DOCSLIB.ORG

2019-20 Catalog 11044 S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2019-20 Catalog 11044 S 19976 W. 162nd St., Olathe, KS 66062 2019-20 Catalog 11044 S. Green St., Olathe, KS 66061 PAGES 2-3 DANCE CALL 913.397.7071 FOR MORE DETAILS OR PAGE 4-5 THEATRE ENROLL AT WWW.GREENLEAFSTUDIO.ORG PAGE 6 MUSIC & PAYMENT DETAILS SCHOOL OF DANCE DanCe develops posture, strength, flexibility, fosters teAmWork, TAP musiCAlity, foCus, And memory skills through sequentiAl combinAtions. Kids Level I– ages 7+ Wed. 4:15-5:15p.m. (Sept. 11-May 27) South DanCe is A tool for worship and expression and simply mAkes us hAppier Kids Level II- Wed. 5:15-6:15 p.m. (Sept. 11-May 27) South Kids Level III-Thurs. 4:15-5:15 p.m. (Sept. 12-May 28) Cedar Creek and healthier! Spending severAl yeArs per ClAss level creAtes mAstery. Teen/Adult Tap-Thurs. 5:15-6:15 p.m. (Sept. 11-May 27) Cedar Creek All levels pAst Level IA require instruCtor approvAl before enrolling. Use your feet to make dancing beats! In this fast-paced, rhythmic, American dance style students learn basic tap steps and combinations, while exploring accents and CREATIVE MOVEMENT - Ages 3-5 .5 hrs/week musicality. Mondays 6:00-6:30 p.m. (Sept. 9-May 18) South AZZ Mondays 6:15-6:45 p.m. (Sept. 9-May 18) Cedar Creek J 1 hr./week Thursdays 2-2:30 p.m. (Sept. 12-May 28) South Child Level I – ages 7+ Mon. 5:15-6:15 (Sept. 9-May 18) Cedar Creek Moving to music teaches a child the language of music as they develop listening skills, Thurs. 4:15-5:15 p.m. (Sept. 12-May 28) South rhythm, physical coordination, and internalize melody and beat. It’s also a ton of fun! Child Level II/III–Wed. 4:15-5:15 p.m. (Sept. 11-May 27) Cedar Creek Teen/Adult I – Thurs. 6:30-7:30 p.m. (Sept. 12-May 28) South TAP/BALLET COMBO - Ages 5.5-7 .75 hrs/week Teen/Adult II Mon. 7:00-8:00 p.m. (Sept. 9-May 18) South Mondays 6:45-7:30 p.m. (Sept. 9-May 18) Cedar Creek Teen/Adult Jazz III Mon. 6:00-7:00 p.m. (Sept. 9-May 18) South Thursdays 2:30-3:15 p.m.. (Sept. 12-May 28) South Teen/Adult IV –Tues. 2:00-3:00 p.m. (Sept. 10-May 26) Cedar Creek Ballet/Tap Combo helps young dancers develop body awareness, rhythm, strength, Jazz is an energetic American form of dance that originated from a blend of European and creativity. Students will also learn basic ballet and tap terminology and dance and African dance styles. Learn jazz steps and technique with an emphasis on class etiquette. This fun introductory class lays a strong technical foundation for developing flexibility and strength. Jazz steps are the basis for much of the future dance. choreography in musical theatre and other forms of contemporary dance. TEEN/ADULT BEGINNING CONTEMPORARY 1 hrs/week BALLET/JAZZ COMBO - Ages 5.5-7 .75 hrs/week Ages 13 + or by instructor permission Mondays 4:15-5:00 p.m. (Sept. 9-May 18) South Tuesdays 7:45-8:45 (Sept. 10- May 26) Cedar Creek In this class young dancers learn to control their bodies in exercises which encourage In Contemporary, spontaneity, games, choreography, and self-expression are body awareness, strength, and creativity as they learn basic ballet and jazz developed utilizing free-flowing warm-ups and fun group improvisation exercises. terminology. Social skills develop as students learn to pay attention, take turns, and The class will begin by learning skills and forming relationships within the group, practice dance class etiquette. This class creates strong foundational technique for then build towards dance performances. future dance. MODERN - Ages 11 + Level 1: 1 hr/week | Level II/III: 1.25 hrs/week MUSICAL THEATRE DANCE -11+ 1 hr/week Beg/Intermediate – Tuesdays 