ST Summer School Registration 2014.Pages
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
2008, WDA Global Summit
World Dance Alliance Global Summit 13 – 18 July 2008 Brisbane, Australia Australian Guidebook A4:Aust Guide book 3 5/6/08 17:00 Page 1 THE MARIINSKY BALLET AND HARLEQUIN DANCE FLOORS “From the Eighteenth century When we come to choosing a floor St. Petersburg and the Mariinsky for our dancers, we dare not Ballet have become synonymous compromise: we insist on with the highest standards in Harlequin Studio. Harlequin - classical ballet. Generations of our a dependable company which famous dancers have revealed the shares the high standards of the glory of Russian choreographic art Mariinsky.” to a delighted world. And this proud tradition continues into the Twenty-First century. Call us now for information & sample Harlequin Australasia Pty Ltd P.O.Box 1028, 36A Langston Place, Epping, NSW 1710, Australia Tel: +61 (02) 9869 4566 Fax: +61 (02) 9869 4547 Email: [email protected] THE WORLD DANCES ON HARLEQUIN FLOORS® SYDNEY LONDON LUXEMBOURG LOS ANGELES PHILADELPHIA FORT WORTH Ausdance Queensland and the World Dance Alliance Asia-Pacific in partnership with QUT Creative Industries, QPAC and Ausdance National and in association with the Brisbane Festival 2008 present World Dance Alliance Global Summit Dance Dialogues: Conversations across cultures, artforms and practices Brisbane 13 – 18 July 2008 A Message from the Minister On behalf of our Government I extend a warm Queensland welcome to all our local, national and international participants and guests gathered in Brisbane for the 2008 World Dance Alliance Global Summit. This is a seminal event on Queensland’s cultural calendar. Our Government acknowledges the value that dance, the most physical of the creative forms, plays in communicating humanity’s concerns. -
Biography: Michelle Potter
Biography: Michelle Potter Michelle Potter was born in Sydney and learnt to dance with Joan and Monica Halliday, Ronne Arnold and Valrene Tweedie. She also studied acting and theatre techniques at the Mina Shelley School of the Theatre. She began her professional career in 1959 performing in Aladdin, a Christmas pantomime directed by Maurice Sullivan and Mina Shelley, and continued to work in the Sullivan-Shelley shows for the next few years. In the mid-1960s she worked with Valrene Tweedie's choreographic ensemble, Ballet Australia, performing in both full-scale productions and in choreographic workshop performances. In the 1970s and 1980s, after completing a degree in social anthropology and a diploma in education from Sydney University, she taught for Janet Karin and Bryan Lawrence at the National Capital Ballet School in Canberra. During this period she also choreographed Court Serenade for National Capital Dancers (1975), Orpheus and Eurydice for Canberra Opera (1977), and Morning Prayer for St James Church, Curtin ACT (1978), and appeared in productions by the National Capital Dancers, including Nutcracker and Giselle. In the 1980s she also returned to academic study and completed a second undergraduate degree in art history and subsequently a doctorate in art history and dance history at the Australian National University. She was the National Library of Australia's Esso Fellow in the Performing Arts between 1988 and 1990 and Australian National University's Janet Wilkie Memorial Scholar for 1989, which gave her study time in New York. In 1996 she curated the National Library of Australia's exhibition Dance people dance, which toured Australia under a Visions of Australia grant until 1999. -
Gender Inequity in Achievement and Acknowledgment in Australian Contemporary Dance
Edith Cowan University Research Online Theses : Honours Theses 2009 Architects of the identity of dance: Gender inequity in achievement and acknowledgment in Australian contemporary dance Quindell Orton Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Dance Commons, and the Gender and Sexuality Commons Recommended Citation Orton, Q. (2009). Architects of the identity of dance: Gender inequity in achievement and acknowledgment in Australian contemporary dance. https://ro.ecu.edu.au/theses_hons/1331 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1331 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
2000 Dance Graduation Performance of Human Terrain Program Introduction
