Fall Dance Concert Liz Maxwell Chapman University, [email protected]
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David Moore Resume 2012-1-1
David Moore Hair: Brown | Eyes: Green | Ht: 6’2” | Wt: 168 TELEVISION/FILM Justin Timberlake 2013 VMA performance Dancer MTV Disney's Austin & Ally Choreographer Disney Macys Dancing with the Stars Co-Choreographer ABC AMA's Carly Rae "Call Me Maybe" Co-Choreographer NBC Teen Choice Awards Sean Kingston Choreographer/dancer FOX Step Up 3D Dancer (lead actor double) Miramax Boogietown Choreographer/Dancer Vivendi So You Think You Can Dance (Ukraine) Choreographer Clear Channel Ent. Dancestars Live (Germany) Judge/Choreographer Viva / MTV The Wade Robson Project Finalist MTV/Chor.Wade Robson AJ Gil / American Idol Choreographer, Dancer Magicmen Ent Pepsi / NBA All Star Game Choreographer NBA/ESPN TRL / MTV Germany Guest MTV Germany MUSIC VIDEO JaySean "Hit the Lights" Choreographer YMCMB Beyonce MV RTW Dancer/actor Frank Gatson Miley Cyrus "biggest dance" Choreographer, Dancer Disney Shane Harper "Dancin in the Rain" Choreographer, Actor Interscope American idol AJ Gil / “She’s Hot” Choreographer, Dancer Magicmen Ent Midnight Red Choreographer Jive / Red ONE STAGE Jesse McCaurtney Stadium Tour Choreographer Jive Midnight Red (Backsteet/NKOTB Tour) Director, Choreographer National Tour Monsters of Hip Hop The Show Director, choreographer El Portal Theatre Disney Kidz Bop World Tour Choreographer Razor Tie Productions Busta Rhymes / House of Blues Choreographer, Dancer House of Blues Monster’s of Hip Hop/2007 & 2008 Choreographer El Portal Theatre Hard Rock Café / Live Showcase Choreographer, Dancer Hard Rock Café Hard Rock Dance Academy Choreographer Roxy’s Night Club / Saturday Night Fever Choreographer Roxy’s Night Club INDUSTRIALS CES Electronics Show Dancer Chor. Wade Robson Adidas Dancer Chor. Wade Robson Pepsi Smash Dancer Chor. -
National Endowment for the Arts Annual Report 1990
National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................ -
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
Certificate Program Student Handbook
CERTIFICATE PROGRAM STUDENT HANDBOOK 2016-2017 Artistic Director, Igal Perry Director of Development, Yarden Ronen Certificate Program Coordinator, Nikki Holck Certificate Program Assistant Coordinator, Cleo Sykes Peridance Capezio Center 126 East 13th Street New York, NY 10003, USA 212.505.0886 www.peridance.com Peridance Capezio Center ___________________________________________________________________________________________ Table of Contents History of Peridance Capezio Center 3 Statement of Purpose 3 General Information 4 Size and Scope 4 Tracks 5 Program Components and Coursework 6 Sample Class Schedule 8 Faculty 9 Administrative Contacts 23 Board of Trustees 24 Peridance Capezio Center Facilities 24 Library Facilities 24 Housing 25 Tuition and Fees 25 Financial Aid 25 Withdrawal, Refund, and Transfer Policies 26 Attendance Policy 27 Sign In and Sign Out ____________________________________________________________________29 Space Rental Procedure and Policy _______________________________________________________ 29 Rules of Conduct 30 Dress Code 31 Tactile Cueing 31 Injury Policy 32 Admission Information 32 Orientation 32 Evaluation Policy 33 Failing Grades 33 Grading Policy 34 Retention Policy 35 Credit Policy 35 Graduation Requirements 35 Certificates Granted and Requirements 36 Visa Options and Employment 36 Academic Calendar 37 Grievance, Probation, and Appeals Procedures 38 Self-Evaluative Process 38 Other Services 39 Contracted Education Services 39 Certificate Program 2 Peridance Capezio Center ___________________________________________________________________________________________ -
Commartslectures00connrich.Pdf
of University California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California University History Series Betty Connors THE COMMITTEE FOR ARTS AND LECTURES, 1945-1980: THE CONNORS YEARS With an Introduction by Ruth Felt Interviews Conducted by Marilynn Rowland in 1998 Copyright 2000 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of northern California, the West, and the nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Betty Connors dated January 28, 2001. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
DANCE POP April 2018 – April 2021
