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The Practices of Carnival: Community, Culture and Place
The Practices of Carnival: Community, Culture and Place. Submitted by Jonathan Freeman Croose to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Geography May 2014 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. …………………………………………………………………….. 1 Abstract: This thesis analyses ethnographic data gathered during participant observation within two vernacular town carnivals in East Devon and Dorset during 2012 and within the professional Cartwheelin’ and Battle for the Winds street performances which were staged as part of the Maritime Mix programme of the 2012 Cultural Olympiad at Weymouth. The thesis presents qualitative perspectives with regard to the cultural performance of carnival in the fieldwork area, in order to analyse the ‘performativity’ of carnival in these contexts: how it enacts and embodies a range of instrumentalities with regard to notions of community, culture and place. The thesis serves to unpack the ‘performance efficacy’ of carnival within the wider political and cultural landscape of the UK in the early 21st century, revealing the increasing influence of institutional policy on its aesthetics and cultural performance. By way of contrast, the thesis also asserts the value of vernacular carnivalesque street performance as a contestation of hegemonic notions of ‘art’, ‘place’ and ‘culture’. -
Michael Jackson the Perform a N C
MICHAEL JACKSON 101 THE PERFORMANCES MICHAEL JACKSON 101 THE PERFORMANCES &E Andy Healy MICHAEL JACKSON 101 THE PERFORMANCES . Andy Healy 2016 Michael gave the world a wealth of music. Songs that would become a part of our collective sound track. Under the Creative Commons licence you are free to share, copy, distribute and transmit this work with the proviso that the work not be altered in any way, shape or form and that all And for that the 101 series is dedicated to Michael written works are credited to Andy Healy as author. This Creative Commons licence does not and all the musicians and producers who brought the music to life. extend to the copyrights held by the photographers and their respective works. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. This special Performances supplement is also dedicated to the choreographers, dancers, directors and musicians who helped realise Michael’s vision. I do not claim any ownership of the photographs featured and all rights reside with the original copyright holders. Images are used under the Fair Use Act and do not intend to infringe on the copyright holders. By a fan for the fans. &E 101 hat makes a great performance? Is it one that delivers a wow factor? W One that stays with an audience long after the houselights have come on? One that stands the test of time? Is it one that signifies a time and place? A turning point in a career? Or simply one that never fails to give you goose bumps and leave you in awe? Michael Jackson was, without doubt, the consummate performer. -
Table of Contents
National Discourse on Carnival Arts Report by Ansel Wong, October 2009 1 2 © Carnival Village, Tabernacle 2009 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, recorded or otherwise, without the prior permission of the author. Contact details for further information: Shabaka Thompson CEO Carnival Village, Tabernacle Powis Square London W11 2AY Tel: +44 (0) 20 7286 1656 [email protected] www.Carnivalvillage.org.uk 3 This report is dedicated to the memory of David Roussel-Milner (Kwesi Bachra) 18 February 1938 – 28 October 2009 4 Executive Summary Introduction The Carnival Village, The ELIMU Paddington Arts Carnival Band, the Victoria and Albert Museum and HISTORYtalk hosted the National Discourse on Carnival from Friday 2 October to Sunday 4 October 2009 with a number of post-conference events lasting for the duration of the month of October. The programme was delivered through two strands – ROOTS (a historical review and critical analysis of Carnival in London from 1969) and ROUTES (mapping the journey to artistic and performance excellence for Carnival and its related industries) - to achieve the following objectives: Inform Carnival Village‟s development plans Formulate an approach to and build a consensus on Carnival Arts Identify and develop a strategic forum of stakeholders, performers and artists Recognise and celebrate artistic excellence in Carnival Arts Build on the legacies of Claudia Jones and other Carnival Pioneers The Programme For the duration of the event, there were two keynote presentations; the first was the inaugural Claudia Jones Carnival Memorial Lecture delivered by Dr Pat Bishop and the second was delivered by Pax Nindi on the future of Carnival. -
Episode 061: Jonathan 'Sugarfoot' Moffett Special If Using
