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2013 Pow Wow Program
The Kathryn M. Buder Center for American Indian Studies promotes preparation of professionals to assume leadership positions in social services and governmental institutions dedicated to improving the lives of American Indians. Scholarships The Brown School has one of the largest social work financial aid programs in the country including scholarships, loans, and work-study programs. The Kathryn M. Buder Charitable Foundation offers full scholarships to American Indian/Alaska Native students who plan to practice social work in American Indian communities. These scholarships provide tuition, monthly stipends, professional development opportunities, and books for two years of full-time study. The Brown School’s Center for Social Development provides a Buder Doctoral Fellowship. This fellowship is awarded to an outstanding doctoral student with expressed interest in American Indian studies and social work. 2013 Pow Wow Agenda A Special Thank You! The Pow Wow Committee would like to take a moment to express our gratitude to the 10:00 am Contest Registration Opens people who helped make our Pow Wow a success. We appreciate their time, donations, Vendor Booths Open financial assistance, and attention. 11:00 am Gourd Dancing Dean Edward F. Lawlor School of Law Angela Gilbreath Music Department 12:00 - 4:00 pm Grand Entry Monica Matthieu Performing Arts Department Flag Song American Culture Studies Program Religious Studies Department Veteran Song Department of Anthropology Faculty, Staff, and Students of the Art History & Archeology Department Brown School Victory Song (Post Colors) East Asian Languages & Cultures Washington University in St. Louis Invocation Program St. Louis Community Introductions History Department St. Louis Convention & Visitors Kathryn M. -
Entertainer Josephine Baker by Lilyana D’Amato
The Legacy of Black Musicians: Entertainer Josephine Baker by Lilyana D’Amato In the decade following the First World War, French popular culture was dominated by images of negrophilia: the disconcerting obsession with and seizure of Black — specifically African — culture. Introduced to African folk art through global imperialism and colonialism, the French became fascinated with racialized depictions of the “savage” Black body, fetishizing Blackness through painting, sculpture, film, and performance. In the early 1920s, avant-garde Parisian artists began appropriating Black culture as a means of exploring what they saw as the juxtaposition between the “primitive” and changing notions of modernity. When entertainer Jospehine Baker, the hugely influential African American expatriate, arrived in Paris in 1925, she became the face of this racialized mania. Her body and persona came to signify the exotic, used to satisfy colonialist sexual fantasies. In reviews of Baker’s most iconic performance, her 1925 stage debut in La Revue Nègre, she is almost solely described through animalistic metaphors — as a monkey, a panther, a giraffe, or a snake. In the Parisian newspaper Candide, the reviewer begins: “This is no woman, no dancer. It’s something as exotic and elusive as music, an embodiment of all the sounds we know.” Dehumanized and reduced to something, Baker was, as Scholar Alicja Sowinska explores in her paper Dialectics of the Banana Skirt: The Ambiguities of Josephine Baker’s Self-Representation, “popularly situated in a sort of netherworld, suspended between civilization and savagery, and between the human and the animal.” References to Baker’s ambiguous humanity also appeared in e.e. -
Pow Wow Program
The Kathryn M. Buder Center for American Indian Studies promotes preparation of professionals to assume leadership positions in social services and governmental institutions dedicated to improving the lives of American Indians. Scholarships The Brown School has one of the largest social work financial aid programs in the country including scholarships, loans, and work-study programs. The Kathryn M. Buder Charitable Foundation offers full scholarships to American Indian/Alaska Native students who plan to practice social work in American Indian communities. These scholarships provide tuition, monthly stipends, professional development opportunities, and books for two years of full-time study. The Brown School’s Center for Social Development provides a Buder Doctoral Fellowship. This fellowship is awarded to an outstanding doctoral student with expressed interest in American Indian studies and social work. 2015 Pow Wow Agenda A Special Thank You! The Pow Wow Committee would like to take a moment to express our gratitude to 10:00 am Contest Registration Opens the people who helped make our Pow Wow a success. We appreciate their time, Vendor Booths Open donations, inancial assistance, and attention. 11:00 am Gourd Dancing Dean Edward F. Lawlor Kemper Art Museum 12:00 ‐ 4:00 pm Grand Entry Angela Gilbreath Metro St. Louis American Indian Student Association Music Department Flag Song Art History & Archeology Performing Arts Department Veteran Song Department Kathryn M. Buder Charitable Victory Song (Post Colors) Biology Department Foundation Center for Diversity Inclusion Faculty, Staff, and Students of the Invocation Center for Humanities Brown School Introductions Diversity Awareness Partnership Washington University in St. Louis East Asian Languages & Cultures St. -