4:15-5:15 (Sept.10-May 26) South Mondays 4:00-5:00 p.m. (Sept. 9-May 18) South -Wednesdays 6:30-7:30 (Sept. 10-May 26) Cedar Creek Dancers will learn Broadway-inspired combinations, must-know vocabulary, and tips Modern dance focuses on the dancer’s relationship with the floor and the movements and tricks for musical theatre performances, auditions, and more! This class is for tend to be angular and rhythmic. This form of dance is often used to convey intense those who want to see improvements in their performance quality, coordination, and emotion and is a powerful storytelling tool. ability to memorize movement sequences quickly. No dance experience necessary. Intermediate/Advanced - Mondays 5:00-6:00 (Sept. 9-May 18) South Join the fun! These techniques focus on contractions, release, isolations, and spiraling. This class is for dancers who have graduated Modern I. 2 Level III 1.25 hrs/week BALLET Mondays 2:45-4:00 (Sept. 9-May 18) South 1 hr/week Tuesdays 5:15-6:30 pm (Sept. 10-May 26) South Level IA –Ages 6-10 Students must have completed Ballet IIB to take this class which will include pre- Mondays 4:15-5:15 p.m. (Sept. 9-May 18) Cedar Creek pointe strengthening exercises. Mondays 6:30-7:30 p.m. (Sept. 9-May 18) South Tuesdays 3:15-4:15 p.m. (Sept. 10-May 26) South Level IV/Pre-Pointe 2x a week class 2.75 hrs/week Tuesdays 5:15-6:45 p.m. (Sept. 10-May 26) Cedar Creek Level IB – ages 6-10 Wednesdays 5:15-6:30 p.m. (Sept. 11-May 27) Cedar Creek Tuesdays 4:15-5:15 (Sept. 10-May 26) Cedar Creek This class is designed for students who have graduated from our Ballet III level or by Wednesday 5:15-6:15 p.m. (Sept. 11-May 27) South teacher evaluation. Dancers will complete weekly assignments that develop skill, Thursdays 3:15-4:15 (Sept. 12-May 28) South creativity, and dance knowledge. This class includes strengthening exercises in preparation for Pointe. We strongly recommend these students also take Modern I Ballet is the basis for every style of dance technique. Ballet I is the foundational level or Teen/Adult Jazz I. in a student’s formal dance training. These classes will introduce and progress students in the basic steps and terminology of ballet while cultivating fundamental Level V/Pointe 3.25 hrs/week skills such as coordination, proper alignment, discipline, and focus. Tuesdays 4:15-5:45 p.m./Fridays 4:15-6 p.m. (Sept. 10-May 29) South This class is designed for students who graduated from Ballet IV and had at least one year of Pointe. Dancers will complete weekly assignments that develop skill, Level IIA –ages 9+ 1 hr/week creativity, and dance knowledge. Tuesdays 6:45-7:45 (Sept. 10-May 26) Cedar Creek Wednesdays 4:15-5:15 p.m. (Sept. 11-May 27) South Level VI/ Pointe 3.75 hrs/week This class is designed for students who have previous beginner dance experience, Tuesdays 4:15-6:30 (South)/Fridays 8-9:30 a.m. (Cedar Creek) have graduated from Ballet I, or are older beginners. Placement in this class is based (Sept. 10 –May 29) on instructor recommendation. This level builds on the skills taught in Ballet I as well as focusing on increasing the student’s strength, confidence, and knowledge of TEEN AND ADULT FITNESS CLASS ballet steps and terminology. Both locations!—Times to be announced soon! This class utilizes both aerobic and body weight exercises to get your heart pumping Level IIB 1.25 hrs/week and tone your muscles! Thursdays 5:15-6:30 p.m. (Sept. 12-May 28) South This class is designed for students who have previous intermediate ballet experience DANCE MONTHLY PAYMENT PLANS: or have graduated from Ballet IIA. Placement is based on instructor $45/HOURLY UNIT/MONTH* recommendation. This class builds on the foundation set in other levels, but shifts the 30 minute classes $23/month (.5 units) focus from learning basic skills toward applying those skills with artistry to more 45 minute classes $34/month (.75 units) advanced ballet steps and combinations. Dancers will complete weekly assignments 1 hour classes $45/month (1 unit) that develop skill, creativity, and dance knowledge. 