About the Dance Piece

Total Page:16

File Type:pdf, Size:1020Kb

About the Dance Piece Welcome Letter Thank you for joining us at DANCE This 2014! Seattle Theatre Group is celebrating 16 years of this amazing program and we are so honored that you are celebrating with us! DANCE This features young and adult performers collaborating together and sharing their culture through the art of dance. In this Study Guide, you will find information about the different dances that will be represented in this year’s DANCE This. Additionally, you will find information about the dancers, choreographers and a few activities you can try out with your students and groups. Whether this is your first time experiencing DANCE This or you are a long time supporter, THANK YOU! Thank you, for keeping the arts vibrant in your community and helping us support this amazing program. Should you have any questions regarding this engagement guide please feel free to contact me directly at [email protected]. Respectfully, Marisol Best Education Programs Manager 206.467.5510 x 1127 About Seattle Theatre Group STG MISSION: Our mission is to make diverse performing arts and education an integral part of our region’s rich cultural identity while keeping these three landmark venues alive and vibrant. ABOUT EDUCATION: Seattle Theatre Group education and community programs extend beyond the Paramount, Moore, and Neptune Theatre stages and into the lives of the greater Seattle community. Each season, STG offers over 200 education engagements impacting over 24,000 students and community members from diverge ages and backgrounds. THESE PROGRAMS… Deepen significance to performances through opportunities to engage with artists Inspire youth and local artists through training and performance opportunities Provide exposure to the arts through access initiatives Dance Styles Contemporary Spectrum Dance Theater Academy Contemporary dance is commonly understood as the fusion of Ballet and Modern dance styles with a heavy in8luence of current musical composition. Ballet provides Contemporary dancers with the technical foundation and knowledge required for the movement of this dance style. Modern inspires the emotion, movement and style components. Contemporary dance has grown and continues to evolve in the dance community, becoming one of the most popular dance forms among dancers and audience members. Hip Hop Northwest Tap Connection Hip Hop dance originated in the United States in the 1970s on the streets of inner city America among the young African American community. This dance style was inspired by 1920s jazz dances, such as the Lindy Hop. The combination of intricate footwork from earlier dance styles with the innovative music of the 1970s resulted in the new dance culture of Hip Hop. Over time, this genre has extended to many cultural groups around the world, especially Asian American, Hispanic, African American and Caucasian communities. Hip Hop has evolved and moved into mainstream media, constantly exciting youth across the globe. Dance Styles African African Journey The culture of dance is a central focus of the African lifestyle. Dance teaches social patterns and values while helping young individuals grow and mature within their communities. Different styles of African dance are performed at celebrations, festivals, or funerals to recite history, poetry, and encounter gods that are representative of the African culture. The dance is extremely physical and involves the entire body, being representative of the music that is created from either human voice or authentic musical instruments, such as African drums. Ballet International Ballet Theatre Ballet originated in the Renaissance court of Italy and France in the early 1400’s, but became a performance art to be enjoyed by an audience in the 17th century during the reign of Louis XIV. This dance form has developed immensely since its beginning, acting as the technical foundation for the majority of popular dance genres such as contemporary, jazz, and musical theatre. There are many variations of ballet that are studied and performed today, including folk, which will be performed by International Ballet Theatre. Dance Styles Mexican Bailardores de Bronce Mexican dance is known to be a blending of movement and elements that stem from the country’s history and indigenous heritage. There is a great amount of African and European in8luence in the physical and technical aspects of the Mexican dance form. Different movement and style aesthetics are often representative of the region in Mexico that it was originally created and performed. Mexican dance involves an immense amount of energy and historical pride to entertain the audience and represent the country’s history. Philippines Kalahi Philippine Dance Company There are many different styles of Philippine folk dance, but speci8ically Singkil and Tinikling are styles being performed by Kalahi Philippine Dance Company. Singkil, based on the Darangan, the Mindanao epic, revolves around the amorous exploits of a prince, who falls in love with a lovely princess. Tinikling, originated in the Visayan Islands, on the Island of Leyte. The dancers imitate the tikling bird's legendary grace and speed as they walk between grass stems, run over tree branches, or dodge bamboo traps set by rice farmers. Dance Styles Garba and Raas UW DangeRAAS Dawgs Both Garba and Raas are forms of Indian dance originating in the state of Gujarat, India. Garba is traditionally performed in a circular formation while Dandiya Raas involves dancing with sticks, which are used to represent