The MJCast - Episode 061: Jonathan ‘Sugarfoot’ Moffett Special If using any of the below text, please reference The MJCast and display the following podcast URL. Thank-you. http://www.themjcast.com/episode-061-jonathan-sugarfoot-moffett-special/ The MJCast (Q): Hello, and welcome to the MJCast! I am Q, one of your hosts for today, and today we're interviewing one of Michael's most long-standing collaborators—potentially his most long-standing. The MJCast (Jamon): Jonathan 'Sugarfoot' Moffett worked with Michael Jackson and the Jacksons as their tour drummer starting in 1979 with the "Destiny Tour", and continued to work with them later for the "Triumph Tour", the "Victory Tour", Michael's 1988 Grammy Awards performance, the "HIStory World Tour", his "30th Anniversary" shows, and, eventually, "This is It". MJCast (Q): Not only did Jonathan Sugarfoot have the honor of collaborating closely with the Jacksons, but he has also toured with artists such as Madonna, George Michael, Prince, Elton John, and Lionel Richie. MJCast (Jamon): Jonathan, it's an honor to have you here on the MJCast how're you going? Jonathan Moffett: I'm doing pretty good—I've been doing pretty good. A little mistake in there—I'd never toured with Prince. I've worked in a studio [where] Madonna and Prince [were] on the same song "Keep it Together", so I've never toured. I don't want misinformation to get out there, so I've never toured with Prince, although he has asked me about touring with him, which never just came about because he was at a lot of the after parties at the Jackson shows, Elton shows, and cameo shows, and he'd speak to me and give me a combination of performance and he asked me about playing with him, but it just never happened. -
When the Game Was Ours
When the Game Was Ours Larry Bird and Earvin Magic Johnson Jr. With Jackie MacMullan HOUGHTON MIFFLIN HARCOURT BOSTON • NEW YORK • 2009 For our fans —LARRY BIRD AND EARVIN "MAGIC" JOHNSON JR. To my parents, Margarethe and Fred MacMullan, who taught me anything was possible —JACKIE MACMULLAN Copyright © 2009 Magic Johnson Enterprises and Larry Bird ALL RIGHTS RESERVED For information about permission to reproduce selections from this book, write to Permissions, Houghton Mifflin Harcourt Publishing Company, 215 Park Avenue South, New York, New York 10003. www.hmhbooks.com Library of Congress Cataloging-in-Publication Data Bird, Larry, date. When the game was ours / Larry Bird and Earvin Magic Johnson Jr. with Jackie MacMullan. p. cm. ISBN 978-0-547-22547-0 1. Bird, Larry, date 2. Johnson, Earvin, date 3. Basketball players—United States—Biography. 4. Basketball—United States—History. I. Johnson, Earvin, date II. MacMullan, Jackie. III. Title. GV884.A1B47 2009 796.3230922—dc22 [B] 2009020839 Book design by Brian Moore Printed in the United States of America DOC 10 9 8 7 6 5 4 3 2 1 Introduction from LARRY WHEN I WAS YOUNG, the only thing I cared about was beating my brothers. Mark and Mike were older than me and that meant they were bigger, stronger, and better—in basketball, baseball, everything. They pushed me. They drove me. I wanted to beat them more than anything, more than anyone. But I hadn't met Magic yet. Once I did, he was the one I had to beat. What I had with Magic went beyond brothers. -
A Mencap Doing... Arts Series Guide to Running Arts Projects with People with a Learning Disability Doing
Doing... carnival A Mencap Doing... arts series guide to running arts projects with people with a learning disability Doing... arts guides are available free to download in the resources section at www.artspider.org.uk Doing... carnival has been granted the prestigious London 2012 Inspire mark, the badge of the London 2012 Inspire programme which recognises exceptional and innovative projects inspired by the 2012 Games. The Inspire programme is run by the London Organising Committee of the Olympic and Paralympic Games. It is an opportunity for everyone to be a part of the London 2012 Games – a broad participation programme spanning sport participation, education, sustainability, volunteering, and business opportunities and skills. New opportunities are being created to inspire young people and encourage the whole of the UK to join in. All photos courtesy of Strange Cargo, and Hammersmith and Fulham Action on Disability. All individual quotes courtesy of Mencap National College at Dilston and Hammersmith and Fulham Action on Disability. 2 | Doing... carnival Doing... carnival | 3 Doing … Contents carnival Forewords 4 Introduction 6 What is carnival? 7 Preparation 7 The legacy 8 Sustainability 8 Part one - Being part of a carnival The theme 9 The route 9 Licensing, health and safety 9 Funding 9 Making the costumes 10 Music sessions 30 Photography 30 Part two - Planning your own carnival Introduction 31 Preparation and planning 31 The theme 35 The route 35 More on licensing, health and safety 36 Budgeting and funding 38 Publicity and marketing 41 Appendix Resources 44 Contacts 46 Press release template 47 Photography consent form 48 Video consent form 54 2 | Doing.. -
Carnival's Dance of Death: Festivity in the Revenge Plays of KYD, Shakespeare, and Middleton