2000 Dance Graduation Performance Of Human Terrain Program Introduction In a world of multi-media and virtual reality, with its exciting potential for unimagined worlds to be developed, it is not Blood on the Moon accidental that the title of our 2000 Graduation Season is by Harold Collins MBE Of Human Terrain. Despite the advances of technology and the amazing differences it make to our lives, now more than ever, live human interaction and the achievements of the human body and spirit are being celebrated - as we INTERVAL have recently done in the Sydney Olympics, albeit for most 30 minutes of us via our television screens. Video in foyer Tonight you will see both digital and live dance. In the foyer Choreographers : John Utans I Lisa Wilson you can enjoy a continuous screening of solos danced by all Performed by AD1, AD2, BA1 /2/3 Performance our performance students, choreographed by John Utans Students and Lisa Wilson. Inside the theatre you will experience live performances by these same students. Unlike our first season Dance Bytes, which was an eclectic array of short pieces, the graduation season this year presents two Of Human Terrain substantial works by two experienced and acclaimed by Leigh Warren Australian choreographers. The first, in a classical style, is choreographed by Harold Collins, whose legacy to dance in Queensland is not to be underestimated. Most people understand the stringent requirements of classical ballet even if they do not attend it My thanks to the many talented artists and teachers who have regularly- the difficulty of standing 'en pointe', of maintaining worked with us throughout the year to train these graduates. -
Ausdance Queensland Inc. Annual Report 2017
AUSTRALIAN DANCE COUNCIL – AUSDANCE (QLD) INC Ausdance Queensland Inc. Annual Report 2017 Australian Dance Council Ausdance (Qld) Inc. 420 Brunswick Street Fortitude Valley Qld 40066 [email protected] www.ausdanceqld.org.au ABN 46 089 780 388 1 AUSTRALIAN DANCE COUNCIL – AUSDANCE (QLD) INC CONTENTS ABOUT AUSDANCE QUEENSLAND pg 3 FROM THE CHAIR/PRESIDENT pg 4 EXECUTIVE DIRECTORS REPORT pg 6 AUSDANCE EDUCATORS QUEENSLAND pg 9 THANK YOU pg 11 ATTACHMENT – AUDITED FINANICAL REPORT YEAR END 2017 2 AUSTRALIAN DANCE COUNCIL – AUSDANCE (QLD) INC ABOUT AUSDANCE QUEENSLAND Mission Ausdance Queensland supports, informs and connects dance professionals, and inspires participation that enriches communities with dance. Vision The Queensland dance sector develops and thrives within an environment where artists can explore, excel and enjoy sustainable careers; communities can see and participate in dance; and where dance is Background The association was established in 1992 and provides professional advocacy and industry development for Queensland dance through strong local, regional, national and international networks. We work to bring recognition to the many roles that dance plays in the cultural life of Queensland and to maximise opportunities for practitioners. Our services and programs address the needs of dance artists at any stage of their careers, community dance practitioners, educators and the broader community in relation to dance. We are the state dance industry's primary advocate and advisory representative in regards to government policy, sector planning and industry initiatives. Ausdance Queensland is supported by the Queensland Government through Arts Queensland, part of the Department of Premier and Cabinet with four year organization funding for 2017 – 2019. -
The Joffrey Ballet's 10 New Ballet Dancers Span Six Countries
The Joffrey Ballet’s 10 new ballet dancers span six countries, including Russia, South Korea, and Colombia. Their ages range from 19 to 26. Mixed backgrounds and ages aside, they're now all united by one thread: Joffrey Artistic Director Ashley Wheater saw something in each that helped them make the cut among several hundred applicants. “I happen to agree with Robert Joffrey that a dancer doesn’t come with one look or one skin color and I think a true dancer comes in all different shapes and sizes,” said the Scottish-born Wheater. “When I look at the company, it’s just such a beautiful tapestry of people.” In assembling the diverse group, Wheater – who joined Joffrey just before the death of founding artistic director Gerald Arpino – stays in line with past choices of the company, which, under Arpino, embraced both atypical ballet bodies and bold, plot-less ballets. Founded by Robert Joffrey and Arpino in 1956, the Chicago company touts itself as a school of “firsts” – the first classical dance company to commission a ballet based on rock music, the first to have a major motion picture based on it (Robert Altman’s The Company), and the first U.S. ballet company to livestream video of a rehearsal on YouTube. Joffrey’s most recent addition reflects young dancers who must contend with their own newly emerging public identities almost as readily as they practice their turnout. Last year, Valeriia Chaykina, a dancer from Russia, was cast in an ongoing series from Teen Vogue. In 2011, Colombian-born Joan Sebastián Zamora starred in the documentary First Position, which followed six young ballet dancers preparing for New York City’s Youth American Grand Prix, one of the world’s largest ballet competitions. -