75 minute classes $57/month (1.25 units) Ballet 4 (2x/week) $125/month (2.75 units) Ballet 5 (2x a week) $147/month (3.25 units) Ballet 6 (3x/week) $170/month (3.75 units) 3 SCHOOL OF THEATRE Acting and theater education helps students academically, especially in the areas of reading comprehension, narrative writing, reasoning, memorization, and social interaction. Theater is not only fun, it’s practical! In our program, students are progressively trained in improvisation, speech, movement exercises, scene work, and acting theory. Actors benefit from several years at each level in order to achieve skill mastery and confidence. Each year, new exercises and scenes are incorporated so the classes are always fun, exciting, and challenging for young actors! IMPROVISATIONAL ACTING AGES 12+ Improvisational theatre is an incredibly fun and skill building experience! Students will begin to develop a sketch on the spot from just a few audience suggestions. This class focuses on teamwork and quick thinking. Learn how to create entertainment from scratch! Beginning Level: Cedar Creek Location: Tuesdays 6:00-7:00 (Sept. 12-May 28) 1 hr/week Intermediate Level: Cedar Creek location: Tuesdays 5:00-6:00 (Sept. 12-May 28) 1 hr/week STORYFINDERS-AGES 6-8 South Location: Fridays 4:30-5:30 (Sept.
Load more

Recommended publications
  • IDO Dance Sports Rules and Regulations 2021
    IDO Dance Sport Rules & Regulations 2021 Officially Declared For further information concerning Rules and Regulations contained in this book, contact the Technical Director listed in the IDO Web site. This book and any material within this book are protected by copyright law. Any unauthorized copying, distribution, modification or other use is prohibited without the express written consent of IDO. All rights reserved. ©2021 by IDO Foreword The IDO Presidium has completely revised the structure of the IDO Dance Sport Rules & Regulations. For better understanding, the Rules & Regulations have been subdivided into 6 Books addressing the following issues: Book 1 General Information, Membership Issues Book 2 Organization and Conduction of IDO Events Book 3 Rules for IDO Dance Disciplines Book 4 Code of Ethics / Disciplinary Rules Book 5 Financial Rules and Regulations Separate Book IDO Official´s Book IDO Dancers are advised that all Rules for IDO Dance Disciplines are now contained in Book 3 ("Rules for IDO Dance Disciplines"). IDO Adjudicators are advised that all "General Provisions for Adjudicators and Judging" and all rules for "Protocol and Judging Procedure" (previously: Book 5) are now contained in separate IDO Official´sBook. This is the official version of the IDO Dance Sport Rules & Regulations passed by the AGM and ADMs in December 2020. All rule changes after the AGM/ADMs 2020 are marked with the Implementation date in red. All text marked in green are text and content clarifications. All competitors are competing at their own risk! All competitors, team leaders, attendandts, parents, and/or other persons involved in any way with the competition, recognize that IDO will not take any responsibility for any damage, theft, injury or accident of any kind during the competition, in accordance with the IDO Dance Sport Rules.