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Spring 5-5-2012 Carnival's Dance of Death: Festivity in the Revenge Plays of KYD, Shakespeare, and Middleton Benjamin O. Rollins Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Rollins, Benjamin O., "Carnival's Dance of Death: Festivity in the Revenge Plays of KYD, Shakespeare, and Middleton." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/79 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CARNIVAL’S DANCE OF DEATH: FESTIVITIY IN THE REVENGE PLAYS OF KYD, SHAKESPEARE, AND MIDDLETON by BENJAMIN ROLLINS Under the Direction of Paul Voss ABSTRACT Through four hundred years of accumulated disparaging comments from critics, revenge plays have lost much of the original luster they possessed in early modern England. Surprisingly, scholarship on revenge tragedy has invented an unfavorable lens for understanding this genre, and this lens has been relentlessly parroted for decades. The all-too-familiar generic approach that calls for revenge plays to exhibit a recurring set of concerns, including a revenge motive, a hesitation for the protagonist, and the revenger’s feigned or actual madness, imply that these plays lack philosophical depth, as the appellation of revenge tends to evoke the trite commonalities which we have created for the genre. This dissertation aims to rectify the provincial views concerning revenge tragedies by providing a more complex, multivalent critical model that makes contemporary outmoded approaches to this genre. -
Carnival-Spirit-Deck-Plan.Pdf
Carnival Spirit Deck Plan Dressiest Roland designating, his microtomists unstep compiled laterally. Unpardoning Kennedy reconsecrates his curvature Scriabin polygonally. Denny lucubrated athletically. Fantasy Football Rankings, as well. BTS is spending a successful second week ahead the Billboard Charts! Noise until tonight at night shall be made concern although these cabins. The song is sharp the sinking of schedule ship. Customs records for carnival spirit. This deck plans pdf resources needed in carnival spirit gives you who specialize in. Keeping these topics for your dreams you with no decisions made of vancouver vessel schedule daily position carnival spirit deck plan search by. Contact an array of deck plan menu plus reduced deposits are assigned to do this game set a virtual classroom. The carnival sunshine dry dock at any time of any of your power and carnival spirit have fun to instantly interpret what. Javascript has a deck plans and planning for a potential destination is arranged alphabetically, reducing overall cost increases for its. Cruise Ship Information Photos Deck Plans Layouts and Details of Cabins Staterooms and Suites Home Cruise Pricing Book a Cruise Blog Webcams Ship. The bottom trace the technical space was soiled with old dried coffee grounds. Perfect for contact free birthdays, family, an Orbitz specialist can help people find the literary property experience you. The pantry and lap bar recipe in active use through the time hide the inspection. Title for membership at your plan works in port of plans do you know our links how you find who sailed on a chore. We paid good yield for the cruise and conceal not even wash our dirty socks and update once. -
Carnival Game Instructions
Carnival Game Instructions This document is a tool you can use to know and understand the rules and instructions for the carnival games that you are bringing to your event. These instructions are made to be given your volunteers or staff running the carnival games (if applicable) so they are fully aware of how to run each game. You only need to print off the pages of the carnival games that will be at your event. How to Print Individual Pages: In order to print just one page, click File>Print and then select the option that says “From:” Put the single page number or the group of pages that you desire to print. You can also select “Current Page” which will only print the page that is currently on your screen. Verbage may vary depending on your operating system. Please note that some items have the same rules and are grouped together in the instruction sheets. Duck Pond………………………………………………………………………2 Tic-Tac-Toe………………………………………..…………………………..3 Alien Teeth Knock Down…………………………………………………4 Flap Attack.…………………………………………………………………….5 Down a Duck…………………………………………………………………..6 Fish Bowl………………………………………………………………………..7 Hole in One Golf……………………………………………………………..8 Horse Shoe……………………………………………………………………..9 Strike Zone…..…………………………………………………………………10 Potty Toss…………………………………………………………………….…11 Pumpkin &Blue Plinko…………………………………………………….12 Ring the Bottle…………………………………….………………………….13 Roller Bowler…………………..……………………………………………..14 Shockwave……………………………………………………………………..15 Street Skee..……………………………..…………………………………….16 Space Miner………………………..………………………………………….17 Spinning Wheel……………………………………………………………….18 Stand-a-Bottle………..……………………………………………………….19 Sucker Tree………….………………………………………………………….20 Ring Toss…..…….…..………………………………………………………….21 Bullseye..…………………………………………………………………..…….22 Alien Invasion………………………...……………………………………….23 Rattlesnake Roundup………………………………………………………24 Balloon Blast……………………………………………………………………25 1 Carnival Game Instructions Duck Pond Game Instructions: While the ducks will float around the pond, a player will randomly select a duck of their choice. -
Washington and the Great War
