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A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond
A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond If you walk on and on, you get to your destination. If you question much, you get your information. If you do not sleep and idle, you preserve your life! (Maung Htin Aung 1959:87) So go the three lines of wisdom offered to the lazy student Maung Pauk Khaing in the well- known eponymous folk tale. A group of impoverished village youngsters, led by their teacher Daw Khin Thida, adapted the tale in 2007 in their first attempt to perform a play. From a well-to-do family that does not understand her philanthropic impulses, Khin Thida, an English teacher by profession, works at her free school in Insein, a suburb of Yangon (Rangoon) infamous for its prison. The shy students practiced first in Burmese for their village audience, and then in English for some foreign donors who were coming to visit the school. Khin Thida has also bought land in Bagan (Pagan) and is building a culture center there, hoping to attract the street children who currently pander to tourists at the site’s immense network of temples. TDR: The Drama Review 53:1 (T201) Spring 2009. ©2009 New York University and the Massachusetts Institute of Technology 93 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram.2009.53.1.93 by guest on 02 October 2021 I first met Khin Thida in 2005 at NICA (Networking and Initiatives for Culture and the Arts), an independent nonprofit arts center founded in 2003 and run by Singaporean/Malaysian artists Jay Koh and Chu Yuan. -
Mid Island Performing Arts Festival Preamble 2 Aims of the Association
1 MID ISLAND PERFORMING ARTS FESTIVAL PREAMBLE AIMS OF THE ASSOCIATION The Mid Island Performing Arts Festival is a volunteer-run, non-profit society whose purpose is to advance, promote and develop the Musical Competition Festival movement and to encourage the study and practice of music, dancing, and speech & dramatic arts. For more than 90 years, we have been organizing an annual festival to carry out these aims in Nanaimo and for the surrounding area. We quote from the Digest Report of the Federation of Canadian Musical Festivals: “Competition is essential in the conduct of a Festival. No non-competitive means can raise the same standard of performance to the same degree or create the same interest in striving to attain the highest levels of performance and appreciation. Competition is a means to an end and is not to be stressed to the exclusion of the Festival spirit. It is a means of pacing one another on the road to excellence and is to arise above rivalry.” The Festival spirit may be defined as the joy of participating with others in seeking the highest levels in the art of music and kindred arts. Inculcating this spirit in competitors, the audience, and the community is a priority for all those responsible for the operation of the Festivals. MIPAF gives a sincere welcome and thank-you to all those participating in this year’s festival: • our sponsors and patrons whose generosity makes our festival possible; • the performers who have practiced so diligently for the occasion; • the teachers who have worked so hard to prepare their students; • the adjudicators who have taken time out of busy schedules to offer their friendly critiques, give encouragement and share their knowledge; • an appreciative audience that ensures a successful festival by providing incentive to the performers. -
Rhythmic Foundation and Accompaniment
Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression. -
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. -
DE PLAYERAS Y SEGUIDILLAS La Seguiriya Y Su Legendario Nacimiento
DE PLAYERAS y SEGUIDILLAS La Seguiriya y su legendario nacimiento Guillermo Castro Buendía Musicólogo especializado en Flamenco Introducción En el flamenco, parece que nunca está dicha la última palabra en materia de investigación. En pleno siglo XXI, a nosotros todavía nos asaltan dudas en aspectos relacionados con el origen musical de algunos palos, sobre todo de los primeros en formarse: es el caso de la seguiriya. En este trabajo vamos a hacer un análisis de las músicas que sirvieron de soporte a los diferentes tipos estróficos cultivados en la seguiriya, para intentar comprender el origen musical y desarrollo de este singular e importante estilo, uno de los puntales del género flamenco. Para ello utilizaremos los documentos musicales que hemos podido encontrar desde principios del siglo XIX, época aún preflamenca, hasta principios del siglo XX, momento en que la seguiriya ya se encontraba plenamente definida y estructurada desde el punto de vista flamenco. Igualmente, realizaremos un profuso estudio de los metros que aparecen en la seguiriya, siendo éste un aspecto muy particular e importante –creemos nosotros– dentro de la transmisión oral y, en particular, de este estilo flamenco. Recomendamos la impresión de este extenso trabajo para una mayor comodidad de lectura. Hemos incluido un índice al final (pág. 150) para facilitar el acceso a los diferentes puntos del mismo. Preliminares ―Lo flamenco‖ Uno de los problemas que arrastra el flamenco en su faceta de investigación es la propia definición de ―lo flamenco‖, y su aplicación en las distintas etapas que como arte ha venido desarrollando. Es evidente que ―lo flamenco‖ desde el punto de vista musical, no fue igual a mediados del siglo XIX que a finales, o ya entrado el siglo XX, y no digamos en las últimas décadas del pasado siglo. -