Biography: Michelle Potter
Biography: Michelle Potter Michelle Potter was born in Sydney and learnt to dance with Joan and Monica Halliday, Ronne Arnold and Valrene Tweedie. She also studied acting and theatre techniques at the Mina Shelley School of the Theatre. She began her professional career in 1959 performing in Aladdin, a Christmas pantomime directed by Maurice Sullivan and Mina Shelley, and continued to work in the Sullivan-Shelley shows for the next few years. In the mid-1960s she worked with Valrene Tweedie's choreographic ensemble, Ballet Australia, performing in both full-scale productions and in choreographic workshop performances. In the 1970s and 1980s, after completing a degree in social anthropology and a diploma in education from Sydney University, she taught for Janet Karin and Bryan Lawrence at the National Capital Ballet School in Canberra. During this period, she choreographed Court Serenade for National Capital Dancers (1975), Orpheus and Eurydice for Canberra Opera (1977), and Morning Prayer for St James Church, Curtin ACT (1978), and appeared in productions by the National Capital Dancers, including Nutcracker and Giselle. In the 1980s she also returned to academic study and completed a second undergraduate degree in art history and subsequently a doctorate in art history and dance history at the Australian National University. She was the National Library of Australia's Esso Fellow in the Performing Arts between 1988 and 1990 and Australian National University's Janet Wilkie Memorial Scholar for 1989, which gave her study time in New York. In 1996 she curated the National Library of Australia's exhibition Dance people dance, which toured Australia under a Visions of Australia grant until 1999. -
Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009
http://oac.cdlib.org/findaid/ark:/13030/c8c24wzf No online items Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009 Preliminary processing by Andrea Wang; fully processed by Mike D'Errico in 2012 in the Center for Primary Research and Training (CFPRT), with assistance from Jillian Cuellar; machine-readable finding aid created by Caroline Cubé. The processing of this collection was generously supported by Arcadia funds. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2012 The Regents of the University of California. All rights reserved. Lewis Segal Collection of Dance 1890 1 and Theater Materials, 1902-2011; Bulk, 1970-2009 Descriptive Summary Title: Lewis Segal Collection of Dance and Theater Materials Date (inclusive): 1902-2011; Bulk, 1970-2009 Collection number: 1890 Collector: Segal, Lewis Extent: 24 record cartons (24 linear ft.) Abstract: Lewis Segal is a performing arts critic who has written on various topics related to the performing arts, from ballet to contemporary dance and musicals. He began working as a freelance writer in the 1960s for a number of publications, including the Los Angeles Times, Performing Arts magazine, the Los Angeles Free Press, Ballet News, and High Performance magazine. He joined the staff of the Los Angeles Times in 1976. From 1996 to 2008 he held the full-time position of chief dance critic, writing full features and reviews on dance companies and performing arts organizations from around the world. -
The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality. -
21St Annual Meeting Program
