Minji Kim - Minnie

Total Page：16

File Type：pdf, Size：1020Kb

MINJI KIM - MINNIE EDUCATION 2018 - 2021 DEC at École Nationale de Cirque, Montreal, QC Major : Swinging Pole | Minor : Aerial Straps Coached by Jacinthe Tremblay, Jorge Padilla, Johanne Madore, Itzel Viruega 2016 - 2017 School of Lifelong Education Kookmin University, Seoul, Korea Major : Physical Education - Pole Dance Coached by Lydia Lee, Sohee Kim 2015 - 2016 De La Salle - College of Saint Benilde, Manila, Philippines CIRCUS ARTIST Major : Bachelor in Performing Arts - Dance [email protected] Instagram @spinnyminnie www.spinnyminnie.com EXPERIENCE +1 (438) 928 0098 2020 - Present Milan Pole Dance Studio, Montreal, QC Pole Dance and Flexibility Instructor MAIN DISCIPLINE 2020 FEB Nuit de Contes at The Redwood Theater, Toronto, ON Swinging / Aerial / Flying Pole Aerial Pole Solo Performance 2019 - Present Studio Phenix, Montreal, QC COMPLEMENTARY SKILLS Pole Dance Instructor Contemporary Dance 2019 JUN Animation École Nationale de Cirque at La Tohu, Montreal, QC Aerial Straps Russian Bar Pole, Acrobatics, Mask Play Lyrical Ballet 2017 DEC Namsung Hangaram Hapchangdan, Goyangsi, Korea Contortion Pole Dance Solo Performance Jazz 2017 - Present SY Pole Studio, Seoul, Korea Pole Dance and Flexibility Instructor Birthday : 1998 ( Age 22 ) 2017 MAY Seoul International Pole Dance Championship, Seoul, Korea Nationality : Korean 4th in Professional Division Languages : 2016 JUN Busan International Pole Championship, Busan, Korea Korean / English / French Runner-up in Professional Division Permit : Canadian 2016 Angel Cup Pole Dance Championship, Daegu, Korea Height : 149 cm / 4’ 10” Miss PoleLap in Professional Division Wight : 41 kg / 90 lbs 2015 JUL Stellar at AFP Theatre, Manila, Philippines Pole Dance Group Performances 2014 JUL Stellar at AFP Theatre, Manila, Philippines Pole Dance Group Performance.

Copy Link

Recommended publications

Monday Tuesday Wednesday Thursday Friday
Monday Tuesday Wednesday Thursday Friday Saturday Swinging Trapeze 1000-01 2:30-3:30PM Swinging Trapeze 1000-02 2:00-3:00PM Hammock 0200-02 3:00-3:30PM Swinging Trapeze 1000-02 2:45-3:30PM Swinging Trapeze 1000-01 2:15-3:15PM 9:00 AM Wings 0000-01 2:30-3:45PM Cloud Swing 1000-01 2:30-3:00PM Revolving Ladder 1000-01 3:15-4:00PM Double Trapeze 0100-04 3:30-4:15PM Duo Trapeze 0100-01 3:15-4:00PM Flying Trapeze 0000-02 3:00 PM 3:00 Mexican Cloud Swing 0100-02 3:30-4:15PM Pas de Deux 0000-01 3:00-4:00PM Swinging Trapeze 0100-02 3:15-4:00PM Handstands 1000-01 3:30-4:15PM Duo Trapeze 0100-03 3:15-4:00PM Globes 0000-01 Swinging Trapeze 0100-01 3:30-4:15PM Double Trapeze 0100-02 3:15-4:00PM Triangle Trapeze 1000-01 3:30-4:15PM Chair Stacking 1000-01 Triangle Trapeze 0100-02 3:15-4:00PM Low Casting Fun 0000-04 4-Girl Spinning Cube 1000-01 3:45-4:30PM Duo Trapeze 0100-02 3:30-4:15PM Static Trapeze 1000-01 4-Girl Spinning Cube 0000-01 3:30-4:00PM Mini Hammock 0000-02 Handstands 1000-01 Manipulation Cube 0000-01 3:30-4:00PM Star 0100-01 High Wire 1000-01 Stilt Walking 1000-01 3:30-4:25PM Toddlers 0200-03 ages 3-4 Mexican Cloud Swing 0100-02 3:30-4:15PM Acrobatics 0205-01 ages 10+ Triangle Trapeze 1000-01 3:30-4:15PM Double Trapeze 0100-04 3:30-4:15PM Stilt Walking 1000-01 3:30-4:25PM Trampoline 0000-04 ages 6-9 Swinging Trapeze 0100-01 3:30-4:15PM Bungee Trapeze 0300-01 Cloud Swing 0100-02 4:00-4:30PM Handstands 1000-01 3:30-4:15PM Duo Hoops 1000-01 4:00-4:30PM 4:00 PM 4:00 4-Girl Spinning Cube 1000-01 3:45-4:30PM Circus Spectacle 0100-01 Pas de Deux
[Show full text]
An Investigation Into Decision Training As a Cognitive Approach to Circus Training
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2016 Pedagogy in performance: An investigation into decision training as a cognitive approach to circus training Jonathan Burtt Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Cognitive Psychology Commons, and the Theatre and Performance Studies Commons Recommended Citation Burtt, J. (2016). Pedagogy in performance: An investigation into decision training as a cognitive approach to circus training. https://ro.ecu.edu.au/theses/1778 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1778 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: • Copyright owners are entitled to take legal action against persons who infringe their copyright. • A reproduction of material that is protected by copyright may be a copyright infringement. • A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work.
