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Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon. -
Stephen J. Cannell, 1941-2010
STEPHEN J. CANNELL, 1941-2010 Stephen J(oseph) Cannell was born February 5, 1941 to Joseph Cannell, a Pasadena, California entrepreneur. Cannell struggled through his early school years, flunking three different grades of elementary, junior or senior high school, and regularly failing his English classes. Years later, when having one of his own children tested for dyslexia, he discovered that he had suffered from it his entire life. Never the less, he had a passionate love for writing, despite his difficulties with the written word, and set a goal for himself to become a best-selling author. After attending the University of Oregon on a football scholarship and meeting creative writing teachers that bolstered his confidence, Cannell married his high school sweetheart and went to work for his family’s business – driving a furniture truck all day. In the evenings, he set a rigorous writing schedule for himself – writing 5 hours a day, 7 days a week, on spec. He decided that his target market would be the burgeoning television scene, and after 6 years without a sale, he finally sold a script – to the series Ironside. After a few more sales, he caught the eye of the legendary writer/producer Jack Webb, who first hired him to be story editor and ultimately head writer for Adam-12. Cannell was contracted to Universal Television, writing and producing shows for that studio during the early-to-mid 1970s. While there, he produced Chase and wrote for and produced Toma, about real-life New York City detective David Toma. While producing Toma, Cannell and his mentor Roy Huggins (creator of Maverick, and many other tv series) wrote an episode that ended up getting rewritten to serve as a pilot for a series about an unorthodox Southern California P.I. -
Zvidance DABKE
presents ZviDance Sunday, July 12-Tuesday, July 14 at 8:00pm Reynolds Industries Theater Performance: 50 minutes, no intermission DABKE (2012) Choreography: Zvi Gotheiner in collaboration with the dancers Original Score by: Scott Killian with Dabke music by Ali El Deek Lighting Design: Mark London Costume Design: Reid Bartelme Assistant Costume Design: Guy Dempster Dancers: Chelsea Ainsworth, Todd Allen, Alex Biegelson, Kuan Hui Chew, Tyner Dumortier, Samantha Harvey, Ying-Ying Shiau, Robert M. Valdez, Jr. Company Manager: Jacob Goodhart Executive Director: Nikki Chalas A few words from Zvi about the creation of DABKE: The idea of creating a contemporary dance piece based on a Middle Eastern folk dance revealed itself in a Lebanese restaurant in Stockholm, Sweden. My Israeli partner and a Lebanese waiter became friendly and were soon dancing the Dabke between tables. While patrons cheered, I remained still, transfixed, all the while envisioning this as material for a new piece. Dabke (translated from Arabic as "stomping of the feet") is a traditional folk dance and is now the national dance of Lebanon, Jordan, Syria, and Palestine. Israelis have their own version. It is a line dance often performed at weddings, holidays, and community celebrations. The dance strongly references solidarity, and traditionally only men participated. The dancers, linked by hands or shoulders, stomp the ground with complex rhythms, emphasizing their connection to the land. While the group keeps rhythm, the leader, called Raas (meaning "head"), improvises on pre-choreographed movement phrases. He also twirls a handkerchief or string of beads known as a Masbha. When I was a child and teenager growing up in a Kibbutz in northern Israel, Friday nights were folk dance nights. -
Dance Workshop an Online Offering of Live and Recorded Dance
The Queensborough Community College Dance Program In the Department of Health, Physical Education and Dance Present Dance Workshop An online offering of live and recorded dance. Welcome from Emily Berry - Dance Program Director 1. The Healing Choreography: Kevin McEwen with creative input from the cast Performance: Andre Murph, Chynah Bennett, Desiree Ohangio, Hallie Langaigne, Kadeshia Thomas, Kyasia Cooper, Maiya Holley, Randi Morgan, Samantha Cajamarca Music: Zid Lmel (featuring Maalem Hammam) by Boddhi Satva, Come Together by The Internet, Work That by Mary J Blige, Destiny by Burna Boy, Soli Rapid by the Kofago Drum Ensemble Costumes, Videography and Video Production: Kevin McEwen Muriel Manings Award Presented by Kevin McEwen 2. Beyond. Within. - Part I: Microcosmic Entropy Choreography and Performance: Yona Lavie Music: Ludovico Einaudi Videography and video editing: Yona Lavie 3. HOPE(ful) Choreography and Performance: Khayla Mcleod Music: Drehz & Ólafur Arnalds Videography/Editing: Khayla Mcleod Costume: Khayla Mcleod 4. This Seems a Home Choreography: Aviva Geismar in collaboration with the performers Performance: Dennis Charwin, Brook Lyn Gonzalez, Jiwon Kim, Hallie Langaigne, Yona Lavie, Desiree Oghaego, Phillip Pettiford, Nadia Simmons and Kadeisha Thomas Music: “Plan and Elevation” by Caroline Shaw, recorded by the Attacca Quartet Text: “Fences” by August Wilson Video Editing: Aviva Geismar Tech Scholarship Request and Rising Star Award Presented by Aviva Geismar 5. A New Me Choreography and Performance: Samantha Cajamarca Music: K/DA- MORE Videography: Mynor Ordonez Video Editing: Guillermo Garcia 6. Peace Choreography: Hallie Langaigne Performance: Chynah Bennett, Maiya Holley, Hallie Langaigne, Randi Morgan and Nadia Simmons Music: “Nile” by Beyoncé ft Kendrick Lamar Costume: Marcela Jones 7. -
2009 Next Wave Festival
BAMbill NOV 2009 2009 Next Wave Festival Adam Fuss, 2009 BAM 2009 Next Wave Festival is part of New Works and Diverse Voices at BAM sponsored by: 2009 Next Wave Festival Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer Presents the US premiere of Itutu Approximate BAM Howard Gilman Opera House running time: Nov 4, 6 & 7 at 7:30pm 70 minutes, no intermission Armitage Gone! Dance Choreographed by Karole Armitage With live music by Burkina Electric and band member Lukas Ligeti Set and fabric design by Philip Taaffe Costumes designed by Peter Speliopolous Lighting design by Clifton Taylor Technical director/Lighting supervisor Joe Doran Dancers Leonides D. Arpon, Kristina Bethel-Blunt, Megumi Eda, William Isaac, Luke Manley, Abbey Roesner, Bennyroyce Royon, Marlon Taylor-Wiles, Emily Wagner, Mei-Hua Wang, Masayo Yamaguchi Burkina Electric Wende K. Blass guitar, Lukas Ligeti drums & electronics, Maï Lingani vocals & dance, Pyrolator electronics, Vicky dance, Zoko Zoko dance BAM 2009 Next Wave Festival is part of New Works and Diverse Voices at BAM sponsored by Time Warner Inc. Leadership support for the Next Wave Festival provided by The Ford Foundation. Leadership support for Itutu provided by The Jerome Robbins Foundation, Inc. Major support for BAM dance is provided by The Harkness Foundation for Dance and The SHS Foundation, with additional support from Mary L. Griggs & Mary Griggs Burke Foundation. Itutu Itutu—conceived, directed, and choreographed by Karole Armitage for Armitage Gone! Dance is a col- laborative work with West African electronica band Burkina Electric and composer/band member Lukas Ligeti that features sets by Philip Taaffe. -
Directors to Consider Moratorium on Condos Zinsser Out, Race Open
H<[«rb < •;; > ■ ■' < rt ■i-'-"* ,«r%' You Can Be a Winner Wmsm d You can win $750 in The Herald’s Prizeweek ^..ii/-»‘ -'X.. Puzzle. If you are a Herald subscriber, another $25 will be added to your winnings. The Puzzle PBP appears each Saturday in the TV Spotlight sec tion. mi , ■ Directors To Consider Moratorium on Condos MANCHESTER-The Board of sider what is happening in said. which ask "Has a condominium con Directors will consider placing a 90- Manchester. Earlier both Mrs. Weinberg, and version affected you? Or are you day moratorium on condominium “When someone proposes a sub Stephen Cassano had opposed placing next?” They will be distributed division, we have regulations to deal restrictions on condominium conver among the town apartment com ■ :’'X % conversions at its March 11 meeting. The ordinance, which a with it. With this situation we have to sions saying it would be public in plexes this weekend. The leaflets _Manchester advocacy group called for be just as careful to protect the terference on private rights. Mrs. also urge tenants to attend this S. two weeks ago, was proposed by public.”,.. Weinberg said she still believed Tueday’s board meeting. Democratic directors Barbara The proposed ordinance came two “Someone who owns a piece of Cassano has said he and Mrs. Weinberg and Stephen Cassano. They days after a meeting of the property should be allowed to do Weinberg proposed the ordinance have requested a public hearing on Manchester Citizens for Social what they want with it. ” But she because of complaints from tenants ?|4ia the proposition. -
Resource Guide for Educators
