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2018 Upland CA
10/9/2018 Control Panel Upland, CA Results Advanced ~ Solo ~ 8 & Under PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST WHAT'S MY NAME? The Dance Spot Jazz HAYDEN YU 2ND GIMMIE GIMMIE The Dance Spot Character LEAH SANTOS 3RD MY DESTINY The Dance Spot Lyrical LEAH HUTT 4TH BABY MINE The Dance Spot Lyrical LAURYN BAKH 5TH I GOT LOVE Mather Dance Company Open BELLA BLANDING 6TH FIELDS OF GOLD Mather Dance Company Lyrical MYLIE MURILLO Advanced ~ Solo ~ 911 PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST NICEST THINGS Mather Dance Company Lyrical PEYTON LESSARD 2ND KITRI'S VARIATION The Dance Spot Ballet ALANA ALVARADO 3RD ON MY OWN The Dance Spot Lyrical AVA KO 4TH I'M A LADY Mather Dance Company Jazz ZOEY GARCIA 5TH PAPER SKIN The Dance Spot Lyrical HANNAH NATONIEWSKI 6TH PRAYING The Dance Spot Open ELIANA SWINDLE 7TH EXPENSIVE The Dance Spot Jazz SAMANTHA CHIN 8TH DREAM A LITTLE DREAM The Dance Spot Character SOFIA BORROMEO 9TH FEEL IT STILL Mather Dance Company Jazz ASHLIE MURILLO file:///Users/owner/Downloads/Believe%202018%20Upland%20.htm 1/19 10/9/2018 Control Panel Advanced ~ Solo ~ 1214 PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST BROTSJO'R The Dance Spot Ballet MALLORY MCKENNA 2ND YOURS The Dance Spot Lyrical BREANNA MEZA 3RD BROWN EYED GIRL The Dance Spot Lyrical HAILEY GUTIERREZ 4TH LOVE SO SOFT The Dance Spot Jazz MARIAH ALVARADO 5TH GIVE IT TO ME RIGHT The Dance Spot Open KRYSTAL SMALL 6TH KEEP BREATHING The Dance Spot Lyrical LEIA ALVARADO 7TH MADNESS Mather Dance Company Contemporary KATIE MURILLO 8TH GOOD TO -
Us Against the Music 拍数: 32 墙数: 4 级数: 编舞者: Karen Katrea 音乐: Me Against the Music (Feat
Us Against The Music 拍数: 32 墙数: 4 级数: 编舞者: Karen Katrea 音乐: Me Against the Music (feat. Madonna) - Britney Spears LEFT COASTER STEP, FUNKY WALK, KICK AND KICK, STEP AND PIVOT ¼ LEFT 1&2 Step left behind, step right beside left, step left forward 3-4 (Funky) walk right-left 5&6& Kick right diagonally across left, step right beside left, kick left diagonally across right, step left beside right 7-8 Step right forward and pivot ¼ left turn (weight ending on left) CROSS, STEP, HEEL-JACK, CROSS, ¼ LEFT STEP BACK, LEFT COASTER STEP 1-2 Cross right over left, step left to the side 3&4& Rock back on right, recover on left, touch right heel diagonally forward, step right slightly behind left 5-6 Cross left over right, ¼ left turn stepping right back 7&8 Step left behind, step right beside left, step left forward DOROTHY STEPS, RIGHT FULL MONTEREY TURN, SIDE-ROCK-CROSS 1-2& Step right diagonally forward, step left lock behind right, step right diagonally forward 3-4& Step left diagonally forward, step right lock behind left, step left diagonally forward 5-6 Touch right to the side, full right turn on ball of left, step right beside left 7&8 Rock left to the side, recover on right, cross left over right ROCK HOLD STEP, ROCK, TOUCH, SLIDE A SQUARE TURNING ¾ RIGHT 1-2& Rock right to the side, hold, step left beside right 3-4 Rock right to the side, touch left beside right Roll your hips as you rock 5-6 Large left step to the side turning ¼ right, large right step to the side turning ¼ right 7-8 Large left step to the side turning ¼ right turn, large right step to the side On counts 5-8, slide your feet REPEAT. -
Stand up Participate Program Year I Evaluation Report
STAND UP PARTICIPATE PROGRAM YEAR I ASIAN MEDIA ACCESS EVALUATION REPORT Prepared by: Rodolfo Gutierrez Eric Armacanqui Yue Zhang November 2015 STAND UP PARTICIPATE (SUP) PROGRAM Year I (09.2014-08.2015) Evaluation Report a Prepared by: HACER with collaboration with Ange Hwang (AMA) HACER HACER’s mission is to provide the Minnesota This report is not copyright protected. Latino community the ability to create and However, HACER must grant permission for the control information about itself in order to affect reproduction of all or part of the enclosed critical institutional decision-making and public material, upon request, information reprinted policy. General support for HACER is provided with permission from other sources, would not by the Center for Urban and Regional Affairs be reproduced. HACER would appreciate (CURA) and Minnesota-based philanthropic acknowledgement, however, as well as two organizations. copies of any material thus reproduced. The content of this report is solely the responsibility of HACER and does not necessarily represent the views of our Executive Director: Rodolfo Gutierrez partners. We are grateful to all who contributed to the making of this report: HACER Thank you to all of those who offered support and 2314 University Ave SE, Apt. 101 expertise for this project, especially Asian Media St. Paul, Minnesota 55114 Access and all SUP program partners (651) 288-1141 www.hacer-mn.org 1 Table of Contents Table of Contents 1 Executive Summary 2 Overview of SUP Program 4 Context Analysis 4 Goal and Objectivities -