The Low Countries. Jaargang 11
The Low Countries. Jaargang 11 bron The Low Countries. Jaargang 11. Stichting Ons Erfdeel, Rekkem 2003 Zie voor verantwoording: http://www.dbnl.org/tekst/_low001200301_01/colofon.php © 2011 dbnl i.s.m. 10 Always the Same H2O Queen Wilhelmina of the Netherlands hovers above the water, with a little help from her subjects, during the floods in Gelderland, 1926. Photo courtesy of Spaarnestad Fotoarchief. Luigem (West Flanders), 28 September 1918. Photo by Antony / © SOFAM Belgium 2003. The Low Countries. Jaargang 11 11 Foreword ριστον μν δωρ - Water is best. (Pindar) Water. There's too much of it, or too little. It's too salty, or too sweet. It wells up from the ground, carves itself a way through the land, and then it's called a river or a stream. It descends from the heavens in a variety of forms - as dew or hail, to mention just the extremes. And then, of course, there is the all-encompassing water which we call the sea, and which reminds us of the beginning of all things. The English once labelled the Netherlands across the North Sea ‘this indigested vomit of the sea’. But the Dutch went to work on that vomit, systematically and stubbornly: ‘... their tireless hands manufactured this land, / drained it and trained it and planed it and planned’ (James Brockway). As God's subcontractors they gradually became experts in living apart together. Look carefully at the first photo. The water has struck again. We're talking 1926. Gelderland. The small, stocky woman visiting the stricken province is Queen Wilhelmina. Without turning a hair she allows herself to be carried over the waters. -
Experience It All
World Dance Challenge – Experience It All World Dance Challenge is an exciting international dance event specifically for dance schools and studios from all over the world. A complete dance experience in an Olympic style dancers village for dancers of all different standards. COMPETE in multiple rounds against dancers and groups from dance schools all over the world. LEARN and improve your skills by taking various Masterclasses, Workshops and more with leading dance experts. ENJOY traveling to a new destination, opening ceremony, DJ parties, day tours, leisure time and fun with your dance friends and family. How does it work? . Qualify with your dance school/studio either at your Live Country Qualifier, Online Video Qualifier or through a Dance World Cup live qualifier. Dancers who qualified wishing to compete at the World Championships are then required to select one of the affordable dancer’s packages. There are optional packages for supporters as well. The packages include accommodation, tickets, workshops, team jackets, photos and videos of your performances and much more. (See Packages Information Document) . Travel with your dance school/studio and family to Portugal where the WDC World Championships will be held from 3 to 8 April 2020 at a breath-taking resort turned into a dancers village in the Algarve. Spend some optional extra time after the event during Easter weekend in Portugal exploring this beautiful country. Compete in the first round, the Challenger round. If you receive a top placing, you move through to the Finals round. The top 25 routines from the Finals round move on to the Grand World Champion round where massive cash prize and awards are up for grabs. -
Danc-Dance (Danc) 1
DANC-DANCE (DANC) 1 DANC 1131. Introduction to Ballroom Dance DANC-DANCE (DANC) 1 Credit (1) Introduction to ballroom dance for non dance majors. Students will learn DANC 1110G. Dance Appreciation basic ballroom technique and partnering work. May be repeated up to 2 3 Credits (3) credits. Restricted to Las Cruces campus only. This course introduces the student to the diverse elements that make up Learning Outcomes the world of dance, including a broad historic overview,roles of the dancer, 1. learn to dance Figures 1-7 in 3 American Style Ballroom dances choreographer and audience, and the evolution of the major genres. 2. develop rhythmic accuracy in movement Students will learn the fundamentals of dance technique, dance history, 3. develop the skills to adapt to a variety of dance partners and a variety of dance aesthetics. Restricted to: Main campus only. Learning Outcomes 4. develop adequate social and recreational dance skills 1. Explain a range of ideas about the place of dance in our society. 5. develop proper carriage, poise, and grace that pertain to Ballroom 2. Identify and apply critical analysis while looking at significant dance dance works in a range of styles. 6. learn to recognize Ballroom music and its application for the 3. Identify dance as an aesthetic and social practice and compare/ appropriate dances contrast dances across a range of historical periods and locations. 7. understand different possibilities for dance variations and their 4. Recognize dance as an embodied historical and cultural artifact, as applications to a variety of Ballroom dances well as a mode of nonverbal expression, within the human experience 8. -
Acro Vs. Gymnastics: What's the Difference?