RESOURCE GUIDE FOR EDUCATORS AILEYDANCE. PHOTO BY JOE EPSTEIN 1 A LETTER FROM OUR EXECUTIVE DIRECTOR “Dance came from the people and must always be delivered back to the people.” - Alvin Ailey Dear Educator, For over sixty years, Alvin Ailey American Dance Theater has carried out the credo of its founder through performances, school and community programs, professional training of young dancers, classes for the public, and more. To Mr. Ailey, dance was more than a series of steps; it was a means of expressing emotion, of telling one’s story, of honoring the past and rejoicing in what is to come. In fulfillment of his legacy, we strive to offer abundant opportunities for young people to experience the possibilities of dance, no matter who they are or where they come from. We hope the exercises and activities suggested in this resource guide will provide you and your students with a creative and interactive inlet to the world of dance and the work of the Alvin Ailey American Dance Theater, or help you prepare them to attend a dance performance. By bringing your students to an Ailey performance, participating in an Ailey Arts In Education residency, or simply sharing with them the joy and practice of dance, you are engaging the next generation in the Ailey legacy; one expressly dedicated to expanding the minds, talents, and dreams of young people. Thank you for your contribution, and enjoy! Sincerely, Bennett Rink Executive Director, Alvin Ailey Dance Foundation 2 RESOURCE GUIDE FOR EDUCATORS AILEYDANCE. PHOTO BY JOE EPSTEIN The content and suggested activities in this guide can be integrated into an established school curriculum. -
Back at 'Last'
FINAL-1 Sat, Feb 27, 2016 5:00:34 PM Your Weekly Guide to TV Entertainment for the week of March 5 - 11, 2016 Some of the cast of “The Last Man on Earth” Back at HMA.HMA. .Car .Care . Systems . ‘Last’ WASH WINTER AWAY HMA Car Care AT1 x 5 HMA. 978.744.4444 Superb polishing, interiors, great body work and more. 24/7 Car Wash HMACARCARE.COM 72 North St. (Rte. 114), Salem, MA Newspaper Advertising Works! Massachusetts’ First Credit Union THIS Located at 370 HighlandSt. Avenue, Jean's Salem Credit Union AD SPOTET Filler 3 x 3 COULD1 BE x YOURS. 3 Serving over 15,000 Members • A Part of your Community since 1910 Ask us about very economical advertising in Saturday’s Salem News TV Spotlight Supporting over 60 Non-Profit Organizations & Programs (with an option to print a deeply ) discounted ad in The Salem News Serving the Employees of over 40 Businesses Contact: Glenda Duchesneau 978.219.1000 • www.stjeanscu.com 978-338-2540 • [email protected] Offices also located in Lynn, Newburyport & Revere Federally Insured by NCUA FINAL-1 Sat, Feb 27, 2016 5:00:36 PM 2 • Salem News • March 5 - 11, 2016 Where there’s a Will Video Will Forte’s post-apocalyptic comedy returns from hiatus releases By Jacqueline Spendlove scouring the continent for other sur- nale to seven — plus Phil’s es- With the emergence of new char- companion worms die off one by TV Media vivors of a virus that has wiped out tranged astronaut brother, Mike (Ja- acters being more of a season 1 fo- one, but just as he’s about to com- most of humanity, and just after giv- son Sudeikis, “We’re the Millers,” cus, the first half of the current sea- mit suicide by jettisoning himself hristmas break and then ing up, he meets the good-hearted 2013), who’s stranded out in space, son has followed the group as it into space, he spots a newborn some! It’s been almost three (albeit profoundly irritating) Carol unbeknownst to anyone. -
“The Art of Rita Blitt” by Robert Mcdonald Edited by Donna Stein
Untitled Document “The Art of Rita Blitt” By Robert McDonald Edited by Donna Stein Rita Blitt has been an artist for as long as she can remember. Since she was a child she has had a passion for creating art and for sharing it with others. She recalls her excited anticipation when teachers passed out fresh drawing paper in school, and these creative expectations endure today. Blitt channels her enthusiasm to others via drawings, paintings, and sculptures. Working from intuition as well as intelligence, her experience of making art is both physical and spiritual. She has had a calling and the strength to follow her path. Like novelist Willa Cather, Blitt has discovered that happiness is "to be dissolved into something complete and great," to become "part of something entire." An important source of Blitt's enthusiasm for art was the influence of her grandfather, Isaac Sofnas, a Russian designer of flower embroidery patterns, who lived in New York City. According to Blitt, "My grandfather drew fanciful flowers on the letters he sent. From the time I was a toddler we exchanged drawings. Now I feel my lines continue his." Blitt's father, Herman Copaken, a businessman and part-time inventor, embodied patient determination and self-motivation, which he passed on to his daughter. Blitt's mother, Dorothy Sofnas Copaken, devoted herself to Jewish humanitarian causes. She instilled in her three children an awareness of and caring for the world, which Blitt expresses through art. "My Mom always said, 'Look at the beautiful trees,'" Rita remembers. "I loved drawing trees formed with multiple lines, each emanating from the roots and continuing up through the trunk to become branches and twigs. -
ADF-Timeline.Pdf
