DOCSLIB.ORG

Miki Orihara Solo Concert

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

LaGuardia Performing Arts Center Steven Hitt...Artistic Producing Director Handan Ozbilgin...Associate Director/Artistic Director Rough Draft Festival Carmen Griffin...Theatre Operations Manager/Technical Director Toni Foy...Education Outreach Coordinator Isabelle Marsico...Events Coordinator Caryn Campo...Finance Officer LaGuardia Performing Arts Center Mariah Sanchez...House Manager Scott Davis...Line Producer Juan Zapata...Graphic Designer Luisa Fer Alarcon...Video Editor/Designer Dayana Sanchez...Marketing Coordinator MIKI ORIHARA SOLO CONCERT Production Staff Patrick Anthony Surillo...Resident Stage Manager Cassandra Lynch...Props Master Hollis Duggans…Production Staff Works of American and Japanese Modern Dance Pioneers Winter Muniz…Production Staff Piano by Nora Izumi Bartosik Technical Staff Glenn Wilson...Stage Manager/Assistant Technical Director Melody Beal...Lighting Designer Alex Desir...Master Electrician Ronn Thomas...Sound Engineer Miki Orihara Marland Harrison...Technician Denton Bailey...Technician Giovanni Perez...Technician House Staff Marissa Bacchus Jason Berrera Julio Chabla Rachel Faria Anne Husmann Emily Johnson Martha Graham Doris Humphrey Rebecca Shrestha LaGuardia Community College Dr. Gail O. Mellow...President Dr. Paul Arcario...Provost and Senior Vice President 31-10 Thomson Avenue Long Island City, 11101 Seiko Takata Konami Ishii Yuriko Upper left: Martha Graham in Lamentation(1930) Photo by Soichi Sunami, courtesy of The Sunami Family. Upper middle: Miki Orihara, Photo by Tokio Kuniyoshi. Upper right: Doris Humphrey photo by Soichi Sunami , courtesy of the Sunami Family. Lower left: Seiko Takata(1938) in Mother Photo courtesy of Nanako Yamada. Lower middle: Konami Ishii in Koushou (1938) Photo courtesy of Noriko Sato. Lower right: Yuriko in The Cry (1963) Photo courtesy of the Kikuchi Family. WWW.LPAC.NYC RESONANCE III “Onko chishin” – is a Japanese expression describing an attempt to discover new things by studying the past. The term defines the mission of this concert series, to explore connections between the worlds of Modern Dance and Contemporary Dance. In RESONANCE III, I finally bring together the works of both American and Japanese early modern dance pioneers and my mentor Yuriko’s work to connect the lineage of my personal artistic heritage. Seiko Takata is one of the most important “Grand Ladies” of modern dance in Japan. I studied at Takata Yamada Modern Dance Studio as a young dancer and working with Martha Graham reminded me of Seiko being around in the studio watching us taking Nanako Yamada’s class. I was very excited when ever she was in the studio, not knowing why. Even though she was a modern dancer, she always had a Kimono on. Her trip to Europe and US (NYC in 1922-23) was a big step for her. She performed on Broadway and in Anna Pavlova’s benefit concert for Japan, Asakusa Opera, and the Imperial Theater Opera. During my research, I was fascinated to learn about all that Seiko did. My mentor Yuriko is 99 years of age and is very sharp. She gives me so much inspiration. She studied modern dance in Japan when she was young with Konami Ishii as her teacher. In this concert, I am honored to dance a work of Ishii’s from his “Dance Poem” era. My connection to Martha Graham is obvious in my dance. Almost 40 years of studying Graham technique, 4 years in her Ensemble (Graham 2) and 27 years in her company, informs my career. I love her technique and dances. “Lamentation” is one of the many works I still enjoy dancing and each time I have a different experience. When I arrived to NY in 1979, Doris Humphrey was already gone. I took a lot of Humphrey/Limon classes, not knowing what Humphrey was and what Limon was. But since Martha and Doris both came out from Denishawn, I wanted to dance both women’s works. One of my first encounters of Humphrey work was “Two Ecstatic Themes” danced by my friend and colleague, Sandra Kaufmann, who studied with Earnestine Stodelle. That was shockingly beautiful. Since then I wanted to dance this work. It’s been a long time coming but now I am dancing it!!! Lastly, I am dancing Yuriko’s “The Cry” in this concert. Yuriko, my mentor. Her life is very colorful, with her time in Japan, her time in an internment camp in America, her time in pre Graham, post Graham, her time in Hollywood, Broadway and beyond… Special Thank You To RESONANCE III The Japan Foundation, Takako Asakawa and Paul Richards, Hiroshi Masuyama, Maxine Glorsky, Steven Hitt, LaGuardia Community College, LaGuardia I am following her life a little – a lot of time I was cast in roles that she Performing Arts Center, Rendo Sugimoto, Yoko Iwasaki, Norton Owen, Amy originated. She coached me in a lot of Martha’s roles, and I danced on Harrison, John Deane, Stephen Pier, Michie Yamakawa, Nobue Hirabayashi, Broadway of The King and I which she was very involved in. She is a beautiful Rendo Sugimoto, Yoko Iwasaki, Taeco Ishida, Erico Platt, Karin