[Show full text]
2018 Was MAGNIFICENT and We Welcome 2019! Looking Back on Last Year Gets Me Lost with Everything We Accomplished
01 2019 WINTER/SPRING WWW.SANDIEGOCIRCUSCENTER.ORG FROM THE RINGMASTER UPCOMING EVENTS GET TO KNOW WHAT’S NEW FROM THE RINGMASTER 2018 was MAGNIFICENT and we welcome 2019! Looking back on last year gets me lost with everything we accomplished. We produced two successful shows, Jubilee and ParaSoul, and offered amazing summer camps and intensives. We also had to say goodbye to some of our preparatory students as they continue their circus journey, but we also welcomed new students, new talents and new prospects. Moving into 2019 is a big step, with our plans for this year, but with the continued community support we feel that SDCC will continue to thrive and push the bar. We are excited to announce our relationship with Cirque du Soleil and their support to assist us in furthering our circus artistry. This summer will be the start of that relationship! All of our success could not happen without the community, students, support staff and teachers. Thank you for your continued trust and forward thinking. ONWARD! UPCOMING EVENTS UPCOMING STUDENT SHOUT OUTS PARASOUL RECAP Matt and Liz performed in Vancouver : Hosting SeaWorld Auditions Jan 11 Russian Bar and H2H w/ Blink Acro BIG THANK YOU TO THE CAST AND CREW Viva Festival : April 17th to 21st Elijah, Nikki, John, & Derrick OF PARASOUL. WHAT AN AMAZING performed collaboratively in Colorado RUN OF SOLD OUT SHOWS! Jubilee : May 24th, 25th & 26th Mark, Ava & Lindsey performed at a corporate event for HOSTING AYCO BIENNIAL FESTIVAL Feeding San Diego (AUG 14TH - 18TH) SUMMER CAMPS Kelsi doubled for Susan Graham 1ST SAN DIEGO CIRCUS FESTIVAL June 17 – 21 in the LA Opera’s production (AUG 18TH TO 24TH) June 24 – 29 of Hansel & Gretel July 8 – 12 July 15 – 19 Garrett performed for Cirque July 22 – 27 Mechanics, Santa’s Circus and July 29 – Aug 2 Fern Street Circus Aug 5 – 9 2050 HANCOCK STREET SUITE A.
[Show full text]
Dust Palace Roving and Installation Price List 2017
ROVING AND INSTALLATION CIRQUE ENTERTAINMENT HAND BALANCE AND CONTORTION One of our most common performance installations is Hand Balance Contortion. Beautiful and graceful this incredible art is mastered by very few, highly skilled performers. Roving or installation spots are only possible for 30 mins at a time and are priced at $950+gst per performer. ADAGIO AND ACROBATICS Adagio, hand to hand, balance acrobatics and trio acro are all ways to describe the art of balancing people on people. Usually performed as a couple this is the same as hand balance contortion in that it’s only possible for 30 minute stints. Roving or installation can be performed in any style and we’re always happy to incorporate your events theme or branding into the theatrics around the skill. Performers are valued at $950+gst per 30 minute slot. MANIPULATION SKILLS Manipulation skills include; Hula Hoops, Juggling, Cigar boxes, Diabolo, Chin Balancing, Poi Twirling, Plate Spinning and Crystal Ball. As a roving or installation act these are fun and lively, bringing some nice speedy movement to the room. All are priced by the ‘performance hour’ which includes 15 minutes break and range between $400+gst and $700+gst depending on the performer and the skill. Some performers are capable of character work and audience interaction. Working these skills in synchronisation with multiple performers is a super cool look. Most of these skills can be performed with LED props. EQUILIBRISTICS aka balance skills The art of balancing on things takes many long hours of dedication to achieve even the most basic result.
