Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J
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THE ULTIMATE VIRTUAL DANCE Experience Bringing Dance and the World Together WELCOME! REGISTRATION, RATES & REGULATIONS
Information Package THE ULTIMATE VIRTUAL DANCE Experience Bringing Dance and the World Together WELCOME! REGISTRATION, RATES & REGULATIONS VIRTUAL REGISTRATION All registrations (for both studios and individuals) for our Virtual Event are to be completed through DanceBug (www.dancebug.com). For individuals and non-Canadian studios, payment must be made via credit card though DanceBug. For Canadian studios, payments can be made via credit card through DanceBug, via E-transfer to [email protected], or via cheque made payable to On The Floor and mailed to: On The Floor 80 Rustle Woods Ave Markham, ON L6B 0V2 Additional processing fees apply to payments made via credit card through DanceBug. REGISTRATION DEADLINE June Event July Event Registration Deadline: May 15, 2021 Registration Deadline: June 15, 2021 Video Submission Deadline: Jun1, 2021 Video Submission Deadline: July 1, 2021 Airing: Week of June 22, 2021 (TBC) Airing: Week of July 22, 2021 (TBC) VIDEO SUBMISSION FORMAT Videos must be uploaded to DanceBug in .MP4 format (preferred), but .MOV files are also acceptable. Please ensure that all videos are recorded in landscape orientation only. We will not accept videos shot in portrait orientation. We accept home/studio recordings as well as videos from previous competitions, as long as they were filmed in the 2020 or 2021 season. REFUND POLICY Before you book, please make sure you understand that On The Floor operates under a strict policy of no refunds for any reason. If the event is postponed or cancelled, you will receive FULL CREDIT towards another OTF Virtual Event. Payment in FULL is due at registration - we make no exceptions. -
University of California, Irvine an Exploration Into
UNIVERSITY OF CALIFORNIA, IRVINE AN EXPLORATION INTO DIGITAL TECHNOLOGY AND APPLICATIONS FOR THE ADVANCEMENT OF DANCE EDUCATION THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF FINE ARTS In Dance by Carl D. Sanders, Jr. Thesis Committee: Professor Lisa Naugle, PhD, Chair Professor Mary Corey Professor Alan Terricciano 2021 ©2021 Carl D. Sanders, Jr. DEDICATION To My supportive wife Mariana Sanders My loyal alebrijes Koda-Bella-Zen My loving mother Faye and father Carl Sanders My encouraging sister Shawana Sanders-Swain My spiritual brothers Dr. Ras Mikey C., Marc Spaulding, and Marshall King Those who have contributed to my life experiences, shaping my artistry. ii TABLE OF CONTENTS Pages ACKNOWLEDGEMENTS iv ABSTRACT OF THE THESIS v INTRODUCTION 1 CHAPTER 1: Review of Literature Digital Literacy in Dance 5 CHAPTER 2: Methods Dance Education and Autonomous Exploration 15 CHAPTER 3: Findings Robotics for Dancers 23 CONCLUSION 29 BIBLIOGRAPHY 31 APPENDIX: Project Video-Link Archive 36 Robot Engineering Info. Project Equipment List iii ACKNOWLEDGMENTS I would like to express my deepest gratitude to my Master of Fine Arts in Dance Thesis Committee Chair Lisa Naugle for her guidance, inspiration, compassion, intellect, enthusiasm, and trust to take on this research by following my instincts as an artist and guiding me as an emerging scholar. I also thank the committee members Professor Mary Corey and Professor Alan Terricciano for their support, encouragement, and advice throughout my research and academic journey. Thank you to the Claire Trevor School of the Arts Dance Department faculty, without your support this thesis would not have been possible;. -
Registration Packet 2015-16
! Registration Packet 2015-16 Faculty Artur Sultanov, Artistic Director Mr. Sultanov was born and raised in St. Petersburg, Russia. He trained at Vaganova Ballet Academy and at age 17, joined the Kirov ballet where he danced a classical repertoire. Artur has also performed with Eifman Ballet as a Soloist. In 2000 he moved to San Francisco to join Alonzo King’s Lines Ballet. In 2003 Artur joined Oregon Ballet Theatre. His principal roles at OBT include the Prince in Swan Lake, Ivan in Firebird, and the Cavalier in the Nutcracker, among others. Mr. Sultanov has performed on the stages of the Metropolitan Opera House, Kennedy Center, Bolshoi Ballet Theatre, and the Mariisnky Theatre in his native city of St. Petersburg. In addition to being an accomplished dancer, Mr. Sultanov has also taught extensively throughout his professional career. In the past eight years, Mr. Sultanov has taught and