DOCSLIB.ORG

A History of Austin Ballet Theatre at the Armadillo World Headquarters

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A History of Austin Ballet Theatre at the Armadillo World Headquarters A HISTORY OF AUSTIN BALLET THEATRE AT THE ARMADILLO WORLD HEADQUARTERS A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF DANCE COLLEGE OF ARTS AND SCIENCES BY CAROLINE SUTTON CLARK, B.F.A., M.F.A. DENTON, TEXAS DECEMBER 2016 DEDICATION To my magical daughters, Gwendolyn and Genevieve. Thank you for all the hugs. May you always live life to the fullest. To all of the voices who could not be included. And, to Stanley, standing in the wings. “My dear, you did it!” iii ACKNOWLEDGMENTS I would first like to thank my committee chair, Dr. Linda Caldwell, for her enthusiasm, insight, and guidance throughout the process. She bravely undertook the journey with me throughout these several years. I would also like to thank my committee members past and present for their generosity and unwavering support: Dr. Rosemary Candelario, Professor Mary Williford-Shade, and Professor Jordan Fuchs. Dr. Penny Hanstein welcomed me into the program and instilled in me the skills to embark on a new life in research. The administrative assistant for the dance department at Texas Woman’s University, Penny Lewis, has not only been a joy to work with but also provided priceless insight from her own experiences. And, thank you to my cohort-mates, who have been a never-ending source of inspiration, brilliance, support, and humor. A special thank you goes to the McCorkle family who housed and fed me during my studies with not only the best of companionship, human and canine, but some of the most delicious food I’ve ever eaten. Thank you to the people I interviewed for this research. I am so honored to work with you. Thank you to my family, including Eldon, Beverly, Susan, Nancy, Chris, Gwendolyn, and Genevieve, plus David and Jeffrey, for sustaining and supporting me. Also, thank you to my wonderful dancer friends, too many to mention, for all the good times—especially at Café Dance. iv ABSTRACT CAROLINE SUTTON CLARK A HISTORY OF AUSTIN BALLET THEATRE AT THE ARMADILLO WORLD HEADQUARTERS DECEMBER 2016 The purpose of this qualitative historical inquiry is to investigate the performances of Austin Ballet Theatre at the Armadillo World Headquarters in Austin, TX from 1972 to 1980. Austin Ballet Theatre was an amateur ballet company performing classical and contemporary works at the Armadillo World Headquarters, a psychedelic music club. In addition to allowing for the composition of a historiography of this unusual pairing, the dissertation research results in multiple insights into an important, although largely unknown, period of cultural history in the Austin community. It also highlights how connections among diverse groups of people and practices not only iterated through the situation of practice then but continue to influence historical narratives about the ballet and how it is remembered. The research was conducted using an oral history methodology with 19 participants representing a variety of perspectives on these ballet performances. These interviewees included dancers, mothers of the dancers, visual artists for both the ballet and the Armadillo, Armadillo staff, the lighting designer for the ballet, a dance critic for the newspaper, and audience members. Some documents, mostly newspaper reviews and v articles along with playbills and broadsides, also emerged from the archives of the Austin History Center and the dancers’ private collections. The use of open-ended oral history methods resulted in a constellation of analytical themes surrounding what the participants identified as the most important aspects of this history: learning through performing, and making ballet accessible to the community. Further investigation of these themes resulted in the questioning of socio- cultural frames of ballet and how Austin Ballet Theatre’s practices functioned for dancers and audiences in this time and place. The dissertation also investigates the narrative, discursive condition of history composition through the creation of a historiographic metafiction about Austin Ballet Theatre at the Armadillo World Headquarters. The metafiction, included as an appendix, provides an alternative way of experiencing the data towards fulfilling the research purpose of representing the multi-layered processes of qualitative historical inquiry. This research therefore supports a world-making view of dance practices and considers how such a perspective impacts historical narratives. vi TABLE OF CONTENTS Page DEDICATION ............................................................................................................ iii ACKNOWLEDGMENTS .......................................................................................... iv ABSTRACT ................................................................................................................. v Chapter I. INTRODUCTION .................................................................................................... 1 Background: From Oral History ...................................................................... 1 Statement of the Research Purpose .................................................................. 3 The Meaning of Meaning ..................................................................... 4 Overview of the Scope of the Study .................................................... 4 Importance of the Study ....................................................................... 5 Structure ........................................................................................................... 7 Chapter Organization ........................................................................... 7 The Appendices ................................................................................... 8 Appendix A .............................................................................. 8 Appendix B .............................................................................. 8 The Appendix: Historiographic Metafiction .................................................... 8 II. METHODOLOGY ................................................................................................ 11 Toward a Research Approach ........................................................................ 11 Oral History Methodology ............................................................................. 