[Show full text]
Tuesday and Wednesday, February 6 & 7, 2007
Tuesday and Wednesday, February 6 & 7, 2007 Fine Arts Center Concert Hall PRODUCTIONS ÉLOIZE, COLUMBIA ARTISTS MANAGEMENT LLC AND NEDERLANDER PRESENTATIONS, INC.. present Starring artists-acrobats-singers-dancers Jocelyn Bigras, Oksana Burliy, Jean-Philippe Cuerrier, Stéphane Gentilini, Catherine Girard, Krin Maren Haglund, Sandrine Merette, Nadine Louis, Bartlomiej Pankau, Jonas Woolverton, Jacek Wyskup Set Design Dolores Heredia Guillaume Lord Moving lights programming Costume Design Nicolas Descoteaux Mérédith Caron Make up Design Lighting Design Suzanne Trépanier Martin Labrecque Assistant Director Head Trainer Roch Jutras Krzysztof Soroczynski Assistant Director & Stage Manager Music Composer & arrangements on recorded Patrick Loubert soundtrack Creative Producer Maria Bonzanigo Julie Hamelin Music Composer & arrangements for live music General Manager Lucie Cauchon Jeffrey M. Markowitz Lyrics Executive Producers Daniele Finzi Pasca Jean-Jacques Cesbron Creator & Trainer for “Roue Cyr” act Julie Hamelin Daniel Cyr Cirque Éloize’s artistic direction Acting Preparation Jeannot Painchaud The duration of the performance is two hours including intermission. The use of any recording device, either video or audio, and the taking of photographs, either with or without flash, is strictly prohibited Sponsored by Bank of America, El Dialogo, WRNX 100.9 and Hampshire Hospitality Group SCENES Cirque Éloize Rain Prologue Tumbling Juggling Banquine & Russian Bar Strong Women Shoes Strong Men Duo Trapeze Juggling Bottles Roue Cyr Teeterboard INTERMISSION
[Show full text]
SANCA Is Hiring Acrobatics Coach School of Acrobatics and New Circus Arts
SANCA is hiring Acrobatics Coach School of Acrobatics and New Circus Arts Reports to: Acrobatics Department Manager and Program Director Description: Circus is a joyful and empowering activity, and we are searching for an acrobatics coach to be- come an integral member of our staff, instructing students ages 7-99 in the circus arts. This is a part time posi- tion with an anticipated commitment of 10-25 hours each week. SANCA classes run for 12-week sessions, our coaches must commit to teaching for the entire session. Class sizes will vary based on on the ages and level of students in the class; the average number of students per class is typically 6 to 8. Teaching at SANCA can be simultaneously challenging and rewarding. We are looking for someone who has a passion for empowering students, who can easily adapt to rapidly changing and unexpected situations, and who will act as a positive role model for our students. Applicants should be comfortable coaching beginning through advanced progressions in one or more of these disciplines: Tumbling: forward rolls, cartwheels,back-extension rolls, dive rolls, walk-overs, handsprings,front/side aerials, flips and tumbling passes. Trampoline: proper jumping technique, position jumps, handsprings, flips; pulling lines to spot for double backs and twisting skills Handstands: straight circus-style handstand alignment, strength and flexibility skills to help obtain the handstand line, progressions into one arm, crocodile, familiar with the use of hand stand canes Partnered Acrobatics: L-basing skills and progressions to standing acrobatics, banquine, russian bar, dance adagio Contortion: pagoda progressions, splits, needle scales, forearm-stands, deep stretching techniques, active flexibility Job Duties and Responsibilities: - Adhere to SANCA’s policies, objectives and rules - Support SANCA’s Mission and Vision - Coach circus classes with an emphasis on safety, positivity, and small steps to success.