Timeline 1934 • ADF, then known as the Bennington School of Dance, is founded at Bennington College in Bennington, Vermont. The first six-week session attracts 103 students (68 of whom were dance teachers) from 26 states, the District of Columbia, Canada and Spain. Their ages range from 15 to 49. • Martha Hill and Mary Josephine Shelly are Co-Directors. Martha Graham, Doris Humphrey, Charles Weidman, and Hanya Holm, also known as "The Big Four,” are recruited to be faculty. They each teach for a week in succession. 1935 • Martha Graham premieres Panorama with Alexander Calder mobiles (his first dance collaboration). • Doris Humphrey premieres New Dance. • The "Big Four" overlap teaching during the six weeks. 1936 • Betty Ford (Elizabeth Bloomer) is a student. • Humphrey completes her New Dance Trilogy with premiere of With My Red Fires; Weidman creates Quest. • World debut of Lincoln Kirstein's Ballet Caravan. Kirstein delivers lectures on classical ballet. 1937 • Anna Sokolow, José Limón, and Esther Junger are the first Bennington Fellows. • Premieres of Holm's Trend, Limón's Danza de la Muerte, Sokolow's Facade-Esposizione Italiana. • Alwin Nikolais is a student. • Graham premieres two solos. 1938 • Premieres are Graham's American Document, Holm's Dance of Work and Play and Dance Sonata, Humphrey's Passacaglia in C Minor, and Weidman's Opus 51. • Anna Halprin and Alwin Nikolais are students. 1939 • Bennington School of Dance spends summer at Mills College in Oakland, CA. • Merce Cunningham is a student. • Limón premieres 5-part solo, Danza Mexicanas. • John Cage gives concert of percussion music. 1940 • School of Dance returns to Bennington and is incorporated under The School of the Arts to foster relationships with the other arts. -
Pasic 2001 Marching Percussion Festival
TABLE OF CONTENTS 2 Welcome Messages 4 PASIC 2001 Planning Committee 5 Sponsors 8 Exhibitors by Name/Exhibitors by Booth Number 9 Exhibitors by Category 10 Exhibit Hall Map 12 Exhibitors 24 PASIC 2001 Map 26 PASIC 2001 Area Map 29 Wednesday, November 14/Schedule of Events 34 Thursday, November 15/Schedule of Events 43 Friday, November 16/Schedule of Events 52 Saturday, November 17/Schedule of Events 60 Artists and Clinicians 104 Percussive Arts Society History 2001 111 Special Thanks/PASIC 2001 Advertisers NASHVILLE NOVEMBER 14–17 2 PAS President’s Welcome It is a grim reminder of the chill- from this tragedy. However, in a happier world that lies ® ing events that shook the U.S. this land of diversity, we all deal ahead for all of us. on September 11. I am espe- with grief and healing in differ- cially grateful to all of our PAS ent ways. I’m in no way international members who sent trivializing this tragedy when I personal messages to me, tell you that I’m especially look- members of the Board of Direc- ing forward to seeing friends tors, and into the PAS office in and colleagues from around the www.pas.org Lawton, Oklahoma. Your out- globe at PASIC in Nashville. pouring of support and conso- Percussion is the passion that oday, as I sit to write my lation are deeply appreciated. binds us all and allows us to T“welcome to PASIC” I applaud those of you who come together in a common message, I realize that our have offered to use your re- place to see our friends, hear world has forever changed. -
A Study of Three Chippewa Families at Warroad, Minnesota and Their Historical and Cultural Contributions
DOCUMENT RESUME ED 092 304 RC 007 958 AUTHOR Landin, Grace TITLE A Study of Three Chippewa Families at Rarroad, Minnesota and Their Historical and Cultural Contributions. PUB DATE May 72 NOTE 144p.; M.S. Ed. Thesis, Moorhead State College. Certain photographei may copy poorly AVAILABLE FROMInter-Library Loan, Moorhead State College, Moorhead, Minnesota EDRS PRICE MF-$0.75 HC-$6.60 PLUS POSTAGE DESCRIPTORS *Adult Leaders; *American History; *American Indians; *Cultural Background; *Family Influence; Family Status; Group Unity; Handicrafts; Individual Power; Interviews; Religion; Treaties; Tribes IDENTIFIERS *Chippewas; Minnesota ABSTRACT The study presents some aspects of American Indian history and culture of the Warroad, Minnesota region, examiningthree well-known Chippewa families--Ka-Kay-Geesick, Lightning,and Thunder. These families were selected because of their significance inthe area--Ka-Kay-Geesick was a well-known medicineman; the Lightning name is associated with craftwork; the Thunder family has hada succession of five chiefs, including the present chief.The material was gathered over a 2-year period, principally by personal interviews with family members. The study includesa literature review, the stories of these three families, including theWarroad Indian today, family photographs, and economic trends. A discussionof the arts, crafts, and industry of the Chippewas includes picture stories, folklore, and a Wendigo folktale. The appendixes giveTreaty No. 3, a historical review of the Red Lake Indians, the Indiancensus role,