14 Data Collection .............................................................................................. 16 Austin History Center ........................................................................ 16 Oral History Interviews ...................................................................... 19 Finding Participants ............................................................... 19 The Interview Process ............................................................ 21 Interview Techniques ................................................. 21 Transcription .............................................................. 25 Memorabilia as Emerging Documents ............................................... 26 Photographs and Video ...................................................................... 28 Data Analysis ................................................................................................. 29 vii Analytical Processes .......................................................................... 29 Trustworthiness .................................................................................. 32 Reflexivity and My Role as Researcher ......................................................... 33 My Positionality ................................................................................. 34 Shared Authority and Changing Recorded History ........................... 35 Representation ................................................................................................ 37 Chapter Organization ......................................................................... 37 A Note on Verb Tenses ...................................................................... 38 Alternative Representation ................................................................. 39 Inspiration .............................................................................. 39 Literature Review ................................................................... 40 Stephen Banks: The Argument for Fiction ................ 41 Linda Hutcheon: “Historiographic Metafiction” ....... 43 Leah McCormack: Historiographic Metafiction in Practice ....................................................................... 44 The Process of Writing Historiographic Metafiction ............. 47 Multiple Voices and Points of View .......................... 47 Verb Tenses ............................................................... 48 Creating Space for Details ......................................... 49 Placement in the Dissertation ..................................... 49 Conclusions .................................................................................................... 50 III. A HISTORIOGRAPHY OF AUSTIN BALLET THEATRE AT THE ARMADILLO WORLD HEADQUARTERS ..................................................... 54 Mid-20th Century Ballet History in Austin .................................................... 54 Austin Ballet Society ......................................................................... 54 “Mainly About Women” .......................................................
Load more

Recommended publications
  • Wallace Berman Aleph
    “Art is Love is God”: Wallace Berman and the Transmission of Aleph, 1956-66 by Chelsea Ryanne Behle B.A. Art History, Emphasis in Public Art and Architecture University of San Diego, 2006 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2012 ©2012 Chelsea Ryanne Behle. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: __________________________________________________ Department of Architecture May 24, 2012 Certified by: __________________________________________________________ Caroline Jones, PhD Professor of the History of Art Thesis Supervisor Accepted by:__________________________________________________________ Takehiko Nagakura Associate Professor of Design and Computation Chair of the Department Committee on Graduate Students Thesis Supervisor: Caroline Jones, PhD Title: Professor of the History of Art Thesis Reader 1: Kristel Smentek, PhD Title: Class of 1958 Career Development Assistant Professor of the History of Art Thesis Reader 2: Rebecca Sheehan, PhD Title: College Fellow in Visual and Environmental Studies, Harvard University 2 “Art is Love is God”: Wallace Berman and the Transmission of Aleph, 1956-66 by Chelsea Ryanne Behle Submitted to the Department of Architecture on May 24, 2012 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies ABSTRACT In 1956 in Los Angeles, California, Wallace Berman, a Beat assemblage artist, poet and founder of Semina magazine, began to make a film.
    [Show full text]
  • Psych Professor Sues for Promotion Econ Prof Blasted by Students
    Spartan Daily Serving the San Jose Statn University Community Since 1934 LUME 64 NUMBER 17 FRIDAY, FEBRUARY 28, 1975 PHONE: 277-3181 uncil decides Psych professor sues for promotion te of $64,000 Dr. Lenore Seltzer, associate representing Seltzer in the case, said in was still an assistant professor. Last year, when she was again not Robertson Jr., representing the professor of psychology, is seeking his opening statement to Judge Mar- A notation was made in her file at the promoted after five years, she filed suit university, claimed that any injustices A reversion immediate promotion to the rank of full shall Hall that SJSU officials violated time she was first put up for promotion in Superior Court. had been corrected by Seltzer's filing of professor in a lawsuit filed against the the U.S. Civil Rights Act in denying that she was not fully committed to her the grievance report and her promotion By Terry LaPorte university. Seltzer her promotion. assignment because of family Blacker said he intended to introduce in 1968. Council got back into the In Seltzer charged the university with normal cases, assistant professors responsibilities, Blacker charged. evidence to the trial that showed "Mrs. Promotion committees, he added, are ess of giving out money at its are bias in the trial that began Wednesday promoted to associate professor Seltzer's record was as good or better expected to make subjective esday meeting. after five After 11 years, Seltzer filed a and is seeking $20,000 in retroactive years and to full professor than those of her male colleagues who evaluations just as they did in Seltzer's November, the council has not grievence report and was promoted in ce salary and $30,000 in damages.