Fukumi, Amy merge between America and Japan, and since I have this great experience, I Manfredi, The HarttSchool, University of Hartford, Paul Scolieri , Tricia Toliver, want to share what I have learned. The Barnard College, Sumie Yonei, The Sunami Family, The Kikuchi Family, Nanako Yamada, Noriko Sato, Miwako Kanamori, Yasuko Kataoka, Shigeyo I have the vision of five concerts – this is the third one. Two more to go! If you Murayama, Y ki Kobari, The Kivnick Family, Norton Owen, Sandra Kaufmann, are interested to know about the next two, just find me and talk to me!!! I ū The Harvard University, Mr. & Mrs. Kunugi, All Nippon Airway, Joyce Herring, can’t stop talking about this! Pascal Rioult, RIOULT Dance Center, Nick Ishimaru, Theatre of Yugen, Desirér Dunbar, DEZZADANCE, Gregory Cary and Bentley Roton, KAATSBAAN, Lisa I am so grateful of Steven Hitt, the director of the LaGuardia Performing Arts Thurrell and Robert Cleary, Kanopy Dance Company, Martha Graham Center Center and his staff’s support, The Japan Foundation for believe in me for this and Resource, New National Theatre in Japan, Tatsuo Mochizuki, Stephen Pier, project to go forward and to award this production their Tour Grant, Hiroshi and Yuriko. Masuyama for his support, all Nippon Airway’s support for my two guests from Japan so that they could fly to NY comfortably, Barnard College and the Hartt Coverphoto from Left to Right Upper: Martha Graham in Lamentation (1930) School’s support of giving me free space for practicing. Photo by Soichi Sunami, Courtesy of the Sunami Family, Miki Orihara by Tokio Kuniyoshi, Doris Humphrey by Soichi Sunami, courtesy of the Sunami Family For projections, I want to thank the Sunami Family who gave me the Lower: Seiko Takata in Mother (1938) photo courtesy of Nanako Yamada, permission to use beautiful pictures of Soichi Sunami, The Kikuchi family for Konami Ishii in Koushou (1938) photo courtesy of Noriko Sato Yuriko in The Yuriko’s pictures, Noriko Sato for teaching me works, providing me all the Cry (1963) courtesy of the Kikuchi Family Cover Design by Nobue Hirabayashi information and pictures of Konami Ishii, Nanako Yamada for teaching me and - Mt. Design providing me all the information and pictures of Seiko, Norton Owen and Yasuko Kataoka for bringing lectures to find out this beautiful world of modern * * * * * * * * * * * * * * * * dance together. More that I learn, more that I feel connections to dance in both LPAC is helping me to gather funds this time using their organization’s tax- countries. exempt status. This means that any contribution you make to this project will be fully tax deductible. Tax deductible contribution made out to I want to thank you my mentor Yuriko and all teachers and dancers who came "FH LaGuardia Community College AUX Corporation”, (memo: Miki Orihara) before me and who will come after me and so much support from my husband, will be gratefully accepted at the following address: Stephen Pier. Miki Orihara Thank you for coming! 405 West 48th Street #4F Miki New York, NY 10036 Friday, May 10, 2019 * * * * * * * * * * * * * * * * LaGuardia Performing Arts Center Presents Commissioning support for RESONANCE III is provided by LaGuradia Performing Arts Center, LaGuardia Community College, Miki Orihara Solo Concert which receives major support from The Mertz Gilmore Foundation. Additional support provided by the Mertz Gilmore Foundation, NY RESONANCE III Culture Department of Cultural Affairs Ciry of New York. York. Works of American and Japanese Modern Dance Pioneers SEIKO TAKATA 1895-1977 Slideshow: Photos courtesy of Nanako Yamada, Yuki Kobari, and some online source. Music: La Cathédrale Engloutie (1910) Claude Debussy [excerpt] MOTHER (1938) US Premier RESONANCE III is a grantee of the Japan Foundation’s Tour Grant Choreography by Seiko Takata 2018/2019 Music by Frédéric Chopin* Costume Design by Seiko Takata Restage by Nanako Yamada Miki Orihara, Dance Nora Izummi Bartosik, Piano Mother’s love and kindness and prayer for the future Other support from All Nippon Airways, Hiroshi Masuyama – MAM *Frédéric Chopin - Etude Op. 10 No. 3 Foundation The Hartt School (University of Hartford), The Barnard **Reconstruction of Mother for “Dance Archive in JAPAN” by Nanako Yamada College, RIOULT Dance Center, Theatre of Yugen, Vancouver Civic and other pupil of Seiko Takata in 2014 at the New National Theatre, Tokyo Theatres and Dezza Dance. This reconstruction gave a great chance to encounter the pioneer Seiko’s work. Not only the physical technique but also with the dancers understanding of the body expression made the process of making and becoming a work was very important and it appeared if it was Seiko her self was dancing in it. -Nanako Yamada AMANDA WADDELL | INTERPRETER, NY DORIS HUMPHREY 1895-1958 Amanda Waddell, originally from Houston, Texas, received her Bachelor of Arts degree in East Slideshow : Photos courtesy of The Sunami Family and some online source.
Recommended publications
  • OSB Representative Participant List by Industry

