DOCSLIB.ORG

ILD SS-44 2022 Fnl.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ILD SS-44 2022 Fnl.Indd Rising to Dance in 2022 We produce events filled with a fun and respectful spirit about performing. UPDATED Rules including accepting your music digitally. th Always CURRENT — Always ORIGINAL. Our 44 Season! Ballet/Lyrical/Modern Jazz/Hip-Hop Tap/Musical Theatre Variety Arts/Acro/Ethnic Special Categories: Costume Teacher Features Forty Plus Student Choreography Production Cash Prizes for Groups at allNumbers 2022 I LOVE DANCE Competitions Plus “Best of Show” & “Best Musicality” Cash Prizes Celebrate the 44th Annivesay of Dependable - organized, on-time, and with marley fooring. Atmosphere that is professional, fair, impartial, fun and classy. Nice Dance Teachers & Nice Dance Moms ONLY. Convenient and Luxurious Hotels that everyone will enjoy. Economical. We keep our entry fees very LOW for YOU! We chose an “ Sweetheat” Encouraging Dancers of at each copetitio all Ages and Ability Levels! (No additioal fee to ty ot) SEE OUR WEBSITE for ALL DETAILS as well as © 2021 Kim McKimmie ONLINE REGISTRATION: See reverse side www.ilovedance.com for 2022 schedule! “The Quality Shos” Kim McKimmie International Director 503-253-2020 2022 - RISING to DANCE for our 44th Season! Reservations Dates City Competition Location Dates at a glance BY STATE CA Los Angeles 4/2 & 3 Saturday & Sunday Hyatt Regency on the Hudson March 19 & 20 JERSEY CITY, NJ 2 Exchange Place Jersey City, NJ 07302 201-469-1234 IA Des Moines 4/30 & 5/1 IL Chicago 4/23 & 24 Sunday DoubleTree by Hilton - Pittsburgh Cranberry PITTSBURGH, PA 724-776-6900 March 27 910 Sheraton Drive Mars, PA 16046 KS Wichita 4/9 MA Boston area 5/7 Saturday & Sunday Hilton Irvine / Orange County Airport April 2 & 3 LOS ANGELES, CA 18800 MacArthur Blvd Irvine, CA 92612 949-833-9999 MI Bay City 5/1 MT Billings 5/ 14 & 15 Saturday HOUSTON, TX Marriott Houston South - Hobby Airport 713-943-7979 April 9 9100 Gulf Freeway Houston, TX 77017 NJ Jersey City 3/19 & 20 NY Buffalo 5/21 & 22 Saturday WICHITA, KS Hyatt Regency Wichita 316-293-1234 April 9 400 West Waterman Wichita, KS 67202 PA Pittsburgh 3/27 TX Houston 4/9 Saturday & Sunday Chicago Marriott Oak Brook April 23 & 24 CHICAGO, IL 1401 West 22nd Street Oak Brook, IL 60523 630-573-8555 WA Seattle 5/14 Saturday & Sunday Des Moines Marriott Downtown April 30 & May 1 DES MOINES, IA 700 Grand Avenue Des Moines, IA 50309 515-245-5500 Sunday DoubleTree by Hilton - Bay City Riverfront May 1 BAY CITY, MI One Wenonah Park Place Bay City, MI 48708 989-891-6000 Saturday DoubleTree by Hilton - Boston North Shore May 7 BOSTON area, MA 50 Ferncroft Road Danvers, MA 01923 978-777-2500 If any Host Hotel is ‘sold-out’ you need to contact our office Saturday SEATTLE, WA Hilton Seattle Airport & Conference Center 206-244-4800 for the Official Over-Flow Hotel May 14 17620 International Blvd Seattle, WA 98188 Saturday & Sunday BILLINGS, MT DoubleTree by Hilton - Billings 406-252-7400 May 14 & 15 27 North 27th Street Billings, MT 59101 Kim McKimmie International Director Saturday & Sunday The Buffalo Grand Hotel 7507 SE Main Street May 21 & 22 BUFFALO, NY 120 Church Street Buffalo, NY 14202 716-845-5100 Portland, OR 97215 USA 503-253-2020 On our website, you'll find Hotel details and many of our Host Hotels have online reservation links. www.ilovedance.com Please make your Hotel reservation ASAP - no later than the day you submit your ILD entries via physical mail or using our easy ONLINE REGISTRATION. If calling the Hotel Reservation Department directly, please identify yourself as being an attendee with I LOVE DANCE to book under our block for our special discounted Hotel group rate. Those requiring overnight accommodations must be registered guests at our Host Hotel as a condition of Participation. 7507 SE Main Street Portland, Oregon 97215-2955 USA (503) 253-2021 2022 INFORMATION, RULES & REGULATIONS You may enter using our convenient online registration: www.ilovedance.com Please read BOTH the Rules and Entry Form information before entering online, to ensure your routines (Age, Ability Level and Dance Category) will be correct in our program. OFFICIAL ENTRY FORM If completing physical entry forms (two-sided) please have one entry form per routine. Please PRINT the name(s) of Participants on the back with the signature of the Parent or Guardian next to the Dancer's name for all Dancers under age 18. Those 18 and up must sign their own. (A Master waiver/ signature form may turned in at the show.) We do ask