    [Show full text]
  • February 12 – 16, 2016
    February 12 – 16, 2016 danceFilms.org | Filmlinc.org ta b l e o F CONTENTS DA N C E O N CAMERA F E S T I VA L Inaugurated in 1971, and co-presented with Dance Films Association and the Film Society of Lincoln Center since 1996 (now celebrating the 20th anniversary of this esteemed partnership), the annual festival is the most anticipated and widely attended dance film event in New York City. Each year artists, filmmakers and hundreds of film lovers come together to experience the latest in groundbreaking, thought-provoking, and mesmerizing cinema. This year’s festival celebrates everything from ballet and contemporary dance to the high-flying world of trapeze. ta b l e o F CONTENTS about dance Films association 4 Welcome 6 about dance on camera Festival 8 dance in Focus aWards 11 g a l l e ry e x h i b i t 13 Free events 14 special events 16 opening and closing programs 18 main slate 20 Full schedule 26 s h o r t s p r o g r a m s 32 cover: Ted Shawn and His Men Dancers in Kinetic Molpai, ca. 1935 courtesy of Jacob’s Pillow Dance festival archives this Page: The Dance Goodbye ron steinman back cover: Feelings are Facts: The Life of Yvonne Rainer courtesy estate of warner JePson ABOUT DANCE dance Films association dance Films association and dance on camera board oF directors Festival staFF Greg Vander Veer Nancy Allison Donna Rubin Interim Executive Director President Virginia Brooks Liz Wolff Co-Curator Dance on Camera Festival Paul Galando Brian Cummings Joanna Ney Co-Curator Dance on Camera Festival Vice President and Chair of Ron
    [Show full text]
  • General Vertical Files Anderson Reading Room Center for Southwest Research Zimmerman Library
    “A” – biographical Abiquiu, NM GUIDE TO THE GENERAL VERTICAL FILES ANDERSON READING ROOM CENTER FOR SOUTHWEST RESEARCH ZIMMERMAN LIBRARY (See UNM Archives Vertical Files http://rmoa.unm.edu/docviewer.php?docId=nmuunmverticalfiles.xml) FOLDER HEADINGS “A” – biographical Alpha folders contain clippings about various misc. individuals, artists, writers, etc, whose names begin with “A.” Alpha folders exist for most letters of the alphabet. Abbey, Edward – author Abeita, Jim – artist – Navajo Abell, Bertha M. – first Anglo born near Albuquerque Abeyta / Abeita – biographical information of people with this surname Abeyta, Tony – painter - Navajo Abiquiu, NM – General – Catholic – Christ in the Desert Monastery – Dam and Reservoir Abo Pass - history. See also Salinas National Monument Abousleman – biographical information of people with this surname Afghanistan War – NM – See also Iraq War Abousleman – biographical information of people with this surname Abrams, Jonathan – art collector Abreu, Margaret Silva – author: Hispanic, folklore, foods Abruzzo, Ben – balloonist. See also Ballooning, Albuquerque Balloon Fiesta Acequias – ditches (canoas, ground wáter, surface wáter, puming, water rights (See also Land Grants; Rio Grande Valley; Water; and Santa Fe - Acequia Madre) Acequias – Albuquerque, map 2005-2006 – ditch system in city Acequias – Colorado (San Luis) Ackerman, Mae N. – Masonic leader Acoma Pueblo - Sky City. See also Indian gaming. See also Pueblos – General; and Onate, Juan de Acuff, Mark – newspaper editor – NM Independent and
    [Show full text]
  • Cumulated Bibliography of Biographies of Ocean Scientists Deborah Day, Scripps Institution of Oceanography Archives Revised December 3, 2001