swords. Both dances are culturally signi8icant because of their regional and religious aspects. Garba/Raas is performed to honor the Hindu goddess Durga and to celebrate life. These dances are typically performed during festivals like Navaratri and wedding ceremonies. Musical Theatre CORE Theatrics Musical Theatre is a style of dance that is most often enjoyed by audiences viewing a Broadway Musical production. The dance style incorporates theatrics that follow a speci8ic story line and musical score. The movement is derived greatly from technical ballet and jazz, and is often very physically demanding. This dance form adds an additional artistic layer to musical productions in order to tell a story to the audience by incorporating music, acting, and dance. DANCE This Team Artistic Advisor for DANCE This 2014 Mark Haim is an internationally recognized choreographer and dance teacher. He has created dances for dance companies such as the Nederlands Dans Theater, Ballett Frankfurt, and the Joffrey Ballet. He toured his full-evening solo, The Goldberg Variations, from 1997 to 2002 around the US and in Russia and Korea. His 2013 work for a company of 14, “This Land Is Your Land”, has been seen in Paris (Theatre de Vanves) and New York (The Joyce Theater). Most recently, he was choreographer for The Consul and Tales of Hoffmann at the Seattle Opera. He has been on the faculty of the American Dance Festival since 1993 and has taught dance as a guest artist in universities around the US as well as for companies and schools in Japan, Korea, Singapore, Belgium, Holland, Germany, Italy, Portugal, Chile and Argentina. He was Artist in Residence at the University of Washington Dance Program from 2002-08 and currently teaches at the Velocity Dance Center and the International Ballet Academy. Finale Choreographer Daniel Cruz is the choreographer and director of Cruz Control, a Seattle hip hop company. He served as a Co-Dance Captain on the 1st National Tour of the Tony-award winning musical, In The Heights. Cruz has also worked with the 5th Avenue Theater, The Village Theater, MTV VMA's (Michael Jackson/NSYNC), BET (Ashanti), Musicology music video (Prince), Seattle Seahawks, Microsoft, STG, Napoleon & Tabitha D'Umo, Wade Robson and Brian Friedman. He has taught and choreographed for STG's DANCE This since 2005 and premiered new work at The Moore Theatre in 2008 and 2009. Spectrum Dance Theater Academy Spectrum Dance Theater Academy is the Pre-professional Division of Spectrum Dance Theater, Seattle’s premier contemporary dance organization. The highly dedicated and meritable students in this intensive training program range in ages 14 through 22 and study approximately 20 hours a week. The base of their study is Ballet and Donald Byrd Contemporary, however, this well-rounded dance program also includes Tap, Choreography, Gyrokinesis®, and World Dance. About the Dance Piece Spectrum Dance Theater Academy students work Photo Credit: Christopher Nelson directly with Spectrum’s Artistic Director and world renown choreographer, Donald Byrd. With this diverse and challenging curriculum, the students are provided a rich artistic experience and the highest level of dance training. This dance piece is a contemporary style of dance. It was created to re8lect a community and all that entails. http://spectrumdance.org/school/featured-program/ Northwest Tap Connection Northwest Tap Connection is an urban dance studio that specializes in rhythm tap, while also incorporating other dance styles such as African, jazz, modern, ballet, swing, ballroom, and hip-hop. Many generations of Northwest Tap Connection dancers have participated and performed in Seattle Theatre Group Community Programs . Other performance experiences range from studio shows to participating in an annual tap festival to broaden the students’ awareness of tap, improve skills, build self-esteem, and connect with the larger dance community. Northwest Tap Connection is dedicated Photo Credit: Christopher Nelson to building the whole dancer through a
Recommended publications
  • Senior Women's Performances of Sexuality
    “DUSTY MUFFINS”: SENIOR WOMEN’S PERFORMANCES OF SEXUALITY A Thesis by EVLEEN MICHELLE NASIR Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Major Subject: Performance Studies “Dusty Muffins”: Senior Women’s Performances of Sexuality Copyright 2012 Evleen Michelle Nasir “DUSTY MUFFINS”: SENIOR WOMEN’S PERFORMANCES OF SEXUALITY A Thesis by EVLEEN MICHELLE NASIR Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Kirsten Pullen Committee Members, Judith Hamera Harry Berger Alfred Bendixen Head of Department, Judith Hamera August 2012 Major Subject: Performance Studies iii ABSTRACT “Dusty Muffins”: Senior Women’s Performance of Sexuality. (August 2012) Evleen Michelle Nasir, B.A., Texas A&M University Chair of Advisory Committee: Dr. Kirsten Pullen There is a discursive formation of incapability that surrounds senior women’s sexuality. Senior women are incapable of reproduction, mastering their bodies, or arousing sexual desire in themselves or others. The senior actresses’ I explore in the case studies below insert their performances of self and their everyday lives into the large and complicated discourse of sex, producing a counter-narrative to sexually inactive senior women. Their performances actively embody their sexuality outside the frame of a character. This thesis examines how senior actresses’ performances of sexuality extend a discourse of sexuality imposed on older woman by mass media. These women are the public face of senior women’s sexual agency.