    [Show full text]
  • Competition Rule Book
    NCA COLLEGE COMPETITION RULES COMPETITIONNCA & NDA RESERVES THE RIGHT TO BE THE ARBITRATOR RULE AND INTERPRETER OF ALL RULES BOOK COVERED IN THIS DOCUMENT. FOR COLLEGE TEAMS NCA & NDA COLLEGIATE CHEER AND DANCE CHAMPIONSHIP Daytona Beach, Florida April 7-11, 2021 UPDATED AS OF 3/9/21 COLLEGIATE RULE BOOK • 1 TABLE OF CONTENTS NCA & NDA RESERVES THE RIGHT TO BE THE ARBITRATOR AND INTERPRETER OF ALL RULES COVERED IN THIS DOCUMENT. HOW TO QUALIFY 1 DANCE CONT. NCA VIDEO QUALIFICATION AND ENTRY FORMAT 1 NDA LEGALITY AND SAFETY NDA VIDEO QUALIFICATION AND ENTRY FORMAT 2 SAFETY GUIDELINES 27 CODE OF CONDUCT 3 TUMBLING AND AERIAL STREET SKILLS (INDIVIDUALS) 27 EXCLUSIVITY POLICY 3 DANCE LIFTS AND PARTNERING (GROUPS) 28 ELIGIBILTY VERIFCATION 4 MUSIC FORMAT 5 UNASSISTED DISMOUNTS TO THE PERFORMANCE SURFACE 28 VIDEO MEDIA POLICY 5 INJURY DURING PERFORMANCE 29 LOGO USAGE 5 DEDUCTIONS 29 CHEER LEGALITY VERIFICATION 30 GENERAL COMPETITION INFORMATION NDA SCORING PERFORMANCE AREA 7 JUDGING PANELS 31 COLLEGIATE EXPECTATIONS 7 CATEGORY DESCRIPTIONS 31 COLLEGIATE IMAGE 7 JUDGING SCALE FOR DANCE FUNDAMENTALS 32 UNIFORM 7 RANGES OF SCORES 33 MUSIC 9 DANCE GLOSSARY OF TERMS 38 CHOREOGRAPHY 9 INJURY DURING PERFORMANCE 9 NCA & NDA COLLEGE GAME DAY DIVISION ORDER OF PERFORMANCE 9 GAME DAY COLLEGE CHEER DIVISIONS OBJECTIVE 45 DIVISIONS 10 BENEFITS OF GAME DAY 45 NUMBER OF MALE PARTICIPANTS VS. FEMALE PARTICIPANTS 10 GENERAL RULES 45 TEAM ROUTINE REQUIREMENTS 10 FORMAT 46 INTERMEDIATE DIVISION RESTRICTIONS 11 45 SECOND CROWD SEGMENT 12 SKILL SCORING & RESTRICTIONS
    [Show full text]
  • 2015 Full Program (PDF)
    2015 Women in Dance Leadership Conference! ! October 29 - November 1, 2015! ! Manship Theatre, Baton Rouge, Louisiana, USA! ! Conference Director - Sandra Shih Parks WOMEN IN DANCE LEADERSHIP CONFERENCE 10/29/2015 - 11/1/2015 "1 Women in Dance Leadership Conference ! Mission Statement ! ! To investigate, explore, and reflect on women’s leadership by representing innovative and multicultural dance work to celebrate, develop, and promote women’s leadership in dance making, dance related fields, and other! male-dominated professions.! Conference Overview! ! DATE MORNING AFTERNOON EVENING Thursday 10/29/2015 !Registration/Check In! !Reception! Opening Talk -! Kim Jones/Yin Mei Karole Armitage and guests Performance Friday 10/30/2015 Speech - Susan Foster! Panel Discussions! Selected ! ! Choreographers’ Speech - Ann Dils !Master Classes! Concert Paper Presentations Saturday 10/31/2015 Speech - Dima Ghawi! Panel Discussions! ODC Dance Company ! ! ! Performance Speech - Meredith Master Classes! Warner! ! ! Ambassadors of Women Master Classes in Dance Showcase Sunday 11/1/2015 Master Class THODOS Dance Chicago Performance ! ! ! ! WOMEN IN DANCE LEADERSHIP CONFERENCE 10/29/2015 - 11/1/2015 "2 October 29th 2015! !Location 12 - 4 PM 4:30 PM - 6 PM 6 PM - 7:30 PM 8 PM - 9:30 PM !Main Theatre Kim Jones, Yin Mei ! and guests ! performance ! !Hartley/Vey ! Opening Talk by! !Studio Theatre Karole Armitage !Harley/Vey! !Workshop Theatre !Josef Sternberg ! Conference Room Jones Walker Foyer Registration! ! Conference Check In Reception Program Information!