    Cumulated Bibliography of Biographies of Ocean Scientists Deborah Day, Scripps Institution of Oceanography Archives Revised December 3, 2001. Preface This bibliography attempts to list all substantial autobiographies, biographies, festschrifts and obituaries of prominent oceanographers, marine biologists, fisheries scientists, and other scientists who worked in the marine environment published in journals and books after 1922, the publication date of Herdman’s Founders of Oceanography. The bibliography does not include newspaper obituaries, government documents, or citations to brief entries in general biographical sources. Items are listed alphabetically by author, and then chronologically by date of publication under a legend that includes the full name of the individual, his/her date of birth in European style(day, month in roman numeral, year), followed by his/her place of birth, then his date of death and place of death. Entries are in author-editor style following the Chicago Manual of Style (Chicago and London: University of Chicago Press, 14th ed., 1993). Citations are annotated to list the language if it is not obvious from the text. Annotations will also indicate if the citation includes a list of the scientist’s papers, if there is a relationship between the author of the citation and the scientist, or if the citation is written for a particular audience. This bibliography of biographies of scientists of the sea is based on Jacqueline Carpine-Lancre’s bibliography of biographies first published annually beginning with issue 4 of the History of Oceanography Newsletter (September 1992). It was supplemented by a bibliography maintained by Eric L. Mills and citations in the biographical files of the Archives of the Scripps Institution of Oceanography, UCSD.
    [Show full text]
  • 2021 Transpacific Yacht Race Event Program
    TRANSPACTHE FIFTY-FIRST RACE FROM LOS ANGELES 2021 TO HONOLULU 2 0 21 JULY 13-30, 2021 Comanche: © Sharon Green / Ultimate Sailing COMANCHE Taxi Dancer: © Ronnie Simpson / Ultimate Sailing • Hamachi: © Team Hamachi HAMACHI 2019 FIRST TO FINISH Official race guide - $5.00 2019 OVERALL CORRECTED TIME WINNER P: 808.845.6465 [email protected] F: 808.841.6610 OFFICIAL HANDBOOK OF THE 51ST TRANSPACIFIC YACHT RACE The Transpac 2021 Official Race Handbook is published for the Honolulu Committee of the Transpacific Yacht Club by Roth Communications, 2040 Alewa Drive, Honolulu, HI 96817 USA (808) 595-4124 [email protected] Publisher .............................................Michael J. Roth Roth Communications Editor .............................................. Ray Pendleton, Kim Ickler Contributing Writers .................... Dobbs Davis, Stan Honey, Ray Pendleton Contributing Photographers ...... Sharon Green/ultimatesailingcom, Ronnie Simpson/ultimatesailing.com, Todd Rasmussen, Betsy Crowfoot Senescu/ultimatesailing.com, Walter Cooper/ ultimatesailing.com, Lauren Easley - Leialoha Creative, Joyce Riley, Geri Conser, Emma Deardorff, Rachel Rosales, Phil Uhl, David Livingston, Pam Davis, Brian Farr Designer ........................................ Leslie Johnson Design On the Cover: CONTENTS Taxi Dancer R/P 70 Yabsley/Compton 2019 1st Div. 2 Sleds ET: 8:06:43:22 CT: 08:23:09:26 Schedule of Events . 3 Photo: Ronnie Simpson / ultimatesailing.com Welcome from the Governor of Hawaii . 8 Inset left: Welcome from the Mayor of Honolulu . 9 Comanche Verdier/VPLP 100 Jim Cooney & Samantha Grant Welcome from the Mayor of Long Beach . 9 2019 Barndoor Winner - First to Finish Overall: ET: 5:11:14:05 Welcome from the Transpacific Yacht Club Commodore . 10 Photo: Sharon Green / ultimatesailingcom Welcome from the Honolulu Committee Chair . 10 Inset right: Welcome from the Sponsoring Yacht Clubs .
    [Show full text]
  • 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 ................................................................................
