American Square Dance Vol. 30, No. 7
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Registration Packet 2015-16
! Registration Packet 2015-16 Faculty Artur Sultanov, Artistic Director Mr. Sultanov was born and raised in St. Petersburg, Russia. He trained at Vaganova Ballet Academy and at age 17, joined the Kirov ballet where he danced a classical repertoire. Artur has also performed with Eifman Ballet as a Soloist. In 2000 he moved to San Francisco to join Alonzo King’s Lines Ballet. In 2003 Artur joined Oregon Ballet Theatre. His principal roles at OBT include the Prince in Swan Lake, Ivan in Firebird, and the Cavalier in the Nutcracker, among others. Mr. Sultanov has performed on the stages of the Metropolitan Opera House, Kennedy Center, Bolshoi Ballet Theatre, and the Mariisnky Theatre in his native city of St. Petersburg. In addition to being an accomplished dancer, Mr. Sultanov has also taught extensively throughout his professional career. In the past eight years, Mr. Sultanov has taught and choreographed for the school of Oregon Ballet Theatre and Lines Contemporary Ballet School of San Francisco. His vast experience also includes holding master workshops in the Portland Metro Area, Seaside, OR, Vancouver and Tacoma, Washington. Artur Sultanov is excited to be a part of the Portland dance community and is looking forward to inspiring a new generation of dancers. Vanessa Thiessen Vanessa Thiessen is originally from Portland, OR. She trained at the School of Oregon Ballet Theatre, with James Canfield, and continued on to dance for Oregon Ballet Theatre from 1995-2003. At OBT she danced leading roles in Gissele and Romeo and Juliet. After moving to San Francisco in 2003, she danced with Smuin Ballet, ODC Dance, Amy Seiwert’s Imagery, Opera Parallele and Tanya Bello’s Project b. -
EXCEL LATZKO MUZIK CATALOG for PDF.Xlsx
Walter Latzko Arrangements (Computer/Non-Computer) A B C D E F 1 Song Title Barbershop Performer(s) Link or E-mail Address Composer Lyricist(s) Ensemble Type 2 20TH CENTURY RAG, THE https://www.sheetmusicplus.com/title/the-20th-century-rag-digital-sheet-music/21705300 Male 3 "A"-YOU'RE ADORABLE www.sheetmusicplus.com/title/a-you-re-adorable-digital-sheet-music/21690032Sid Lippman Buddy Kaye & Fred Wise Male or Female 4 A SPECIAL NIGHT The Ritz;Thoroughbred Chorus [email protected] Don Besig Don Besig Male or Female 5 ABA DABA HONEYMOON Chordettes www.sheetmusicplus.com/title/aba-daba-honeymoon-digital-sheet-music/21693052Arthur Fields & Walter Donovan Arthur Fields & Walter Donovan Female 6 ABIDE WITH ME Buffalo Bills; Chordettes www.sheetmusicplus.com/title/abide-with-me-digital-sheet-music/21674728Henry Francis Lyte Henry Francis Lyte Male or Female 7 ABOUT A QUARTER TO NINE Marquis https://www.sheetmusicplus.com/title/about-a-quarter-to-nine-digital-sheet-music/21812729?narrow_by=About+a+Quarter+to+NineHarry Warren Al Dubin Male 8 ACADEMY AWARDS MEDLEY (50 songs) Montclair Chorus [email protected] Various Various Male 9 AC-CENT-TCHU-ATE THE POSITIVE (5-parts) https://www.sheetmusicplus.com/title/ac-cent-tchu-ate-the-positive-digital-sheet-music/21712278Harold Arlen Johnny Mercer Male 10 ACE IN THE HOLE, THE [email protected] Cole Porter Cole Porter Male 11 ADESTES FIDELES [email protected] John Francis Wade unknown Male 12 AFTER ALL [email protected] Ervin Drake & Jimmy Shirl Ervin Drake & Jimmy Shirl Male 13 AFTER THE BALL/BOWERY MEDLEY Song Title [email protected] Charles K. -
Catalyst N05 Jul 200
Catalyst Journal of the Amateur Yacht Research Society Number 5 August, 2001 Catalyst News and Views 3 Winds of Change 2001 6 Keiper Foils 7 Letters Features 10 Wind Profiles and Yacht Sails Mike Brettle 19 Remarks on Hydrofoil Sailboats Didier Costes 26 Designing Racing Dinghies Part 2 Jim Champ 29 Rotors Revisited Joe Norwood Notes from Toad Hill 33 A Laminar Flow Propulsion System Frank Bailey 36 Catalyst Calendar On the Cover Didier Costes boats (See page 19) AUGUST 2001 1 Catalyst Meginhufers and other antiquities I spent most of July in Norway, chasing the midnight sun Journal of the and in passing spending a fair amount of time in Norway’s Amateur Yacht Research Society maritime museums looking at the development history of the smaller Viking boats. Editorial Team — Now as most AYRS members will know, the Vikings rowed Simon Fishwick and sailed their boats and themselves over all of Northern Sheila Fishwick Europe, and as far away as Newfoundland to the west and Russia and Constantinople to the east. Viking boats were Dave Culp lapstrake built, held together with wooden pegs or rivets. Specialist Correspondents Originally just a skin with ribs, and thwarts at “gunwale” level, th Aerodynamics—Tom Speer by the 9 century AD they had gained a “second layer” of ribs Electronics—David Jolly and upper planking, and the original thwarts served as beams Human & Solar Power—Theo Schmidt under the decks. Which brings us to the meginhufer. Hydrofoils—George Chapman I’m told this term literally means “the strong plank”, and is Instrumentation—Joddy Chapman applied to what was once the top strake of the “lower boat”. -