[Show full text]
C H Ap Ter 10 / R U Ssian B Ar
10 bar / Russian 10 Chapter Chapter Russian bar Written by Glen Stewart Contributors: Juan-Carlos Benitez Lucy Francis-Litton Juliette Hardy-Donaldson Sainbayar Janchividorj Darek Karczewski Sylvain Rainville André St-Jean Jarek Wojciechowski This document is published by the FEDEC European Federation of Professional Circus Schools. It is free of charges and can not be sold. 10 RUSSIAN BAR Russian bar Russian Introduction 2 Part 1. Why single bar or triple bar? 3 Part 2. Construction of the bars 4 2.1. Single bar construction 4 2.2. Triple bar construction 5 Part 3. Safety 11 3.1. Communication 11 3.2. Lunging 11 3.3. Spotting. 13 Part 4. Basics of single bar 15 4.1. Handstands on the Bar 20 4.2. Suggested skill progression for single bar 21 Part 5. Basics of triple bar 22 5.1. Bases’ posture and position. 22 5.2. The 4 tasks / stages for the base: 23 5.3. Flyer training 26 Mounting the bar. 27 Foot positioning for the flyer. 28 Initiating the jump. 29 5.4. Suggested skill progression for triple bar 30 Part 6. Trampoline Training 31 Getting the height 31 Rotation 31 Arms 31 Training habits and pointers 31 Body position on landing 32 This document is published by the FEDEC – European Federation of Professional Circus Schools. It is free of charges and can not be sold. 1 10 Introduction Russian bar Russian The purpose of this manual is to be an introduction to Russian bar and to help with the fundamental elements of Russian bar technique. The intention is that with the help of this manual, tea- chers and students will be able to construct their own bar and safely begin training bar technique.
[Show full text]
Interview Ira Seidenstein
Interview with Ira Seidenstein (IS) by Mike Finch (MF), on behalf of Circus Network Australia Introduction MF- Ira Seidenstein is a highly respected, skilled and experienced clown, performer, acrobat, teacher, mentor and elder. He is originally from Pittsburgh USA, but for many years has been based in Australia. Ira has worked all around the world alongside a virtual Who’s Who of physical, clown and Circus performance from major international luminaries and iconic organisations, to grassroots practitioners and soloists. We are lucky enough to have access to him for this interview about his life, his influences, his methodology, some advice and his hopes for the future. In his own words, “Intuition isn’t only knowing what to do next. It is also not knowing what else to do and having no choice”. MF- Hi Ira, thanks so much for your time. Firstly I want to thank you for offering yourself up to be interviewed. We intend this to be the inaugural interview of a series for Circus Network Australia on Australian Circus people, and I’m glad you will be the first! Let’s start at the beginning. Can you tell us what your childhood was like? IS- Oy vey Maria! It was located in the melting pot of the USA. Pittsburgh is a city with three rivers the Allegheny and Monongahela join to form the Ohio which helps form the Mississippi. There are lots of hills of the Allegheny/Appalachian Mountains. Pittsburgh is surrounded by farms and coal towns populated by ethnic Europeans who were starving in the 1800s.
[Show full text]
Acrobatics Acts, Continued
Spring Circus Session Juventas Guide 2019 A nonprofit, 501(c)3 performing arts circus school for youth dedicated to inspiring artistry and self-confidence through a multicultural circus arts experience www.circusjuventas.org Current Announcements Upcoming Visiting Artists This February, we have THREE visiting artists coming to the big top. During the week of February 4, hip hop dancer and choreographer Bosco will be returning for the second year to choreograph the Teeterboard 0200 spring show performance along with a fun scene for this summer's upcoming production. Also arriving that week will be flying trapeze expert Rob Dawson, who will attend all flying trapeze classes along with holding workshops the following week. Finally, during our session break in February, ESAC Brussels instructor Roman Fedin will be here running Hoops, Mexican Cloud Swing, Silks, Static, Swinging Trapeze, Triple Trapeze, and Spanish Web workshops for our intermediate-advanced level students. Read more about these visiting artists below: BOSCO Bosco is an internationally renowned hip hop dancer, instructor, and choreographer with over fifteen years of experience in the performance industry. His credits include P!nk, Missy Elliott, Chris Brown, 50 Cent, So You Think You Can Dance, The Voice, American Idol, Shake It Up, and the MTV Movie Awards. Through Bosco Dance Tour, he’s had the privilege of teaching at over 170 wonderful schools & studios. In addition to dance, he is constantly creating new items for BDT Clothing, and he loves honing his photo & video skills through Look Fly Productions. Bosco choreographed scenes in STEAM and is returning for his 2nd year choreographing spring and summer show scenes! ROB DAWSON As an aerial choreographer, acrobatic equipment designer, and renowned rigger, Rob Dawson has worked with entertainment companies such as Cirque du Soleil, Universal Studios, and Sea World.