    [Show full text]
  • Discovering the Lost Race Story: Writing Science Fiction, Writing Temporality
    Discovering the Lost Race Story: Writing Science Fiction, Writing Temporality This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia 2008 Karen Peta Hall Bachelor of Arts (Honours) Discipline of English and Cultural Studies School of Social and Cultural Studies ii Abstract Genres are constituted, implicitly and explicitly, through their construction of the past. Genres continually reconstitute themselves, as authors, producers and, most importantly, readers situate texts in relation to one another; each text implies a reader who will locate the text on a spectrum of previously developed generic characteristics. Though science fiction appears to be a genre concerned with the future, I argue that the persistent presence of lost race stories – where the contemporary world and groups of people thought to exist only in the past intersect – in science fiction demonstrates that the past is crucial in the operation of the genre. By tracing the origins and evolution of the lost race story from late nineteenth-century novels through the early twentieth-century American pulp science fiction magazines to novel-length narratives, and narrative series, at the end of the twentieth century, this thesis shows how the consistent presence, and varied uses, of lost race stories in science fiction complicates previous critical narratives of the history and definitions of science fiction. In examining the implicit and explicit aspects of temporality and genre, this thesis works through close readings of exemplar texts as well as historicist, structural and theoretically informed readings. It focuses particularly on women writers, thus extending previous accounts of women’s participation in science fiction and demonstrating that gender inflects constructions of authority, genre and temporality.
    [Show full text]
  • 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.
    [Show full text]
  • 2016 Winter/Spring Season JAN 2016
    2016 Winter/Spring Season JAN 2016 Elizabeth Murray, If Only Cup, 1997—98 Published by: Season Sponsor: BAM 2016 Winter/Spring Brooklyn Academy of Music Katy Clark, President Joseph V. Melillo, Executive Producer Borough of Brooklyn Eric L. Adams, President The 30th Annual Brooklyn Tribute to and Medgar Evers College City University of New York Dr. Martin Luther King, Jr. BAM Howard Gilman Opera House January 18, 2016 at 10:30am Keynote speaker Dr. Michael Eric Dyson Performers The Brooklyn Interdenominational Choir Kimberly Nichole The tribute will be followed by a screening in BAM Rose Cinemas of the film The Black Panthers: Vanguard of the Revolution (2015), directed by Stanley Nelson Season Sponsor: Target is the presenting sponsor of the Annual Dr. Martin Luther King, Jr. Tribute Support for the Signature Artist Series provided by The Howard Gilman Foundation. Tribute to Dr. Martin Luther King, Jr. Dr. Martin Luther King, Jr. I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character. —Dr. Martin Luther King, Jr. Born on January 15, 1929 in Atlanta, GA, Dr. Martin Luther King, Jr. was a man who devoted his life to the fight for full citizenship rights of the poor, disadvantaged, and racially oppressed in the United States. After receiving a BS in 1948 from Morehouse College, a BD in 1951 from Crozer Theo- logical Seminary, and a PhD in 1955 from Boston University, Dr. King became pastor of the Dexter Avenue Baptist Church in Montgomery, AL.
    [Show full text]
  • Dance Majors
    Ready to take the leap? DANCE MAJORS: Supporting positioned for success Dance studies at Walnut Hill provide a solid foundation for the continuation of artistic pursuits while also developing skills like YOUNG ARTISTS confidence, collaboration, and persistence that will serve you well in any number of future endeavors. We couple those skills We’re guessing that you already have a passion for dance with a rigorous academic program, and as a result, you are in one (or several) of its many forms: ballet, modern dance, poised for success. jazz. Maybe you’ve been a “dance kid” for years and gravitate Walnut Hill Dance students have continued their studies toward other like-minded kids, or maybe it’s something that at some of the world’s best colleges, conservatories, and has more recently taken hold of you. companies including: Whether your love for dance is long-standing or somewhat more recent, we thought we’d start from first position to give Alberta Ballet The Juilliard School you an idea of what it’s like to be a Dance major at Walnut Hill Alvin Ailey Dance Theater Kansas City Ballet School for the Arts, and show you where an education here at Barnard College Nashville Ballet Walnut Hill can take you. Ballet Austin National Ballet of Canada Boston Ballet New York City Ballet The Boston Conservatory Orlando Ballet Boston University Pacific Northwest Ballet Ballet Hispanico Pennsylvania Ballet Ballet San Antonio Princeton University Butler University Purchase College (SUNY) Colorado Ballet Richmond Ballet Complexions Contemporary Royal
    [Show full text]
  • Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
    Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town.
    [Show full text]