    [Show full text]
  • TÁNCMŰVÉSZET ÉS INTELLEKTUALITÁS TÁNCMŰVÉSZET ÉS TUDOMÁNY a Magyar Táncművészeti Egyetem Kiadványsorozata X
    TÁNCMŰVÉSZET ÉS INTELLEKTUALITÁS TÁNCMŰVÉSZET ÉS TUDOMÁNY A Magyar Táncművészeti Egyetem kiadványsorozata X. Sorozatszerkesztő: Bolvári-Takács Gábor egyetemi tanár Konzultatív szerkesztőbizottság: Fodor Antal professzor emeritus Fodorné Molnár Márta főiskolai tanár Fügedi János főiskolai tanár Lőrinc Katalin egyetemi tanár Macher Szilárd főiskolai tanár Major Rita főiskolai tanár Mizerák Katalin főiskolai tanár Németh András egyetemi tanár Szakály György egyetemi tanár TÁNCMŰVÉSZET ÉS INTELLEKTUALITÁS VI. Nemzetközi Tánctudományi Konferencia a Magyar Táncművészeti Egyetemen 2017. november 17−18. Magyar Táncművészeti Egyetem Budapest, 2018 TARTALOM A KONFERENCIA PROGRAMJA ..................................................................................... 7 Bolvári-Takács Gábor: Megnyitó beszéd ................................................................................ 11 PLENÁRIS ELŐADÁS Németh András: „Karalábé” apostolok, művészpróféták, táncos papnők – Fejezetek az életreform és a modern táncművészet kapcsolatának „titkos” történetéből ................................................................................................... 13 SZEKCIÓ-ELŐADÁSOK Adamovich Ferenc: Az affektív mozgáspedagógia alapjai ..................................................... 23 Balaskó Enikő: A Lendva-vidéki táncok visszatanításának lehetőségei és módszerei ............................................................................................................... 29 Barna Mónika – Schanda Beáta: A nemzetközi versenyek szerepe a A kötetet
    [Show full text]
  • Dressing the Dancer: Identity and Belly Dance Students A
    Dressing the Dancer: Identity and Belly Dance Students A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Margaret Anne Deppe IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Joanne Eicher, Elizabeth Bye May 2010 © Margaret Anne Deppe 2010 1 Abstract Dressing the Dancer: Identity and Belly Dance Students Dress is a primary tool in the public presentation of the self (Stone, 1962). Clothing, grooming, and the physical appearance of the dressed body contribute to self image in both professional and recreational settings. Attending belly dance classes is a popular leisure activity among American women, and for many, dress accouterments are a significant part of the class experience. Dressing of the self for recreational events gives individuals the opportunity to express alternate aspects of the self not typically evident in other social settings and provides an opportunity for female socialization. The appearance of vendors selling specialized dancewear for classes, seminars, and workshops suggests that dress plays a significant role for students at all levels of belly dance activity, not just among those who perform professionally. This study examines the types of dress worn for belly dance classes and the motivations for dress choices made by students learning to belly dance from professional instructors in dance classes, seminars, and workshops. The study will further investigate how dress contributes to the expression of identity in the belly dance class context. The methods used for this study are participant observation at locations and events where belly dance classes, workshops, and seminars are held as well as half-hour interviews with students attending those events.
