Discipline Hair Attire Tights Shoes Not Allowed Musical Theatre Dance

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Discipline Hair Attire Tights Shoes Not Allowed Musical Theatre Dance

Not Discipline Hair Attire Tights Shoes Allowed Ballet Dress Street Dance Costumes Pink Creative Ponytail Clothes Leotards Black Pink Canvas Ballet Movement Bun T-shirts Ballet Skirts Tan Jewelry Dance Shorts Street Ballet Dress Pink Pink Canvas Ballet Ponytail Clothes Ballet/Tap Leotards Black and Bun T-shirts Ballet Skirts Tan Black Patent Leather Tap Jewelry Street Pink Pink Canvas Ballet Clothes Black Leotard Black Ballet/Pointe Bun Pointe Shoes (only for T-shirts (full Pointe and pre-Pointe) Jewelry length) Bare Legs Street Black Leotard/Unitard Pink Clothes Ponytail Sports Bra Jazz Black Black Jazz Slip-on T-shirts Bun Dance Shorts Tan Jewelry Dance Pants Bare Legs Street Leotard/Unitard Pink Clothes Ponytail Sports Bra Tap Black Black Lace-up Tap T-shirts Bun Dance Shorts Tan Jewelry Dance Pants Bare Legs Street Black Leotard/Unitard Lyrical Pink Clothes Ponytail Sports Bra Foot Undeez or Modern Black T-shirts Bun Dance Shorts Bare Feet Contemporary Tan Jewelry Dance Pants Bare Legs Leotard/Unitard Sports Bra Pink Dancer’s Dance Shorts Hip-Hop Black Black Jazz Slip-on Jewelry Discretion Dance Pants Tan Jacket Jogging Pants Street Black Leotard/Unitard Pink Black Jazz Shoes Clothes Musical Ponytail Sports Bra Black Barefoot T-shirts Theatre Dance Bun Dance Shorts Tan Foot Undeez Jewelry Dance Pants Bare Legs Tank Tops Street Leotard/Unitard Ponytail Clothes Tumbling Sport Bras N/A Bare Feet Bun T-Shirts Dance Pants Jewelry Shorts .

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Shadows a Thesis Submitted to the Graduate Division of the University of Hawai'i in Partial Fulfillment of the Requirements Fo
UNIVERSITY ~f HAWAii L.lj,).""",_ - SHADOWS , A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF • MASTER OF FINE ARTS IN DANCE AUGUST 2007 By Celia Ann Wright Thesis Committee: Gregg Lizenbery, Chairperson Betsy Fisher Paul Maley -' r We certify that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Masterof Fine Arts in Dance , -.THESIS COMMITTEE .. • -"'- 1 Ai< " I IRlmmmDI~m~tW~~n 10 004226160 UNIVERSITY OF HAWAII HAWN CB5 _H3 1 no. 3 L-/ 3 C-f TABLE OF CONTENTS " Chapter 1 Thesis Proposal Introduction,., ...... ,., .... ,.,., ...... ,., ........ ,., .... ,.,., .... 3 Master Thesis Performance Proposal., .... ,. , .,.' .. '. :., .... 5 Production Information. , .... , . , ...............................7 Proposal Deadl~nes ............................................. 8 Chapter 2 Creative Process ..........................................9 Chapter 3 Performance and Reflection .............................13 Appendix A Spring Footholds 2007 Program and Poster ......... 16 , .j ,I • 2 .. '., ," Chapter 1 Introduction Returning to school was not ~ easy decision. It elicited many questions: Why? What is . the purpose? is the achievement necessary? Is the time right? Now, as I am finishing my last year at the University of HaWaii, I begin to understand the process and I revel in it. There have been many changes in my life during the past two and a half years and'''my thesis project embraces and reflects them. ,. My background in dance began with classical ballet, not in a rigid, structured format but in a small, let's-have-fun school. This naturally developed my love for dance - the friendships, the physical exercise, and the ecstatic joy of moving through space.
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The Cunningham Costume: the Unitard In-Between Sculpture and Painting Julie Perrin
The Cunningham costume: the unitard in-between sculpture and painting Julie Perrin To cite this version: Julie Perrin. The Cunningham costume: the unitard in-between sculpture and painting. 2019. hal- 02293712 HAL Id: hal-02293712 https://hal-univ-paris8.archives-ouvertes.fr/hal-02293712 Submitted on 31 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE CUNNIN Julie PERRIN GHAM COS TUME: THE UNITARD IN-BETWEEN SCULPTURE AND PAINTING Translated by Jacqueline Cousineau from: Julie Perrin, « Le costume Cunningham : l’académique pris entre sculpture et pein- ture », Repères. Cahier de danse, « Cos- tumes de danse », Biennale nationale de danse du Val-de-Marne, n° 27, avril 2011, p. 22-25. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE Julie PERRIN CUNNINGHAM COSTUME : THE UNITARD IN- Translated by Jacqueline Cousineau BETWEEN SCULPTURE from: Julie Perrin, « Le costume Cun- ningham : l’académique pris entre AND PAINTING sculpture et peinture », Repères. Ca- hier de danse, « Costumes de danse », Biennale nationale de danse du Val- de-Marne, n° 27, avril 2011, p. 22-25.
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Yalivta Fw16
YALIVTA FW16 ZORA Cardigan Wrap The ZORA Crop Cardigan wrap KIDS ADULT made in a soft cotton stretch. A 0 (4-6) 0 (XS) light weight layer piece that fits ZORA Cardigan Wrap 100% COTTON 1 (6-8) 1 (S) YAL117K/117 longer in the front for function or 2 (8-10) 2 (M) fashion. 3 (10-12) 3 (L) Available in black and cream. AMO Open Back Sweater The AMO Open Back Sweater is our bestseller! KIDS ADULT Layer over dance attire during 0 (4−6) 0 (XS) AMO Open Back Sweater warm ups and lounging and show 100% COTTON 1 (6−8) 1 (S) YAL126K/126 off that beautiful dancer back. 2 (8−10) 2 (M) Added thumb holes are cozy and 3 (10−12) 3 (L) functional. Available in black and cream from kids to adult sizes. NAVO Open Back Sweater Our revamp on our bestseller the Amo Open Back Sweater, introducing the Navo Open Back, KIDS ADULT available in Vanilla Ice and Orchid 0 (4−6) 00 (XXS) Ice. Paired over dance attire or NAVO Open Back Sweater 100% COTTON 1 (6−8) 0 (XS) YAL161K/161 alone this sweater will accentuate 2 (8−10) 1 (S) a dancers beautiful back. This 3 (10−12) 2 (M) sweater comes slightly oversized 3 (L) for added comfort. Size down for a slim fit. Lace Up Sweater Yalivta introduces the Lace Up. The inspiration for this sweater was our KIDS ADULT secret obsession: laces on ballet 0 (4−6) 00 (XXS) shoes. We love subtle details that 1 (6−8) 0 (XS) YAL150K/150 Lace Up Sweater will allow your Yalivta pieces to 100% COTTON become part of your wardrobe for 2 (8−10) 1 (S) years to come.
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1 Section 11: APPARATUS and ATTIRE REGULATIONS
Section 11: APPARATUS AND ATTIRE REGULATIONS I. GENERAL REGULATIONS A. All apparatus must meet USA Gymnastics/FIG specifications. This is the responsibility of the coach and the gymnast. Refer to FIG "Measurements, Dimensions and Forms" booklet and the FIG Code of Points . B. An equipment check can be conducted for all USA Gymnastics sanctioned meets. II. ROPE SPECIFICATIONS A. Material: The rope may be of hemp, or synthetic material provided that it posses the identical qualities of lightness, suppleness as does rope made of hemp. B. Length: the length is in proportion to the size of the gymnast. C. Ends: Handles of any kind are not allowed but one or two knots are permitted at each end. At the ends (to the exclusion of all other parts of the rope) an anti-slip material, either colored or neutral may cover a maximum of 10 cm. D. Shape: The rope may be either of a uniform diameter or be progressively thicker in the center provided that this thickening is of the same material as the rope. E. Color: The rope must be colored (all or partially). III. HOOP SPECIFICATIONS A. Material: The hoop may be of wood or plastic, provided that the latter retains its shape during the movement. Note: Foreign particles should be removed from inside the hoop before use. B. Diameter: The interior diameter of the hoop is from 80 to 90 centimeters. C. Weight: A minimum of 300 grams 1. Novice and Children age group weight: a minimum of 225 grams. D. Shape: The cross section of the hoop may be in several different shapes; circular, square, rectangular, oval, etc.
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Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro Zone)
edition ENGLISH n° 284 • the international DANCE magazine TOM 650 CFP) Pina Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro zone) € 4,90 9 10 3 4 Editor-in-chief Alfio Agostini Contributors/writers the international dance magazine Erik Aschengreen Leonetta Bentivoglio ENGLISH Edition Donatella Bertozzi Valeria Crippa Clement Crisp Gerald Dowler Marinella Guatterini Elisa Guzzo Vaccarino Marc Haegeman Anna Kisselgoff Dieudonné Korolakina Kevin Ng Jean Pierre Pastori Martine Planells Olga Rozanova On the cover, Pina Bausch’s final Roger Salas work (2009) “Como el musguito en Sonia Schoonejans la piedra, ay, sí, sí, sí...” René Sirvin dancer Anna Wehsarg, Tanztheater Lilo Weber Wuppertal, Santiago de Chile, 2009. Photo © Ninni Romeo Editorial assistant Cristiano Merlo Translations Simonetta Allder Cristiano Merlo 6 News – from the dance world Editorial services, design, web Luca Ruzza 22 On the cover : Advertising Pina Forever [email protected] ph. (+33) 09.82.29.82.84 Bluebeard in the #Metoo era (+39) 011.19.58.20.38 Subscriptions 30 On stage, critics : [email protected] The Royal Ballet, London n° 284 - II. 2020 Les Ballets de Monte-Carlo Hamburg Ballet: “Duse” Hamburg Ballet, John Neumeier Het Nationale Ballet, Amsterdam English National Ballet Paul Taylor Dance Company São Paulo Dance Company La Scala Ballet, Milan Staatsballett Berlin Stanislavsky Ballet, Moscow Cannes Jeune Ballet Het Nationale Ballet: “Frida” BALLET 2000 New Adventures/Matthew Bourne B.P. 1283 – 06005 Nice cedex 01 – F tél. (+33) 09.82.29.82.84 Teac Damse/Keegan Dolan Éditions Ballet 2000 Sarl – France 47 Prix de Lausanne ISSN 2493-3880 (English Edition) Commission Paritaire P.A.P.
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12 Highland Street | Natick, MA 01760 | Summer Youth Dance Dress Code BALLET and POINTE: Girls
Summer Youth Dance Dress Code BALLET AND POINTE: Girls: • Black leotard any style, pink tights, pink canvas split-sole ballet shoes, pointe shoes if on pointe • Short black skirts may be worn for Pointe class • Hair in a neat, secure bun Boys: • Fitted white T-shirt or white leotard, black tights, flesh-colored dance belt, white socks, white canvas ballet shoes VARIATIONS AND REP REHEARSALS: Girls: • White lined camisole leotard, pink tights, pink ballet shoes, and pointe shoes if applicable. • Short white skirts may be worn for Variations and Rep Boys: • Fitted white T-shirt or white leotard, black tights, flesh-colored dance belt, white socks, and white canvas ballet shoes. MODERN: Girls: • Any solid-color leotard or unitard, convertible pink or black tights, no shoes • Hair in bun or high ponytail Boys: • Any solid-color fitted T-shirt or leotard, black convertible tights, flesh-colored dance belt, no shoes JAZZ: Girls: • Any solid-color leotard or unitard, convertible pink or black tights, black jazz pants, black jazz shoes (no laces) • Hair in bun or high ponytail Boys: • Any solid-color fitted T-shirt or leotard, black convertible tights, flesh-colored dance belt, black jazz pants, black jazz shoes (no laces) 12 Highland Street | Natick, MA 01760 | www.walnuthillarts.org 2 HYDROCONDITIONING: • Bathing suit • Sun hat optional • Sunscreen • Sunglasses optional • Water bottle • Beach towel • Cover-ups for walking to and from the pool PERFORMANCES: Girls: • Nude camisole for under costumes – must have nude straps, not clear • An extra pair of clean pink canvas split-sole ballet shoes. • Light makeup: blush, mascara, neutral eye shadow, lipstick (not too bright) • Hair gel, hairspray, hairnets that match hair color, bobby pins.
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DOCTORAL THESIS the Dancer's Contribution: Performing Plotless
DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 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: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991).