Ballets Russes Press
A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event. -
Your Guide to Understanding and Enjoying Powvwows
Indian Education for All Your Guide to Understanding and Enjoying Pow Wows Thanks to: Murton McCluskey, Ed.D. Revised January 2009 TABLE OF CONTENTS Introduction ...................................................................... 1 History of the Pow Wow ............................................... 2-3 The Pow Wow Committee ............................................ 4 Head Staff ............................................................. 4 Judges and Scoring................................................ 4-6 Contest Rules and Regulations ................................... 7 Singers..................................................................... 7 Dancers................................................................... 8 The Grand Entry................................................... 8 Pow Wow Participants.......................................... 9 The Announcer(s) ................................................ 9 Arena Director....................................................... 9 Head Dancers......................................................... 9 The Drum, Songs and Singers..................................... 10 The Drum...............................................................10 Singing..................................................................... 10-11 The Flag Song........................................................ 12 The Honor Song.................................................... 12 The Trick Song.......................................................12 Dances and Dancers....................................................... -
Northern Style Powwow Music: Musical Features and Meanings Anna Hoefnagels
Northern Style Powwow Music: Musical Features and Meanings Anna Hoefnagels Abstract: Modern powwows are important social rituals closely linked to expressing affirmations of Native identities. Based on her fieldwork in southwestern Ontario and Southern Alberta, Anna Hoefnagels explores methods of classifying powwow music that may serve as pedagogical tools, and ways of teaching and understanding Northern- style powwow music._____________________________________________________________________________ Music is the central feature of contemporary powwows, around which other activities—including dancing, socializing, and shopping—revolve. Physically, the musicians and their drums, called drum groups or Drums, are at the centre of the powwow, with a series of concentric circles emanating from the Drums in the form of dance area, audience, vendors and the camping area. The Drums provide the music that accompanies the dancers, which is the central and most spectacular aspect of the powwow. Powwow songs have common features with one another; yet when one listens closely to these songs, one realizes that the songs are quite distinct from one another. There are regional differences in powwow singing, due to the geographical and tribal origins of both the songs and the musicians. However, to the uninitiated, powwow songs may all sound the same. Fortunately, as Tara Browner (2000) indicates, “pow-wow music exists in a Pan-tribal (as opposed to tribal-specific) context, [so] the vocabulary its musicians use when talking about song making and performance is almost entirely in English...” (p. 215). Despite potential political conflicts regarding language and terminology, this shared vocabulary makes conversations with musicians about their music much easier than they would be if there were different or specific descriptive vocabulary. -
Pow-Wow Guide | Page 2 Stories You Should Be Aware of by Marci Becking Restoule from Dokis First Nation