    OSB Representative Participant List by Industry

    OSB Representative Participant List by Industry Aerospace • KAWASAKI • VOLVO • CATERPILLAR • ADVANCED COATING • KEDDEG COMPANY • XI'AN AIRCRAFT INDUSTRY • CHINA FAW GROUP TECHNOLOGIES GROUP • KOREAN AIRLINES • CHINA INTERNATIONAL Agriculture • AIRBUS MARINE CONTAINERS • L3 COMMUNICATIONS • AIRCELLE • AGRICOLA FORNACE • CHRYSLER • LOCKHEED MARTIN • ALLIANT TECHSYSTEMS • CARGILL • COMMERCIAL VEHICLE • M7 AEROSPACE GROUP • AVICHINA • E. RITTER & COMPANY • • MESSIER-BUGATTI- CONTINENTAL AIRLINES • BAE SYSTEMS • EXOPLAST DOWTY • CONTINENTAL • BE AEROSPACE • MITSUBISHI HEAVY • JOHN DEERE AUTOMOTIVE INDUSTRIES • • BELL HELICOPTER • MAUI PINEAPPLE CONTINENTAL • NASA COMPANY AUTOMOTIVE SYSTEMS • BOMBARDIER • • NGC INTEGRATED • USDA COOPER-STANDARD • CAE SYSTEMS AUTOMOTIVE Automotive • • CORNING • CESSNA AIRCRAFT NORTHROP GRUMMAN • AGCO • COMPANY • PRECISION CASTPARTS COSMA INDUSTRIAL DO • COBHAM CORP. • ALLIED SPECIALTY BRASIL • VEHICLES • CRP INDUSTRIES • COMAC RAYTHEON • AMSTED INDUSTRIES • • CUMMINS • DANAHER RAYTHEON E-SYSTEMS • ANHUI JIANGHUAI • • DAF TRUCKS • DASSAULT AVIATION RAYTHEON MISSLE AUTOMOBILE SYSTEMS COMPANY • • ARVINMERITOR DAIHATSU MOTOR • EATON • RAYTHEON NCS • • ASHOK LEYLAND DAIMLER • EMBRAER • RAYTHEON RMS • • ATC LOGISTICS & DALPHI METAL ESPANA • EUROPEAN AERONAUTIC • ROLLS-ROYCE DEFENCE AND SPACE ELECTRONICS • DANA HOLDING COMPANY • ROTORCRAFT • AUDI CORPORATION • FINMECCANICA ENTERPRISES • • AUTOZONE DANA INDÚSTRIAS • SAAB • FLIR SYSTEMS • • BAE SYSTEMS DELPHI • SMITH'S DETECTION • FUJI • • BECK/ARNLEY DENSO CORPORATION
  • 9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry

    9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry

    9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry. No.1 - September 5, 2011 Dear Lori: I am grateful to Ryoko Kudo, Maxine Steinman and our MSU dancers for opening the doors to the studio in Life Hall last week and welcoming me to sit in on three sessions of the setting of excerpts from There is a Time (1956) by Jose Limon. They worked on “Opening Circle,” “Plant and Reap,” “Mourn,” “Laugh and Dance,” and “Hate & War.” Reviewing and editing my on-site notes, I recalled a helpful observation by Doris Humphrey in The Art of Making Dances with regard to this work. She writes, “There is a Time states its thematic material in the opening section and builds all the rest of its many parts on variations of the same movements. Unfortunately, this escapes most people; what they see is a suite form, contrasted ideas of dramatic or lyric significance. This is because the eye is not sufficiently trained to remember movement themes, and will usually miss them completely.” Indeed, the fact that the original title of There is a Time was Variations on a Theme came through powerfully during these sessions. Ryoko’s precisely-planned and at the same time intuitively- executed method was the embodiment of Limon’s preliminary concept notes for the dance, when he said that “the community…form[s] a very close circle which pulsates symbolizing an ovum or womb in travail…[T]he large circle…symbolize[s] time – the great continuity – eternal, unbroken…without hurry and without end.” I was also mindful of a point that Carla Maxwell made in an interview with The New York Times ten years ago about classic modern dance: “What's indispensable is a consistent point of view that relates to the times,'' she said.
  • Miss Hill: Making Dance Matter Is Both Gorgeous and Powerful, Crackling with Energy

    Miss Hill: Making Dance Matter Is Both Gorgeous and Powerful, Crackling with Energy

    FIRST RUN FEATURES PRESENTS “Miss Hill: Making Dance Matter is both gorgeous and powerful, crackling with energy. You need not be a scholar of dance to be completely enthralled!” - Ernest Hardy, The Village Voice “Illuminating...distills the essence of a time when American dance, like never before, sought to comment on society rather than escape from it.” - Siobhan Burke, The New York Times “Bound to enthrall dance aficionados with its copious amounts of wonderful archival footage. Serves as a marvelous primer on the rise of modern dance as an an important art form in America. Miss Hill herself would no doubt have been pleased.” - Frank Scheck, The Hollywood Reporter “An aesthetic treat, juxtaposing abundant archival footage of such luminaries as Martha Graham, José Límon and Antony Tudor with striking footage of contemporary dancers.” Miss Hill: Making Dance Matter reveals the little known story of Martha Hill, a - lisa Jo sagolla, film Journal international visionary who fought against great odds to make contemporary and modern dance a legitimate art form in America. In a career spanning most of the 20th “Gorgeous and evocative! century, Hill became a behind the scenes leader in the dance world and the The blending of archival footage and voice over founding director of Juilliard’s Dance Division. Stylistically weaving together over 90 years of archival footage, the film is a celebration of dance and an is quite seamless and beautifully done.” examination of the passion required to keep it alive. -Joshua Brunsting, criterion cast DVD BONUS MATERIALS INCLUDE SRP: $27.95 Catalog #: FRF 916561D • ArchivAl DAnce PerformAnce footAge 80 minutes, color, 2014 • AdditionAl interviews • Biographies PRE-BOOK: MAY 26 • STREET DATE: JUNE 23 TO ORDER CALL 1-800-229-8575 OR CONTACT YOUR DISTRIBUTOR Email: [email protected].
  • Alliance for Canadian New Music Projects Presents