Radical Bay 8000 Study Plans.Pub
SchionningSchionning DesignsDesigns SCHIONNING DESIGNS PTY LTD PO Box 42, Lemon Tree Passage, NSW, 2319, Australia Ph: (Int 61) 02 4982 5599 Fax: (Int 61) 02 4982 5499 www.schionningdesigns.com.au [email protected] ContentsContents Radical Bay 8000 Notes From The Designers ...........2 Design Profile and Description ......................4 Construction Overview ................5 Pre-cut Kit Options ......................6 Basic Materials List ......................8 Multi v's Mono ..............................9 ABOUT US... Material Choice .............................10 Hello and thank you for showing interest in our multihull de- signs. We would like this opportunity to introduce ourselves and to give you some information on our backgrounds so you may More about Balsa ..........................12 better judge our ability to design your boat. I was born in South Africa in 1946. My father was from an engineering background and had a very competitive spirit. He More about DuFlex .......................13 raced motorcycles, power boats and finally designed and built racing dinghies which he and I both sailed competitively. So I grew up in a boat building environment from an early age and Construction Photos .....................15 enjoyed working with boat design and building with my dad. From school I trained as a land surveyor and enjoyed the com- bination of outdoor work, complex mathematics and high accu- Payload Explanation.....................16 racy levels, whilst continuing to design, build and race yachts in my spare time. I was drawn back to serious boat building and started a yard (Lucky Bean Boat Yard - Knysna, S.Africa) spe- Steering Options ...........................17 cialising in cold moulded and composite yachts, building a num- ber of boats between 20’ - 45’ feet. -
The Rise of Guangchangwu in a Chinese Village
International Journal of Communication 11(2017), 4499–4522 1932–8036/20170005 Reading Movement in the Everyday: The Rise of Guangchangwu in a Chinese Village MAGGIE CHAO Simon Fraser University, Canada Communication University of China, China Over recent years, the practice of guangchangwu has captured the Chinese public’s attention due to its increasing popularity and ubiquity across China’s landscapes. Translated to English as “public square dancing,” guangchangwu describes the practice of group dancing in outdoor spaces among mostly middle-aged and older women. This article examines the practice in the context of guangchangwu practitioners in Heyang Village, Zhejiang Province. Complicating popular understandings of the phenomenon as a manifestation of a nostalgic yearning for Maoist collectivity, it reads guangchangwu through the lens of “jumping scale” to contextualize the practice within the evolving politics of gender in post-Mao China. In doing so, this article points to how guangchangwu can embody novel and potentially transgressive movements into different spaces from home to park, inside to outside, and across different scales from rural to urban, local to national. Keywords: square dancing, popular culture, spatial practice, scale, gender politics, China The time is 7:15 p.m., April 23, 2015, and I am sitting adjacent to a small, empty square tucked away from the main thoroughfare of a university campus in Beijing. As if on cue, Ms. Wu appears, toting a small loudspeaker on her hip.1 She sets it down on the stairs, surveying the scene before her: a small flat space, wedged in between a number of buildings, surrounded by some trees, evidence of a meager attempt at beautifying the area. -
Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J
Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J. Johnson and Allegra Fuller Snyder July 1999 Council on Library and Information Resources Washington, D.C. ii About the Contributors Catherine Johnson served as director for the Dance Heritage Coalition’s Access to Resources for the History of Dance in Seven Repositories Project. She holds an M.S. in library science from Columbia University with a specialization in rare books and manuscripts and a B.A. from Bethany College with a major in English literature and theater. Ms. Johnson served as the founding director of the Dance Heritage Coalition from 1992 to 1997. Before that, she was assistant curator at the Harvard Theatre Collection, where she was responsible for access, processing, and exhibitions, among other duties. She has held positions at The New York Public Library and the Folger Shakespeare Library. Allegra Fuller Snyder, the American Dance Guild’s 1992 Honoree of the Year, is professor emeritus of dance and former director of the Graduate Program in Dance Ethnology at the University of California, Los Angeles. She has also served as chair of the faculty, School of the Arts, and chair of the Department of Dance at UCLA. She was visiting professor of performance studies at New York University and honorary visiting professor at the University of Surrey, Guildford, England. She has written extensively and directed several films about dance and has received grants from NEA and NEH in addition to numerous honors. Since 1993, she has served as executive director, president, and chairwoman of the board of directors of the Buckminster Fuller Institute. -