that you mail all entries together in one large envelope so that we know we have all entries coming from your Studio. Entry fees are to be sent in U.S. Funds and sent overnight mail with return receipt to assure you that we have received them. Fees are due the following day after online registration has been submitted and fees must accompany any physical entry forms that are mailed. Entries (online or mailed) need to reach our office 30 days prior to event date to avoid a late fee. Cashier's Check or Money Order only - we cannot accept business, personal or certified checks for entry fees. Enter as early as possible — many cities fill up quickly. Once entries have reached our office by mail, online registration, or by phone, all fees are due and payable. No refunds will be made due to cancellation by Participants, Teachers, Parents, or Studio Staff. DANCE CATEGORIES The following rules apply to step ingredients. If you have any questions, please ask us! Routines that are entered in the wrong Category are subject to a deduction of 25 points in that number’s final score. Again, PLEASE KNOW THESE RULES. It is the Teacher's responsibility to enter correctly. With the exception of Teacher Features, we do not allow any Dance Teacher on the dance floor during any performance. Teachers may assist the little ones (3-5 Age Division only) backstage, but may not “prompt” any of their Dancers during performances. Teachers may “warm up” Dancers in the dressing areas, however, there is no rehearsing at the Hotel. GENERAL CATEGORIES BALLET / JAZZ / TAP / VARIETY ARTS / LYRICAL / MODERN HIP-HOP MUSICAL THEATRE ACRO / ETHNIC This Category is for all TAP routines Routines that are Ballet, All Jazz Styles - from “Show Jazz” to This is the Category for ANY dance Lyrical or Modern - Classical or Hip-Hop. We will allow “tumbling- - however, “Clogging” should enter the Ethnic Category. All styles routines with Acrobatic Tricks or Contemporary. Flat slippers or type” moves such as Cartwheels, Somersaults, Handstands, of “Song & Dance” and Musical Contortionist work. All Ethnic Pointe. Props are permitted. Lifts Walkovers, along with Jazz floor Theatre routines that includes performances including but not are permitted as well as floor work work and Lifts that may have a singing, mouthing of words or limited to National Folkloric and “tumbling-type” moves are “head over heels” coming in or out lip sync. Props are allowed (in all Cultural routines (for example: allowed. No vocalization of any of the Lift. Categories now.) Routines with Chinese, Irish, Mexican, Spanish, kind. Routines with BacK or Front “Acro” may also enter here. Armenian, etc.). Handsprings, Aerials, Acro passes ReMeMber that this Category Lyrical routines with Acrobatics Props are perMitted and you and Contortionist worK enter either and the Variety Arts/Acro/Ethnic (Handsprings, Aerials, Acro passes) Tap/Musical Theatre OR Variety Arts/ Category are the TWO Categories May now vocalize in this Variety enter either Tap/Musical Theatre OR Acro/Ethnic. Props are perMitted. that allow both vocalization and Category as well as in the Tap/ Variety Arts/Acro/Ethnic Categories. No vocalization of any kind. Acro. Musical Theatre Category. SPECIALTY CATEGORIES STUDENT CHOREOGRAPHY COSTUME PRODUCTION NUMBERS - Routines Age divisions: “9-11”, “12-14”, “15-17” and All Ages, Categories, Ability Levels and Sections may be up to 7 minutes in length. (Extended time “18 & Up” are the only divisions eligible. This are eligible to enter. The Judges will critique option available.) Minimum of 12 participants. must be “Student Choreography” with no the costume while you are posing. They look (This does not mean that all Dancers must be on the dance floor at all times, but it does need Teacher assistance allowed. We must trust the at the construction, uniqueness, stage appeal to be a “group effort”.) This is a completely honesty of all entries in this Category. There and appropriateness of the costume(s). You Open Category. There are no Age or Ability can be no repetition of musical selections from then perform the number (repeated for this Levels, so that Dancers of all ages and abilities other routines entered from your Studio and Category). This is an additional chance to may participate together (NO Teachers.) May no repetition of major dance combinations. Any perform, and is especially economical for Duo/ be Ballet/Lyrical/Modern, Jazz/Hip-Hop, Tap/ Trio and Group performances. This is the only dance style is permitted. You may perform a Musical Theatre, and Variety Arts/Acro/Ethnic Category in which costumes are judged. Solo, Duo/Trio, or Group number. Enter by the - or better yet, a combination. May include oldest performer in the number. Props, Costume changes, Singing. ANYTHING GOES! Teachers may want to consider using FORTY PLUS TEACHER FEATURES their Dance Studio recital finale number or This is an Open Category for Student Dancers A chance for the Teacher to perform! As in other staging a number that will get all students (NOT TEACHERS) where at least one Dancer Special Categories, anything goes and Teachers from the studio involved. This is an excellent in the routine is over 39 years of age.