    Alliance for Canadian New Music Projects Presents

    Alliance for Canadian New Music Projects presents Festival: November 23 - 25, 2018 Rooms 1-29, 2-28 & Studio 27, University of Alberta, Fine Arts Building Saturday, November 24, 2018 25th Anniversary Commission Classes, 6 - 8 pm Young Composers Program Final Concert, 8 pm Studio 27, University of Alberta, Fine Arts Building Gala Concert: Friday, November 30, 7:00 pm Muttart Hall, Alberta College, 10050 MacDonald Drive 3 4 ALLIANCE FOR CANADIAN Dear Contemporary Showcase Edmonton, NEW MUSIC PROJECTS Congratulations on your 25th Anniversary! This is a major milestone and you are celebrating it in a creative and memorable way. Edmonton has always been a vital Showcase centre, proudly and effectively promoting the teaching, performance and composition of Canadian Music. Throughout the years, we have marvelled at your expansion of musical activities including the establishment of your Young Composers Program and commissioning of works by Albertan composers. Performers from your centre have received many National Awards for their inspired performances which serves as a testament to the lasting impact of your presence. Thanks to the dedicated committee members, through this quarter century, contemporary Canadian music is thriving in Edmonton. We look forward to celebrating many more milestones with you in the years to come! Jill Kelman President ACNMP October 5, 2018 To: Edmonton Contemporary Showcase Congratulations on the 25th Anniversary of Edmonton Contemporary Showcase, a remarkable achievement in presenting this important mechanism for
  • “Kiss Today Goodbye, and Point Me Toward Tomorrow”

    “Kiss Today Goodbye, and Point Me Toward Tomorrow”

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape.
  • Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And

    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.
  • Factset-Top Ten-0521.Xlsm

    Factset-Top Ten-0521.Xlsm

    Pax International Sustainable Economy Fund USD 7/31/2021 Port. Ending Market Value Portfolio Weight ASML Holding NV 34,391,879.94 4.3 Roche Holding Ltd 28,162,840.25 3.5 Novo Nordisk A/S Class B 17,719,993.74 2.2 SAP SE 17,154,858.23 2.1 AstraZeneca PLC 15,759,939.73 2.0 Unilever PLC 13,234,315.16 1.7 Commonwealth Bank of Australia 13,046,820.57 1.6 L'Oreal SA 10,415,009.32 1.3 Schneider Electric SE 10,269,506.68 1.3 GlaxoSmithKline plc 9,942,271.59 1.2 Allianz SE 9,890,811.85 1.2 Hong Kong Exchanges & Clearing Ltd. 9,477,680.83 1.2 Lonza Group AG 9,369,993.95 1.2 RELX PLC 9,269,729.12 1.2 BNP Paribas SA Class A 8,824,299.39 1.1 Takeda Pharmaceutical Co. Ltd. 8,557,780.88 1.1 Air Liquide SA 8,445,618.28 1.1 KDDI Corporation 7,560,223.63 0.9 Recruit Holdings Co., Ltd. 7,424,282.72 0.9 HOYA CORPORATION 7,295,471.27 0.9 ABB Ltd. 7,293,350.84 0.9 BASF SE 7,257,816.71 0.9 Tokyo Electron Ltd. 7,049,583.59 0.9 Munich Reinsurance Company 7,019,776.96 0.9 ASSA ABLOY AB Class B 6,982,707.69 0.9 Vestas Wind Systems A/S 6,965,518.08 0.9 Merck KGaA 6,868,081.50 0.9 Iberdrola SA 6,581,084.07 0.8 Compagnie Generale des Etablissements Michelin SCA 6,555,056.14 0.8 Straumann Holding AG 6,480,282.66 0.8 Atlas Copco AB Class B 6,194,910.19 0.8 Deutsche Boerse AG 6,186,305.10 0.8 UPM-Kymmene Oyj 5,956,283.07 0.7 Deutsche Post AG 5,851,177.11 0.7 Enel SpA 5,808,234.13 0.7 AXA SA 5,790,969.55 0.7 Nintendo Co., Ltd.
  • Rudolf Laban in the 21St Century: a Brazilian Perspective