choreographed for the school of Oregon Ballet Theatre and Lines Contemporary Ballet School of San Francisco. His vast experience also includes holding master workshops in the Portland Metro Area, Seaside, OR, Vancouver and Tacoma, Washington. Artur Sultanov is excited to be a part of the Portland dance community and is looking forward to inspiring a new generation of dancers. Vanessa Thiessen Vanessa Thiessen is originally from Portland, OR. She trained at the School of Oregon Ballet Theatre, with James Canfield, and continued on to dance for Oregon Ballet Theatre from 1995-2003. At OBT she danced leading roles in Gissele and Romeo and Juliet. After moving to San Francisco in 2003, she danced with Smuin Ballet, ODC Dance, Amy Seiwert’s Imagery, Opera Parallele and Tanya Bello’s Project b. -
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Eiko and Koma: Dance Philosophy and Aesthetic Shoko Yamahata Letton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE EIKO AND KOMA: DANCE PHILOSOPHY AND AESTHETIC By SHOKO YAMAHATA LETTON A Thesis submitted to the Department of Dance in partial fulfillment of the Requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Thesis of Shoko Yamahata Letton defended on October 18, 2007. ____________________________________ Sally R. Sommer Professor Directing Thesis ____________________________________ Tricia H. Young Committee Member ____________________________________ John O. Perpener III Committee Member Approved: ___________________________________________ Patricia Phillips, Co-Chair, Department of Dance ___________________________________________ Russell Sandifer, Co-Chair, Department of Dance ___________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii Dedicated to all the people who love Eiko and Koma. iii ACKNOWLEDGEMENTS This thesis would not have been completed without the following people. I thank Eiko and Koma for my life-changing experiences, access to all the resources they have, interviews, wonderful conversations and delicious meals. I appreciate Dr. Sally Sommer’s enormous assistance, encouragement and advice when finishing this thesis. I sincerely respect her vast knowledge in dance and her careful and strict editing which comes from her career as dance critic, and, her wonderful personality. Dr. William Sommer’s kindness and hospitality also allowed me to work extensively with his wife. -
Volume 14 2018-2019
Dialogues @ RU Vol. 14 EDITORIAL BOARD FALL 2018 SPRING 2019 Abby Baker Ashley Abrams Natalie Brennan Kelly Allen Hope Dormer Jeannee Auguste Hanna Graifman Jasmine Basuel Katherine Hill Olivia Dineen Taylor Moreau Stephanie Felty Terese Osborne Alec Ferrigno Julianna Rossano Sophia Higgins Katharine Steely-Brown Lindsey Ipson Jennifer Territo Aniza Jahangir Tiffany Yang Esther Leaming Grace Lee Samuel Leibowitz-Lord EDITORS Wyonia McLaurin Tracy Budd Jordan Meyers Lynda Dexheimer Drew Mount Alyson Sandler Erin Telesford COVER DESIGN & Morgan Ulrich TYPESETTING Mike Barbetta © Copyright 2020 by Dialogues@RU All rights reserved. Printed in U.S.A. ii. CONTENTS Foreword • v Qurratul Akbar, Episode IV: A New Home • 1 Marianna Allen, Saving Dance • 14 Juwairia Ansari, Identity Displacement: How Psychological and Social Factors Intertwine to Impact Refugee Identity • 26 Benjamin Barnett, The Soggy Apple – Misaligned Incentives in NYC Climate Change Protection • 37 Emma Barr, Hearing ≠ Listening: Reconciliation of Hearing and Deaf Cultures • 49 Kenneth Basco, Pokémon Go Dissociate: Cognitive Dissonance in the Mind-Body Relationship in Virtual and Physical Representations of AR Games • 63 Jensen Benko, Constructing Diverse Queer Identity Through Writing Fan Fiction • 73 Simran Bhatia, Modern Maps and Their Detrimental Effects on Politics, Culture, and Behavior • 83 Maya Bryant, The Gentrification of Harlem • 98 Emily Carlos, Autistic Expression: Technology and Its Role in Identity Construction • 108 Eliot Choe, Modern Day Eyes on the Street • 122 Kajal Desai, The Identity Construction of the Black Female Performer in Hip Hop • 134 Mohammed Farooqui, Segregation in New York City Education: Why a Colorblind System is not really “Colorblind” • 148 Stephanie Felty, Reading Versus Watching: Narrative Fiction Consumption and Theory of Mind • 163 iii. -
CDS Boston News Spring 2021