[Show full text]
Circus Educators Insurance Application
Circus Educators Insurance Application The AYCO-ACE Insurance Program has been specifically designed to provide insurance for the unique risks of teaching & performing circus arts. The program has been collaboratively designed with AYCO-ACE Board of Directors. Front Row is committed to helping you better understand your insurance coverage and how it can protect you, your school or studio, your students and the great people working for you. We love questions – so be sure to ask lots of them! The AYCO-ACE program can include the coverage for: Bodily Injury & Property Damage Liability (Each Occurrence/Aggregate) $1,000,000 / $3,000,000 Personal Injury (Libel, Slander, Defamation) & Advertising Liability (Copyright Infringement) Up to $1,000,000 Each Occurrence Damage to Rented Premises Up to $1,000,000 Each Claim Participant Accident & Medical Insurance $10,000 or $25,000 Optional Coverage: Hired or Non-Automobile Liabilitty Up to $1,000,000 Professional Educators Errors & Omissions Liability (Each Occurrence/Aggregate) Up to $1,000,000 / $2,000,000 Abuse & Molestation Liability (Each Occurrence/Aggregate) Up to $1,000,000 / $2,000,000 Property: Equipment, Studio Assets, Tenant Improvements, Buildings, Tents As Required Note: Higher insured amounts are available. Please provide us with the following additional documents when you return the application: 1. Signed Application: The Application must be signed by an executive officer. 2. Waivers: A copy of waiver or release forms that participants, their parents or guardians sign when registering for your programs. 3. Organization Policies: Your Organization’s Harassment & Discrimination policy. 4. Claims History: A 4-year claims history report from your current insurance provider.
[Show full text]
Academic Staff Teachers Circus Trainers
STAFF NICA Teaching Staff List Academic Staff Academic Leader Jenny Game-Lopata Head of Circus Studies James Brown – Acrobatics, Adagio, Handstands, Russian Bar, Roue Cyr, Teeterboard, Foundations VE Coordinator Tegan Carmichael – Foundations, Acrobatics, Dance Trap, Static Trap, Swinging, Single Point Aerial, Hula Hoops, Roller Skating, Group Pitching and Acrobatics Performance Coordinator Zebastian Hunter Movement Studies Coordinator Meredith Kitchen Third Year Coordinator Aaron Walker - Vertical Aerials, Dance Trapeze Second Year Coordinator Vasily Ivanov - Adagio, Contortion, Handstands, Korean Plank, Pitching, Russian Bar, Russian Swing First Year Coordinators Andrea Ousley – Performance, Aerials Emily Hughes – Cloudswing and Swinging Trapeze, Skipping, Static Trapeze, Dance Trapeze, Foundations Certificate IV Coordinator Alex Gullan - Foundations, Group Acrobatics, Trickline, Straps, Korean Plank, Wall Trampoline Certificate III Coordinator, Social Circus Coordinator Andrea Ousley - Performance, Aerials Consultant Jenni Hillman Senior Administrator Catherine Anderson Senior Administrator Jenny Vanderhorst Teachers Debra Batton – Performance Teacher Dr Rosemary Farrell – Circus History John Paul Fischbach – Arts Management Jamie Henson – Technical Aspects of Circus Dr David Munro – Anatomy & Physiology Circus Trainers Stephen Burton – Acrobatics, Comedy Acro, Hoop Diving Gang (Charlie) Cheng – Acrobatics, Chinese Pole, Handstands, Happy Cook, Unicycle, Chair Handstands Adam Davis – Chinese Pole, Acrobatics, Trampoline, Foundations,
[Show full text]
Harm Van Der Laan Student: Wilko Schütz, C3 More Than One C
Course: Circus History, Assignment C2 Year: January 2016 Teacher: Harm van der Laan Student: Wilko Schütz, C3 Perch More than one circus discipline! 1 Summary The following essay deals with the traditional Chinese acrobatic discipline of pole balancing which reaches back to 770 B.C. and is known as perch nowadays. The research questions how the discipline of perch is defined, how a perch is constructed, what are different variations and where does it comes from, are answered. Moreover an overview over several perch artist and troupes is given and combinations with other circus disciplines are described. 2 Index Summary ................................................................................................................................2 Index ......................................................................................................................................3 Introduction ............................................................................................................................4 1 Types and variations .......................................................................................................6 1.1 Basic principle ..........................................................................................................6 1.2 Equipment ................................................................................................................7 1.3 Movements and tricks ............................................................................................10 2 History ...........................................................................................................................13
[Show full text]