Load more

Recommended publications
  • Intelligent System of Visualization and Creation of Choreographic Setting
    Intelligent System of Visualization and Creation of Choreographic Setting Andrii Stefanchuk1, Olga Lozynska[0000-0002-5079-0544]2, Taras Basyuk[0000-0003-0813-0785]3, Oksana Oborska4, Anatolii Vysotskyi5, Khrystyna Mykich[0000-0002-4324-2080]6, Iryna Zavuschak[0000-0002-5371-8775]7 Lviv Polytechnic National University, Lviv, Ukraine [email protected] Abstract. The purpose of this tusk is creation of an intelligent system for visu- alization and creation of choreographic performances, which would enable the user to perform his tasks related to dance performances quickly and convenient- ly. To achieve this goal, the following tasks were set: to carry out researches of the literary sources concerning a subject of work; to carry out the analysis of similar systems and to prove the development of the studied system; to carry out systematic analysis and substantiate the problem; to make the choice of methods and means for solving the problem; implement software implementa- tion of the mobile application to solve the problem; - to test the developed sys- tem. Object of study is the process of visualizing and creating choreographic productions. Subject of study is methods and tools for building an intelligent visualization system and creating choreographic productions. Research methods is application of system analysis methods. The obtained results enable the cho- reographers to visualize their productions quickly and effectively. With the help of a developed system, they can overlay music on their production and arranged pictures. This information will be accessible to them from any device as the da- ta will be stored on the server. Keywords. Visualization, Dance, Choreographic Scene, Information System, Mobile Application, Choreographic productions.
    [Show full text]
  • 'What Ever Happened to Breakdancing?'
    'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud.
    [Show full text]
  • A.S.D. Mondial Dance – Via Fosso Sassetara – Snc 00055 Cerveteri - Roma – Tel
    A.S.D. Mondial Dance – Via Fosso Sassetara – snc 00055 Cerveteri - Roma – tel. +39 347 835 7258 www.worldaballetassociation.it -www.mondialdance.it – e-mail : [email protected] Ritmuscsapatok:[email protected] INTERNATIONAL DANCE COMPETITION Organized by WBA ( World Ballet Association ), in collaboration with AMD Mondial Dance of Rome www.worldballetassociation.it - www.mondialdance.it A.S.D. Mondial Dance – Via Fosso Sassetara – snc 00055 Cerveteri - Roma – tel. +39 347 835 7258 www.worldaballetassociation.it - www.mondialdance.it – e-mail : [email protected] Ritmuscsapatok:[email protected] RULES AND MODULE OF REGISTRATION List of documents to be delivered for registration For registration for the event will need to provide : 1 ) Entry form signed 2 ) List of choreographies 3 ) Release for publication of their images, signed 4 ) Approve and sign the rules 5 ) Payment of subscriptions 6 ) Statement of responsibility and approval of the regulation 7) Complete list of Dancers 8) Two names for the Free Pass (The passes are for the Director of the school / Choreographer / Teacher / Assistant, if there are more than two people, please let us know in the same form, indicating the name and role within the school and the competition) 9) Self-Certification, Minors (under 18) or Older (more of 18) All must sended for e-mail including the music, to [email protected] Payments can be made in the following ways : Account to: Stefano Sellati Codice IBAN: Codice BIC: In the causal you must write: As a voluntary contribution In favor of Mondial Dance, for the realisation and to the participation at Dance Competition at Thema “Dance Trilogy” ATTENTION THE REGISTRATION WILL BE CONFIRMED WITH A OUR E-MAIL, AFTER THAT YOU SENT TO TO US, THE FULL PAYEMENT.
