BU Director of Dance Professional Instructors
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Ballet and Folkdance Modern
BALLET AND FOLKDANCE י MODERN DAN ~ CE Giora Manor interviews Jiri Kylian. Jiri Kylian, artistic director of the Nederlands Dans Theatre, master, you should know more about these things. First of was asked in the course of his company's third visit to all, of course, one has to study classical dancing and folk Israel, in the spring of 1980, to lecture on the relationship dancing but real folk dance, no character dance. Character between modem dance, ballet and folk dance. It seemed dance is something that's been taken from ethnic dances, that this topic, fundamental to the understanding of perverted in a way and made into a brilliant kind of insert modem stage dance, was especially well suited to Kylian's for classical ballets. No, we didn't study that, we studied choreographic style, as he often uses elements which derive real folk dances. We wouldn't study, for instance, the from folk traditions. Instead of a lecture he chose to show czardas in general but would leam a specific Szekely some video-films of his work and asked me to discuss the Czardas, which is a Czardas from a certain part ofHungary. topic with him in public. We wouldn't study just the polka but a very specific Polka that comes from a ce.rtain part of Czechoslovakia, Poland or The Bat-Dor Dance Company, who were the hosts of the Russia. This is what 1 really think is important and 1 would Nederlands Dans Theatre during their tour, made their hall advise schools to follow this example because character available, and about three hundred dancers, folk dance dances are only a perversion of real folk dancing. -
Stage Dance A
NOVATEUR PUBLICATIONS INTERNATIONAL JOURNAL OF INNOVATIONS IN ENGINEERING RESEARCH AND TECHNOLOGY [IJIERT] ISSN: 2394-3696 Website: ijiert.org VOLUME 7, ISSUE 8, Aug.-2020 THE E0ERGE1CE A1D F2R0AT,21 2F THE S8B-ECT 2F F2/.- STAGE DA1CE A. I. YESHIMBETOVA, Teacher at the National Academy of Choreography of Uzbekistan E-mail address: [email protected] ABSTRACT: This article is a historical excursus into the formation and role of folk-stage dance from its origins to the present. It outlines the contribution of the enthusiastic reformers of character dance - A.F. Bekefi, F.I. Kshesinki, A.V. Shiryaeva, A.I. Bocharova and A.V. Lapukhov. Outstanding dancers, and later teachers, they stood at the origins of the creation of a system for teaching character dance, brought up more than one generation of dancers who continued the formation of folk stage dance as one of the main subjects of a cycle of special disciplines in the vocational training system in ballet schools. KEYWORDS: History of Russian ballet, F. Bekefi / character dance F.I. Kshesinskaya, "mazurist" A.V. Shiryaev, Mariinsky Theatre A.V. Lopukhov, Leningrad Choreographic College Fundamentals of character dance, A.V. Shiryaev, A.V. Lopukhov, A.I. Bocharov Folk stage dance, Folk dance ensemble. INTRODUCTION From its very origins folk stage dance has become of the main subjects in the cycle of special disciplines and an important part of the system of professional ballet dance training. Having gone through a certain path of formation and historical development, folk stage dance has become an academic discipline, an important and integral part of classical ballet education. -
View Campaign Brochure
CAROLINA BALLET’S Carolina Ballet would like to thank the following supporters for their early Pleaseinvestment visit Carolina in Choreographing Ballet’s website for aCarolina list of all Campaign Ballet’s Gifts Future. through October 31, 2018. $1,000,000+ Mr. and Mrs. Andrew Steidinger Ronald and Maryllen Blum Enviromental Control Judy and Steve Zelnak Synergy Face & Body Hal Bowman and Mercedes Auger Liz and Britt Ferrill Ms. Vera Tayeh Richard Catlin and Associates, Inc. Mrs. Mary A. Fisher $250,000+ Beverly Taylor Dr. Margaret K. Champion Ms. Christina Floyd Anonymous NC Family Mr. and Mrs. Richard A. Thomas Matt and Gina Chapin Fonville Morisey Realty Dr. and Mrs. Malcolm McDougal Brown Rob and Sally Tiller Citrix Mr. and Mrs. Stanley H. Fox The John William Pope Foundation Lars and Elisabeth von Kantzow Mr. Brian Cook Dan Gaugert and Terry Harper Stefanie and Douglas Kahn Robert Weiss and Melissa Podcasy Jacobi Daley Nicholas and Carol Gillham Moise Khayrallah Katherine White and Thomas Urquhart Deloitte Alicia and Sean Gilsenan Martin Marietta Materials Brooklyn and Mike Winters Jamie Drake Danielle Greco and Tony Bryant Ms. Patricia Dube Eileen Greenbaum and Larry Mintz $100,000+ $7,500+ George Evans and Karen Monaco Bob and Laura Gutman Anonymous (1) Anonymous (1) Drs. Richard Felder and Rebecca Brent Annette and Richard Hagopian Capitol Broadcasting Company Mrs. Franc A. Barada, Jr. Finnamore Real Estate Ms. Gayla H. Halbrecht Ms. Ellyn E. Daniels Nancy and Christopher Bolen Sharon and J.C. Garbutt Cheryl and Charles Hall Mrs. Jolene B. McGehee Brigs Restaurants Carolyn Happer and Leonard Graham Dr. -