IDF Technical Rules DANCE POP April 2018 – April 2021 INTERNATIONAL DANCE FEDERATION TECHNICAL RULES DISCIPLINE: DANCE POP TIPOLOGY: DANCE POP SOLO: Male – Female DANCE POP COUPLE: Two (2) dancers: one (1) Male and one (1) Female DANCE POP DUO: Two (2) dancers: both Males or both Females DANCE POP SMALL GROUP: Between three (3) and seven (7) dancers DANCE POP FORMATION: Between eight (8) and twenty four (24) dancers DANCE POP PRODUCTION: More than twenty four (24) dancers 1 IDF Technical Rules DANCE POP April 2018 – April 2021 HISTORY OF DANCE POP Dance pop is a genre that combines a range of street dance styles of the 1970s and 1980s era, mainly Street Jazz with the elements of Popping, Locking or Hip-Hop. Dance Pop as a dance genre developed through creating choreographies to pop music (also called funky) and "New Jack Swing" - the form of the post-disco music, characterised by a less syncopated than funk rhythm section and a simple song structure, with a focus on a musical theme and catchy melodies. Famous choreographers of Dance Pop include: Paula Abdul, Tina Landon, Eddie Morales, Marty Koudelka, Travis Payne, Wade Robson, etc. Movements of Dance Pop clearly reflect the nature of music. Typical moves include: syncopated movements, slow motion movements, Batman, rotations, drops, splits and half- splits, expressive poses, jazz dance footwork in conjunction with isolated body movements, gliding, ticking (typical for Popping) as well as elements of Locking and Hip-Hop. It is expected that dancers‟ performance is not a sequence of micro-movements with little co-ordination but a smooth sequence of both fluid, fast and co-ordinated steps supported by good technique, expressiveness and an adequate costume. -
Tony Testa Television
Tony Testa Television: Saturday Night Live w/One Creative Director / Lorne Michaels/NBC Direction Choreographer The Voice UK - Season 1 Creative Director / Moira Ross/BBC One Choreographer Dancing with the Stars Associate Choreographer Dir. Kenny Ortega / NBC w/Corbin Bleu X Factor w/ Kylie Minogue Choreographer FOX America's Got Talent w/Kylie Choreographer NBC Minogue Wizards of Waverly Place Choreographer Prod. Todd Greenwald / Disney Channel So You Think You Can Dance Choreographer Kankna Produkties BV NL Holland Nicklodoen: Dance on Sunset Choreographer Dir. Don Weiner / Magical Elves Today Show w/ Janet Jackson Co-Choreographer NBC ABC Sports Choreographer Slamball / IMG Ent. Everybody Dance Now - Pilot Co-Host Prod. Ken Erlich #DanceBattle America Choreographer ABC/Magical Elves Music Videos: That Roque Romeo Director Wonderland Super Junior "Devil" Choreographer SM Entertainment Super Junior "Mamacita" Choreographer SM Entertainment EXO "Wolf" Choreographer SM Entertainment EXO "Overdose" Choreographer SM Entertainment TVXQ "Something" Choreographer SM Entertainment Irina "Hit the Red Light" Choreographer Sever Productions Victoria Justice "All I Want Is Choreographer Jonathan Shank/Red Light Everything" MGMT Kylie Minogue "All The Lovers" Choreographer Dir. Joseph Kahn Kylie Minogue "Get Outta My Choreographer Dirs. Alex and Liane Way" Kylie Minogue "Better Than Choreographer Dir. William Baker Today" SHINee "Married to the Music" Choreographer SM Entertainment SHINee "Everybody" Choreographer SM Entertainment SHINee "Sherlock" -
TTV3 Product (Server)
Synergy Dance Studio Los Angeles Dance Tour Monday, June 8, 2015 - Saturday, June 13, 2015 Proposed Itinerary - 6 Days/ 5 Nights Date Prepared: 8/6/2014 Minimum Traveling Participants: 20 Monday, June 8, 2015 Depart from your local airport by air. As per our conversation, you will be doing air on your own. Welcome to Los Angeles! Educational Performance Tours Escort Meet your Educational Performance Tours Escort! Please Note : Your Escort will be with you on June 8, 9, 10 and 13th while you are in Los Angeles for Classes etc.. We currently do not have an Escort scheduled with you while You are Enjoying Disneyland and California Adventure Parks!! Board your private motorcoach After retrieving your baggage, your group will board their private motor coach. This bus will provide Los Angeles area transportation for this itinerary. Enjoy Santa Monica Beach & Pier Hit Santa Monica Beach and Santa Monica Pier this afternoon for fun in the sun. With manned lifeguard stations, casual eateries, equipment rental spots, public fitness and activity facilities, a fabulous bike trail, wooden pathways for beachgoers with disabilities and warm days (daytime temperatures average mid-60s to low 70s F in winter and 80s F in the summer), it's not hard to see why Santa Monica State Beach is a favorite destination for people of all ages. Films shot at this location include: The Sting - Beverly Hills Cop III - Ruthless People - The Net - Clean Slate - Funny Girl - They Shoot Horses Don't They. This evening head over to the Santa Monica Pavilion, 3rd Street Promenade to enjoy the local performers and shops. -