The Symbolic Role of Animals in the Plains Indian Sun Dance Elizabeth
17 The Symbolic Role of Animals in the Plains Indian Sun Dance 1 Elizabeth Atwood Lawrence TUFTS UNIVERSITY For many tribes of Plains Indians whose bison-hunting culture flourished during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Generally held in late spring or early summer, the rite celebrates renewal-the spiritual rebirth of participants and their relatives as well as the regeneration of the living earth with all its components. The sun dance reflects relationships with nature that are characteristic of the Plains ethos, and includes symbolic representations of various animal species, particularly the eagle and the buffalo, that once played vital roles in the lives of the people and are still endowed with sacredness and special powers. The ritual, involving sacrifice and supplication to insure harmony between all living beings, continues to be practiced by many contemporary native Americans. For many tribes of Plains Indians whose buffalo-hunting culture flowered during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Although details of the event differed in various groups, certain elements were common to most tribal traditions. Generally, the annual ceremony was held in late spring or early summer when people from different bands gathered together again following the dispersal that customarily took place in winter. The sun dance, a ritual of sacrifice performed by virtually all of the High Plains peoples, has been described among the Arapaho, Arikara, Assiniboin, Bannock, Blackfeet, Blood, Cheyenne, Plains Cree, Crow, Gros Ventre, Hidatsa, Kiowa, Mandans, Ojibway, Omaha, Ponca, Sarsi, Shoshone, Sioux (Dakota), and Ute (Spier, 1921, p. -
Considering Fraud in a Financial Statement Audit : Practical Guidance for Applying SAS No
University of Mississippi eGrove American Institute of Certified Public Accountants Guides, Handbooks and Manuals (AICPA) Historical Collection 1997 Considering fraud in a financial statement audit : practical guidance for applying SAS no. 82; Michael J. Ramos Anita M. Lyons American Institute of Certified Public Accountants Follow this and additional works at: https://egrove.olemiss.edu/aicpa_guides Part of the Accounting Commons, and the Taxation Commons Recommended Citation Ramos, Michael J.; Lyons, Anita M.; and American Institute of Certified Public Accountants, "Considering fraud in a financial statement audit : practical guidance for applying SAS no. 82;" (1997). Guides, Handbooks and Manuals. 33. https://egrove.olemiss.edu/aicpa_guides/33 This Book is brought to you for free and open access by the American Institute of Certified Public Accountants (AICPA) Historical Collection at eGrove. It has been accepted for inclusion in Guides, Handbooks and Manuals by an authorized administrator of eGrove. For more information, please contact [email protected]. Considering Fraud in a Financial Statement Audit; Practical Guidance lor Applying SAS No. 82 No. SAS Applying lor Guidance Practical Audit; Statement Financial a in Fraud Considering Considering Fraud in a Financial Statement Audit: Practical Guidance for Applying SAS No. 82 AICPA NOTICE TO READERS Considering Fraud in a Financial Statement Audit: Practical Guidance for Applying SAS No. 82 presents the views of the author and others who helped in its development. This publication has not been approved, disapproved, or otherwise acted upon by any senior technical committees of the American Institute of Certified Public Accountants. Therefore, the contents of this publication, including recommendations and suggestions, have no official or authoritative status. -
A Segment of a Song That Lasts for 8 Counts. Most Songs Are Made up of Many 8-Counts Strung Together