Reply: 'Too Colonial' Cape Town City Ballet Finds New Home
29 March 2017 Re: ‘Too colonial’ Cape Town City Ballet finds new home Good day, Your article titled “‘Too colonial’ Cape Town City Ballet finds new home” refers. The article claims that Cape Town City Ballet (CTCB) was “kicked out of its Base at the University of Cape Town for being “too colonial”” and reports this as a fact. This is, in fact, the second time this claim has Been reported as a fact By Times Media. Despite this claim, UCT was not offered the right to reply in an article that turned out to be unbalanced and unfair. In NovemBer 2016, a different journalist claimed that CTCB was “booted out of its University of Cape Town premises Because Ballet is “Eurocentric and colonial””. UCT provided a detailed response to this claim, which we are again providing. There is certainly no truth to the claim that “#FeesMustFall protesters demanded that the ballet company Be removed from UCT last year” as reported in this latest article. UCT’s lease agreement with CTCB for studio space expired on 31 December 2016. The lease had been under discussion for almost two years, as UCT had already been taking in larger numBers in our dance courses – which include classical Ballet, as well as choreographic studies and dance teaching methods. The space constraints for UCT dance courses had already reached a tipping point as early as 2014. At the Beginning of 2016, UCT took the proactive step of approaching the Cape Town municipality aBout the possiBle use of an alternate venue for CTCB. Discussions around the lease agreement, and UCT’s steps to proactively arrive at a possiBle solution, Began long Before the spate of protests on campus last year. -
Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters. -
Annexure 22 Transfers and Grants to External Organisations
ANNEXURE 22 TRANSFERS AND GRANTS TO EXTERNAL ORGANISATIONS 2021/22 Budget (May 2021) City of Cape Town - 2021/22 Budget (May 2021) Annexure 22 – Transfers and grants to external organisations 2021/22 Medium Term Revenue & Description 2017/18 2018/19 2019/20 Current Year 2020/21 Expenditure Framework Audited Audited Audited Original Adjusted Full Year Budget Year Budget Year Budget Year R thousand Outcome Outcome Outcome Budget Budget Forecast 2021/22 +1 2022/23 +2 2023/24 Cash Transfers to other municipalities Not applicable Total Cash Transfers To Municipalities: – – – – – – – – – Cash Transfers to Entities/Other External Mechanisms Cape town Stadium Entity 24 167 55 152 59 454 65 718 65 718 65 718 60 484 26 410 24 707 Total Cash Transfers To Entities/Ems' 24 167 55 152 59 454 65 718 65 718 65 718 60 484 26 410 24 707 Cash Transfers to other Organs of State Peoples Housing Process 244 017 139 509 139 509 150 518 150 518 150 518 65 000 61 436 58 626 Total Cash Transfers To Other Organs Of State: 244 017 139 509 139 509 150 518 150 518 150 518 65 000 61 436 58 626 Cash Transfers to Organisations 10th Anniversary Carnival 49 – – – – – – – – 2017 Lipton Cup Challenge 100 – – – – – – – – 2nd Annual Golf Festival – 150 – – – – – – – 2nd Encounters SA International 100 – – – – – – – – 3rd Africa Women Innovation & Enterprise 150 – – – – – – – – 3rd Unlocking African Markets Conference 150 – – – – – – – – A Choired Taste - Agri Mega NPC 100 – – – – – – – – ABSA Cape Epic - Cape Epic (Pty) Ltd 1 500 1 700 1 794 1 893 1 893 1 893 1 900 2 127 2 -
Arts & Culture
SOUTH AFRICA YEARBOOK 2013/14 The Department of Arts and Culture (DAC) con- tinues to make signifi cant strides in positioning Arts and the cultural and creative industries as one of the main drivers of economic growth and job crea- tion in South Africa. The success of the arts and culture sector is also reliant on effective governance, infra- Culture structure and skills development, partnerships, research, sharing of information and enterprise development. In this context, the department is committed to supporting a number of emergent shifts in the arts, culture and heritage sector over the next fi ve years. These shifts have the potential to increase the growth and development of the sector signifi cantly. They include addressing a number of inade- quacies in the policy and regulatory environment to strengthen governance in the sector, increase investment and improve information and sta- tistics for more effective planning and decision - making. The DAC is strengthening co - operation with a range of public and private sector institu- tions and stakeholders. The development and implementation of the Mzansi Golden Economy Strategy is an example of how to mobilise