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'The Fabric of Dance': Talk Given at The
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Difference Between Leotard and Bodysuit Key Difference - Leotard Vs Bodysuit
Difference Between Leotard and Bodysuit www.differencebetween.com Key Difference - Leotard vs Bodysuit Leotard and bodysuit are two garments that look almost the same; this is why the difference between leotard and bodysuit is unknown to most. The key difference between leotard and bodysuit is that a leotard is a skintight, one-piece garment which covers the torso of the wearer but leaves the legs exposed whereas a bodysuit is a one-piece, form-fitting garment that covers the torso and the crotch of the wearer. The event or occasion of wearing either is also largely different from one another. What is a Leotard? A leotard is a skintight, one-piece garment which covers the torso of the wearer but leaves the legs exposed. In that sense, a leotard is very similar to a swimsuit. Unisex garments, leotards are worn by performers who require overall body coverage without hindering flexibility. Leotards are commonly worn by dancers, gymnasts, acrobats, and contortionists. Leotard is also a part of the ballet dress and is worn beneath the ballet skirt. Leotard has an extended history; it was first introduced in the 1800s, by the French acrobatic performer Jules Léotard (1838–1870), from which the name of the garment was derived. Originally leotard was designed for male performers, but it became popular with women in the early 1900s as a swimsuit. The Early leotard was referred to as the maillot by Jules Léotard. Today, leotards are available in a variety of colors and materials, preferably lycra or spandex (a material with an exceptional elasticity that helps to shape the body better).
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Dance Dimension's Policies **HAIR MUST BE NEATLY SECURED
Dance Dimension’s Policies TUITION is to be paid in full for any classes enrolled in or in two payments (1/2 at the time of registration and 1/2 by Jan 15 or mid-session). You are responsible for payment of all classes once enrolled regardless of attendance. (Payment in full at registration or before 1st class and receive a 5% discount!) If you do need other arrangements, please do talk to Sallee. Special monthly payment plans may be requested and approved under specific guidelines with automatic monthly payments to be set up through the website using paypal. We want to help and keep the students dance education uninterrupted. Payments can be made by mail, online or at the studio. Please be sure it is clearly marked with students name, date, amount paid. There is a $25 charge for any check returned for any reason. ENROLLMENT-You are enrolled in a class for the full session of that class. Children's classes run the full year, 33 classes, Sept-June unless stated otherwise. You are responsible for full payment of the class once enrolled regardless of attendance. To discontinue a class you MUST officially withdraw within 60 days of last class by written notice of medical or personal emergency. Refunds or credits are only on this basis and at Dance Dimensions discretion. A $30 costume deposit is due at Registration and is nonrefundable after January 1st. This is to ensure your child will receive the class costume. No costume will be given to any student with an unpaid costume or tuition balance.
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University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE EXPLORING THE CREATIVE PROCESS OF CHOREOGRAPHING OPERA PRIOR TO AND AMIDST THE COVID-19 GLOBAL PANDEMIC: OPPORTUNITIES, CHALLENGES, AND COMPLEXITIES A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF FINE ARTS IN DANCE By CHRISTA ST. JOHN Norman, Oklahoma 2021 EXPLORING THE CREATIVE PROCESS OF CHOREOGRAPHING OPERA PRIOR TO AND AMIDST THE COVID-19 GLOBAL PANDEMIC: OPPORTUNITIES, CHALLENGES, AND COMPLEXITIES A THESIS APPROVED FOR THE SCHOOL OF DANCE BY THE COMMITTEE CONSISTING OF Mary Margaret Holt, Chair Michael Bearden William Ferrara © Copyright by CHRISTA ST. JOHN 2021 All Rights Reserved. Acknowledgments The culmination of this research is a product of the support, guidance, and collaboration of a great number of persons without whom this work would not have been possible. First, I thank my committee chair, Dean of OU’s Weitzenhoffer Family College of Fine Arts, Nichols Chair, Presidential Professor, and Regents’ Professor of Dance, Mary Margaret Holt, for her choreographic and academic mentorship throughout this process. One of the most valuable things a person can give another is their time. Dean Holt generously gave her time and the mentorship she provided is of inestimable value and is the model from which I endeavor to mentor my future students. Thank you to committee members Director of the School of Dance, Michael Bearden, for his choreographic mentorship and continued support, and OU Opera Theatre Stage Director and Professor, William Ferrara, for his flexibility and creative problem-solving abilities as we navigated unprecedented circumstances throughout our collaborations together.
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Alvin Ailey's Embodiment of African American Culture
DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J.
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