    [Show full text]
  • Indian Classical Dance Is a Relatively New Umbrella Term for Various Codified Art Forms Rooted in Natya, the Sacred Hindu Musica
    CLASSICAL AND FOLK DANCES IN INDIAN CULTURE Palkalai Chemmal Dr ANANDA BALAYOGI BHAVANANI Chairman: Yoganjali Natyalayam, Pondicherry. INTRODUCTION: Dance in India comprises the varied styles of dances and as with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country. These dance forms emerged from Indian traditions, epics and mythology. Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities of distant past. These are: Bharatanatyam- Tamil Nadu Kathak- Uttar Pradesh Kathakali- Kerala Kuchipudi- Andhra Pradesh Manipuri-Manipur Mohiniyattam-Kerala Odissi-Odisha Sattriya-Assam Folk dances are numerous in number and style, and vary according to the local tradition of the respective state, ethnic or geographic regions. Contemporary dances include refined and experimental fusions of classical, folk and Western forms. Dancing traditions of India have influence not only over the dances in the whole of South Asia, but on the dancing forms of South East Asia as well. In modern times, the presentation of Indian dance styles in films (Bollywood dancing) has exposed the range of dance in India to a global audience. In ancient India, dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship. Even in modern India, deities are invoked through religious folk dance forms from ancient times.
    [Show full text]
  • In Flight: Contemporizing Winged Motifs in Philippine
    IN FLIGHT: CONTEMPORIZING WINGED MOTIFS IN PHILIPPINE FOLK DANCE FOR THE CANADIAN STAGE PAULO PEREZ ALCEDO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DANCE YORK UNIVERSITY TORONTO, ONTRARIO APRIL 2021 © PAULO ALCEDO, 2021 ii Abstract This thesis is a choreographic and filmic exploration of contemporizing selected Philippine folk dances that have winged motifs. It examines dance rehearsals as a site for ethnographic research. Metaphors of birth, growth, life, immigration, struggle, failures, resilience, and hope will be manifested and expressed. The output of this research is a dance film. Titled In Flight, it critically responds to themes of isolation, limited movements, the precarity of flight, restricted travel, acts of transferring from one place to another, and the ways in which dance artists adapt to quarantined movements of life. Its aim is to identify an increased knowledge of natural movement of the avian species paralleled or in discussion with how humans translate the naturally occurring movements of birds into human expressions and dances. Keywords: Philippine folk dance, contemporizing traditional dances, winged motifs, avian species, COVID-19, isolation, precarity of flight, dance ethnography iii Dedication This thesis is dedicated to my late sister Lara. Thank you for sparking my love of dance. Thank you for your unconditional love even if it was cut short. I wish you were here to bear witness to my own flight as a dancer and now a choreographer. I also dedicate this thesis to my brother Patrick who paved the way for me to pursue my graduate studies.