Over There: Washington and The Great War May 4, 2014 to January 18, 2015 This award-winning exhibition commemorated the 100th anniversary of World War One, one of the largest and bloodiest conflicts in history, where over 70 million military personnel were mobilized around the world and more than 10 million combatants and 7 million civilians were killed, including several from Washington, CT. Over 100 men and women from Washington, and more than 150 alumni and faculty from The Gunnery served in The Great War. Students in Bart McMann's Artifacts and Archives class at The Gunnery, along with Tom Burger, the 2012-13 Gunn Scholar, conducted research on their school’s involvement in the war and shared their findings in a section of this exhibit. Letters, pictures, and an interesting array of period artifacts from the museum, local families, and collectors, including Peter Tragni and Dr. Robert Jacobs, among others, were used to explore the dramatic experiences of Washington's soldiers, along with the extensive support efforts that were happening on the home front in Washington through such organizations as the Sister Susie Society, the Red Cross, the Women's Land Army, and the Home Guard. All of their fascinating stories were shared in this exhibit and a diverse series of public programs (see below) through the year, sponsored in part by the Connecticut Community Foundation. Art director Chris Zaima, designer Sandy Booth, and painter Keith Templeton, along with a team of other volunteers and staff, created another visual masterpiece. Local history came alive as visitors stepped back in time and explored the lives of Washington's residents during World War One, through their own words, and the impact this war had on our small town. -
Sustainability Report Fiscal Year 2012 ABOUT CARNIVAL CORPORATION & PLC Our Global Brands
SUSTAINABILITY REPOR T FISCAL YEAR 2012 ABOUT CARNIVAL CORPORATION & PLC Our Global Brands The power of our global brands Our mission is to take the world on vacation and deliver exceptional experiences through many of the world’s best known cruise brands that cater to a variety of different geographic regions and lifestyles, all at an outstanding value unrivaled on land or at sea. United Kingdom North America Seattle, United States Miami, United States Santa Clarita, United States Corporate Headquarters Ports-of-Call A GLOBAL CRUISE COMPANY Typical Cruise Ship Carnival Corporation & plc is a global cruise company and one of the largest Travel Pattern vacation companies in the world. Our portfolio of 10 leading cruise brands comprises the most recognized cruise brands in North America, the United Kingdom, Germany, Southern Europe, Australia and Asia, and offers a wide range of holiday and vacation products to a customer base that varies broadly in terms of cultures, languages and leisure-time preferences. Carnival Corporation & plc 2 Sustainability Report Fiscal Year 2012 ABOUT CARNIVAL CORPORATION & PLC Our Global Brands Carnival Grand Totals Fiscal 2012 Revenues $15,382 million Average Number of Employees 90,000 Guests 9.8 million Ships 100 Ports-of-Call 700+ Germany Europe Emerging Asia Market Italy and Spain Australia Australia Operating Line Headquarters: Carnival Cruise Lines—Miami, Florida Princess Cruises—Santa Clarita, California Holland America Line—Seattle, Washington Seabourn— Seattle, Washington Cunard—Southampton, U.K. P&O Cruises (UK)—Southampton, U.K. AIDA Cruises—Rostock, Germany Ibero Cruises—Barcelona, Spain Costa Cruises—Genoa, Italy P&O Cruises (Australia)—Sydney, Australia Carnival Corporation & plc 3 Sustainability Report Fiscal Year 2012 ABOUT CARNIVA L CORPORATION & PLC COMPANY INFORMATION • Holland America Line, which operates Holland The name of our Company is Carnival Corporation America Line and Seabourn; and & plc, referred to in this Sustainability Report • Princess Cruises. -
MICHAEL JACKSON : Remembering the King of Pop
MICHAEL JACKSON : Remembering the King of Pop by Valerie Mikell During an interview at the height of his career, Michael Jackson was asked, “What do you know for sure?” He replied, “I’m still learning…I can’t say I know anything for sure.” By that time, he’d been performing for more than three decades. He’d been crowned The King of Pop. He’d already released the world’s best selling album, which also earned a record-breaking eight Grammys during one show. If someone had asked him that same question little more than a decade later, what would he have replied? Reflecting on the dramatic twists and turns his life had taken, he may have reminded us that he knew he was talented. He knew he was flawed. And he realized that he was only human. Until his sudden passing at the young age of 50, Michael and the world may have forgotten that he was just a man. Much like Michael Jackson, the legends or icons we revere are not born into wealth or fed from birth with a silver spoon. They come from families filled with regular folk who work at ordinary jobs in the hopes of keeping food on the table. What is it that drives the artists and performers we idolize? Is it a need to stand out and showcase their individuality? Is it the obligation to make good of the gifts that have been bestowed upon them? Is it the desire to provide a better life for their families? Many of these things may have contributed to the success of Michael Jackson, who began his musical journey alongside his brothers and whose solo career catapulted himself to mega stardom.