the resources of all stakeholders in the sector. Measures to promote the arts include: • providing fi nancial, as well as information and communication technology support to artists to enable the creation of works expressing national creativity, while opening space for vibrant debate • strengthening the Independent Communica- tions Authority of South Africa’s mandate for nation - building and value inculcation • incentivising commercial distribution networks to distribute and/or host art • developing and implementing plans for a more effective arts and culture curriculum in schools with appropriate educator support • supporting income-smoothing for artists in a special unemployment insurance scheme and evaluating funding models for such initiatives • developing sectoral determination legislation frameworks to protect arts-sector employees. -
Dress Code Dancewear Selections Must Present a Clean And
Dress Code Dancewear selections must present a clean and professional appearance allowing the instructor to clearly see the dancer’s body. This includes refraining from wearing dance attire with large graphics and logos. Bare legs, bare midriffs, loose or sloppy warm-up pants, cut-off tights, and plastic sweat pants are not permitted in classes. Personal grooming is also important. Hair must be securely fastened off face and neck in order not to interfere with the execution of turns and jumps. Students must also refrain from wearing heavy or sharp hair ornaments and jewelry. There are several days during the year when the Instructors may allow less rigid dress, e.g., Halloween, Valentine’s Day, St. Patrick’s Day, etc. The Instructor will announce these days in advance. Ballet Studio Classes – Technique and Pointe Daily Class Dress code • Women: Any solid single-color leotards and pink tights. Leg warmers may be worn in cases of injury and with instructor approval. Leg warmers must be knit, tight fitting, and a light pastel color in order to be less visually distracting– pink is recommended. For Pointe classes, the same dress code applies. Skirts or rehearsal tutus may be worn only at the request of the instructor when working on variations. • Men: Any solid single-color form fitting t-shirt, leotard or the like, tucked in (no large graphics), black or gray tights, white socks and white shoes, or socks and shoes of the same color. Leg warmers may be worn in cases of injury with instructor permission and must be knit, tight fitting and black or gray. -
2018 Alumni Performance 45Th Anniversary Show Program
A Message from Josefa Villanueva-Reyes, Artistic Director and Founder: I welcome you with great joy and happiness to celebrate the Santa Clara Ballet’s 45th Anniversary of the Nutcracker Ballet. The Santa Clara Ballet continues the legacy left to us by our late Director and choreographer, Benjamin Reyes, by sharing this favorite family Christmas Ballet with our community, our student and professional dancers and our loyal supporters. The Company’s roots started right here in Santa Clara, and has continued despite the usual problems of obtaining funding and support. We can continue because of all of you who are present in our performances, and through your generous donations and volunteer work. The Company continues its work in spreading the awareness and the love of dance to warm families and contribute to the quality of life of the community. For this Sunday’s performance of our 45th Annual Nutcracker, the stage will be graced by our Alumni who serve as a testament to the success of the company’s influence to the community and the world beyond. Thank you for your presence today and please continue to join us on our journey. Josefa Reyes JOSEFA VILLANUEVA-REYES started her training in the Philippines with Roberta and Ricardo Cassell (a student of Vincenzo Celli). She was formerly a member of the San Francisco Ballet Company and the San Francisco Opera Ballet. Previous to that, she performed as a principal dancer with the San Francisco Ballet Celeste for four years. Her performing experience included multiple lead roles from the classical repertory. Villanueva-Reyes taught at the San Francisco Conservatory of Ballet and Theatre Arts as well as San Jose City College. -
Tulsa Ballet Company Culture: the Pursuit of Excellence Mission