    [Show full text]
  • The Musical Number and the Sitcom
    ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) It May Look Like a Living Room…: The Musical Number and the Sitcom By Robin Stilwell Georgetown University 1. They are images firmly established in the common television consciousness of most Americans: Lucy and Ethel stuffing chocolates in their mouths and clothing as they fall hopelessly behind at a confectionary conveyor belt, a sunburned Lucy trying to model a tweed suit, Lucy getting soused on Vitameatavegemin on live television—classic slapstick moments. But what was I Love Lucy about? It was about Lucy trying to “get in the show,” meaning her husband’s nightclub act in the first instance, and, in a pinch, anything else even remotely resembling show business. In The Dick Van Dyke Show, Rob Petrie is also in show business, and though his wife, Laura, shows no real desire to “get in the show,” Mary Tyler Moore is given ample opportunity to display her not-insignificant talent for singing and dancing—as are the other cast members—usually in the Petries’ living room. The idealized family home is transformed into, or rather revealed to be, a space of display and performance. 2. These shows, two of the most enduring situation comedies (“sitcoms”) in American television history, feature musical numbers in many episodes. The musical number in television situation comedy is a perhaps surprisingly prevalent phenomenon. In her introduction to genre studies, Jane Feuer uses the example of Indians in Westerns as the sort of surface element that might belong to a genre, even though not every example of the genre might exhibit that element: not every Western has Indians, but Indians are still paradigmatic of the genre (Feuer, “Genre Study” 139).
    [Show full text]
  • Interweaving Indigenous Philippine Dance and Music and Western Classical Music for Recovery and Wellbeing
    Creative Arts Educ Ther (2017) 3(2):47–59 DOI: 10.15212/CAET/2017/3/6 Rising After the Storm: Interweaving Indigenous Philippine Dance and Music and Western Classical Music for Recovery and Wellbeing 暴风雨后的崛起:交织菲律宾本土舞蹈、音乐和西方古典音乐 以期康复和健康 Gina Alfonso Cartwheel Foundation, Philippines Abstract Long-term recovery programs for the survivors of typhoon Haiyan – as it struck the Philippines in 2013 – were inevitably characterized by a convergence of Eastern and Western approaches to health and wellness due to the sectors involved in the process. Local community volunteers and local/international non-profit organizations joined forces to offer socio-emotional support to over 100 families of Tagbanua heritage on three islands in the area of Culion, Palawan, Philippines. This paper presents the blending of Eastern and Western perspectives on post-traumatic symp- toms, on well-being and on the human condition. The combined spirit of compassion and bayani- han (a Filipino term for togetherness in common effort) shared by the relief workers and the Tagbanua is also described. Narratives about the unexpected discovery of inherent indigenous ways of coping through dance – and a therapeutic encounter that involved a dialogue between Tagbanua and Western classical music – are highlighted as examples of the interweaving of art- based healing practices from the East and West which contributed towards recovery and the restoration of health. Keywords: Psychosocial support, Filipino psychology, Typhoon Haiyan, Philippine indigenous dance, Western classical music. 摘要 关于曾在2013年袭击菲律宾的台风海燕幸存者的长期康复计划,不可避免地表现为东 西方健康和福祉方法的融合,这是由于该计划涉及了这些内容。当地社区志愿者和当 地/国际非营利组织联合向菲律宾巴拉望和库利昂地区三个岛上的100多个塔格巴努亚土 著家庭提供心理支持。本文介绍了东西方对创伤后症状、健康状况和人类状况影响的观 点,并描述了救援人员和塔格巴努亚人分享共情和Bayanihan (菲律宾语共同和协力之 意)的精神。关于通过舞蹈应对,这种固有的土著方式的意外发现以及涉及塔格巴努亚 与西方古典音乐之间对话的治疗性相遇的叙述突出显示了东西方艺术为基础的针对康复 和福祉的健康治疗实践相互交织的案例。 关键词: 心理社会支持, 菲律宾心理学, 台风海燕, 菲律宾土著舞蹈, 西方古典音乐。 Creative Arts in Education and Therapy – Eastern and Western Perspectives – Vol.