CDS Boston News The Newsletter of the Country Dance Society, Boston Centre Spring 2021 Boston Playford VirtuBall – Saturday March 6th Save the date: Saturday, March 6th at 7:30pm (doors (COVID restrictions permitting). We’ll also have photo open 7:15pm) for a virtual version of our annual memories of previous balls. Boston Playford Ball, on the traditional “first Saturday Watch your email (for CDSBC members), our website after the first Friday” in March! (https://www.cds-boston.org/), and our Facebook page Last year we celebrated 40 years of the Boston (https://www.facebook.com/cds.bostoncentre ) for Playford Ball, at what ended up being our last dance more information and how to register. together. This year our ball will be a little different since we can’t be together in person, but we can be together online, and geography is no barrier this time for our further away friends. Barbara Finney, Compere*, is preparing a wonderful evening of entertainment for you, with music by members of Bare Necessities – Kate Barnes and Jacqueline Schwab, and Mary Lea * compere Cambridge English Dictionary: noun [ C ] Participants at the 2020 Boston Playford Ball. Photo by Jeffrey Bary UK/’köm.peər/ US/’ka:m.per/ (US emcee) a person whose job is to introduce performers in a television, radio, or stage show: He started his career as a TV compere. Also in this issue: National Folk Organization Hosts Virtual Conference for 2021 ................................. p.5 About CDS Boston Centre .............................................. p.2 Philippe Callens Passes ................................................. p.5 Save the Date: 2021 Annual General Meeting ..................... p.2 Virtual Events Listings .................................................. -
Digitalbeing: Visual Aesthetic Expression Through Dance
DigitalBeing – Using the Environment as an Expressive Medium for Dance Magy Seif El-Nasr Thanos Vasilakos Penn State University University of Thessaly [email protected] [email protected] Abstract Dancers express their feelings and moods through gestures and body movements. We seek to extend this mode of expression by dynamically and automatically adjusting music and lighting in the dance environment to reflect the dancer’s arousal state. Our intention is to offer a space that performance artists can use as a creative tool that extends the grammar of dance. To enable the dynamic manipulation of lighting and music, the performance space will be augmented with several sensors: physiological sensors worn by a dancer to measure her arousal state, as well as pressure sensors installed in a floor mat to track the dancers’ locations and movements. Data from these sensors will be passed to a three layered architecture. Layer 1 is composed of a sensor analysis system that analyzes and synthesizes physiological and pressure sensor signals. Layer 2 is composed of intelligent systems that adapt lighting and music to portray the dancer’s arousal state. The intelligent on-stage lighting system dynamically adjusts on-stage lighting direction and color. The intelligent virtual lighting system dynamically adapts virtual lighting in the projected imagery. The intelligent music system dynamically and unobtrusively adjusts the music. Layer 3 translates the high-level adjustments made by the intelligent systems in layer 2 to appropriate lighting board, image rendering, and audio box commands. In this paper, we will describe this architecture in detail as well as the equipment and control systems used. -
Glen Tetley: Contributions to the Development of Modern
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire submitted to the Faculty of the College of Arts and Sciences Of American University In Partial Fulfillment of The Requirements for the Degree Of Masters of Arts In Dance Dr. -
Movement Research: Exploring Liminality of Dance
Lawrence University Lux Lawrence University Honors Projects 6-2020 Movement Research: Exploring Liminality of Dance Michele D. Haeberlin Lawrence University Follow this and additional works at: https://lux.lawrence.edu/luhp Part of the Arts and Humanities Commons © Copyright is owned by the author of this document. Recommended Citation Haeberlin, Michele D., "Movement Research: Exploring Liminality of Dance" (2020). Lawrence University Honors Projects. 