    [Show full text]
  • CE 010743 .AUTEOR Cornell, Richard; Hansen, Mary Lewis TITLE Exploring Dance Careers
    DOCUMENT RESUME ED 137 614 08 CE 010743 .AUTEOR Cornell, Richard; Hansen, Mary Lewis TITLE Exploring Dance Careers. A St-2dent Guidebook. INSTITUTION Technical Education Research Center, Cambridge, Mass. - SPONS AGENCY Bureau of Occupational and Adult Education (DHEW/OE), Washington, D.C. Div. of Research and Demonstration. PUB DATE 76 CONTRACT OEC-0-74-9253 NOTE 32p.; For related documents see CE 010 734-744 AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, D.C. 20402 (Stock Number DI7-080-01638-9, $0.75) t NN N EDRS PRICE MF-$0.83 HC-$2.06 Plus Postage. DESCRIPTORS Ballet; *Career Exploration; *Dance; Education;. Instructional Materials; *Occupational Infermation; Occupations; Resource Guides; Secondary Education ABSTRACT. One of,six student guidebooks in a series of 11 arts and humanities career exploration guides for grade 7-12 teachers, couliselors, and students, this student book on exploration of dance careers presents information on specific occupations in both performance careers and dance education. An introductory section describes the four different dance careers of Carol, Mike, Janice, and Laurie. The main chapters include general discussion of the field and what people in the field do, various specializations, skills and interests that are appropriate, eduOation or experience required, where and how jobs are found and the'job outlook, and suggestions a person in the field would make to students. The first chapter on dance performance careers focuses on the different styles of dance and how the careers are different for ballet, modern dance, jazz dance, and ethlic dance. Also included are notes on choreography as a career and a list of dancers' unions.
    [Show full text]
  • Glenwood High School Dance Team Handbook 2020-2021 Coach: Hannah Phillips Email: [email protected]
    Glenwood High School Dance Team Handbook 2020-2021 Coach: Hannah Phillips Email: [email protected] Auditions will be held on Wednesday August 12 in the GHS Commons from 2:30-5:30pm. MISSION STATEMENT The Glenwood High School Dance Team is committed to representing Glenwood with the highest caliber of school spirit, personal integrity, and dance talent through our high standards of excellence and tradition of teamwork. The Dance Team is dedicated to promoting unity, sportsmanship, and respect by maintaining responsibility and discipline. We will strive to do our best at each performance and demonstrate a positive attitude to represent the community. CODE OF CONDUCT The team will uphold the same guidelines as stated in the Glenwood student handbook. Any violation or deviation from the handbook (i.e.: the use or possession of tobacco, drugs, or alcohol on or off school premises, criminal activity, or other inappropriate behavior) will result in disciplinary action. PROBLEMS & BULLYING Being on a team in a high school setting can be difficult and I understand that problems will arise, however, bullying, gossiping, instigating turmoil, or inappropriate use of social media will automatically result in disciplinary action. If there are ever any problems, I am always here to help and resolve the problem. Teamwork, understanding, compassion, and being open-minded are all qualities we must have as a team in order to succeed together in a cohesive environment. AUDITIONS Auditions will be held on Wednesday August 12 in the GHS Commons from 2:30-5:30pm. All dancers are auditioning for both football and basketball season.
    [Show full text]
  • Chapter 1 Uday Shankar and Locating Modernity
    CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.