8-COUNT (noun) A segment of a song that lasts for 8 counts. Most songs are made up of many 8-counts strung together. The class danced freestyle for six 8-counts. BEAT (noun) The regular, rhythmic aspect of music that can be counted and felt in order to coordinate movement. Also, one of the single moments of emphasis in the music that, together, make up the overall beat. Anne moved side to side with the song’s beat as she danced. BOUNCE (verb) To move in a way that imitates an object bouncing (moving quickly back or away from a surface after hitting it). Chloe placed her hands on her knees and bounced them to the rhythm of the song. CALL (noun) A specific instruction to be performed immediately within a dance. The teacher spoke the calls of the dance so the class would know which movements to perform. CALLER (noun) A person who speaks specific instructions during a dance in order to provide guidance to the dancers. Bobby did a great job of being the caller for the dance because he had all the instructions memorized perfectly. CHARGE (verb) To rush forward forcefully. Anthony charged forward, acting like a football player trying to break through the defense. CHOREOGRAPHY (noun) The set and sequence of movements that make up a dance when they are performed. Tasfia remembered all the choreography and performed the dance perfectly. CLOCKWISE (adverb) Movement in the same direction as the way the hands of a clock move around. The class walked clockwise in a circle during the Fjaskern dance. -
VA Beach World Finals Results
Virginia Beach, VA July 13-July 15, 2021 Elite 8 Petite Dancer Hannah Reese - Dimples - Dancensations Dance Center 1st Runner-Up - Addison Pasquariello - It Don't Mean A Thing - Dancensations Dance Center 2nd Runner-Up - Gabrielle Joyner - Work Me Down - Expose Performing Arts Elite 8 Junior Dancer Caroline Garcia - Big Time - Dancensations Dance Center 1st Runner-Up - Ella Fthenos - Higher - Dancensations Dance Center 2nd Runner-Up - Savanna Moore - Show Off - Dancensations Dance Center Elite 8 Teen Dancer Giovanna Hart - Dangerous - Dancensations Dance Center 1st Runner-Up - Faraona Bonilla - Kimbara - Expose Performing Arts 2nd Runner-Up - Alyssa Gomon - Call Me Back - Mia Bella Academy Of Dance Elite 8 Senior Dancer Priscilla Camino - Roll In The Hay - Dancensations Dance Center 1st Runner-Up - Janiyah Taylor - Black & Gold - Expose Performing Arts 2nd Runner-Up - Naomi Buckle - Master Piece - Expose Performing Arts Top Select Junior Solo 6 - Kylee Silva - Tiny Voice - Dynamic Movements 7 - Addison Holmes - I'm A Brass Band - Dancensations Dance Center 8 - Despina Eftychiou - Rhythm Of The Night - Dancensations Dance Center 9 - Kinley Pivac - Daybreak - Dynamic Movements 10 - Kaylee Maceda - Strongest Suit - Dancensations Dance Center Top Select Teen Solo 6 - Kiera McAllister - Always True To You In My Fashion - Dancensations Dance Center 7 - Addison Joy Adams - Beautiful - Dancensations Dance Center 8 - Nylah Pelzer - Bitter Earth - Dynamic Movements 9 - Alyssa Gomon - Believe - Mia Bella Academy Of Dance 10 - Sienna Moore - Without -
Queer Identities and Glee
IDENTITY AND SOLIDARITY IN ONLINE COMMUNITIES: QUEER IDENITIES AND GLEE Katie M. Buckley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of Master of Music August 2014 Committee: Katherine Meizel, Advisor Kara Attrep Megan Rancier © 2014 Katie Buckley All Rights Reserved iii ABSTRACT Katherine Meizel, Advisor Glee, a popular FOX television show that began airing in 2009, has continuously pushed the limits of what is acceptable on American television. This musical comedy, focusing on a high school glee club, incorporates numerous stereotypes and real-world teenage struggles. This thesis focuses on the queer characteristics of four female personalities: Santana, Brittany, Coach Beiste, and Coach Sue. I investigate how their musical performances are producing a constructive form of mass media by challenging hegemonic femininity through camp and by producing relatable queer female role models. In addition, I take an ethnographic approach by examining online fan blogs from the host site Tumblr. By reading the blogs as a digital archive and interviewing the bloggers, I show the positive and negative effects of an online community and the impact this show has had on queer girls, allies, and their worldviews. iv This work is dedicated to any queer human being who ever felt alone as a teenager. v ACKNOWLEDGMENTS I would like to extend my greatest thanks to my teacher and advisor, Dr. Meizel, for all of her support through the writing of this thesis and for always asking the right questions to keep me thinking. I would also like to thank Dr. -
Classic Case Studies in Accounting Fraud”