Acro vs. Gymnastics: What’s the Difference? The simple answer is, there are LOTS of differences! If you’ve ever watched a gymnastics floor routine, you’ll notice the hard-hitting, advanced tumbling lines, executed with power and precision. Gymnasts focus on “sticking the landing”, because every fall, wobble, or off-step is a deduction to their overall score and can be the difference between winning and losing. Acro Dance is an art form specifically designed for dancers. Acro has softer, more lyrical-looking lines, with emphasis on lengthening “through” the tricks and holding beautiful balances with interesting variations. The focus is on seamlessly blending acrobatics with dance, and avoiding obvious preparations before each trick. In short, Gymnastics is a sport; Acro Dance is an art form. Gymnasts train on a sprung-floor, with actual springs built into the mats: a forgiving surface to repeatedly practice advanced tumbling passes on over and over again. Acro Dancers perform on a hard stage, and must train the body to withstand the impact of the floor. Dancers don’t get the “rebound” action out of a hard floor like gymnasts do out of a spring-floor. Therefore, dancers train to get the necessary lift from their bodies, and emphasis on a strong “hub” (hips, glutes, core) is a must. Gymnastics tricks are usually performed in a “hollow-body” position (think: laying down on the back in a “banana” position with the arms and legs hovering off the ground; chin tucked; pulling in through the core). Acro tricks are usually performed in an “open-body” position (think: laying down on the stomach in a “superman” position with the arms and legs lengthening and hovering off the ground; chin open and looking past the fingertips). -
Dance Music Visual Arts
2021-2022 Aberdeen Recreation and Cultural Center ARCC ARCC ARCC Dpg.4-9ance Visualpg.10 Arts Musicpg.11 REGISTRATION // CLASS SCHEDULES // IMPORTANT DATES General Information REGISTRATION Registration begins Tuesday, August 3, 2021 from 7am-5pm and will continue weekdays 8am-5pm until the start of classes. Register in person Register over the phone Register online* 225 3rd Ave SE, Aberdeen (605) 626-7081 https://webtracaberdeensd.us *Only available through Sept. 9th TUITION & BILLING ACTIVITY ASSISTANCE AVAILABLE Reduced fee tuition is available for youth 17 years of Tuition for classes and lessons is an annual fee for age and under from qualified low-income families. a set number of classes or lessons that is paid Youth who are eligible to participate in the program in monthly installments. Sales tax will be added may sign up for any department activity, class or at the time of payment. Scheduled days off are youth season pass at a 70% discount. factored into the calendar. For more information contact the Parks, Recreation MONTHLY INSTALLMENT and Forestry office at626-7015 . This discount may PAYMENT SCHEDULE not be combined with other discounts. Payments G-I are added to accounts in late January – early February for your convenience. Due dates remain as listed below. Payment A: Upon Registration ARCC PROGRAM POLICIES Payment B: September 20th For the complete ARCC program policies, please Payment C: October 20th see the Information and Registration Handbooks. Payment D: November 20th Copies are available at registration, the ARCC desk -
Dayton-Results-2021.Pdf
Dayton, OH Hollywood Mini/Junior VIP List 1 Comic Strip Encore Performing Arts 2 Big Noise Mpower Dance Company 3 Reach Out Encore Performing Arts 4 Selah Mpower Dance Company 5 That's How We Do Encore Performing Arts 6 Yaow Mpower Dance Company 7 Rescue Mpower Dance Company 8 Nerd Alert Cole Academy 9 Me And The Devil Movement Emporium 10 Ms. Jackson Cole Academy Hollywood Teen/Senior VIP List 1 My Way Planet Dance Cincinnati 2 Adios Rapture Dance Company 3 Open Hands Next Generation Dance 4 Let's Go Planet Dance Cincinnati 5 I Did Something Bad Mpower Dance Company 6 Everything You Meant To Me Rapture Dance Company 7 Horizon Planet Dance Cincinnati 8 Lonesome Town Movement Emporium 9 Feel It Still Next Generation Dance 10 L.o.v.e. Cole Academy Best Hollywood Studio Mpower Dance Company Broadway Mini/Junior VIP List 1 What You Want Encore Performing Arts 2 You Are Not Alone Encore Performing Arts 3 A Cover Is Not A Book Encore Performing Arts 4 Save A Horse Encore Performing Arts 5 Step In Time Fit 4 Kidz 6 Who Says Encore Performing Arts 7 I Get To Love You Barbara Ann's School of Dance/Creative Edge 8 Somewhere Encore Performing Arts 9 A Little Wicked Bella Rosa Dance Academy 10 Jump Barbara Ann's School of Dance/Creative Edge Broadway Teen/Senior VIP List 1 Someone In The Crowd Encore Performing Arts 2 Lovely Day Wilmington Performing Arts Studio 3 At The End Of The Day Rapture Dance Company 4 I Stand Fit 4 Kidz 5 Where's Waldo Encore Performing Arts 6 What's Going On Transitions School of Dance 7 Mission Impossible Encore Performing -
Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART