Carl Alan Awards 2010 the Oscars of the World of Dance
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A Mixed Blessing at the Ballet 01
Daily Telegraph July 28 2001 A mixed blessing at the ballet Photo Sheila Rock As Anthony Dowell leaves the Royal Ballet, dance critic Ismene Brown assesses his 15-year regime as director - and stars pay tribute below AT THE Royal Ballet the countdown has begun to the end of an era. A week tonight, amid flowers, Champagne and tears, Sir Anthony Dowell, the longest-serving ballet director since the company’s founder, Ninette de Valois, will end his 15-year regime. He was undoubtedly one of the great world stars of dancing, and the “Celebration Programme” will mark his achievements as such. But about his success as director of the company, opinion is far from unanimous. What makes a good director? The question has never been more of a poser than during Dowell\s captaincy of the ballet, in the most turbulent years of the Royal Opera House’s history. There are many pluses on Dowell’s account sheet - his maintenance of high classical technical standards, his welcoming of key foreign artists into the Royal (particularly Sylvie Guillem and Irek Mukhamedov), his inspiring coaching, to which leading guest stars attest opposite. The rise of Darcey Bussell to world acclaim, the forging of a superb partnership between Mukhamedov and Viviana Durante, this final, nostalgic and beautiful 2000-01 season - these are positive memories. He will be noted as a conservative, and many welcomed this after an insecure period of modernising under his predecessor, Norman Morrice. Whether conservatism has served the company well for the future, though, is debatable. In the shifting landscape of ballet, conservatism is not enough to hold steady. -
Darcey Bussell
Darcey Bussell Early Life Darcey Bussell was born on 27th April, 1969 in London. She started at the Arts Educational School at the Barbican until she auditioned for and joined the Royal Ballet School at White Lodge at the age of 13. In 1985, when she was 16, Darcey was accepted into the Royal Ballet’s Upper School at Barons Court. Success Her fantastic technique was spotted quickly and, in 1988, while she was a member of Sadler’s Wells Royal Ballet company, a lead role was created for her in the new ballet ‘The Prince of the Pagados’. This led to led to her move to the Royal Ballet. In December 1989, when Darcey was just 20 years old, she was promoted to principal dancer, becoming the youngest ballerina to achieve this at the time. Throughout her career, she played many iconic roles, including Princess Aurora in ‘The Sleeping Beauty’, Odette/Odile in ‘Swan Lake’, the Sugar Plum Fairy in ‘The Nutcracker’, and Giselle in ‘Giselle’. In total, she performed more than 80 different roles and 17 roles were created for her. She was a guest performer with many of the most popular ballet companies around the world, including the New York City Ballet, Paris Opera Ballet, Hamburg Ballet and the Australian Ballet. Photo courtesy of scillystuff (@flickr.com) - granted under creative commons licence Page 1 of 2 Darcey Bussell Accomplishments Over the years, she has won many honours and awards for her contribution to dance, not to mention an OBE and a CBE. She has performed for the Queen of England and several American presidents, and had the lead role in the closing ceremony of the 2012 Olympics. -
British Ballet Charity Gala
BRITISH BALLET CHARITY GALA HELD AT ROYAL ALBERT HALL on Thursday Evening, June 3rd, 2021 with the ROYAL BALLET SINFONIA The Orchestra of Birmingham Royal Ballet Principal Conductor: Mr. Paul Murphy, Leader: Mr. Robert Gibbs hosted by DAME DARCEY BUSSELL and MR. ORE ODUBA SCOTTISH BALLET NEW ADVENTURES DEXTERA SPITFIRE Choreography: Sophie Laplane Choreography: Matthew Bourne Music: Wolfgang Amadeus Mozart – Gran Partita and Eine kleine Nachtmusik Music: Excerpts from Don Quixote and La Bayadère by Léon Minkus; Dancers: Javier Andreu, Thomas Edwards, Grace Horler, Evan Loudon, Sophie and The Seasons, Op. 67 by Alexander Glazunov Martin, Rimbaud Patron, Claire Souet, Kayla-Maree Tarantolo, Aarón Venegas, Dancers: Harrison Dowzell, Paris Fitzpatrick, Glenn Graham, Andrew Anna Williams Monaghan, Dominic North, Danny Reubens Community Dance Company (CDC): Scottish Ballet Youth Exchange – CDC: Dance United Yorkshire – Artistic Director: Helen Linsell Director of Engagement: Catherine Cassidy ENGLISH NATIONAL BALLET BALLET BLACK SENSELESS KINDNESS Choreography: Yuri Possokhov THEN OR NOW Music: Piano Trio No. 1, Op. 8 by Dmitri Shostakovich, by kind permission Choreography: Will Tuckett of Boosey and Hawkes. Recorded by musicians from English National Music: Daniel Pioro and Heinrich Ignaz Franz von Biber – Passacaglia for solo Ballet Philharmonic, conducted by Gavin Sutherland. violin, featuring the voices of Natasha Gordon, Hafsah Bashir and Michael Dancers: Emma Hawes, Francesco Gabriele Frola, Alison McWhinney, Schae!er, and the poetry of -
OR IS IT? Welcome to History in the Making, the First E- News of the WDC and the First of Many
WDCThe Newspaper E-NEWSof the World’s leading Dance organisation Edition 1 - May 2010 Welcome to the World Dance Council E-News DANCE MATTERS A Column dedicated to matters of principle , and the WDC view of the how the world of dance is shaping up in 2010 THE OLYMPIC The Finalists of the 2009 WDC World Professional Latin DREAM - Championships - Photo by Andrew Miller A Welcome from the President of the WDC OR IS IT? Welcome to history in the making, the first E- News of the WDC and the first of many. As part of the new communications and It was on the 8th September 1997 that branding of the WDC logo and brand in itself, we will be keeping you in touch with the latest developments in the dance world (well the International Olympic Committee (IOC) the free part at least!) and we welcome you, from wherever you hail regardless of color, creed or political denomination. recognised dance as a “sport” and granted The WDC and the communications team remain committed to bringing you the best right to your desk lap top or mobile. the International Dance Sport Federation (IDSF) status as the recognised Federation Please also feel free to give us your views which will be gratefully received at all times and we remain at your service. within the Olympic movement. Status as a Have a look and see what you think! Medal Sport was withheld. At the time there was great excitement, Donnie Burns MBE President optimism was high. We (dance) would be in the Games in 2004 would we not. -
Burn the Floor
The International Ballroom Dance Sensation BURN THE FLOOR PERTH REGAL THEATRE Bookings: www.ticketek.com.au Thursday April 10 7.30pm Wednesday April 16 7.30pm Friday April 11 7.30pm Thursday April 17 7.30pm Saturday April 12 2.00pm & 8.00pm Friday April 18 5.00pm Sunday April 13 5.00pm Saturday April 19 2.00pm & 8.00pm Tuesday April 15 7.30pm Sunday April 20 5.00pm Years before Dancing with the Stars and So You Think You Can Dance turned ballroom dancing into must- see TV, one sizzling show was setting stages ablaze around the globe. BURN THE FLOOR, the electrifying Latin and Ballroom dance spectacular that has thrilled audiences in more than 30 countries, brings the fire and passion of their live performances for a strictly limited season in Perth in April 2014. Now in its 15th year, with four ensembles performing around the world at any one time, BURN THE FLOOR is the ultimate high-voltage dance experience exploding with Jaw-dropped choreography, heart-pounding music and break taking moves. Perth’s own Jason GilKison, the star Artistic Director of Burn The Floor is bringing his global ballroom dancing phenomenon bacK home. Peta Roby, who danced with Jason for 35 years becoming the undefeated World, British and International Latin Dance champions, is the Associate Producer. Starring 18 international performers including the ‘current’ World Ballroom Champion Joanne Clifton from England and Strictly Come Dancing BBC stars Janette Manrara, Kevin Clifton, Karen Hauer and AlJaz SKorJanec. Vocalists include amazing American Idol star “Baby V”, Vonzell Solomon and continuing the Perth invasion will include West Australian Dance Champions Megan Wragg and Jemma Armstrong. -