TULSA BALLET COMPANY CULTURE: THE PURSUIT OF EXCELLENCE MISSION To serve as an essential asset of our region through exciting, internationally-acclaimed artistic excellence and exemplary education and outreach. WE COMMIT TO: PRESERVE THE TRADITION OF CLASSICAL BALLET PROMOTE THE APPRECIATION OF CONTEMPORARY DANCE CREATE WORKS OF SUPERIOR AND ENDURING QUALITY EDUCATE THROUGH EXCEPTIONAL DANCE TRAINING, PERFORMANCES AND OUTREACH PROGRAMS. VISION To be an innovative leader, powerful partner and global cultural representative of a community in which the performing arts are valued and promoted as an indispensable resource. OUR CULTURE: THE PURSUIT OF EXCELLENCE At Tulsa Ballet, we ask our Staff, Company, and Students to share in our commitment to the ‘Pursuit of Excellence’ every day. We embrace this cultural pursuit knowing it is not an easy one. However, the work required to achieve excellence brings invaluable reward in the refinement of ourselves, our relationships, our processes & techniques, our performance, and our collective impact. KEY REQUIREMENTS FOR PROMOTING effective communication between individuals and departments ADAPTABILITY to push through challenges, individually and collaboratively INNOVATION in seeking new ways of working together to achieve desired results OWNERSHIP of your performance in your role, and ability to seek out help when needed ASPIRATION beyond the status quo; internal drive to elevate performance for yourself and others STEWARDING a positive culture… showing respect and appreciation for one another THRIVING -
Central City Best Of
BEST OF CAPE TOWN CENTRAL CITY 2017 TOWN OF CAPE BEST YOUR FREE COPY BEST OF cape town CENTRAL CITY OVER 2017 PLACES300 TO VISIT | SHOP | EAT | PLAY | STAY BOCT_2017_COVER FA.indd 1 2016/10/11 1:14 PM PLAY_CCID2017.indd 50 2016/10/11 1:53 PM To obtain a copy of this magazine, contact Aziza Patandin at the CCID on [email protected] or 021 286 0830 05 VISIT 43 PLAY Galleries, museums, Theatres, pubs, public spaces and clubs, fi lm, wheelchair access city sights nightspots child-friendly wallet-friendly 17 SHOP 51 S T A Y Books, homeware, Hotels, B&Bs, a treat fashion, gifts, décor backpackers a very special occasion P closest parking facility – 29 E A T 59 ESSENTIALS see map on page 62 Bakeries, cafés, Useful info restaurants, bistros, and resources markets For a full list of shops and services in the Central City, visit capetownccid.org EDITORIAL Editor Deborah Rudman FROM THE EDITOR Art director Sean Robertson Listings writers Deborah Rudman, What an exciting place to be. Cape James Bainbridge Copy editor Christine de Villiers Town – South Africa’s oldest CBD – Project manager Sonet Crous Repro New Media Repro is also, in many ways, its youngest at Printed by PaarlMedia Cape heart, with every kind of amenity, place ADVERTISING Senior sales executive of interest and cultural venue that you Zak Swartz +27 (0)21 417 5151 Senior sales executive could hope to fi nd in a city. Anel du Plooy +27 (0)21 417 5166 Advertising coordinator Michelle Koetenberg Around 20 years ago, the Cape PRODUCTION GM: production & operations Lucrezia Wolfaardt Town Central City was a place that Production manager Shirley Quinlan Senior production coordinator Nadiema Eid moved strictly to a 9-to-5 rhythm. -
Places to Enjoy, Please Visit Capetownccid.Org Play Be Entertained 24/7
capeBEST OF town 2018 e copy re r f You 300pla ces to enjoy n i o u r Cen tral City visit shop eat play stay Must-see museums, From luxury All the best Plan your Hotels, galleries, cultural boutiques & restaurants & social calendar guesthouses and attractions & speciality shops to night time the quick & backpackers to suit historic spaces trndy flaarts dining spots easy way every traveller + Over 900 more places on our website. Visit capetownccid.org @CapeTownCCID CapeTownCCID 05 VISIT Galleries, museums, city sights and public spaces 17 SHOP Fashion, gifts, décor and books FROM THE 29 EAT Cafés, bakeries, EDITOR restaurants and markets Through this guide, brought to you by the Cape Town Central 45 PLAY Theatres, pubs City Improvement District and clubs (CCID), South Africa’s Mother City continues to welcome 53 STAY enthusiastic visitors in ever- Hotels and backpackers growing numbers – up to some 1,2-million in 2017. The 67 ESSENTIALS inner Central City of Cape Useful info Town is an especially vibrant and resources draw card, presenting a BEST OF cape town 2018 copy ICONS TO NOTE ee dizzying range of options for fr r You shopping, gallery-hopping 300place WALLET- A SPECIAL s to en joy in o u r Ce FRIENDLY TREAT OCCASION ntral and stopping for the night! City visit shop eat play stay Must-see museums, From luxury All the best Plan your Hotels, galleries, cultural boutiques & restaurants & social calendar guesthouses and attractions & speciality shops to night time the quick & backpackers to suit WHEELCHAIR- CHILD- CLOSEST PARKING historic spaces trndy fl aarts dining spots easy way every traveller Its entertainment offerings + P Over more places on our website visit capetownccid.org FRIENDLY 900 FRIENDLY (SEE PAGE 70) @CapeTownCCID CapeTownCCID – from cabaret and classical concerts to theatres, clubs To obtain a copy of this magazine, contact Aziza Patandin and pubs – are the rival of any at the CCID on 021 286 0830 or [email protected] international CBD.