    [Show full text]
  • An Analysis of the Characteristics of Balinese Costume - Focus On The Legong Dance Costume
    Print ISSN 1229-6880 Journal of the Korean Society of Costume Online ISSN 2287-7827 Vol. 67, No. 4 (June 2017) pp. 38-57 https://doi.org/10.7233/jksc.2017.67.4.038 An Analysis of the Characteristics of Balinese Costume - Focus on the Legong Dance Costume - Langi, Kezia-Clarissa · Park, Shinmi⁺ Master Candidate, Dept. of Clothing & Textiles, Andong National University Associate Professor, Dept. of Clothing & Textiles, Andong National University⁺ (received date: 2017. 1. 12, revised date: 2017. 4. 11, accepted date: 2017. 6. 16) ABSTRACT1) Traditional costume in Indonesia represents identity of a person and it displays the origin and the status of the person. Where culture and religion are fused, the traditional costume serves one of the most functions in rituals in Bali. This research aims to analyze the charac- teristics of Balinese costumes by focusing on the Legong dance costume. Quantitative re- search was performed using 332 images of Indonesian costumes and 210 images of Balinese ceremonial costumes. Qualitative research was performed by doing field research in Puri Saba, Gianyar and SMKN 3 SUKAWATI(Traditional Art Middle School). The paper illus- trates the influence and structure of Indonesian traditional costume. As the result, focusing on the upper wear costume showed that the ancient era costumes were influenced by animism. They consist of tube(kemben), shawl(syal), corset, dress(terusan), body painting and tattoo, jewelry(perhiasan), and cross. The Modern era, which was shaped by religion, consists of baju kurung(tunic) and kebaya(kaftan). The Balinese costume consists of the costume of participants and the costume of performers.
    [Show full text]
  • Dance December 2009 Central Illinois Teaching with Primary Sources Newsletter
    Dance December 2009 Central Illinois Teaching with Primary Sources Newsletter EASTERN ILLINOIS UNIVERSITY SOUTHERN ILLINOIS UNIVERSITY EDWARDSVILLE CONTACTS Move to the Rhythm: Dance • Melissa Carr [email protected] Editor • Cindy Rich [email protected] • Amy Wilkinson [email protected] INSIDE THIS ISSUE: Topic Introduction 2 Connecting to Illinois 3 Learn More with 4 American Memory In the Classroom 6 Test Your Knowledge 7 Images Sources 9 eiu.edu/~eiutps/newsletter Page 2 Dance Move to the rhythm: Dance Welcome to the 26th issue of the Central Illinois Early Maypole dances were part of annual celebrations Teaching with Primary Sources Newsletter a welcoming summer. John Ruskin introduced the Maypole collaborative project of Teaching with Primary Sources dance that we know today in 1881 at Whitelands Programs at Eastern Illinois University and Southern College while creating dances for a May pageant. Illinois University Edwardsville. This school year we want Maypole dances were performed in many schools. to bring you topics that connect to the Illinois Learning Generations of teachers had learned these dances and Standards as well as provide you with amazing items have passed them on to their students. from the Library of Congress. Dance was present and popular during war time. Formed Dance is mentioned specifically within ISBE materials for in 1941, the USO handled the recreational needs of a the following Illinois Learning Standards (found within growing armed service. At its peak in 1944, the USO had goal, standard, benchmark, or performance descriptors). more than 3,000 clubs. These clubs became a place 21.B-Demonstrate cooperative skills during structured where soldiers could relax and dance to popular music.