Seattle Symphony October 2017 Encore
OCTOBER 2017 LUDOVIC MORLOT, MUSIC DIRECTOR BEATRICE RANA PLAYS PROKOFIEV GIDON KREMER SCHUMANN VIOLIN CONCERTO LOOKING AHEAD: MORLOT C O N D U C T S BERLIOZ CONTENTS My wealth. My priorities. My partner. You’ve spent your life accumulating wealth. And, no doubt, that wealth now takes many forms, sits in many places, and is managed by many advisors. Unfortunately, that kind of fragmentation creates gaps that can hold your wealth back from its full potential. The Private Bank can help. The Private Bank uses a proprietary approach called the LIFE Wealth Cycle SM to ind those gaps—and help you achieve what is important to you. To learn more, please visit unionbank.com/theprivatebank or contact: Lisa Roberts Managing Director, Private Wealth Management [email protected] 4157057159 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2017 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. EAP full-page template.indd 1 7/17/17 3:08 PM CONTENTS OCTOBER 2017 4 / CALENDAR 6 / THE SYMPHONY 10 / NEWS FEATURES 12 / BERLIOZ’S BARGAIN 14 / MUSIC & IMAGINATION CONCERTS 15 / October 5 & 7 ENIGMA VARIATIONS 19 / October 6 ELGAR UNTUXED 21 / October 12 & 14 GIDON KREMER SCHUMANN VIOLIN CONCERTO 24 / October 13 [UNTITLED] 1 26 / October 17 NOSFERATU: A SYMPHONY OF HORROR 27 / October 20, 21 & 27 VIVALDI FOUR SEASONS 30 / October 26 & 29 21 / GIDON KREMER SHOSTAKOVICH SYMPHONY NO. -
2017 Disco Freestyle/Hip Hop Exam Award Registration Form
2017 DISCO FREESTYLE/HIP HOP EXAM AWARD REGISTRATION FORM FULL NAME (PLEASE PRINT CLEARLY) – as you want it to appear on your certificate …………………………….…………………………………………………………………………………… EXAM & LEVEL ENTERED ________________________________________ Please ask your teacher if you are not sure which exam level you are taking CANDIDATE PIN NUMBER ______________ AGE ON DAY OF EXAM __________________ (if you have taken exams before, this is on the bottom right hand corner of your certificate) Partner _______________________ (to be completed by teacher) Last level Taken __________ DATE OF BIRTH (D/M/Y) __________________ Current dance venue (place/day/time )_____________ Daytime Phone No. _________________Mobile _______________ Email: _________________________________ Exam Venue (Please tick the appropriate venue for you) March 24th Friday HK Parkview Spa & Resorts - Dance Studio (For HK Parkview dancers only) March 25th Saturday Discovery Bay Residents Club - All day (For Discovery Bay Dancers, Mui Wo & Studio 514 dancers only) March 26th Sunday Hong Kong Football Club - All day (For HKFC, GSIS Pokfulam & Peak Campus, KCC, CWB, HKCC & American Club Dancers only) Exams: Cost Social One Dance Test For very new students $400 One Dance Test All Levels Pre-Bronze until Gold $400 Under 6 levels 1,2,3,4 2 Dances with teacher assisting $500 Under 8 levels 1,2,3,4 2 Dances with teacher present $500 Social Dance Test 1,2,3,4 2 Dances for students aged 8-18 $550 Pre Bronze levels 1,2,3,4 2 Dances $550 Bronze I, II 2 Dances $600 Silver 3 Dances $700 Gold 4 Rhythms $750 Gold Star 1, 2, 3 4 Rhythms + own warm up routine $900 Imperial Award 1,2,3 4 Rhythms + own warm up routine $900 Annual Award 4 Rhythms + own warm up routine $900 Supreme Award 4 Rhythms + own warm up routine $900 Peggy Spencer Award 5 Rhythms, partner work, own $1800 choreography and warm up routine Exam Fee $________ Cash /Cheque no. -
Harlequin News SPR 2012 V4 .Indd
BRITISH HARLEQUIN NEWS SPRING 2012 FLOORS FOR DANCE, PERFORMING ARTS, ENTERTAINMENT & DISPLAY With the growing popularity of dance, largely thanks to television shows, it is important to consider the facilities required for learning and teaching dance. High on the list for a dance studio or stage is a suitable fl oor. For dancers at all levels, the fl oor is where dancers TDM courtesy Photo of Photo: will spend most of their time. Not only is the dance fl oor central to a dancer’s training and working environment, but the wrong fl oor can lead to injuries sustained from slips and falls, or to longer term stress related injury. In this issue of Harlequin News we feature stories from Britain and around the world. See how the printed Harlequin Cascade fl oor transformed the set at the grand reopening of the newly restored Bolshoi Theatre in Moscow. Read snippets of interviews with Riverdance and Sydney Dance Company, then why not download the full length version using the QR code. Find out about the latest measures being taken to reduce dancer injury. Plus much more. Harlequin News is one way of us communicating with our customers but don’t forget, there are many ways to get in touch. Join us on Facebook (/harlequinfl oors), follow us on Twitter (@DanceFloors), comment on our blog, keep up to date with the latest developments on our website, which features a Live Chat link, meet the team at exhibitions or call us free on 0800 28 99 32. Bolshoi’s sumptuous set design Whichever way you choose to get in touch, we look forward to hearing from you! -
My-Dance-INTERACTIVE-3.Pdf
i Since 1920, the Royal Academy of Dance has had a significant influence on the dance teaching profession – not just in the United Kingdom but all over the world. And our work continues to make a real difference to the lives of our members, students, teachers and staff. Classical ballet has played a central part in the RAD’s history and to this day is fundamental to who we are. Our mission, however, has expanded over the years and now includes an ever-widening range of genres and activities. Our students, who now range from two and a half to those in their 90s, and from all walks of life, can study styles ranging from ballet to contemporary, to hip hop and jazz. Our ever-increasing programme of outreach work brings dance into diverse communities, from those who are marginalised by circumstances or disability, to those who just want to have fun and get fit. And our Faculty of Education’s research into how dance contributes to wellbeing has led to the development of specialist training for older learners. The RAD is also the international centre for Benesh Movement Notation, which ensures that the work of choreographers is recorded and preserved. The increasing diversity of our work means that our relationship with both our members and many different audiences is also very varied. How the RAD is perceived today is often determined by a very personal experience. ‘my Dance’ gives voice to those experiences from around the world, united by their RAD membership and their passion for dance. From our Artistic Director to Genée candidates’ success stories and from members living in remote and far-flung places to figures playing important roles in theirlocal communities, all have their voice here, adding to the unique story of the RAD. -
Issue: 796 - September 2009
FRONT COVER: Kirdyapkin races through the Brandenburg Gate on his way to becoming 50k World Champion. PHOTO: by Jeff Salvage ALSO: Scott Davis makes a huge breakthrough in Switzerland. Editorial People all over the world love race walking. It started here, and now reaches into every continent. I often find myself in contact with people in far-off exotic locations. I’ve just recently returned from racing in Switzerland and France. Faces become familiar from race to race abroad, and people eventually introduce themselves and over time become friends. Many readers have told me how they have made long- term friends at overseas events. Several people at the Swiss event turned up six days later at the French event 500 miles away, and supported each other just because they had