“Classic Case Studies in Accounting Fraud” A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors. by Justin Matthew Mock May 2004 Oxford, Ohio ABSTRACT “Classic Case Studies in Accounting Fraud” by Justin Matthew Mock Over the past several years, accounting fraud has dominated the headlines of mainstream news. While these recent cases all involve sums of money far in excess of any before, accounting fraud is certainly not a new phenomenon. Since the early days on Wall Street, fraud has consistently fooled the markets, investors, and auditors alike. In this thesis, an analysis of several cases of accounting fraud is conducted with background information, fraud logistics, and accounting and auditing violations all subject to study. This paper discusses specific cases of fraud and presents the issues that have been and must continue to be addressed as companies push the envelope of acceptable accounting standards. The discussion and findings demonstrate the ever-present potential for fraud in a variety of accounts, companies, industries, and time periods, while also having a powerful influence on an auditor’s work and preconceptions going forward. iii iv “Classic Case Studies in Accounting Fraud” by Justin Matthew Mock Approved by: _________________________, Advisor Dr. Phil Cottell _________________________, Reader Dr. Larry Rankin _________________________, Reader Mr. Jeffrey Vorholt Accepted by: __________________________, Director, University Honors Program v vi ACKNOWLEDGEMENTS “Classic Case Studies in Accounting Fraud” was completed under the direction of the Miami University Honors Program. The Honors Program provided financial support essential to the project’s research and successful completion. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
Erotic Transgression in Carlos Saura's Tango
EURAMERICA Vol. 50, No. 1 (March 2020), 79-135 DOI: 10.7015/JEAS.202003_50(1).0003 http://euramerica.org Erotic Transgression in Carlos Saura’s Tango* TP PT P P Yuh-Yi Tan Center for General Education, National Taipei University of Business No. 321, Sec. 1, Jinan Rd., Taipei 10051, Taiwan E-mail: [email protected] Abstract Carlos Saura’s musical film Tango, an audio-visual poem, is patterned upon the discourse of the Argentine tango in its pursuit of cultural otherness. The film elucidates the mid-life crisis of writer/director Mario reframed in an erotic site wherein his masculinity is challenged, distressed, and resurrected. With a playful metanarrative attached to love romance and dance spectacle, Tango crosses between the genres of melodrama and dark fantasy to conjure up the weakness of masculine hegemony threatened by murder and sexuality. A genealogy of the erotic via Georges Bataille’s taboo-transgression relation substantiates the perception that Mario’s self is being reconstituted in an erotic and sacrificial rite transpiring on the architectural terrain of tango dance and © Institute of European and American Studies, Academia Sinica Received March 14, 2019; accepted November 4, 2019; last revised December 2, 2019 Proofreaders: Wen-Chi Chang, Chih-Wei Wu, Chia-Chi Tseng * The authoress would like to show her gratitude for the three anonymous reviewers for their insightful suggestions. This article has been sponsored by Ministry of Science and Technology under the name of “Erotic Tango” project (NSC 101- 2410-H-141-011). 80 EURAMERICA musical scenes. In these mise-en-scènes, the subject separates his “other” self from a patriarchal figure with the help of revisionist femme fatales Elena and Laura, as well as with his competitors, Ernesto and Angelo, who challenge him to avoid a living death. -
Exquisite Frame
FORTITUDE PERFORMANCES & EVENTS Exquisite Frame Saturday, November 21st at 6:30pm EST Created by Britta Joy Peterson in partnership with Dance Place and Olivia Weber Co-Curated by Britta Joy Peterson and Candace Scarborough PROGRAM ORDER datascape: castle of dreams Artistic Direction by: Jenna Beardsley Sound Design by: Jenna Beardsley Videography by: Jenna Beardsley and Taylor Bonadies Artistic Collaborators & Performers: Jenna Beardsley, Taylor Bonadies, Marra Sherrier, and Ttendo Williams Music Credits: Original soundscape - Untitled by Jenna Beardsley, Stage B (Strange Music). Please Lose Battle by ELO: The Video Game OST, Kingdom Hearts: My Friends Are My Power Cutscene, [untitled] by mhzesent RE:fore Directed, edited, and performed by: Zoe Wampler Music Credits: Garden Song, Halloween, and Savior Complex by Phoebe Bridgers Housefriend Directed, filmed, and edited by: Amanda Hameline Performed by: Amanda Hameline and Jace Weyant Music Credits: Walking After Midnight by Patsy Cline That’s Cooked Directed, edited, and performed by: Sydney Lemelin Videography by: Grace Lemelin Music Credits: Dolly Parton - 9 to 5 (DMC DJ Only Remix) by Motherfluffer Jones #internetprincess Created and performed by: Robert Woofter Music Credits: … Baby One More Time by Britney Spears, Blazin by Nicki Minaj, Blue Velvet by Lana Del Rey ARTIST BIOGRAPHIES Originally from the suburbs of Washington D.C., JENNA BEARDSLEY (they/ them), datascape: castle of dreams, is a movement and multimedia artist currently based in Richmond, Virginia. Jenna graduated with honors in May 2020, holding a Bachelors degree of Fine Arts from Virginia Commonwealth University (VCU). Jenna has studied from artists such as Scott Putman, Johnnie Cruise Mercer, Kristopher K.Q.