    [Show full text]
  • Society of Dance History Scholars Proceedings
    Society of Dance History Scholars Proceedings Twenty-Seventh Annual Conference Duke University ~ Durham, North Carolina 17-20 June 2004 Twenty-Eighth Annual Conference Northwestern University ~ Evanston, Illinois 9-12 June 2005 The Society of Dance History Scholars is a constituent member of the American Council of Learned Societies. This collection of papers has been compiled from files provided by individual authors who wished to contribute their papers as a record of the 2004 Society of Dance History Scholars conference. The compiler endeavored to standardize format for columns, titles, subtitles, figures or illustrations, references, and endnotes. The content is unchanged from that provided by the authors. Individual authors hold the copyrights to their papers. Published by Society of Dance History Scholars 2005 SOCIETY OF DANCE HISTORY SCHOLARS CONFERENCE PAPERS Susan C. Cook, Compiler TABLE OF CONTENTS 17-20 June 2004 Duke University ~ Durham, North Carolina 1. Dancing with the GI Bill Claudia Gitelman 2. Discord within Organic Unity: Phrasal Relations between Music and Choreography in Early Eighteenth-Century French Dance Kimiko Okamoto 3. Dance in Dublin Theatres 1729-35 Grainne McArdle 4. Queer Insertions: Javier de Frutos and the Erotic Vida Midgelow 5. Becomings and Belongings: Lucy Guerin’s The Ends of Things Melissa Blanco Borelli 6. Beyond the Marley: Theorizing Ballet Studio Spaces as Spheres Not Mirrors Jill Nunes Jensen 7. Exploring Ashton’s Stravinsky Dances: How Research Can Inform Today’s Dancers Geraldine Morris 8. Dance References in the Records of Early English Drama: Alternative Sources for Non- Courtly Dancing, 1500-1650 E.F. Winerock 9. Regional Traditions in the French Basse Dance David Wilson 10.
    [Show full text]
  • Dance Troupe 2013 List of Dancers and Schedule by Number
    Dance Troupe 2013 List of Dancers and Schedule by Number DAYS WHERE EVERYONE IS CALLED Review rehearsal – Thursday, August 8, 4:45 to 6:15pm Stage Rehearsal – Monday, August 12, 5:00 to 10:00pm (Younger dancers released at 8:30pm) Tech/Dress Rehearsal – Tuesday, August 13, 2:00 to 10:00pm (Dinner provided) Performance – Wednesday, August 14, 6:00pm call for a 7:30pm performance Finale Choreographed by Kevin Dietzler and Abby Shunskis Every Dance Troupe participant is in the finale number and is asked to attend the following rehearsals. If you are also in Cabaret, you do not have to attend the following rehearsals. Rehearsals: 1. Monday, June 24, 4:45 to 6:15pm 2. Wednesday, July 17, 4:45 to 6:15pm 3. Tuesday, August 6, 4:45 to 6:15pm See the following pages for individual numbers 1 Apprentices & Rising Stars Number Choreographed by Libby Garrity McCampbell Rehearsals: 1. Friday, June 28, 4:45 to 6:15pm 2. Friday, July 12, 4:45 to 6:15pm 3. Friday, July 19, 4:45 to 6:15pm 4. Friday, July 26, 4:45 to 6:15pm (w/ Abby Shunskis) 5. Wednesday, July 31, 4:45 to 6:15pm 6. Friday, August 2, 4:45 to 6:15pm Dancers: Jada Adkins Marissa Kealey Alli Buchanan Olivia Knapp Emma Caughlan Violet Lange Gabriella Cavallaro Mikayla Langford Sophia Cavalli Sarah McGrath Rebecca Clay Liberty Joy Morrissey Caroline Conway Olivia Nast Mikayla Cook Brianna O'Doherty Maggie Cooper Morgan Shull Jordan Cusky Clare Simmonds Yasmine Ferguson-Smalls Matthew Tierney Anthony Flamminio Emily Watson Michaela Henry Lauren Young Zoe Hunchak Janna Jordan 2 Crazy Jazz Choreographed by Devon Fields and Maryleigh Sharp Rehearsals: 1.