The History of Square Dance
The History of Square Dance Swing your partner and do-si-do—November 29 is Square Dance Day in the United States. Didn’t know this folksy form of entertainment had a holiday all its own? Then it’s probably time you learned a few things about square dancing, a tradition that blossomed in the United States but has roots that stretch back to 15th-century Europe. Square dance aficionados trace the activity back to several European ancestors. In England around 1600, teams of six trained performers—all male, for propriety’s sake, and wearing bells for extra oomph—began presenting choreographed sequences known as the morris dance. This fad is thought to have inspired English country dance, in which couples lined up on village greens to practice weaving, circling and swinging moves reminiscent of modern-day square dancing. Over on the continent, meanwhile, 18th- century French couples were arranging themselves in squares for social dances such as the quadrille and the cotillion. Folk dances in Scotland, Scandinavia and Spain are also thought to have influenced square dancing. When Europeans began settling England’s 13 North American colonies, they brought both folk and popular dance traditions with them. French dancing styles in particular came into favor in the years following the American Revolution, when many former colonists snubbed all things British. A number of the terms used in modern square dancing come from France, including “promenade,” “allemande” and the indispensable “do-si-do”—a corruption of “dos-à-dos,” meaning “back-to-back.” As the United States grew and diversified, new generations stopped practicing the social dances their grandparents had enjoyed across the Atlantic. -
Be Square Caller’S Handbook
TAble of Contents Introduction p. 3 Caller’s Workshops and Weekends p. 4 Resources: Articles, Videos, etc p. 5 Bill Martin’s Teaching Tips p. 6 How to Start a Scene p. 8 American Set Dance Timeline of Trends p. 10 What to Call It p. 12 Where People Dance(d) p. 12 A Way to Begin an Evening p. 13 How to Choreograph an Evening (Programming) p. 14 Politics of Square Dance p. 15 Non-White Past, Present, Future p. 17 Squeer Danz p. 19 Patriarchy p. 20 Debby’s Downers p. 21 City Dance p. 22 Traveling, Money, & Venues p. 23 Old Time Music and Working with Bands p. 25 Square Dance Types and Terminology p. 26 Small Sets p. 27 Break Figures p. 42 Introduction Welcome to the Dare To Be Square Caller’s handbook. You may be curious about starting or resuscitating social music and dance culture in your area. Read this to gain some context about different types of square dancing, bits of history, and some ideas for it’s future. The main purpose of the book is to show basic figures, calling techniques, and dance event organizing tips to begin or further your journey as a caller. You may not be particularly interested in calling, you might just want to play dance music or dance more regularly. The hard truth is that if you want trad squares in your area, with few ex- ceptions, someone will have to learn to call. There are few active callers and even fewer surviving or revival square dances out there. -
New Square Dance Vol. 24, No. 11
THE EDITORS' PAGE 41 A recent letter challenged us to re- quest that minority groups be sought out and especially included when pro- moting new classes. We're going to re- neg on this, and here's why — Most of us are pretty proud of our square dance reputations — the trouble free, nuisance free atmosphere of our conventions and festivals, the neatness and color or our costumes, the smooth- ness and beauty of our dances, and the phrase of the music and move rhyth- friendliness and warmth of our dan- mically to and fro where it leads us? cers. We'd just like to hope and believe Why do we shout in triumph when we that dancers everywhere would main- emerge from a series of smooth, intri- tain this pride in their dancing and ex- cate figures to catch our corners for an tend a welcome to every individual allemande? who comes tb participate in the joy Because, oh readers, we are doing and happiness of dancing. Why must our "thing", a thing that man has been we seek to involve a single ethnic or doing since he stretched skins and racial group for special attention? We made the first tomtom -- DANCING! want more people who love dancing, "A rhythmic stepping in time to the whether their eyes are slanted, their beat of the music" used by mankind skins dark, their eyes blue, their ac- as a form of self-expression. We are cents Latin, their hair white or their not usually very introspective about ages in the teens. our hobby. -