SOCIAL DEVELOPMENT DEPARTMENT Ph: 705-497-9127 | Toll Free: 1-877-702-5200 /Anishinabek Nation #anishnation Message from Grand Council Chief Aanii,Boozhoo! community celebration. Every detail you attend to On behalf of the Anishinabek ensures that your community Nation, it gives me great upholds tradition, celebrates new pleasure to welcome you to the life, and honours our ancestors, 24th Annual Great Lakes Pow- our warriors, and our Elders. Wow guide. I am always proud to dance in This incredible publication your circle. serves as the planning tool for Tradition. The sharing of our many families who rely on it to customs throughout generations plan their pow-wow trail journey is the thread that binds us within Anishinabek territory and together and makes us stronger. beyond. While we see many things After the winter of 2018, change as progress infl uences our which at the time of writing, lives, those ole ways of knowing doesn’t seem to want to end, I and doing that have been tried am certain that we will dance and tested throughout time have a little harder, sing a bit louder, survived for a reason. and laugh a whole lot more as we Our worldview and unrelenting come together to celebrate being commitment to reclamation of Anishinaabe and showcasing our our language, our lands, our proud heritage. dance and our songs – our identity my pleasure to represent our As I refl ect over the years as as Anishinabek are worthy of proud and mighty nation over Grand Council Chief and the celebration and this is what pow- these many years. -
Africa to America
USA Girl Scouts Overseas Paris, France Africa to America To receive the patch the following number of requirements should be completed by: Girl Scouts Daisies – 2, Girl Scouts Brownies - 3, Girl Scout Juniors - 5, all other levels – 7 Email [email protected] for order information. 1. Africa is one of the five regions in the World Association of Girl Scouts and Girl Guides. WAGGGS’ Africa Region has 32 Member Organizations. Across Sub-Saharan Africa, 800,000 Girl Guides and Girl Scouts are part of a global community. • Choose an African country at http://africa.wagggs.org/en/organisations and learn about the Girl Guides and Girl Scouts there. Refer to WAGGGS Publication, Trefoil Around the World” for help, if needed) • Learn about their program. How is it different or the same as yours? • Recite their Promise and Law. Is it the same or different from your own? • Do they wear uniforms? If so, what do they look like? 2. Jazz music is strongly influenced by African culture; African-American soldiers introduce Jazz to France after World War I. The period between the first and second world wars is often referred to as the Jazz Age. Today, jazz is played and listened to by people of all cultures and ethnicities and includes musical elements and styles from all over the world. Many female artists were a part of the early jazz scene in Paris and this still true today; from the early jazz legends like Ella Fitzgerald, Nina Simone, Nancy Holloway and Hazel Scott to contemporary artists like Dianne Reeves, Dee Dee Bridgewater, China Moses and Esperanza Spalding. -
Givens Playbills
Givens Collection Playbills/Programs Box 1 Abbott, George: The Pajama Game. Lunt-Fontanne Theatre. 1974. Aiken, G.L.: Uncle Tom’s Cabin. The Alvin Theatre, New York. 1933. Ailey, Alvin: The Alvin Ailey American Dance Theatre. Souvenir Book Publishers Inc., New York. Anderson, Maxwell: Lost in the Stars. The Playwrights’ Company, New York. 19450. Baker, Josephine. Josephine Baker and Her International Revue. Baldwin, James: • The Amen Corner. Los Angeles. 1964 • The Amen Corner. Ethel Barrymore Theatre. 1965. • Blues for Mister Charlie. Anta Theatre, New York. 1964. Ballets Africains. New York. Belafonte, Harry. Belafonte at the Palace. A Belafonte Enterprises, Inc. Production. 1959. The Biggest Show of ’51. Souvenir program with signatures. Blake, Eubie: Eubie! Ambassador Theatre, New York. 1979. Broadway Answers Selma. Majestic Theatre, New York. Brown, William F.: The Wiz. Majestic Theatre, New York. 1974. Bullins, Ed • The Electronic Nigger and Others. The American Palace Theatre, New York. 1968. • House Party (2 copies). The American Palace Theatre, New York. 1973. Café Society Downtown. New York. Carnegie Hall (Charlie Parker Memorial Concert). New York. 1955. D’Usseau, Arnaud & Gow, James: Deep are the Roots. The Fulton Theatre, New York. 1946. Davis, Ossie • Purlie Victorious. The Longacre Theatre. 1962. • Purlie. 1970. Duberman, Martin B.: In White America. Sheridan Square Playhouse, New York. Dunham, Katherine • The Playbill for the Martin Beck Theatre. Cabin in the Sky. New York. 1940. • Program for Katherine Dunham and her company in a tropical revue. Martin Beck Theatre, New York. 1943. • S. Hurok presents Katherine Dunham and her Company in Tropical Revue with Bobby Capo Dowdy Quartet. -
African-Americans Abroad: Josephine Baker and the Controversy Surrounding African-American Figures Outside of America
