2018 Elizabeth O'neill Verner Award Recipient
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Globalrelations.Ourcuba.Com Cleveland Ballet in Havana
GlobalRelations.OurCuba.com 1-815-842-2475 Cleveland Ballet in Havana In Cuba from Thursday February 27th to Monday March 2, 2020 Day 1 – Thursday :: Arrive Cuba, Iconic Hotel, welcome dinner and evening to explore Depart to Havana via your own arranged flights. You should plan arriving Havana by mid-afternoon. It may take you some time to clear Cuban Immigration, get your bag and go through Customs. You will be met in the arrival hall, after clearing Customs, by our Cuban representative holding a ‘Cuba Explorer’ sign to take you to your hotel. They will have your name and will be monitoring your flight arrival in case there is a delay. Your first tour activity will be the welcome dinner and your guide will finalize details with you on arrival to your hotel. On departure from Cuba you will be asked to be at the airport 3 hours in advance. Havana’s International Airport arrival hall does have bathrooms. They may not have seats or tissue. This is normal in Cuba, so you may wish to bring packets of tissues. It is suggested to use the restroom on your flight before landing. On arrival at Havana’s José Martí International Airport proceed through Immigration. Your carry-on will once again be scanned. Give your ‘Health’ form to the nurses in white uniforms after you go through Immigration & screening. The important question they may ask is if you have been exposed to Ebola. Collect your bags and go through Customs giving them your blue customs form. You will be welcomed at the airport exterior lobby after you exit Cuban Customs. -
Valerie Roche ARAD Director Momix and the Omaha Ballet
Celebrating 50 years of Dance The lights go down.The orchestra begins to play. Dancers appear and there’s magic on the stage. The Omaha Academy of Ballet, a dream by its founders for a school and a civic ballet company for Omaha, was realized by the gift of two remarkable people: Valerie Roche ARAD director of the school and the late Lee Lubbers S.J., of Creighton University. Lubbers served as Board President and production manager, while Roche choreographed, rehearsed and directed the students during their performances. The dream to have a ballet company for the city of Omaha had begun. Lubbers also hired Roche later that year to teach dance at the university. This decision helped establish the creation of a Fine and Performing Arts Department at Creighton. The Academy has thrived for 50 years, thanks to hundreds of volunteers, donors, instructors, parents and above all the students. Over the decades, the Academy has trained many dancers who have gone on to become members of professional dance companies such as: the American Ballet Theatre, Los Angeles Ballet, Houston Ballet, National Ballet, Dance Theatre of Harlem, San Francisco Ballet, Minnesota Dance Theatre, Denver Ballet, Momix and the Omaha Ballet. Our dancers have also reached beyond the United States to join: The Royal Winnipeg in Canada and the Frankfurt Ballet in Germany. OMAHA WORLD HERALD WORLD OMAHA 01 studying the work of August Birth of a Dream. Bournonville. At Creighton she adopted the syllabi of the Imperial Society for Teachers The Omaha Regional Ballet In 1971 with a grant and until her retirement in 2002. -
Metro Atlanta Cultural Assessment FINAL REPORT
metro atlanta cultural assessment FINAL REPORT table of contents acknowledgements. .3 executive summary. .4 cultural inventory cultural inventory summary. .8 creative industries revenue & compensation. 10 creative industries businesses & employment. 12 nonprofit cultural organizations. 27 cultural facilities. .40 where audiences originate. 53 cultural plans, programs, policies & ordinances cultural plans, programs & policies overview. 58 cultural affairs departments, plans, ordinances & policies. .59 regional planning agencies with cultural components. 63 regional cultural agencies. .65 examples of cultural plans. .67 cultural planning funding sources. .70 cultural forums cultural forums overview. 72 key findings, issues & opportunities. 73 all findings. 87 minutes Cherokee. 84 Clayton. 87 Cobb. 93 DeKalb. .98 Douglas. 105 North Fulton. 112 South Fulton. 120 Gwinnett. .127 Henry. .135 Rockdale. .142 City of Atlanta. 148 external appendices appendix A: cultural industries revenue and compensation technical codes appendix B: cultural industries employment and businesses technical codes appendix C: nonprofit cultural organizations technical codes appendix D: list of nonprofit cultural organizations by county appendix E: list of cultural facilities by county 2 | METRO ATLANTA CULTURAL ASSESSMENT FINAL REPORT acknowledgements This report would not have been possible without the strong support of the Boards of Directors of both the Atlanta Regional Commission and the Metro Atlanta Arts and Culture Coalition. Atlanta Regional Commission Board Members Tad Leithead (ARC Chair), Buzz Ahrens, W. Kerry Armstrong, Julie K. Arnold, Eldrin Bell, Kip Berry, C. J. Bland, Mike Bodker, Dennis W. Burnette, John Eaves, Burrell Ellis, Todd E. Ernst, Bill Floyd, Herbert Frady, Rob Garcia, Gene Hatfield, Bucky Johnson, Doris Ann Jones, Tim Lee, Liane Levetan, Lorene Lindsey, Mark Mathews, Elizabeth “BJ” Mathis, Randy Mills, Eddie L. -
American Photographer Exhibits Photos of Cuban National Ballet