Dancing Dancers
Single Copy $1.00 Annual 58.00 "THE BOSS" by elegraft Choice of Dedicated Professional Dance Leaders Fred Staeben, an avid user of Clinton Sound Equipment Fred Staeben of Dozier, Alabama, has been a square dance caller and has been teaching square dance classes without a break since 1955. While stationed in Europe with the USAF (1955-58) he called dances in several of the European countries. Fred and his wife Ruth were a part of the nucleus of dancers, callers and square dance leaders who first organized the European Association of American Square Dance Clubs. He was also one of those who were in- strumental in the organization of the European Callers and Teachers Association. Fred is past president of the Denver Area Square Dance Callers Association and past president of the Colorado Springs Square Dance Callers Association. He was publisher and editor of a square dance newsletter (Colorado), Square Talk, from 1966 to 1971. Fred has also been a caller lab member since 1974. Join the long list of successful Clinton-equipped profes- sionals. Please write or call for full details concerning this superb sound system. Say you saw it in ASD (Credit Burdick) CLINTON INSTRUMENT COMPANY, PO Box 505, Clinton CT 06413 Tel: 203-669-7548 2 AMERICAN M VOLUME 35, No. 11 NOVEMBER, 1980 SQUARE DANCE THE NATIONAL MAGAZINE WITH THE SWINGING LINES ~35tbtr AnniversaryK 4 Co-Editorial 5 By-Line 6 Grand Zip 7 Meanderings 11 Are You Civilized? 13 Squares and Rounds Publishers and Editors 15 The Belles of the Balls Stan & Cathie Burdick 19 Perspective Workshop -
By Barb Berggoetz Photography by Shannon Zahnle
Mary Hoedeman Caniaris and Tom Slater swing dance at a Panache Dance showcase. Photo by Annalese Poorman dAN e ero aNCE BY Barb Berggoetz PHOTOGRAPHY BY Shannon Zahnle The verve and exhilaration of dance attracts the fear of putting yourself out there, says people of all ages, as does the sense of Barbara Leininger, owner of Bloomington’s community, the sheer pleasure of moving to Arthur Murray Dance Studio. “That very first music, and the physical closeness. In the step of coming into the studio is sometimes a process, people learn more about themselves, frightening thing.” break down inhibitions, stimulate their Leininger has witnessed what learning to minds, and find new friends. dance can do for a bashful teenager; for a man This is what dance in Bloomington is who thinks he has two left feet; for empty all about. nesters searching for a new adventure. It is not about becoming Ginger Rogers or “It can change relationships,” she says. “It Fred Astaire. can help people overcome shyness and give “It’s getting out and enjoying dancing and people a new lease on life. People get healthier having a good time,” says Thuy Bogart, who physically, mentally, and emotionally. And teaches Argentine tango. “That’s so much they have a skill they can go out and have fun more important for us.” with and use for the rest of their lives.” The benefits of dancing on an individual level can be life altering — if you can get past 100 Bloom | April/May 2015 | magbloom.com magbloom.com | April/May 2015 | Bloom 101 Ballroom dancing “It’s really important to keep busy and keep the gears going,” says Meredith. -
The Power of Dance How Your Passion and Appreciation Provides Opportunity and Growth
BALLET ARIZONA DONOR IMPACT Foundation Highlight: Donor Spotlight: Letter From the Q&A: Mayo Clinic Tracy Olson Executive Director: Artistic Director REPORT Samantha Turner Ib Andersen TURNING POINTE The Power of Dance How your passion and appreciation provides opportunity and growth. Ballet Arizona dancers in Theme and Variations. Choreography by George Balanchine © The George Balanchine Trust. Photo by Rosalie O'Connor. SPRING From the main stage to classrooms across the Valley, dance continues to inspire and bring people together. As the curtain begins to close on our 2018 – 2019 season, I BEHIND THE SCENES am reminded about the power of dance. This spring season with Ib Andersen is an ode to that power and we begin with a celebration of George Balanchine. I am excited that we are finally bringing Q: What can audiences expect from the Emeralds to the Arizona stage for All Balanchine. This is one of Balanchine’s most poetic ballets. From the choreography to the Balanchine program this year? music, is it a treat for both dancers and audiences. Of course, A: A lot of dancing! But in all seriousness, this program is very rich we end the season at Desert Botanical Garden with Eroica. This with three very different ballets, all having three very distinct styles. is one of my favorite ballets that I have created and it should be even better than last year! Theme and Variations is so exciting to watch. Balanchine created this ballet in 1947 for American Ballet Theatre. It was an homage In this issue, Executive Director Samantha Turner talks about to Marius Petipa and a continuation of his old style of ballet the impact new works have on ballet in today’s world.