    [Show full text]
  • Staging Lo Andino: the Scissors Dance, Spectacle, and Indigenous Citizenship in the New Peru
    Staging lo Andino: the Scissors Dance, Spectacle, and Indigenous Citizenship in the New Peru DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jason Alton Bush, MA Graduate Program in Theatre The Ohio State University 2011 Dissertation Committee: Lesley Ferris, Co-Advisor Katherine Borland, Co-Advisor Ana Puga Copyright by Jason Bush 2011 Abstract “Staging Lo Andino: Danza de las Tijeras, Spectacle, and Indigenous Citizenship in the New Peru,” draws on more than sixteen months of fieldwork in Peru, financed by Ohio State‟s competitive Presidential Fellowship for dissertation research and writing. I investigate a historical ethnography of the Peruvian scissors dance, an acrobatic indigenous ritual dance historically associated with the stigma of indigeneity, poverty, and devil worship. After the interventions of Peruvian public intellectual José María Arguedas (1911-1969), the scissors dance became an emblem of indigenous Andean identity and valued as cultural patrimony of the nation. Once repudiated by dominant elites because it embodied the survival of indigenous spiritual practices, the scissors dance is now a celebrated emblem of Peru‟s cultural diversity and the perseverance of Andean traditions in the modern world. I examine the complex processes whereby anthropologists, cultural entrepreneurs, cosmopolitan artists, and indigenous performers themselves have staged the scissors dance as a symbolic resource in the construction of the emergent imaginary of a “New Peru.” I use the term “New Peru” to designate a flexible repertoire of utopian images and discourses designed to imagine the belated overcoming of colonial structures of power and the formation of a modern nation with foundations in the Pre-Columbian past.
    [Show full text]
  • Partnership for Innovation in Education CINCINNATI BALLET
    Partnership for Innovation in Education Mary Welsh Schlueter Chief Executive P.O. Box 8722 Cincinnati, OH 45208 [email protected] 513.378.8370 CINCINNATI BALLET COMPANY Working with FUZI Dancewear, Cincinnati Ballet CEO Victoria This case is written by the Morgan has been asked to develop a new athletic dance shoe for Partnership for Innovation in Education with Hays- her ballet corps, meeting safety, comfort and beauty Porter School students. requirements. Her Board of Directors is committed to nurturing This format is based upon the Case Method. ©2016 the brightest stars of the Ballet, while insuring their artistic and physical integrity. The Board President has asked that she study the opportunity and report her findings immediately. Can you help her fulfill this assignment? Situation For Marianne and Alex, their dream to dance in a ballet company together had been fulfilled. Both dancers had just signed contracts with the Cincinnati Ballet Corps. Signing together meant that they could explore unique dance techniques and pairing. As a pair, Cincinnati Ballet specifically recruited them for their powerful, creative, cutting-edge approach to ballet dance. They had grown up dancing together in the Ukraine, and they had developed a unique rhythm that could only form over many years of dancing together. Having studied physiology and physical therapy in college, Marianne was fascinated with the movement of the human body, its muscular development and how it could be pushed to new “magical” limits. Alex complemented this with his study of art and design, constantly adding aesthetically beautiful movements in every dance they performed together. Cincinnati Ballet Company CEO Victoria Morgan first saw the pair dance in New York City, and she was mesmerized by their chemistry.