American photographer Exhibits Photos of Cuban National Ballet The future stars of the Cuban National Ballet, students of the famed National Ballet School in Havana are the subjects of an exciting new exhibition by American photographer, Rebekah Bowman. Curated by Roberto Chile and Rebekah herself, the exhibition will open next Monday October 27 at Havana's José Martí Memorial in Revolution Square, as part of activities of the International Ballet Festival of Havana, running October 28 to November 7. The images in medium and large format reflect many aspects of the daily ritual of classes and rehearsals at the National Ballet School. Commenting on the photographic display, Miguel Cabrera, Historian of the National Ballet of Cuba, said: "This exhibition, which we gratefully welcome, besides constituting a valuable testimony, is a tribute to the rich heritage of the institution, showcasing the inexhaustible yeast that nurtures the future of Cuban ballet." The National Ballet School in Havana was originally founded in 1931, but grew into the prestigious institution it is now in the 1960s, after Fidel Castro came to power and declared that art and education were for the people. Talented children from all over the island could get free ballet training; the school is open to every child. Since the '60s, the Cuban ballet style has been chiefly formed by prima ballerina assoluta Alicia Alonso, now 93, and her husband Fernando Alonso. According to Bowman, along with its rigorous attention to classical form and technical precision, “the Cuban style has borrowed elements from the then-dominant European schools, influenced by aspects of Cuba’s Spanish and Afro-Cuban cultural heritage, and adapted them to the Cuban dancer’s physiology to express a Latin sensibility and aesthetic.” Many of Cuban ballet school graduates are dispersed all over the globe in prestigious companies such as the San Francisco Ballet, the Royal Ballet, and the American Ballet Theater. -
Company Dancer Nichola Montt Photography by Stephen Stinson
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“DANCE SERIES 01” in CARMEL March 23 & 24, 2018
SMUIN PRESENTS “DANCE SERIES 01” IN CARMEL March 23 & 24, 2018 Program includes: Requiem for a Rose by Annabelle Lopez Ochoa Fly Me to the Moon by Michael Smuin Serenade for Strings by Garrett Ammon SAN FRANCISCO, CA (22 February 2018) — Smuin, after a successful run of its annual holiday extravaganza The Christmas Ballet, returns to Carmel with Dance Series 01. Continuing its 24th season, this program includes Annabelle Lopez Ochoa’s critically lauded and transcendent piece Requiem for a Rose. Ochoa is an internationally acclaimed choreographer who creates contemporary dance works and also adapts her style for classical ballet companies. At its West Coast premiere with Smuin in fall 2017, San Francisco Classical Voice described the piece as “perfection!” Also on the program is Michael Smuin’s joyful tribute to Ol’ Blue Eyes, Fly Me to the Moon, hailed as “delicious” by the San Francisco Chronicle. This blend of ballet and popular dance is the embodiment of the smooth and stylish melodies that have inspired generations, including Sinatra’s renditions of “I’ve Got You Under My Skin” and “The Lady is a Tramp.” Rounding out the bill is the return of Garrett Ammon’s bold Serenade for Strings. Set to Tchaikovsky’s score of the same name, this work is a vibrant new interpretation of a piece inexorably tied to the iconic 1934 Balanchine ballet. Upon making its West Coast premiere with Smuin in October 2014, the San Francisco Chronicle noted that “the whole cast danced it vibrantly and flawlessly.” The Dance Series 01 program debuted in San Francisco last fall, with San Francisco Classical Voice describing the program as “terrific…in tune with the demand for ballets that aren’t the same old!” Dance Series 01 will be presented March 23-24 at the Sunset Center in Carmel. -
Cuban National Ballet: 65 Years on Stage
Cuban National Ballet: 65 Years on Stage Cubans are celebrating the 65th anniversary of one of the top five ballet companies, an ensemble that has gained international prestige and won awards and recognition in the world throughout the years. Alicia, Fernando and Alberto Alonso founded the Alicia Alonso Ballet with an opening show at Havana’s Auditorium Theater on October 28th, 1948. The company’s opening performance included a cast made up of dancers from the Cuban Pro-Arte Musical Society and dancers of the New York based American Ballet Theater. Fernando Alonso, his wife Alicia and his brother Alberto Alonso thus got involved in the historic event of setting up the Alicia Alonso Ballet, which will later be known as Cuban Ballet and currently as Cuban National Ballet Company. The Alicia Alonso Academy was created by Fernando and Alicia in 1950, planting the seed of what will later be considered one of the most outstanding results of Cuban Ballet: the Cuban Ballet School. At the academy which was aimed at training the first generations of professional Cuban ballet dancers, the Alonso’s conducted a serious research aimed at creating a unique teaching method that, with the passage of time, has led to what is known today as the internationally recognized and praised Cuban ballet school, whose style was discovered and singled out for the first time by renowned British dance critic and professor, Arnold Haskell, in the 1960’s. In the period between 1948 and 1956, Fernando Alonso knew how to face the apathy and misunderstandings of the Cuban governments which denied the most basic support for cultural efforts such as the Cuban ballet. -
