DOCSLIB.ORG

Qurrat Ann Kadwani: Still Calling Her Q!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Qurrat Ann Kadwani: Still Calling Her Q! 1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. Luke’s Theatre ► August (40) 308 West 46th Street (just west of Eighth Avenue), Manhattan (map/directions) ► July (42) ► June (33) Posted by Eva Yaa Asantewaa at 11:03 AM ▼ May (64) +1 Recommend this on Google We're Dancing While Black. And we're Labels: comedy, humor, immigration, India, monologue, Off Broadway, Qurrat Ann Kadwani, race, St. Luke's Theatre, the golden. Bronx, theater Sam Greenlee, 83 Naturally Jen Rosenblit No comments: Fujiko Nakaya: Artist of fog Post a Comment Mysteries of light: new work by Anne Newer Post Home Older Post Zuerner at Th... Maya Angelou, 86 Subscribe to: Post Comments (Atom) [UPDATE] Massimo Vignelli, 83 Copyright notice Stormé DeLarverie, 93 Copyright © 2007-2015 Eva Yaa Asantewaa [UPDATE] All Rights Reserved Fire guts library at Glascow School of Art Popular Posts Black poetry, Black infinity Paloma McGregor builds her net...for us Yesterday, I started thinking about how dance artists should market their genius for adaptability, for doing more Herb Jeffries, 100 with less. I've also b... William Forsythe to step down from artistic Got rhythm? direct... IN 1890, the American psychologist William James famously likened our conscious experience to the flow of a stream. “A ‘river’ or a ‘str... Ballet's Cynthia Harvey initiates program to help ... Arthur Gelb, 90 New dances by Bartosik and Crossman at Abrons Arts Center Kate Peila: In "lessons Above and below: Scenes from Kimberly Bartosik's Ecsteriority4 (Part 2) (photos: Ryutaro learned" post, Harwell Mishima) In a human environment, propul... ign... Gordon Willis, 82 Indigenous dance and Traveling the many worlds of Sidra Bell Dance New York music of Black Left to right: Austin Diaz, Rebecca Margolick, Jonathan Campbell and Alexandra Johnson of Cockatoo at As... Sidra Bell Dance New York in Unidentifiable; B... Abdel R. Salaam to succeed Chuck Davis as head of ... HOWDOYOUSAYYAMI Maggie Black, 85 NAFRICAN? Maggie Black, Teacher to the Stars of Ballet and Modern Dance, Dies at 85 by Sam Roberts , The New York collective pulls work Times , May 21, 2105 fro... Anne Meara, 85 Pace University to launch of performing Anne Meara, Comedian and Actress, Dies at 85 by Peter Keepnews , The New York Times , May 24, 2015 arts schoo... PJ Paparelli, 40 New Victory Theater to American Theater Company Artistic Director PJ Paparelli Dies at 40 by BWW News Desk, BroadwayWorld.com offer summer dance , May 21, 2015 program ... City College plans #SayHerName and the value of art over politics expanded arts Poet Aja Monet Confronts Police Brutality Against Black Women With #SayHerName by Maddie Crum and Irina programming Dvalidze , The Huffington Post , M... Nancy Malone, 79 Upper Manhattan's dance advocates speak out Mary Stewart, 97 Look who's speaking out for dance! Above: Nia Love Below: Charmaine Warren 47 notable leaders and local residents of Upper Ma... Flamenco great Farruquito comes to NYU Skirball, J... Mix it up with Eva's "Nice" List: Most memorable arts experiences of 2013 Performance Mix, Eva Yaa Asantewaa's "Nice" List: Most memorable arts experiences of 2013 Unlike the dozens June 10-15 at of "10 Best" list... HERE... Remembering photojournalist Camille Lepage Al Aswany on the Labels subversive dance of women #sandydance (1) Dreaming the porous (le) poisson rouge (1) boundaries 1000passions (2) Dimitri from Paris: 2010 (1) Tribute to Frankie Knuckles 277danceproject (1) H. R. Giger, 74 2econdStageTheatre (1) 3-Legged Dog (1) Malik Bendjelloul, 36 30 Seconds of Dance (4) Summer begins with 37 Arts (3) Spain's Buika in Central Park 3CW 3 Controversial Women (1) 3D (7) Feminism: fierce and French: Join the 3LD Art and Technology Center (3) conversation... 3rd Ward (2) Apply for 2014-2015 4Hero (1) Queer/Art/Mentorship 5 Magazine (1) program 60x60 Dance (1) Programming a lesbian play? Well, we'll just 651 Arts (22) shut ... 9/11 (7) Artists step up: creativity 92nd St Y Harkness Dance Center (4) in social practice 92nd Street Y (24) Charles Marowitz, 82 92nd Street Y Harkness Dance Festival (4) New York Theater Ballet 92Y (17) relocates operations 92YTribeca (5) to St... 99% (1) HyperISH: Taking it from street to stage A Beautiful Child (1) a canary torsi (1) Joe Wilder, 92 A Chorus Line (2) How do we define feminist liberation? A Gathering of the Tribes (2) A Nia Austin-Edwards (3) Round-up: Turkish activism; Akerman A Prize Every Time (1) closes in on B... A Time to Dance (1) Maria Lassnig, 94 A. H. Dance Company (1) Farley Mowat, 92 A. Nia Austin-Edwards (4) She's back! Jaime A. O. Scott (7) Shearn Coan sees A.L. Steiner (1) taisha paggett ... A.O. Scott (10) Qurrat Ann Kadwani: Aakash Odedra (1) Still calling her Q! Aaron Davis Hall (8) Great opportunity for Aaron Marcellus (1) cultural journalists interes... Aaron Mattocks (5) Junot Diaz: Lift all the Aasif Mandvi (1) voices of our nation Abanar (1) Jack Agüeros, 76 Abbey Lincoln (3) Tribute to Isadora Abby Zbikowski (1) Duncan at historic ABC News (1) Green-Wood C... Abdel Salaam (2) The music is playing Abdellatif Kechiche (2) me: the great Sonny Rollins e... Abdullah Ibrahim (1) Abe Abraham (2) Striking sound: Dance meets percussion at Abigail DeVille (1) Japan So... Abigail Levine (1) Anthony Drexel Duke, Abigail Tucker (1) 95 Aborigines (6) Juan Formell, 71 Abraham Lincoln (3) Marsha Mehran, 36 Abraham.In.Motion (4) Nicholas Martin, 75 Abrons Arts Center (41) New York Live Arts Absence Presence (1) presents Buffard's Abstract Expressionism (4) "Baron Samed... Abu Dhabi (1) Howard Smith, 77 academese (1) Nan Rosenthal, 76 academia (18) Dennis Kamakahi, 61 Academy Awards (16) The consequences of Academy of American Poets (6) men: Gutierrez and Academy of Ancient Music (1) Mahar at th... Academy of Motion Picture Arts and Sciences (2) Mentorship is key: ACCIDENTAL MOVEMENT/Mariangela López (1) dance artists Rosenblit and Pat... Aceh (1) Al Feldstein, 88 ACME (1) acrobatics (12) ► April (54) ACT UP (4) ► March (57) actiing (1) ► February (70) acting (81) ► January (80) active imagination (3) activism (204) ► 2013 (616) Actor's Equity (1) ► 2012 (603) actors (7) ► 2011 (719) Adair Smith (1) ► 2010 (868) Adam Cuthbért (1) ► 2009 (591) Adam Overton (1) Adam Rapp (1) ► 2008 (657) Adams Company Dance (2) ► 2007 (232) addiction (7) Adele (1) Adia Tamar Whitaker (2) Adny Horwitz (1) Adrian Clark (1) Adrian Piper (1) Adrienne Edwards (4) Adrienne Rich (1) Adrienne Truscott (3) Adrienne Westwood (4) adventure (1) advertising (1) advocacy (1) Adèle Exarchopolous (1) Aeclectic.net (1) aerial dance (11) Aesha Ash (4) aesthetics (2) affordable housing (7) affordable work space (3) Afghan Women's Writing Project (1) Afghanistan (12) Afrian American (1) Africa (70) African (9) African American (175) African Americans (188) African Americans. Race (1) African Ancestral Lesbians United for Societal Change (1) African Burial Ground National Monument (2) African dance (25) African diaspora (44) African music (13) African Voices (1) Afrika Bambaataa (1) Afro-Atlantic (2) Afro-Brazilian (5) Afro-Caribbean (43) Afro-Cuban (12) Afro-Cuban jazz (3) Afro-Europe (1) Afro-Haitian dance (5) Afro-Latin jazz (1) Afro-Latino (7) Afro-Peruvian (2) Afro-Puerto Rican (1) Afrobeat (10) Afrofuturism (4) Afropunk (1) aging (8) Agnes Varis Performing Arts Center (3) Agnes Varis Trust (1) agriculture (2) Ai (1) Ai Weiwei (16) Aileen Passloff (1) Ailey Citigroup Theater (2) Ailey II (4) Aimé Césaire (1) Air America (1) airlines (1) Aisha Cousins (1) AJ Blandford (1) Aja Monet (1) Akamarukyugyosho (1) Aki Sasamoto (5) Akim Funk Buddha (1) Akram Khan (4) Aktina Stathaki (2) Al Heyward (1) Alaa Al Aswany (1) Alain Buffard (2) Alaine Handa (1) Alan Alda (2) Alan Alda Center for Communicating Science (1) Alan Cumming (1) Alan Govenar (1) Alan M. Kriegsman (1) Alan Sparhawk (1) Alarm Will Sound (1) Alaska (3) Alaska Native (2) Alastair Macaulay (27) Albania (1) Albert David (1) Alberto Alonso (1) album release (1) Alcatraz (1) alchemy (2) Alchemy Dance Theatre (2)
Load more

Recommended publications
  • 2019-2020 Season Overview JULY 2020
    ® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report.