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School July 2020 African-Americans Abroad: Josephine Baker and the Controversy Surrounding African-American Figures Outside of America Ferin E. Jones Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Recommended Citation Jones, Ferin E., "African-Americans Abroad: Josephine Baker and the Controversy Surrounding African- American Figures Outside of America" (2020). LSU Master's Theses. 5205. https://digitalcommons.lsu.edu/gradschool_theses/5205 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. African-Americans Abroad: Josephine Baker and the Controversy Surrounding African American Figures Outside of America A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Masters of Arts in History in The Department of History by Ferin E. Jones B. A. Louisiana State University, 2015 August 2020 This paper is dedicated to my favorite Black women. Shelis, Rita, and Laverne. ii Table of Contents Abstract………………………………………………………………………………….iii Introduction …………………………………………………………………………….1-2 Chapter I. American Entertainment and Blackness…………………………………….3-7 Chapter II. Is The Grass Greener? .................................................................................8-19 Chapter III. Josephine Baker as a Celebrity………………………………………….20-33 Chapter IV. Josephine Baker as an American Activist and French Spy……………..34-41 Conclusion……………………………………………………………………………42-44 Bibliography………………………………………………………………………….45-47 Vita…………………………………………………………………………………….48 iii Abstract This paper is about the complexities surrounding the African American experience in other countries. -
Reconceptualizing Leadership Through the Prism of the Modern Civil Rights Movement: a Grounded Theory Case Study on Ella Baker Edna R
University of St. Thomas, Minnesota UST Research Online Education Doctoral Dissertations in Leadership School of Education Spring 2015 Reconceptualizing Leadership through the Prism of the Modern Civil Rights Movement: A Grounded Theory Case Study on Ella Baker Edna R. Comedy University of St. Thomas, Minnesota, [email protected] Follow this and additional works at: https://ir.stthomas.edu/caps_ed_lead_docdiss Part of the Education Commons Recommended Citation Comedy, Edna R., "Reconceptualizing Leadership through the Prism of the Modern Civil Rights Movement: A Grounded Theory Case Study on Ella Baker" (2015). Education Doctoral Dissertations in Leadership. 57. https://ir.stthomas.edu/caps_ed_lead_docdiss/57 This Dissertation is brought to you for free and open access by the School of Education at UST Research Online. It has been accepted for inclusion in Education Doctoral Dissertations in Leadership by an authorized administrator of UST Research Online. For more information, please contact [email protected]. Reconceptualizing Leadership through the Prism of the Modern Civil Rights Movement: A Grounded Theory Case Study on Ella Baker A DISSERTATION SUBMITTED TO THE FACULTY OF THE SCHOOL OF EDUCATION OF THE UNIVERSITY OF ST. THOMAS ST. PAUL, MINNESOTA By Edna R. Comedy IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF EDUCATION 2014 ii UNIVERSITY OF ST. THOMAS Reconceptualizing Leadership through the Prism of the Modern Civil Rights Movement: A Grounded Theory Case Study on Ella Baker We certify that we have read this dissertation and approved it as meeting departmental criteria for graduating with honors in scope and quality. We have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. -
FOLK DANCER/ONLINE INDEX Vol. 1 No.1 (Summer 1969) to Vol. 51 No
FOLK DANCER/ONLINE INDEX Vol. 1 No.1 (Summer 1969) to Vol. 51 No. 5 (December 2020), inclusive Written by Karen Bennett. Not indexed: most editorials and like content written by editors while they hold that position; most letters, ads, cartoons, coming events, and photographs; and social announcements, sometimes made in a column whose title varied a lot, including “Hiers Ek Wiers,” “Tidbits,” “From the Grapevine” and “The Back Page”). Not all content was attributed (especially that of Walter Bye and Karen Bennett while they were editors), and reports by OFDA executives aren’t listed under their names, so this combination index/bibliography doesn’t include under a person’s name everything they wrote. Abbreviations used: ''AGM'' stands for Annual General Meeting, "bio" for biography, “fd” for folk dance, IFD for international folk dance,“info.” for information, "J/J/A" for June/July/August, and "OFDC" for Ontario Folk Dance Camp, and “IFDC” for the International Folk Dance Club, University of Toronto. The newsletter title has been variously OFDA, OFDA Newsletter, Ontario Folk Dance Association Newsletter, Ontario Folk Dance Association Magazine, Ontario Folkdancer, Ontario FolkDancer, Folk Dancer: The Magazine of World Dance and Culture, and Folk Dancer Online: The Magazine of World Dance and Culture. A Alaska: --folk dance cruise, Oct. 15/90 --visit by Ruth Hyde, J/J/A 85 Acadia, see French Canada Albania: Adams, Coby: obituary, J/J/A 86 --dance descriptions: Leši, Oct. 76; Valle Adamczyk, Helena: Jarnana, Jan. 15/96 (p. 8) --“Macedonian Celebration in Hamilton, 27 --dance words:Valle Jarnana, Jan. 15/96 (p.