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. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
2016 - 2017 Season Passion
2016 - 2017 SEASON PASSION. DISCIPLINE. GRACE. Attributes that both ballet dancers and our expert group of medical professionals possess. At Fort Walton Beach Medical Center, each member of our team plays an important part in serving our patients with the highest quality care. We are proud to support the ballet in its mission to share the beauty and artistry of dance with our community. Exceptional People. Exceptional Care. 23666 Ballet 5.5 x 8.5.indd 1 8/26/2016 3:47:56 PM MESSAGE FROM THE DIRECTOR Dear Friends: Thank you for joining us for our 47th season of the Northwest Florida Ballet. This year will be the most exciting yet, as we debut the Northwest Florida Ballet Symphony Orchestra led by renowned conductor and composer, David Ott. As a non-prot 501(c)(3) organization, NFB is highly regarded for providing world-class ballet performances, training students in the art of dance, and reaching out into our community through our educational endeavors. The introduction of the NFB Symphony Orchestra only further enriches our productions and programming, adding an unparalleled level of depth that Todd Eric Allen, NFB Artistic Director & CEO no other ballet company in our area can claim. In many ways, this depth showcases NFB as a cultural mosaic arranged to represent the best of the Emerald Coast. From the facility in downtown Fort Walton Beach where we train our students to the local family attending a ballet performance for the rst time, we recognize that every facet of who we are as an organization is part of this mosaic. -
Boston Ballet School Presents Annual Next
MEDIA CONTACT: Jill Goddard, 617.456.6236, [email protected] BOSTON BALLET SCHOOL PRESENTS ANNUAL NEXT GENERATION PERFORMANCE FEATURING CHRISTOPHER WHEELDON’S THE AMERICAN, MARIUS PETIPA’S RAYMONDA, AND A NEW WORK BY IGOR BURLAK May 2, 2018 (BOSTON, MA) – Boston Ballet School (BBS) proudly presents its ninth annual Next Generation performance featuring Christopher Wheeldon’s The American, Act III of Raymonda by Marius Petipa with additional choreography by Boston Ballet Artistic Director Mikko Nissinen, and a new work by BBS faculty member Igor Burlak. The program opens with Les Passages, which features dancers of all levels of the Pre-Professional program in pieces choreographed by BBS faculty members. This one-night-only performance takes place June 6 at the Boston Opera House. “Next Generation shines a spotlight on the incredible young talent that we have the pleasure of developing,” said Boston Ballet Artistic Director Mikko Nissinen. “Boston Ballet School is dedicated to providing the highest quality of training of dancers to ensure the success of our students who will contribute their many gifts to this living art form.” Boston Ballet School’s Pre-Professional program is committed to training top talent who aspire to professional careers with Boston Ballet and other major companies. Currently, over 20 percent of Boston Ballet’s dancers are graduates of the Pre-Professional program, and 95 percent of Trainee graduates secure jobs with professional ballet companies, a percentage that has increased annually. “This program showcases the next generation of talented and dedicated dancers. Each piece was specifically selected to highlight the individual strengths of our students and emphasize our rigorous curriculum,” said Boston Ballet School Director Margaret Tracey. -
Dance Major Handbook
DANCE MAJOR 2020-2021 HANDBOOK www.dance.uga.edu Remembering the Class of 2020 August, 2020 Welcome to the UGA Department of Dance! This Dance Handbook provides “everything you need to know” as a dance major at UGA!!! In addition to providing information on degree requirements and policies, this handbook will also answer some of the many questions you will have as you work toward your undergraduate degree in dance. Due to the COVID-19 pandemic, there will be some adaptions and changes to the information provided in this handbook, including measures to keep all UGA students, faculty and staff safe. As a student at UGA, you are responsible for knowing what classes you need to take and when those classes are offered. This handbook contains most of the information that you will need. Each semester you will have an advising session with your academic advisor who is available to assist you in mapping-out your schedule and graduation requirements. By cross-referencing the Dance Handbook and ATHENA (UGA's online list of classes) before your advisement session, your advisor can make sure you enroll in the right classes at the right time. Your advisor will inform you of any changes in the policies or requirements in the Department of Dance and the University of Georgia System. Your successful completion of all course work toward completion of your degree is ultimately your responsibility. Changes in your academic journey - such as a change of major, leave of absence, academic probation, tours and travels - are also your responsibility when keeping up with your program of study.