    [Show full text]
  • Announcement
    Announcement 56 articles, 2016-05-25 18:01 1 venice architecture biennale: antarctic pavilion the pavilion will showcase visuals that underline possibilities of new (0.01/1) forms of architecture, planning, thinking for the vast tundra. 2016-05-25 10:40 1KB www.designboom.com 2 Lee Kit: Hold your breath, dance slowly “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to (0.01/1) nook, you find yourself doing just that: holding your... 2016-05-25 12:13 836Bytes blogs.walkerart.org 3 alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors highlighting the french creative's meticulously practical approach to artistic design, the 'LM1 silberstein' is serious watchmaking. seriously playful. 2016-05-25 16:01 8KB www.designboom.com 4 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional context... 2016-05-25 13:00 972Bytes blogs.walkerart.org 5 On the Gaze in the Era of Visual Salamis Our attention is not focused on a singular image, but is distributed along the image’s path. 2016-05-25 17:13 12KB rhizome.org 6 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances.
    [Show full text]
  • Investigating the Constitutive Properties of Antony Tudor's Dark Elegies
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of North Carolina at Greensboro What Constitutes a Dance?: Investigating the Constitutive Properties of Antony Tudor's Dark Elegies By: Ann Dils Dils, A. (1993) What Constitutes a Dance?: Investigating the Constitutive Properties of Antony Tudor's Dark Elegies, Dance Research Journal 24 (2), 17-31. Made available courtesy of University of Illinois Press: http://www.press.uillinois.edu/journals/drj.html ***Note: Figures may be missing from this format of the document These papers were originally given as a panel entitled What Constitutes a Dance at the 1989 Congress on Research in Dance Conference in Williamsburg, Virginia. Panelists selected Antony Tudor's 1937 Dark Elegies as a case study and basis for examining general questions regarding elements to be considered in identifying a dance work. Several issues and occurrences inspired panel members, such as recent interest in revivals of dance works from the beginning of this century and scholarly debate about issues related to directing dance from Labanotation scores. While Nelson Goodman's 1968 book Languages of Art served as a theoretical springboard for discussion, Judy Van Zile's 1985-86 article "What is the Dance? Implications for Dance Notation" proved a thought-provoking precedent for this investigation. The term "constitutive" comes from Goodman's work and is one of several ideas discussed in Languages of Art that are important to dance notation. For Goodman, the purpose of notation is to identify a work and specify its essential properties. These essential properties are constitutive; el- ements of a work that can be varied without disturbing the work's identity are "contingent" (p.
    [Show full text]
  • The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’S Split Sides
    Spring 2012 Ball et Review The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’s Split Sides . © 2012 Dance Research Foundation, Inc. All rights reserved. 4 Moscow – Clement Crisp 5 Chicago – Joseph Houseal 6 Oslo – Peter Sparling 9 Washington, D. C. – George Jackson 10 Boston – Jeffrey Gantz 12 Toronto – Gary Smith 13 Ann Arbor – Peter Sparling 16 Toronto – Gary Smith 17 New York – George Jackson Ian Spencer Bell 31 18 The Caramel Variations Darrell Wilkins 31 Malakhov’s La Péri Francis Mason 38 Armgard von Bardeleben on Graham Don Daniels 41 The Iron Shoe Joel Lobenthal 64 46 A Conversation with Nicolai Hansen Ballet Review 40.1 Leigh Witchel Spring 2012 51 A Parisian Spring Editor and Designer: Marvin Hoshino Francis Mason Managing Editor: 55 Erick Hawkins on Graham Roberta Hellman Joseph Houseal Senior Editor: 59 The Ecstatic Flight of Lin Hwa-min Don Daniels Associate Editor: Emily Hite Joel Lobenthal 64 Yvonne Mounsey: Encounters with Mr B 46 Associate Editor: Nicole Dekle Collins Larry Kaplan 71 Psyché and Phèdre Copy Editor: Barbara Palfy Sandra Genter Photographers: 74 Next Wave Tom Brazil Costas 82 London Reporter – Clement Crisp 89 More Balanchine Variations – Jay Rogoff Associates: Peter Anastos 90 Pina – Jeffrey Gantz Robert Gres kovic 92 Body of a Dancer – Jay Rogoff George Jackson 93 Music on Disc – George Dorris Elizabeth Kendall 71 100 Check It Out Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover Photograph by Stephanie Berger, BAM : Silas Riener Sarah C.
    [Show full text]
  • Dracula Media Kit R3
    FOR IMMEDIATE RELEASE October 11, 2011 Contact: Erika Overturff, (402) 541-6946 ROMANTIC, CHILLING 'DRACULA' OPENS BALLET NEBRASKA'S SECOND SEASON OMAHA -- He's evil, drinks blood, and sleeps in a coffin. Could there really be more to Count Dracula than those Halloween clichés? Yes, says Ballet Nebraska in Dracula, its season-opening performance at 8 pm October 28 at Omaha's Orpheum Theater. The ballet portrays the vampire count as both a monster and as a man with emotions and vulnerabilities, choreographer Winthrop Corey said. Corey, artistic director of Alabama's Mobile Ballet, said he began the creative process by reading both Bram Stoker's classic 1897 horror novel and scholars' commentaries about it. His research raised a question in his mind: What made Dracula who he was? "Bram Stoker never told us how Dracula got to be a vampire," he said. "I say that he is a man who, through circumstances we don't know, is turned into a monster. Yet he is still a man inside this monster's body, who can kill, but who can also fall in love. And therein lies the ballet; I designed it around that." To develop the choreography, Corey said, he started with the relationship between Count Dracula and the novel's two key female characters: the flirtatious Lucy and her more insightful best friend, Mina. "What I did was narrow it down to three characters -- Lucy, Mina and Dracula -- and the difference between his relationship with Lucy and his relationship with Mina," he said. "One of them he kills and makes a vampire bride; the other one he actually falls in love with.
    [Show full text]
  • 17-PR-Taylor
    ! FOR IMMEDIATE RELEASE October 6, 2017 Media Contact: NextMove Dance Anne-Marie Mulgrew, Director of EducaAon & Special Projects 215-636-9000 ext. 110, [email protected] Editors: Images are available upon request. Paul Taylor Dance Company performs three of Mr. Taylor’s Master Works November 2-5 (Philadelphia, PA) The legendary Paul Taylor Dance Company brings a rare program featuring three of Taylor’s classic works for NextMove Dance’s 2017-2018 Season with five performances November 2-5, at the Prince Theater, 1412 Chestnut Street, Philadelphia, PA. The program includes Arden Court (1981), Company B (1991) and Esplanade (1975) Performances take place Thursday, November 2 at 7:30pm; Friday, November 3 at 8:00pm; Saturday, November 4 at 2:00pm and 8:00 pm; and Sunday November 5 at 3pm. Tickets are $20-$62 and can be purchased in person at the Prince Theater Box Office, by phone 215-422-4580 or online h`p://princetheater.org/next-move. Opening the program is the romanAc and uplibing Arden Court for nine dancers set to music by 18th century Baroque English composer William Boyce. This 23-minute work showcases the virtuosity of the six male dancers in effortless yet weighted jumps and changes in speed and dynamic level. Interspersing the ensemble secAons are tender yet whimsical duets. Bare- torso male dancers are in Aghts with colored spots and women are in matching chiffon dresses designed by Gene Moore. Clive Barnes of the New York Post noted “One of the few great art works created in [the 20th] century… exploring a new movement field of love and relaAonship.
    [Show full text]
  • © 2020 Kaitlyn Wentz All Rights Reserved
    © 2020 KAITLYN WENTZ ALL RIGHTS RESERVED ARTS AND CULTURE INFLUENCERS: TWO PHILANTHROPISTS’ IMPACT ON THE NORTHEAST OHIO REGION A Thesis PresenteD to The GraDuate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts KAITLYN WENTZ May, 2020 ARTS AND CULTURE INFLUENCERS: TWO PHILANTHROPISTS’ IMPACT ON THE NORTHEAST OHIO REGION Kaitlyn Wentz Thesis ApproveD: AccepteD: ______________________________ ___________________________ Advisor School Director James Slowiak Dr. Marc ReeD ______________________________ ___________________________ Committee Member Interim Dean of the College ArnolD Tunstall Dr. LinDa Subich ______________________________ ___________________________ Committee Member Acting Dean of the GraDuate Courtney Cable School Dr. Marnie SaunDers ___________________________ Date ii ABSTRACT In a time of constant threat to funDing, elimination of the National EnDowment, anD competition over resources, philanthropy in the arts anD culture sector is inDispensable to the vibrancy anD economic Development of a city’s core. The arts anD culture sector is consiDereD to take away from an economy’s financial resources. However, it is the exact opposite. It is a thriving sector that contributes to the economy by creating jobs, spenDing money at local businesses, anD bringing in cultural tourists. FreD BiDwell anD Rick Rogers have a long history of philanthropy in this sector, anD their DemonstrateD support has leD to efforts of revitalization, vibrancy, anD Dollars spent in the cities of Akron anD ClevelanD. This thesis explores the history, issues, and successes of the two cultural proDucers’ philanthropy efforts in the sector anD the impact that their support has brought to the Northeast Ohio region. iii TABLE OF CONTENTS CHAPTER I.