    [Show full text]
  • List of Indian Folk Dances - State Wise
    STUDENT'S SENA ​ ​ New resolution for banking aspirants List of Indian Folk Dances - State Wise List of Folk dances, important for general awareness section of bank exams. Jharkhand Chhanu, Sarahul, Jat-Jatin, Karma, Danga, Bidesia, Sohrai. Uttarakhand Garhwali, Pandav Nritya, Kumaoni, Kajari, Chancheri, Jhora, Raslila, Chhapeli. Andhra Kuchipudi (Classical), Ghanta mardala, Vilasini Pradesh Natyam, Andhra Natyam, Burrakatha, Veeranatyam, Butta bommalu, Tholu Bommalata, Dappu. Chhattisgarh Goudi, Karma, Jhumar, Dagla, Pali, Tapali, Navrani, Diwari, Mundari. Arunachal Mask dance (Mukhauta Nritya), War dance. Pradesh Himachal Jhora, Jhali, Chharhi, Dhaman, Chhapeli, Mahasu, Pradesh Nati, Dangi, Chamba, Thali, Jhainta, Daf, Stick dance etc. Goa Mandi, Jhagor, Khol, Dakni etc. Assam Bihu, Bichhua, Natpuja, Maharas, Kaligopal, Bagurumba, Naga dance, Khel Gopal, Tabal Chongli, Canoe, Jhumura Hobjanai etc. West Bengal Kathi, Gambhira, Dhali, Jatra, Baul, Marasia, Mahal, Keertan etc. Kerala Kathakali (Classical), Ottamthullal, Mohiniyattam, Kaikottikali, Tappeti Kali, Kali Attam. Meghalaya Laho, Baala etc. Manipur Manipuri (Classical), Rakhal, Nat Rash, Maha Rash, Raukhat etc. 1 STUDENT'S SENA ​ ​ New resolution for banking aspirants Nagaland Chong, Lim, Nuralim etc. Orissa Odissi (Classical), Savari, Ghumara, Painka, Munari, Chhau, Chadya Dandanata etc. Maharashtra Lavani, Nakata, Koli, Lezim, Gafa, Dahikala Dashavatar or Bohada, Tamasha, Mouni, Powara, Gauricha etc. Karnataka Yakshagana, huttar, Suggi, Kunitha, Karga, Lambi Gujarat Garba, Dandiya Raas, Tippani Juriun, Bhavai. Punjab Bhangra, Giddha, Daff, Dhaman etc. Rajasthan Ghumar, Chakri, Ganagor, Jhulan Leela, Jhuma, Suisini, Ghapal, Panihari, Ginad etc. Mizoram Khanatm, Pakhupila, Cherokan etc. Jammu Rauf, Hikat, Mandjas, kud Dandi nach, Damali. & Kashmir Tamil Nadu Bharatanatyam, Kummi, Kolattam, Kavadi. Uttar Pradesh Nautanki, Raslila, Kajri, Jhora, Chappeli, Jaita. Bihar Jata-Jatin,Bakho-Bakhain, Panwariya, Sama-Chakwa, Bidesia, Jatra etc.
    [Show full text]
  • “Wow Philippines - the Philippine Experience”
    THE PHILIPPINE CULTURAL FOUNDATION, INC. Presents “Wow Philippines - The Philippine Experience” Take your students to a journey to see the Philippine Enrichment Complex and enjoy “Wow Philippines - The Philippine Experience.” You and your students will be fascinated by this amazing performance! Arrival: When the students arrive, they will be greeted by members of the board of the Philippine Cultural Foundation, Inc. and the performing organizations. They will experience the enthusiastic hospitality that Filipinos are famous for, and they will be able to learn and practice the Philippine language. Before the students arrive, prepare them to say “Mabuhay” (ma-BOO-high) as they receive a free Philippines flag, a gift from the Philippine Cultural Foundation, Inc. “Mabuhay” is a greeting of cheer that means “Long Live!” The Show: The colorful show will take students on a journey through various times in Philippine history, sharing energy of the joyful Philippine spirit. “Wow Philippines - The Philippine Experience” includes • An entertaining performance of folk dances by the Philippine Performing Arts Company, • a unique bamboo musical presentation by the Musikong Kawayan Bamboo Ensemble, • and the beautiful voices of the Philippine Choral Group. This program is presented as part of the Artists-in-the-Schools Program, which is funded and jointly sponsored by the Hillsborough County School District and the Arts Council of Hillsborough County. Wow Philippines [Page- 1] Philippine Cultural Foundation, Inc. The Philippine Cultural Experience 14301 Nine Eagles Drive, Tampa, FL 33626 | www.pcfitampa.org Post -Performance Activities: At the end of the show, pre-selected student volunteers will be asked to interact with the dancers and try their skills in playing the bamboo instruments as well as dancing “Tinikling,” a bamboo dance.