    Rudolf Laban in the 21St Century: a Brazilian Perspective

    DOCTORAL THESIS Rudolf Laban in the 21st Century: A Brazilian Perspective Scialom, Melina Award date: 2015 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 Rudolf Laban in the 21st Century: A Brazilian Perspective By Melina Scialom BA, MRes Thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2015 Abstract This thesis is a practitioner’s perspective on the field of movement studies initiated by the European artist-researcher Rudolf Laban (1879-1958) and its particular context in Brazil. Not only does it examine the field of knowledge that Laban proposed alongside his collaborators, but it considers the voices of Laban practitioners in Brazil as evidence of the contemporary practices developed in the field. As a modernist artist and researcher Rudolf Laban initiated a heritage of movement studies focussed on investigating the artistic expression of human beings, which still reverberates in the work of artists and scholars around the world.
  • Sidetrekked; Issue #59; September, 2018

    Sidetrekked; Issue #59; September, 2018

    September 2018 SideTrekked - A publication of Science Fiction London - Issue #59 SideTrekked is the official journal of Science Fiction London ISSN 0715-3007 ISSN Canada Library and Archives Canada 395 Wellington Street Ottawa, Ontario K1A 0N4 All regular, public meetings are held at the Central Branch of the London Public Library 251 Dundas Street London, Ontario N6A 6H9 www.sflondon.ca www.facebook.com/ScienceFictionLondon [email protected] The front cover image was created by Andrey Kiselev and was obtained via www.123rf.com . The back cover image was created by 'algolonline' and was also obtained via www.123rf.com. This edition was edited by Stephanie Hanna and Mark Ambrogio. Club Executive Mark C. Ambrogio, president Stephanie Hanna, vice-president Terry Brown, secretary & library liaison Reinhardt Christiansen, webmaster Doug McKay, treasurer page 3 Domain Names and Why They Matter Editors' Note: Recently, Science Fiction London renewed its domain name. We thought folks might be interested to know the history of the club's domain name, why we have a domain name, and some information on domain names in general. Thanks to Reinhardt (our webmaster) for putting together this article! A domain name is essentially a string of letters that tells someone where to go to find a given website. It is not an actual address in the same way 251 Dundas Street, London, Ontario is, but it is a unique identifier that can be looked up by your computer to determine the actual address. Just as we typically say "the Library" to refer to the London Public Library, Central Branch, http://sflondon.ca is a short, human-friendly way to refer to the Science Fiction London website.
  • Notification of Business Conducted at the 41St Ordinary General Meeting of Shareholders

    Notification of Business Conducted at the 41St Ordinary General Meeting of Shareholders

    NOTIFICATION OF BUSINESS CONDUCTED AT THE 41ST ORDINARY GENERAL MEETING OF SHAREHOLDERS Stock Code Number: 9766 June 27, 2013 Dear Shareholder, This is to inform you that the following reports were presented and the resolutions were passed at the 41st Ordinary General Meeting of Shareholders held on June 27, 2013. Sincerely yours, Kagemasa Kozuki Representative Director KONAMI CORPORATION 7-2, Akasaka 9-chome, Minato-ku, Tokyo Reports 1. Business Report, Consolidated Financial Statements for the 41st fiscal year (from April 1, 2012 to March 31, 2013); and on the Reports of the accounting auditor and of the Board of Corporate Auditors regarding Consolidated Financial Statements for the 41st fiscal year 2. Financial Statements for the 41st fiscal year (from April 1, 2012 to March 31, 2013) We reported the contents of the above. Resolutions Proposal 1: Election of seven members to the Board of Directors It was approved as proposed. Messrs. Kagemasa Kozuki, Takuya Kozuki, Kimihiko Higashio, Noriaki Yamaguchi, Tomokazu Godai, Hiroyuki Mizuno and Akira Gemma were reelected and reassumed their office as Director. Proposal 2: Election of two members to the Board of Corporate Auditors It was approved as proposed. Messrs. Shinichi Furukawa and Minoru Maruoka were newly elected and assumed their office as Corporate Auditor. Proposal 3: Continuation and Partial Revision of the Countermeasures to Large-Scale Acquisitions of KONAMI CORPORATION Shares (takeover defense measures) It was approved as proposed. As a result of resolutions passed at the meetings of the Board of Directors and the Board of Corporate Auditors which were held after the 41st Ordinary General Meeting of Shareholders, the new Board of Directors and Board of Corporate Auditors as of June 27, 2013, are set as shown on the following page.
  • Feminist Scholarship Review: Women in Theater and Dance