that one common link. Race Walking is treated slightly differently within each country, but walkers have a huge respect for each other whether they are Olympians or just fitness walkers. UK walkers race abroad in many countries each year, and welcome overseas walkers to events here. This magazine is now sent to readers in twenty different countries, and growing... People queuing behind me at the post office each month really hate me, as I have so many international magazines to send, one-by-one! On my holiday I found the source of the River Danube and ceremoniously set one of my old trainers floating down it. An hour later, the other one was set floating down the River Rhine. (Please don’t litter!) You can’t just throw away something that has brought you so much enjoyment! Am I crazy? Aren’t all race walkers.. -
Arthur Murray's Paper on History of Dances
The music begins - fingers snap, bodies become restless, and feet begin to itch. It is almost impossible to listen to music and not be stirred to rhythmic movements of one kind or another. We hum, we sing, we whistle, we sway, we clap, we strum, and ultimately we find ourselves dancing. All societies, from the most primitive to the most cultural, share a common need for dance. Many feel the urge, but do not know how to express it in an open forum. Learning to respond to basic rhythms opens up a delightful new world to everyone who has ever tried it. Social dancing today is one of the most popular pastimes in the world and is enjoyed in every country by people of all ages. It is stimulating, both mentally and physically – the care and frustrations of the work day world vanishing on the dance floor. Even more, the need to dance and express oneself, through dance, goes deeper than pure enjoyment. The need is so ingrained in the human race that history itself can be traced through the study of dance. The bases of popular dance are numerous. First, social dance helps to fulfill the need for identity with communal activities. Second, it is related to courting, in which the male displays his ability to move his partner in harmony with himself. In most social dances the male role is dominant; the female that of a follower. Third, popular dancing, especially before the 20th century, was often used to celebrate such events as weddings, the harvest, or merely the end of a working day. -
Danielle De Niese Performs a Valentine's Day
Shropshire Cover February 2019.qxp_Shropshire Cover 21/01/2019 16:41 Page 1 KEVIN CLIFTON ROCKS IT! Your FREE essential entertainment guide for the Midlands INTERVIEW INSIDE... SHROPSHIRE WHAT’S ON FEBRUARY 2019 ON FEBRUARY WHAT’S SHROPSHIRE Shropshire ISSUE 398 FEBRUARY 2019 ’ WhatFILM I COMEDY I THEATRE I GIGS I VISUAL ARTS I EVENTSs I FOOD On shropshirewhatson.co.uk PART OF WHAT’S ON MEDIA GROUP GROUP MEDIA ON WHAT’S OF PART inside: Yourthe 16-pagelist week by week listings guide A BRAVE FACE Vamos’ full-mask production tackles post-traumatic stress TWITTER: @WHATSONSHROPS TWITTER: SILJE NERGAARD bestselling jazz artist at Henry Tudor House FACEBOOK: @WHATSONSHROPSHIRE OUT OF THIS WORLD explore the night sky at Enginuity’s pop-up planetarium SHROPSHIREWHATSON.CO.UK BRB Beauty And The Beast Full Feb 2019.qxp_Layout 1 21/01/2019 17:26 Page 1 Contents February Wolves/Shrops/Staffs.qxp_Layout 1 21/01/2019 12:50 Page 2 February 2019 Contents It’s A Hard Knock Life - Annie The Musical returns to Wolverhampton Grand Theatre... page 24 Kevin Clifton Jasmin Vardimon Cooking up a storm the list rocking it at Stoke-on-Trent’s dance company explore the ‘bostin’ fittle’ aplenty at the Your 16-page Regent Theatre feminine symbol of Medusa Black Country Living Museum week-by-week listings guide feature page 8 page 33 page 49 page 51 inside: 4. First Word 11. Food 15. Music 20. Comedy 24. Theatre 35. Film 38. Visual Arts 43. Events @whatsonwolves @whatsonstaffs @whatsonshrops Wolverhampton What’s On Magazine Staffordshire What’s On Magazine Shropshire