    [Show full text]
  • Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
    Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement.
    [Show full text]
  • The Shubert Foundation 2020 Grants
    The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company
    [Show full text]
  • Articles Blog Posts
    More Than Words: Designs, Dance, and Graphic Notation in the Performing Arts Society of American Archivists, August 2021 / Virtual Tour Library of Congress, Music Division Resources Articles Library of Congress Magazine Brilliant Broadway: Volume 7, No. 3, May-June 2018: Christopher Hartten, “Brilliant by Design” Library of Congress Magazine - May/June 2018 (loc.gov) Blog Posts: In the Muse Albro, Sylvia. Undated. “Conservation Treatment of Seven Engraved Music Motets.” https://www.loc.gov/preservation/conservators/musicmotets/index.html Baumgart, Emily. May 29, 2021. “Cicada Terrible Freedom.” http://blogs.loc.gov/music/2021/05/cicada-terrible-freedom/ ______. March 11, 2021. "A New LGBTQ+ Resource from the Library of Congress Music Division" https://blogs.loc.gov/music/2021/03/a-new-lgbtq-resource-from-the-library-of-congress-music- division Doyle, Kaitlin (Kate). July 9, 2016. “Discovering the Music Within Our Dance Collections: Composer Lucia Dlugoszewski and the Erick Hawkins Dance Company.” http://blogs.loc.gov/music/2016/09/discovering-the-music-within-our-dance-collections- composer-lucia-dlugoszewski-and-the-erick-hawkins-dance-company/ Hartten, Chris. September 6, 2011. “The Bad Boy of Music.” https://blogs.loc.gov/music/2011/09/the-bad-boy-of-music/ ______. February 19, 2015. “Chameleon as Composer: The Colorful Life and Works of Lukas Foss.” http://blogs.loc.gov/music/2015/02/8620/ ______. April 27, 2011. “Good as Gould.” https://blogs.loc.gov/music/2011/04/good-as-gould/ Padua, Pat. July 25, 2012. “Clark Lights Up the Library.” http://blogs.loc.gov/music/2012/07/clark- lights-up-the-library/ Smigel, Libby.
    [Show full text]
  • Five Pioneering Black Ballerinas
    _________________________________________________________________________________________________________________ Five Pioneering Black Ballerinas: ‘We Have to Have a Voice’ These early Dance Theater of Harlem stars met weekly on Zoom — to survive the isolation of the pandemic and to reclaim their role in dance history. The 152nd Street Black Ballet Legacy, from left: Marcia Sells, Sheila Rohan, Gayle McKinney-Griffith, Karlya Shelton-Benjamin and Lydia Abarca-Mitchell. By Karen Valby June 17, 2021 Last May, adrift in a suddenly untethered world, five former ballerinas came together to form the 152nd Street Black Ballet Legacy. Every Tuesday afternoon, they logged onto Zoom from around the country to remember their time together performing with Dance Theater of Harlem, feeling that magical turn in early audiences from skepticism to awe. Life as a pioneer, life in a pandemic: They have been friends for over half a century, and have held each other up through far harder times than this last disorienting year. When people reached for all manners of comfort, something to give purpose or a shape to the days, these five women turned to their shared past. In their cozy, rambling weekly Zoom meetings, punctuated by peals of laughter and occasional tears, they revisited the fabulousness of their former lives. With the 2 background of George Floyd’s murder and a pandemic disproportionately affecting the Black community, the women set their sights on tackling another injustice. They wanted to reinscribe the struggles and feats of those early years at Dance Theater of Harlem into a cultural narrative that seems so often to cast Black excellence aside. “There’s been so much of African American history that’s been denied or pushed to the back,” said Karlya Shelton-Benjamin, 64, who first brought the idea of a legacy council to the other women.
    [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]