet 10 FEDERATION OFFICERS - NORTH Council Clips . 11 Dance Descriptions: PRESIDENT Barbara Bruxvoort VICE PRESIDENT Mel vin Mann La Danse des Mouchoirs (Canada)... 13 TREASURER Page Masson Calendar of Events 15 REC. SECRETARY Laila Messer Events South 16 MEMBERSHIP Greg Mitchell PUBLIC RELATIONS Michael Norris Over 50 Years of Dancing 17 HISTORIAN , Craig Blackstone Dancers to Remember 18 PUBLICATIONS Nadine Mitchell Dance List by Council (Cont) 20 FEDERATION OFFICERS -SOUTH Classified Ads .........................23 PRESIDENT Marilyn Pixler VICEPRESIDENT Beverly Weiss On Our Cover TREASURER Forrest Gilmore REC. SECRETARY Carl Pilsecker Welcome to the Festival of the Oaks MEMBERSHIP CarolWall PUBLICITY Lois Rabb HISTORIAN Gerri Alexander NEWINFORMATTON: SUBSCRIPTIONRATE: $15 per year SUBMISSIONDEADLINE: $20 foreign & Canada Submission deadline for each issue BUSINESS OFFICE is the 25th of 2 months previous P.O.Box 1282 (i.e., March deadline would be Alameda, CA 94501 the 25th of January). Phone&FAX510-814-9282 Let's Dance (ISSN #0024-1253) is published monthly by the Folk Dance Federation of California, Inc., with the exception of the May/June and July/August issues, which are released each two-month period. Second class postage paid at Alameda and additional mailing offices.
    [Show full text]
  • View Campaign Brochure
    CAROLINA BALLET’S Carolina Ballet would like to thank the following supporters for their early Pleaseinvestment visit Carolina in Choreographing Ballet’s website for aCarolina list of all Campaign Ballet’s Gifts Future. through October 31, 2018. $1,000,000+ Mr. and Mrs. Andrew Steidinger Ronald and Maryllen Blum Enviromental Control Judy and Steve Zelnak Synergy Face & Body Hal Bowman and Mercedes Auger Liz and Britt Ferrill Ms. Vera Tayeh Richard Catlin and Associates, Inc. Mrs. Mary A. Fisher $250,000+ Beverly Taylor Dr. Margaret K. Champion Ms. Christina Floyd Anonymous NC Family Mr. and Mrs. Richard A. Thomas Matt and Gina Chapin Fonville Morisey Realty Dr. and Mrs. Malcolm McDougal Brown Rob and Sally Tiller Citrix Mr. and Mrs. Stanley H. Fox The John William Pope Foundation Lars and Elisabeth von Kantzow Mr. Brian Cook Dan Gaugert and Terry Harper Stefanie and Douglas Kahn Robert Weiss and Melissa Podcasy Jacobi Daley Nicholas and Carol Gillham Moise Khayrallah Katherine White and Thomas Urquhart Deloitte Alicia and Sean Gilsenan Martin Marietta Materials Brooklyn and Mike Winters Jamie Drake Danielle Greco and Tony Bryant Ms. Patricia Dube Eileen Greenbaum and Larry Mintz $100,000+ $7,500+ George Evans and Karen Monaco Bob and Laura Gutman Anonymous (1) Anonymous (1) Drs. Richard Felder and Rebecca Brent Annette and Richard Hagopian Capitol Broadcasting Company Mrs. Franc A. Barada, Jr. Finnamore Real Estate Ms. Gayla H. Halbrecht Ms. Ellyn E. Daniels Nancy and Christopher Bolen Sharon and J.C. Garbutt Cheryl and Charles Hall Mrs. Jolene B. McGehee Brigs Restaurants Carolyn Happer and Leonard Graham Dr.
    [Show full text]
  • 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
    [Show full text]
  • Dancers for the World (Catherine Habasque) Jg 10.2020
    DFW / DANCERS FOR THE WORLD „CURE THE PAST, EMBRACE THE PRESENT, BUILT THE FUTURE“ A HUMANITARIAN ACTION FOR TRAUMATIZED AND / OR UNDERPRIVILEGED CHILDREN, WOMEN AND YOUNG ADULTS VICTIMS OF CONFLICT “The two weeks of dance workshops offered by the volunteers of Dancers For the World to our sexually assaulted girls was a magical time for all.” (Sabine Claudio, Director Caméléon Philippines) www.dfw-ch.com 2 TABLE OF CONTENTS CONTEXT AND JUSTIFICATION 3 THE ORIGIN OF A PROJECT 4 OUR MISSION AND VALUES 4 GOALS 5 METHODOLOGY 5 PARTNERSHIP 7 BENEFICIARIES 7 RESULTS 8 FEEDBACKS 8 COMMUNICATION 9 TEAM 9 2020 - 2015 11 CALENDAR DFW 13 BUDGET 14 CONTACT 15 www.dfw-ch.com 3 CONTEXT AND JUSTIFICATION In a context where crises in the world are multiplying and taking different forms, the first victims remain populations, especially children, women and young adults who are often marginalized and insufficiently involved in the search for solutions. Yet the latter must be able to play a role as a driving force for conflict resolution and peace building. The arts, and dance in particular, can initiate new perspectives for the future. While performing arts have value in and for themselves, they can engage with societal challenges such as inequalities, migration, conflict and violence, and create a deeper intercultural understanding. The arts can prepare citizens to think critically, act creatively, and foster civic engagement and social change, while at the same time providing a safe space to express their emotions. Dancers For the World (DFW) has demonstrated its power in supporting the most vulnerable, empowering children, women and young adults, and creating protected surroundings to exchange in time of crises.