149. https://lux.lawrence.edu/luhp/149 This Honors Project is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence University Honors Projects by an authorized administrator of Lux. For more information, please contact [email protected]. Movement Research: Exploring Liminality of Dance Michele D. Haeberlin Advisor Professor Paek Lawrence University May 2020 Acknowledgements I cannot possibly count all the wonderful people who have helped contribute to this in such a small space, but to those who have made space to dance in such a time as this- my sincere gratitude. Every single person who sent in a video has an important role in this project becoming what it is, and it would not be the same without all of your beautiful submissions. To everyone at Movement Research thank you for allowing me to play and explore dance in an environment as wonderfully dynamic as New York City with you. A heartfelt thank you to George and Marjorie Chandler, of the Chandler Senior Experience Grant, who helped me achieve my dreams. Amongst the many givers to my project’s completion would be my wonderful friends who have bounced ideas for me and kept me sane mentally- Amanda Chin and Rebecca Tibbets. -
Vinylnews 03-04-2020 Bis 05-06-2020.Xlsx
Artist Title Units Media Genre Release ABOMINATION FINAL WAR -COLOURED- 1 LP STM 17.04.2020 ABRAMIS BRAMA SMAKAR SONDAG -REISSUE- 2 LP HR. 29.05.2020 ABSYNTHE MINDED RIDDLE OF THE.. -LP+CD- 2 LP POP 08.05.2020 ABWARTS COMPUTERSTAAT / AMOK KOMA 1 LP PUN 15.05.2020 ABYSMAL DAWN PHYLOGENESIS -COLOURED- 1 LP STM 17.04.2020 ABYSMAL DAWN PHYLOGENESIS -GATEFOLD- 1 LP STM 17.04.2020 AC/DC WE SALUTE YOU -COLOURED- 1 LP ROC 10.04.2020 ACACIA STRAIN IT COMES IN.. -GATEFOLD- 1 LP HC. 10.04.2020 ACARASH DESCEND TO PURITY 1 LP HM. 29.05.2020 ACCEPT STALINGRAD-DELUXE/LTD/HQ- 2 LP HM. 29.05.2020 ACDA & DE MUNNIK GROETEN UIT.. -COLOURED- 1 LP POP 05.06.2020 ACHERONTAS PSYCHICDEATH - SHATTERING 2 LP BLM 01.05.2020 ACHERONTAS PSYCHICDEATH.. -COLOURED- 2 LP BLM 01.05.2020 ACHT EIMER HUHNERHERZEN ALBUM 1 LP PUN 27.04.2020 ACID BABY JESUS 7-SELECTED OUTTAKES -EP- 1 12in GAR 15.05.2020 ACID MOTHERS TEMPLE REVERSE OF.. -LTD- 1 LP ROC 24.04.2020 ACID MOTHERS TEMPLE & THE CHOSEN STAR CHILD`S.. 1 LP ROC 24.04.2020 ACID TONGUE BULLIES 1 LP GAR 08.05.2020 ACXDC SATAN IS KING 1 LP PUN 15.05.2020 ADDY ECLIPSE -DOWNLOAD- 1 LP ROC 01.05.2020 ADULT PERCEPTION IS/AS/OF.. 1 LP ELE 10.04.2020 ADULT PERCEPTION.. -COLOURED- 1 LP ELE 10.04.2020 AESMAH WALKING OFF THE HORIZON 2 LP ROC 24.04.2020 AGATHOCLES & WEEDEOUS HOL SELF.. -COLOURED- 1 LP M_A 22.05.2020 AGENT ORANGE LIVING IN DARKNESS -RSD- 1 LP PUN 18.04.2020 AGENTS OF TIME MUSIC MADE PARADISE 1 12in ELE 10.04.2020 AIRBORNE TOXIC EVENT HOLLYWOOD PARK -HQ- 2 LP ROC 08.05.2020 AIRSTREAM FUTURES LE FEU ET LE SABLE 1 LP ROC 24.04.2020 ALBINI, STEVE & ALISON CH MUSIC FROM THE FILM. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Artxsr, Ml 48106-1346 USA 800-521-0600 UMI' DISCOVER DANCE CD-ROM FOR DANCE EDUCATION: DIGITAL IMPROVISATION AND INTERACTIVE MULTIMEDIA DISSERTATION Presented in Partial Fulfillment of the requirement for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Mila Parrish, M.A.; C.M.A. ***** The Ohio State University 2000 Dissertation Committee: Dr. -
The Power of Dance How Your Passion and Appreciation Provides Opportunity and Growth
BALLET ARIZONA DONOR IMPACT Foundation Highlight: Donor Spotlight: Letter From the Q&A: Mayo Clinic Tracy Olson Executive Director: Artistic Director REPORT Samantha Turner Ib Andersen TURNING POINTE The Power of Dance How your passion and appreciation provides opportunity and growth. Ballet Arizona dancers in Theme and Variations. Choreography by George Balanchine © The George Balanchine Trust. Photo by Rosalie O'Connor. SPRING From the main stage to classrooms across the Valley, dance continues to inspire and bring people together. As the curtain begins to close on our 2018 – 2019 season, I BEHIND THE SCENES am reminded about the power of dance. This spring season with Ib Andersen is an ode to that power and we begin with a celebration of George Balanchine. I am excited that we are finally bringing Q: What can audiences expect from the Emeralds to the Arizona stage for All Balanchine. This is one of Balanchine’s most poetic ballets. From the choreography to the Balanchine program this year? music, is it a treat for both dancers and audiences. Of course, A: A lot of dancing! But in all seriousness, this program is very rich we end the season at Desert Botanical Garden with Eroica. This with three very different ballets, all having three very distinct styles. is one of my favorite ballets that I have created and it should be even better than last year! Theme and Variations is so exciting to watch. Balanchine created this ballet in 1947 for American Ballet Theatre. It was an homage In this issue, Executive Director Samantha Turner talks about to Marius Petipa and a continuation of his old style of ballet the impact new works have on ballet in today’s world.