    [Show full text]
  • ICTM B5.Indd
    Department of Ethnomusicology, Lithuanian Academy of Music and Theatre in partnership with Klaipėda University, The Council for the Safeguarding of Ethnic Culture, The Klaipėda Ethnic Culture Center, and The Lithuanian Ethnic Culture Society 31st Symposium of the ICTM Study Group on Ethnochoreology 12th-18th July, 2021 Klaipėda, Lithuania ABSTRACTS BOOKLET Department of Ethnomusicology, Lithuanian Academy of Music and Theatre in partnership with Klaipėda University, The Council for the Safeguarding of Ethnic Culture, The Klaipėda Ethnic Culture Center, and The Lithuanian Ethnic Culture Society 31st Symposium of the ICTM Study Group on Ethnochoreology 12th-18th July, 2021 Klaipėda, Lithuania ABSTRACTS BOOKLET Symposium is supported by The author of the carp used for the cover – a certified master of national heritage products Diana Lukošiūnaitė Layout Rokas Gelažius Introductory Words by Dr. Catherine Foley Chair ICTM Study Group on Ethnochoreology The year 2020 has been a memorable and unprecedented year due to the COVID-19 pandemic. This pandemic has presented health, social, economic and pedagogi- cal challenges worldwide, which has included the cancellation or postponement of many events. This included the postponement of the 31st Symposium of the ICTM Study Group on Ethnochoreology, which was due to have taken place in July 2020 in Klaipeda, Lithuania, but on public health advice, the Executive Committee made the decision to postpone the symposium to July 2021. With the prospect of COVID-19 vaccines being rolled out in different countries in early 2021, delegates were offered the opportunity to present either face-to-face presentations at the symposium in Klaipėda in July 2021 or online presentations.
    [Show full text]
  • Recital Dance Classes
    56 ARTS: DANCE ACADEMY The mission of the NPD Dance Academy is to provide quality dance training to interested students of all ages. Our students learn about dance and appreciation of the art, in addition to learning steps and technique. eginning with our littlest dancers December, we will have a few additional new programs that will Bin mind and progressing to all levels be a part of the recital. These new recital programs will be begin- of Ballet, Pointe, Hip Hop, Modern, Jazz, ner level programs for those dancers 3-12 years. If your child Tap and more, our programs are carefully is enrolled in a seasonal program for the fall, they will have an constructed to provide effective learning opportunity to register for a new recital program that begins in environments that are fun and profession- January. Recital classes that begin in the Fall will not be open for al, technical and creative and taught by registration in the Winter. qualified, experienced instructors. ARTS For dance attire please visit RECITAL DANCE www.napervilleparks.org/dance CLASSES Class weeks: Register now for the 2016-2017 season of recital dance programs! September 6-December 17, These programs run from September-May and participants per- No Class: November 21-November 26 form in the annual spring dance recital in May, which will be held on a Saturday or Sunday. The date and location of rehearsals and recital will be announced in the middle of October. Please visit www.napervilleparks.org/dance for more information in October. Recital Program Levels: Parent observation opportunities will be held during the season.
    [Show full text]
  • During 2014, What Started out As the Euro-Maidan
    No. 3 THE UKRAINIAN WEEKLY SUNDAY, JANUARY 18, 2015 5 2014: THE YEAR IN REVIEW From Euro-Maidan to Revolution of Dignity uring 2014, what started out as the Euro-Maidan was transformed into the Revolution of Dignity. By Dyear’s end, Ukraine had a new president, a new Verkhovna Rada and a new government. And, at the end of the year, the Rada voted to abandon the country’s previ- ous “non-bloc” status and set a course for NATO member- ship. A civilizational choice had been made. As the year began, there was concern about the regular presidential election that was to be held in March 2015 as the opposition – that is the pro-Western parties of Ukraine – appeared to have no unified election strategy other than being against Viktor Yanukovych. Ukrainian Democratic Alliance for Reform (UDAR) Chair Vitali Klitschko was call- ing on his rivals to ditch their campaigns and unite behind his single candidacy. The expected Batkivshchyna candi- date, Arseniy Yatsenyuk, and Svoboda party candidate Oleh Tiahnybok said they would compete independently in the first round of the presidential election. Billionaire confectionary magnate Petro Poroshenko also was plan- ning to throw his hat into the ring. The concern among observers was that so many candidates could cannibalize the pro-Western vote or spread it too thinly, letting anoth- Vladimir Gontar/UNIAN er victory slip through their fingers. On January 10 came The scene on January 20 on Kyiv’s Hrushevsky Street, where violent clashes between the Berkut and protesters news of a rift between Euro-Maidan activists and leaders broke out on January 19 and were continuing.
    [Show full text]