    [Show full text]
  • Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
    Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement.
    [Show full text]
  • 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.
    [Show full text]
  • National Endowment for the Arts Annual Report 1982
    Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
    [Show full text]
  • Dance Department Consultants
    Dance Department Consultants Lisa Alfieri Ballo Ms. Ballo - Consultant in Ballet - trained on full scholarship at the Pennsylvania Ballet under Lupe Serrano and at the San Francisco Ballet and Cleveland Ballet schools. Her professional career includes dancing with Sandra Organ Dance Company, Fort Worth- Dallas Ballet and prior to that with Cleveland - San Jose Ballet where she rose to principal dancer during her ten year stay. She has also danced as a principal guest artist nationally as well as internationally. As a teacher, she has taught in schools for the Cleveland Ballet, Ballet Arkansas, Twin City Ballet and the Houston Ballet Academy. Recently, she was Ballet Mistress for the Houston Repertoire Ballet's senior company and is currently teaching at the Hope Center. Lauren Bay Consultant in modern dance, ballet and tap dance. Ms. Perrone holds a BFA in Modern Dance Pedagogy from the University of Oklahoma where she studied with Mary Margaret Holt, Denise Vale and Austin Hartel. She is a 2000 HSPVA Dance graduate and a native Houstonian where she began her dance training with Paula Sloan and performed with The Texas Tap Ensemble. After college she also studied in New York City with Mark Morris, the Limon Dance Company, Nicole Wolcott, and Julian Barnett, among others. Her professional credits include: Houston Grand Opera's Aida; Galveston Island Musicals' My Fair Lady, America the Beautiful, and Hello Dolly. She has toured nationally as the dance captain of Mame and internationally to France and Paraguay with the Modern Repertory Dance Theater. Her New York City credits include the Jeff Rebudal Dance Company, Murray Hill Productions, and Lance Cruze Performance Group.
    [Show full text]
  • Workshops & Research
    WORKSHOPS & RESEARCH 20 JULY - 16 AUGUST 2014 Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Seven phases which can be attended independently from each other (each week- workshop: 1 class per day, each intensive-workshop: 2 classes per day) «impressions'14»: 20 July ! Week1: 21 - 25 July Intensive1: 26 + 27 July Week2: 28 July - 01 August! Intensive2: 02 + 03 August! Week3: 04 - 08 August! Intensive3: 09 + 10 August! Week4: 11 - 15 August ! «expressions'14»: 16 August Index 3 Artists listed by departments 4 - 133 All workshop descriptions listed by artists 134 - 149 All Field Project descriptions listed by artists 149 - 150 Pro Series description 2 CONTEMPORARY DANCE Jose Agudo | Conny Aitzetmueller | Kristina Alleyne | Sadé Alleyne | Laura Arís | Iñaki Azpillaga | Susanne Bentley | Marco Berrettini | Bruno Caverna | Marta Coronado | Zoi Dimitriou | Frey Faust | Ori Flomin | Saju Hari | Sascha Hauser aka CIONN | Kathleen Hermesdorf | Damien Jalet | Peter Jasko | German Jauregui | Kira Kirsch | Kerstin Kussmaul | Juliana Neves | Sabine Parzer | Rasmus Ölme | Francesco Scavetta | Rakesh Sukesh | Samantha Van Wissen | Hagit Yakira | David Zambrano IMPROVISATION Marco Berrettini | Adriana Borriello | Alice Chauchat | Ivo Dimchev | Zoi Dimitriou | Defne Erdur | Judith Grodowitz | Miguel Gutierrez | Francesca Harper | Andrew Harwood de Lotbinière | Keith Hennessy | Damien Jalet | Martin Kilvády | Barbara Kraus | Aiko Kazuko Kurosaki | Jennifer Lacey | Benoît Lachambre | Nita Little | Eroca
    [Show full text]
  • Dance Theatre of Harlem
    François Rousseau François DANCE THEATRE OF HARLEM Founders Arthur Mitchell and Karel Shook Artistic Director Virginia Johnson Executive Director Anna Glass Ballet Master Kellye A. Saunders Interim General Manager Melinda Bloom Dance Artists Lindsey Croop, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher Charles McDaniel, Anthony Santos, Dylan Santos, Anthony V. Spaulding II Artistic Director Emeritus Arthur Mitchell PROGRAM There will be two intermissions. Friday, March 1 @ 8 PM Saturday, March 2 @ 2 PM Saturday, March 2 @ 8 PM Zellerbach Theatre The 18/19 dance series is presented by Annenberg Center Live and NextMove Dance. Support for Dance Theatre of Harlem’s 2018/2019 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 Foundation for the Arts, National Dance Project; Tatiana Piankova Foundation; May and Samuel Rudin
    [Show full text]