Emotional Storytelling Choreography—A Look Into the Work of Mia Michaels
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2011 Emotional Storytelling Choreography—A Look Into The Work of Mia Michaels Bethany Emery Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/2534 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Bethany Lynn Emery 2011 All Right Reserved Emotional Storytelling Choreography—A Look Into The Work of Mia Michaels A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. by Bethany Lynn Emery M.F.A., Virginia Commonwealth University, 2011 M.A.R., Liberty Theological Seminary, 2003 BA, Alma College, 2001 Directors: Amy Hutton and Patti D’Beck, Assistant Professors, Department of Theatre Virginia Commonwealth University Richmond, Virginia July 2011 ii Acknowledgement The author would like to thank several people. I would like to thank my committee members Professor Amy Hutton, Dr. Noreen Barnes and Professor Patti D’Beck for sticking with me through this process and taking time during their summer plans to finish it out. I especially would like to thank Professor Hutton for her guiding hand, honest approach while also having an encouraging spirit. I would like to thank friends Sarah and Lowell for always being there for me though the happy and frustrating days. -
SBN 38723) 2 [email protected] Jonathan P
Electronically FILED by Superior Court of California, County of Los Angeles on 12/07/2020 05:09 PM Sherri R. Carter, Executive Officer/Clerk of Court, by L. Kulkin,Deputy Clerk 1 KINSELLA WEITZMAN ISER KUMP LLP Howard Weitzman (SBN 38723) 2 [email protected] Jonathan P. Steinsapir (SBN 226281) 3 [email protected] Suann MacIsaac (SBN 205659) 4 [email protected] Aaron Liskin (SBN 264268) 5 [email protected] Katherine T. Kleindienst (SBN 274423) 6 [email protected] 808 Wilshire Boulevard, Third Floor 7 Santa Monica, California 90401 Telephone: 310.566.9800 8 Attorneys for Defendants MJJ Productions, Inc., 9 and MJJ Ventures, Inc. 10 SUPERIOR COURT OF THE STATE OF CALIFORNIA 11 COUNTY OF LOS ANGELES - WESTERN DISTRICT LLP LOOR 12 UMP F 90401 K RD 3 , 13 WADE ROBSON, an individual, Case No. BC 508502 310.566.9850 310.566.9850 SER SER I AX F ALIFORNIA 14 Plaintiff, Assigned to Hon. Mark A. Young, Dept. M • C , OULEVARD B EITZMAN EITZMAN 15 DEFENDANTS’ NOTICE OF MOTION ONICA W M vs. AND MOTION FOR SUMMARY ILSHIRE 16 JUDGMENT OR, IN THE W 310.566.9800 ANTA S DOE 1, an individual; MJJ PRODUCTIONS, ALTERNATIVE, SUMMARY EL 808 T INSELLA INSELLA 17 INC., a California corporation; MJJ ADJUDICATION OF ISSUES; AND K VENTURES, INC., a California corporation; MEMORANDUM OF POINTS AND 18 and DOES 4-50, inclusive, AUTHORITIES IN SUPPORT 19 Defendants. RESERVATION ID: 131078496710 1 20 Submitted Concurrently With Defendants’ Separate Statement of Undisputed Facts 21 and Compendium of Evidence in Support of Motion for Summary Judgment 22 Date: February 24 2021 23 Time: 8:30 a.m. -
Dance II-III Lesson Plans 3Rd Six Weeks
Dance II-III Lesson Plans 3rd six weeks WEEK 1 Nov. 5 Jazz Dance History Notes (Power Point) Watch Video Clips Wade Robson Choreography, “Comanche” So You Think You Can Dance http://www.youtube.com/watch?v=3oKxsfOqBdg Steam Heat Choreography http://www.youtube.com/watch?v=hAKQauAfcZU Brian Freidman Choreography, “Hold it against me” Master Class @ Millennium Dance http://www.youtube.com/watch?v=pA0wnZctXCc Mandy Moore Choreography “Sweet Dreams” So You Think You Can Dance http://www.youtube.com/watch?v=CiowfK8L43Q Nov. 7 Warm- Up: Add body isolations Center: Review Pirouettes, Chaines Across Floor: Jazz walks (front & side), Chasse (right/ left & side), Leaps Nov. 9 Journal #1 Warm-up Center: Review previous technique; adding on: Pirouette prep #2, Ball-change, pivot turns Across Floor: Review previous technique; adding on: pirouettes, battements Jazz Combination: Song- “Put your Graffiti on me” Artist- Kat Graham WEEK 2 Nov. 13 8 Count Chart (Due: in class) Warm-up Center: Pirouettes, “X” leap Jazz Combination: Partner review, learn more Nov. 15 Journal #2 (Due: today) 8 Count Chart: Write first set of 3 (8’s) of jazz combination Warm-Up Center: Review previous technique Across Floor: Review previous technique Jazz Combination: Partner Review, learn more WEEK 3 Nov. 26 8 count chart: Write second set of 3 (8)’s of jazz combination Warm-up Center: Review all center work Across Floor: Review all across floor work Jazz Combo: Get in groups, review & start group choreography Nov. 28 8 count chart: Write third set of 3 (8’s) of jazz combination Warm- up Jazz Combo: review, group choreography Nov. -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965.