    [Show full text]
  • Dance Champs 2021 Rules and Regulations “Where Dancers Shine Like Stars”
    Dance Champs 2021 Rules and Regulations “Where Dancers Shine Like Stars” Please read carefully! Failure to comply with our rules and regulations could result in point deductions, extra fees and possibly disqualification. SOME OF OUR RULES HAVE CHANGED FOR 2021. THESE ARE HIGHLIGHTED IN YELLOW FOR YOUR CONVENIENCE. REGISTRATION PROCESS: ENTRIES must be entered on our online registration form 30 days before the respected competition city. Entries will be accepted on a first come first serve basis. Any entries received after the deadline date will be assessed a late fee of $15 per entry. This fee will automatically be added to your total amount to be paid in full. Entries ARE NOT accepted the day of the competition. Entries are not guaranteed acceptance until payment is received. Emailed, faxed or phone entries ARE NOT accepted. Dance Champs has the right to refuse any entry at any time. Dance Champs reserves the right to change competition dates and locations due to any unforeseen circumstances. PAYMENTS can be made by credit card, cashier’s check, or studio check. Outstanding fees after the deadline date must be paid by credit card and will incur the late fee. Studio checks WILL NOT be accepted after the deadline date. RETURNED CHECKS and/or declined credit cards will be charged a $35 returned fee. REFUNDS WILL NOT be offered for any reason after the deadline date. No Exceptions. Credits for future DC Events will be given in the event of injuries. Day of scratches will result in forfeit of entry fees. If an event has reached the minimum required number of performances, and it has been confirmed, no refunds will be issued.
    [Show full text]
  • Yes, Virginia, Another Ballo Tragico: the National Library of Portugal’S Ballet D’Action Libretti from the First Half of the Nineteenth Century
    YES, VIRGINIA, ANOTHER BALLO TRAGICO: THE NATIONAL LIBRARY OF PORTUGAL’S BALLET D’ACTION LIBRETTI FROM THE FIRST HALF OF THE NINETEENTH CENTURY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ligia Ravenna Pinheiro, M.F.A., M.A., B.F.A. Graduate Program in Dance Studies The Ohio State University 2015 Dissertation Committee: Karen Eliot, Adviser Nena Couch Susan Petry Angelika Gerbes Copyright by Ligia Ravenna Pinheiro 2015 ABSTRACT The Real Theatro de São Carlos de Lisboa employed Italian choreographers from its inauguration in 1793 to the middle of the nineteenth century. Many libretti for the ballets produced for the S. Carlos Theater have survived and are now housed in the National Library of Portugal. This dissertation focuses on the narratives of the libretti in this collection, and their importance as documentation of ballets of the late eighteenth and early nineteenth centuries, from the inauguration of the S. Carlos Theater in 1793 to 1850. This period of dance history, which has not received much attention by dance scholars, links the earlier baroque dance era of the eighteenth century with the style of ballet of the 1830s to the 1850s. Portugal had been associated with Italian art and artists since the beginning of the eighteenth century. This artistic relationship continued through the final decades of the eighteenth and the first half of the nineteenth century. The majority of the choreographers working in Lisbon were Italian, and the works they created for the S. Carlos Theater followed the Italian style of ballet d’action.
    [Show full text]
  • MINNESOTA DANCER March 2015
    ___________________________________________________________________________________________________________ MINNESOTA DANCER March 2015 Dancing at the Mall of America! Top to bottom: Elizabeth Dickinson & Mike Jones, Bonnie Burton & Ed Soltis, Yvonne & Dan Viehman Photo by Judy Huftel 1 MD / March 2015 www.usadance-minnesota.org Official publication of USA Dance Minnesota Chapter #2011 ___________________________________________________________________________________________________________ 2 MD / March 2015 www.usadance-minnesota.org ___________________________________________________________________________________________________________ 3 MD / March 2015 www.usadance-minnesota.org ___________________________________________________________________________________________________________ DANCER’S NIGHT OUT Want to see your dance listed here? Email the details to [email protected]. Sun 3/1 USA Dance Minnesota Beginner Waltz Lesson with Shinya McHenry; 2:00 www.socialdancestudio.com Waltz Lesson with Shinya McHenry; 2:00 PM; $5 or Free to USA Dance Members! PM; $5 or Free to USA Dance Members! DanceLife Ballroom, 6015 Lyndale S., Third Sunday Dance at Tapestry, 6–9:30, $7 DanceLife Ballroom, 6015 Lyndale S., www.usadance-minnesota.org –$10, Hustle with Duayne Wincell, live mu- www.usadance-minnesota.org sic by Café Accordian Orchestra, 3748 Min- Cinema Ballroom Sunday Night Dancing nehaha Ave S, Mpls, TC Rebels Swing Dance, Social Dance with Jerry O'Hagan and His Orchestra, www.tapestryfolkdance.org Studio, 7–10:30, 3742-23rd
    [Show full text]
  • Eva Evdokimova (Western Germany), Atilio Labis
    i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective.
    [Show full text]