    Feminist Scholarship Review: Women in Theater and Dance

    Trinity College Trinity College Digital Repository Feminist Scholarship Review Women and Gender Resource Action Center Spring 1998 Feminist Scholarship Review: Women in Theater and Dance Katharine Power Trinity College Joshua Karter Trinity College Patricia Bunker Trinity College Susan Erickson Trinity College Marjorie Smith Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/femreview Part of the Feminist, Gender, and Sexuality Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Power, Katharine; Karter, Joshua; Bunker, Patricia; Erickson, Susan; and Smith, Marjorie, "Feminist Scholarship Review: Women in Theater and Dance" (1998). Feminist Scholarship Review. 10. https://digitalrepository.trincoll.edu/femreview/10 Peminist Scfiofarsliip CR§view Women in rrlieater ana(])ance Hartford, CT, Spring 1998 Peminist ScfioCarsfiip CJ?.§view Creator: Deborah Rose O'Neal Visiting Lecturer in the Writing Center Trinity College, Hartford, Connecticut Editor: Kimberly Niadna Class of2000 Contributers: Katharine Power, Senior Lecturer ofTheater and Dance Joshua Kaner, Associate Professor of Theater and Dance Patricia Bunker, Reference Librarian Susan Erickson, Assistant to the Music and Media Services Librarian Marjorie Smith, Class of2000 Peminist Scfzo{a:rsnip 9.?eview is a project of the Trinity College Women's Center. For more information, call 1-860-297-2408 rr'a6fe of Contents Le.t ter Prom. the Editor . .. .. .... .. .... ....... pg. 1 Women Performing Women: The Body as Text ••.•....••..••••• 2 by Katharine Powe.r Only Trying to Move One Step Forward • •.•••.• • • ••• .• .• • ••• 5 by Marjorie Smith Approaches to the Gender Gap in Russian Theater .••••••••• 8 by Joshua Karter A Bibliography on Women in Theater and Dance ••••••••.••• 12 by Patricia Bunker Women in Dance: A Selected Videography .••• .•...
  • Chiarts Dance Overview and Audition Guide

    Chiarts Dance Overview and Audition Guide

    CHIARTS DANCE OVERVIEW AND AUDITION GUIDE This guide is designed to help you prepare for the Dance conservatory audions and for considering ChiArts as an opon for your high school. ChiArts is a wonderfully creave and educaonal environment, and we take our work seriously. DECIDING IF CHIARTS DANCE IS RIGHT FOR YOU What can I expect from ChiArts Dance? Our programs are modeled on college-level Conservatory programs and tailored for high school students. It is a rigorous training program that is taught by professionals in their fields who have high standards of excellence and a commitment to training the next generaon of arsts. Classroom instrucon is supplemented by a variety of performance opportunies in which training is put into pracce. Whether or not a student chooses to ulmately pursue a career in the arts, the curriculum will provide a wide variety of learning opportunies and experiences that can benefit them throughout their lives and in whatever field they choose to pursue. What does ChiArts Dance expect from me? The school day at ChiArts is from 8 am to 5 pm and includes some evening rehearsals and events. Students must have stamina and focus throughout the enre day and must be commied to both academic and arts educaon. Students are expected to arrive to each Dance class on me, fully prepared to work with all of their materials and dedicated to their cra and community. Students should be open to praccing sustained focus, taking risks, and providing a safe learning environment for others. Your aendance affects the work of your peers as well as yourself.