    [Show full text]
  • Jaime Pressly Cast in New Tv Land Pilot “Jennifer Falls”
    JAIME PRESSLY CAST IN NEW TV LAND PILOT “JENNIFER FALLS” New York, NY – August 5, 2013 – Emmy® Award-winning actress Jaime Pressly has been cast in the lead role for TV Land’s new pilot “Jennifer Falls,” it was announced today by Keith Cox, Executive Vice President of Development and Original Programming for the network. Pressly, best known for her work on the NBC series “My Name is Earl,” will play the lead character, Jennifer Doyle, in this multi-camera pilot. “Jennifer Falls" revolves around a career woman and mother (Pressly) who must move back in with her own mom after being let go from her high-powered, six-figure salary job. With her teenage daughter in tow, Jennifer has to face her new life, trying to reconnect with old friends in her hometown and making ends meet as a waitress in her brother’s bar. “It’s amazing to have someone like Jaime Pressly on board for ‘Jennifer Falls,'” said Cox. “We loved this script from the moment we read it, and Jaime just brings the role to life perfectly.” The pilot is written, created and executive produced by Matthew Carlson (“The Wonder Years,” “Malcolm in the Middle”), with Michael Hanel and Mindy Schultheis (“Reba,” “The Exes”) also serving as executive producers. TV Land's current line-up of original sitcoms airs Wednesdays at 10pm ET/PT and includes the hit series "Hot in Cleveland," "The Exes" and "The Soul Man." The series have received several awards and accolades including two 2013 Creative Arts Emmy® nominations: one for "Hot in Cleveland" and the other for "The Exes." All of these series star pop culture icons and fan favorites including Betty White, Valerie Bertinelli, Wendie Malick, Jane Leeves, Kristen Johnston, Donald Faison, Wayne Knight, David Alan Basche, Kelly Stables, Cedric "The Entertainer," Niecy Nash and Wesley Jonathan.
    [Show full text]
  • SGH Newsletter 2014 年 5 月 1 日
    第1回 「 21 世紀における日本の役割 」 Junten Senior School 1/31/2015 講師 JICA 須崎毅浩 SGH Newsletter 2014 年 5 月 1 日 Vol.13 School Workshop GLAP1 Workshop 11 “The Mini Philippine Day” their hair and their dance was very wonderful. After ■ Overview that, Ms.Namiki and 4 students showed the class how to dance Polkabal. The students learned and Lecturer: Kanami Namiki, Embassy of the Republic of the mastered it in a very short time, and they were Philippines, Students from Tokyo University of Foreign Studies. enjoying dancing Polkabal. Date: January 31, 2015 ■ Enjoyed Filipino Food E-class and interested students from other classes 1. Presentation on Filipino Dance 2. Enjoy Filipino Food Dancing made the students hungry! Now it is time to eat ■ Presentation on Philippine Dance delicious Filipino food, that Junten prepared for the workshop. Students enjoyed abodo For this workshop, Junten invited Ms.Kanami Namiki (meat marinated in from Embassy of the Philippines and 4 students from vinegar, soy sauce, and Tokyo University of Foreign Studies (TUFS) and we garlic: left) and pansit had “Mini Philippine Day.” Ms.Namiki studied Filipino (stir-fried rice noodle: right). Ms. Olivia Akatsu who has helped at TUFS and also got into Philippine dance. Since then, a SGH workshop last year donated Filipino snacks for the Ms.Namiki has involved with various Philippine dance workshop. activities and events. TUFS students, a Filipino student from Kyorin University who came to joined the workshop all The workshop began with Ms.Namiki’s presentation joined the lunch and enjoyed the food. Students on the culture, mainly about dance in the Philippines.