SCHEDULE IADMS 21ST ANNUAL MEETING Thursday, October 13, 2011 Revised 9 October 2011 Program subject to change 7:30 - 8:30 am Registration; Tea and Coffee 8:30 - 8:45 am Opening Remarks – South Ballroom Tom Welsh, PhD, President, IADMS Steven J. Chatfield, PhD, Executive Director, IADMS Virginia Wilmerding, PhD, Chair, Annual Meeting Program Committee Presentation – Student Research Award (Sponsored by Harkness Center for Dance Injuries) 8:45 - 9:00 am Welcome Suzanne Farrell 9:00 - 9:15 am Lifetime Service Award William G. Hamilton, MD Presented by Marika Molnar, PT, LAc Y 9:15 - 10:00 am Moderator: Marika Molnar, PT, New York, New York, USA Clinical Symposium: Lateral Ankle sprains in dancers: diagnosis and treatment William G. Hamilton, MD, Clinical Professor of Orthopaedic Surgery, Columbia University College of Physicians & Surgeons, Orthopaedic Consultant, New York City Ballet, School of American Ballet, American Ballet Theatre, Jacqueline Kennedy Onassis School at American Ballet Theatre, New York, New York, USA 10:00 - 10:30 am REFRESHMENT BREAK THURSDA Concurrent Lectures (South Ballroom, North Ballroom) and Movement Sessions (Cavalier, Concourse): South Ballroom – 10:30 am - 12:30 pm North Ballroom – 10:30 am - 12:30 pm Moderator: David S. Weiss, MD, New York, New York, Moderator: Janet Karin, OAM, Melbourne, Australia USA 10:30 - 11:10 am 10:30 - 11:00 am Clinical Symposium: Somatics as science in dance research and practice Posterior Ankle Impingement Syndrome: Margaret Wilson, MS, PhD, Department of Theatre and pathophysiology, -
Media Kit Colossus
MEDIA KIT COLOSSUS STEPHANIE LAKE COMPANY STUDIO UNDERGROUND WED 19 FEB – SUN 23 FEB Click here for images. COLOSSUS Presented in collaboration with WAAPA and STRUT Dance Fifty dancers flood the stage, filling the theatre with a living, breathing, dizzying mass of pulsating bodies, moving in intricate unison and wild individuality. As complex patterns ripple through the heaving throng, a single movement triggers a chain reaction wheeling the fragile whole from chaos to order. Riveting and hypnotic, Colossus is a monumental dance work that explores relationships between the individual and the collective, solitary striving and joyous union. The sheer energy of Lake’s mass of performers performing as one brings an infectious edge that is bound to leave you changed. COMPANY CREDITS: Choreographer Stephanie Lake Lighting Designer Bosco Shaw Composition & Sound Designer Robin Fox Costume Designer Harriet Oxley Dancers TBC Rehearsal Assistant TBC Production Manager TBC Producer Claire Bradley Duke This project was originally commissioned by Arts Centre Melbourne and Melbourne Fringe as part of the Take Over Program. Thank you to WAAPA and STRUT Dance for their support. STEPHANIE LAKE COMPANY Stephanie Lake Company is a multi-award-winning Australian dance company that tours the world. Known for a gutsy, poetic choreographic style and striking visual aesthetic, Stephanie Lake Company strives to create performances that are affecting and relevant. Working in collaboration with Australia’s leading dancers, designers and composers, the company has been presented in major festivals and venues around Australia and toured internationally to France, Germany, Hong Kong, Denmark, Singapore and the UK. Artistic Director Stephanie Lake has won Helpmann, Green Room and Australian Dance Awards for Choreography and is a Sidney Myer and Australia Council Fellow. -
Alexander Ekman
CONTENTS INTRODUCTION What is a Student Matinee? 3 Learning Outcomes 5 TEKS Addressed 6 PRE-PERFORMANCE INFORMATION Attending A Ballet Performance 16 Rock, Roll & Tutus: Program 17 What’s That?!: Mixed Repertory 19 Meet the Creators: Choreographers & Composers 20 Rock, Roll & Tutus: Tutu Exhibit 28 It Takes Teamwork: Pas de Deux 29 My Predictions: Pre-Performance Activity 30 POST-PERFORMANCE ACTIVITIES Dancing Shapes 32 Found Sound 34 Show What You Know 35 Word Search/Crossword 36 Review & Reflect/Discussion Questions 39 LEARN MORE! All About Arms 41 All About Legs 42 Why Do They Wear That? 43 Houston Ballet: A Brief History 44 Glossary 45 2 WHAT IS A STUDENT MATINEE? Student Matinees are full length performances by Houston Ballet with live orchestra held during school hours. Your students experience these professional performances with interactive intermissions at significantly discounted ticket prices. This study guide has information and activities for before and after the performance that are intended to extend the learning experience. WHAT TO EXPECT Arrival and Departure As a result of the damage from Hurricane Harvey, Houston Ballet’s performance home, the Wortham Theater, has been closed until further notice. Consequently, Houston Ballet is on a “Hometown Tour” for its 2017-18 season. The Rock, Roll & Tutus Student Matinee will be held in Hall A at: George R. Brown Convention Center 1001 Avenida De Las Americas Houston, TX 77010. Your bus will drop off and pick up students in the bus depot in theNorth Garage on Rusk Street. 3 If you are arriving by bus: You will enter bus parking on the north side of Rusk Street.