    [Show full text]
  • THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice
    Paper 11: Special Interest Tourism Module 34: Performing Arts of India: Classical Dances, Folk Dance & HistoricalFolk Culture Development of Tourism and Hospitality in the World THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice Chancellor, Indira Gandhi University, Rewari Co-Principal Investigator Dr. Prashant K. Gautam Director, UIHTM, Panjab University, Chandigarh Paper Coordinator Prof. Deepak Raj Gupta School of Hospitality & Tourism Management (SHTM), Jammu University Content Writer Dr. Arunesh parashar, Chief Coordinator Department Of Tourism Management, Dev Sanskriti University Content Reviewer Prof. Pariskhit Manhas Director , school of hospitality & tourism management Jammu university, Jammu ITEMS DESCRIPTION OF MODULE Subject Name Tourism and Hotel Management Paper Name Special Interest Tourism Module Title Performing Arts of India: Classical Dances, Folk Dances and Folk Culture Module Id 34 Pre- Requisites Basic knowledge about Performing Arts Objectives To develop a basic insight about the performing arts in India Keywords Classical, folks lore, folk dances and folk cultures QUADRANT-I Performing arts are divided into two dimensions of performance: Dance Music Classical dance Bharatnatyam Bharatnatyam originates in Tamil Nadu which is likewise alluded to as artistic yoga and Natya yoga. The name Bharatnatyam is gotten from the word "Bharata’s" and subsequently connected with the Natyashashtra. Though the style of Bharatnatyam is over two thousand years old, the freshness and lavishness of its embodiment has been held even today. The strategy of human development which Bharatnatyam takes after can be followed back to the fifth Century A.D. from sculptural proof. This established move has an entrancing impact as it inspires the artist and the spectator to a larger amount of profound cognizance.
    [Show full text]
  • UAB-Psychiatry-Fall-081.Pdf
    Fall 2008 Also Inside: Surviving Suicide Loss The Causes and Prevention of Suicide New Geriatric Psychiatry Fellowship Teaching and Learning Psychotherapy MESSAGE FROM THE CHAIRMAN Message Jamesfrom H .the Meador-Woodruff, Chairman M.D. elcome to the Fall 2008 issue of UAB Psychia- try. In this issue, we showcase some of our many departmental activities focused on patients of Wevery age, and highlight just a few of the people that sup- port them. Child and adolescent psychiatry is one of our departmental jewels, and is undergoing significant expansion. I am par- ticularly delighted to feature Dr. LaTamia White-Green in this issue, both as a mother of a child with an autism- spectrum disorder (and I thank Teddy and his grandmother both for agreeing to pose for our cover!), but also the new leader of the Civitan-Sparks Clinics. These Clinics are one of UAB’s most important venues for the assessment of children with developmental disorders, training caregivers that serve these patients, and pursuing important research outcome of many psychiatric conditions. One of our junior questions. The Sparks Clinics moved into the Department faculty members, Dr. Monsheel Sodhi, has been funded by of Psychiatry over the past few months, and I am delighted this foundation for her groundbreaking work to find ge- that we have Dr. White-Green to lead our efforts to fur- netic predictors of suicide risk. I am particularly happy to ther strengthen this important group of Clinics. As you introduce Karen Saunders, who shares how her own family will read, we are launching a new capital campaign to raise has been touched by suicide.
    [Show full text]
  • The Role of Indian Dances on Indian Culture
    www.ijemr.net ISSN (ONLINE): 2250-0758, ISSN (PRINT): 2394-6962 Volume-7, Issue-2, March-April 2017 International Journal of Engineering and Management Research Page Number: 550-559 The Role of Indian Dances on Indian Culture Lavanya Rayapureddy1, Ramesh Rayapureddy2 1MBA, I year, Mallareddy Engineering College for WomenMaisammaguda, Dhulapally, Secunderabad, INDIA 2Civil Contractor, Shapoor Nagar, Hyderabad, INDIA ABSTRACT singers in arias. The dancer's gestures mirror the attitudes of Dances in traditional Indian culture permeated all life throughout the visible universe and the human soul. facets of life, but its outstanding function was to give symbolic expression to abstract religious ideas. The close relationship Keywords--Dance, Classical Dance, Indian Culture, between dance and religion began very early in Hindu Wisdom of Vedas, etc. thought, and numerous references to dance include descriptions of its performance in both secular and religious contexts. This combination of religious and secular art is reflected in the field of temple sculpture, where the strictly I. OVERVIEW OF INDIAN CULTURE iconographic representation of deities often appears side-by- AND IMPACT OF DANCES ON INDIAN side with the depiction of secular themes. Dancing, as CULTURE understood in India, is not a mere spectacle or entertainment, but a representation, by means of gestures, of stories of gods and heroes—thus displaying a theme, not the dancer. According to Hindu Mythology, dance is believed Classical dance and theater constituted the exoteric to be a creation of Brahma. It is said that Lord Brahma worldwide counterpart of the esoteric wisdom of the Vedas. inspired the sage Bharat Muni to write the Natyashastra – a The tradition of dance uses the technique of Sanskrit treatise on performing arts.
    [Show full text]