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The Evolution of Musical Theatre Dance
Gordon 1 Jessica Gordon 29 March 2010 Honors Thesis Everything was Beautiful at the Ballet: The Evolution of Musical Theatre Dance During the mid-1860s, a ballet troupe from Paris was brought to the Academy of Music in lower Manhattan. Before the company’s first performance, however, the theatre in which they were to dance was destroyed in a fire. Nearby, producer William Wheatley was preparing to begin performances of The Black Crook, a melodrama with music by Charles M. Barras. Seeing an opportunity, Wheatley conceived the idea to combine his play and the displaced dance company, mixing drama and spectacle on one stage. On September 12, 1866, The Black Crook opened at Niblo’s Gardens and was an immediate sensation. Wheatley had unknowingly created a new American art form that would become a tradition for years to come. Since the first performance of The Black Crook, dance has played an important role in musical theatre. From the dream ballet in Oklahoma to the “Dance at the Gym” in West Side Story to modern shows such as Movin’ Out, dance has helped tell stories and engage audiences throughout musical theatre history. Dance has not always been as integrated in musicals as it tends to be today. I plan to examine the moments in history during which the role of dance on the Broadway stage changed and how those changes affected the manner in which dance is used on stage today. Additionally, I will discuss the important choreographers who have helped develop the musical theatre dance styles and traditions. As previously mentioned, theatrical dance in America began with the integration of European classical ballet and American melodrama. -
Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’S Costumes Jeana Jorgensen Butler University, [email protected]
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2006 Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes Jeana Jorgensen Butler University, [email protected] Follow this and additional works at: http://digitalcommons.butler.edu/facsch_papers Part of the Dance Commons, Feminist, Gender, and Sexuality Studies Commons, Folklore Commons, and the Social and Cultural Anthropology Commons Recommended Citation Jorgensen, Jeana, "Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes" Midwestern Folklore / (2006): 83-97. Available at http://digitalcommons.butler.edu/facsch_papers/673 This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Midwestern folklore. Terre Haute, Ind. : Dept. of English, Indiana State University, [1987- http://hdl.handle.net/2027/inu.30000125293849 Creative Commons Attribution http://www.hathitrust.org/access_use#cc-by-3.0 This work is protected by copyright law (which includes certain exceptions to the rights of the copyright holder that users may make, such as fair use where applicable under U.S. law) but made available under a Creative Commons Attribution license. You must attribute this work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). -
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Case 2:21-cv-01051 Document 1 Filed 02/04/21 Page 1 of 29 Page ID #:1 1 MAYER BROWN LLP JOHN NADOLENCO (SBN 181128) 2 [email protected] C. MITCHELL HENDY (SBN 282036) 3 [email protected] 350 South Grand Avenue, 25th Floor 4 Los Angeles, CA 90071-1503 5 Telephone: (213) 229-9500 6 A. JOHN P. MANCINI (pro hac vice forthcoming) 7 [email protected] JONATHAN W. THOMAS 8 (pro hac vice forthcoming) [email protected] 9 1221 Avenue of the Americas New York, NY 10020 10 Telephone: (212) 506-2295 11 Attorneys for Plaintiff 12 Pasadena Tournament of Roses Association 13 UNITED STATES DISTRICT COURT 14 CENTRAL DISTRICT OF CALIFORNIA 15 PASADENA TOURNAMENT OF 16 Case No.: 2:21-cv-01051 ROSES ASSOCIATION, 17 COMPLAINT FOR: (1) Plaintiff, DECLARATORY RELIEF UNDER 18 28 U.S.C. § 2201(a); (2) TRADEMARK INFRINGEMENT 19 v. UNDER 15 U.S.C. § 1114; (3) UNFAIR COMPETITION, FALSE 20 CITY OF PASADENA, ASSOCIATION, FALSE ENDORSEMENT, AND FALSE 21 DESIGNATION OF ORIGIN Defendant. UNDER 15 U.S.C. § 1125(a)(1)(A); 22 (4) FALSE ADVERTISING UNDER 15 U.S.C. § 1125(a)(1)(B); (5) 23 VIOLATIONS OF CAL. BUS. & PROF. CODE § 17200 et seq.; (6) 24 COMMON LAW TRADEMARK INFRINGEMENT; (7) BREACH 25 OF CONTRACT; AND (8) SLANDER OF TITLE 26 JURY TRIAL DEMANDED 27 28 COMPLAINT, CASE NO. 2:21-CV-01051 Case 2:21-cv-01051 Document 1 Filed 02/04/21 Page 2 of 29 Page ID #:2 1 Plaintiff, the Pasadena Tournament of Roses Association (“Plaintiff” or 2 “TOR”), by and through its undersigned counsel, as and for its Complaint against 3 Defendant, the City of Pasadena (“Defendant”), hereby alleges as follows based on 4 knowledge of its own actions, and on information and belief as to all other matters 5 (unless indicated otherwise herein): 6 NATURE OF THE ACTION 7 1. -
Pittsburgh's Youth Artworks Is Designed to Take Teens Through
Pittsburgh’s Youth ArtWorks is designed to take teens through student instruction and paid apprenticeships to eventually turn them into full-time employees as mentors and instructors Art Work s to new students. By Douglas Root Photography by Ellen Kelson and Suellen Fitzsimmons he world-renowned DanceBrazil dance troupe performed three world- premiere works in New York City’s Joyce Theater last year. One of them, Unspoken ...Unknown, is a duet in the African-Brazilian form of Capoeira, Ta mix of pure dance blended with the raw athleticism of martial arts. Its history is represented in the movements imported to Brazil from Africa. Created by DanceBrazil artistic director Jelon Vieira, Unspoken ...Unknown tells the story of a friendship between two teenagers. As friends and fellow Capoeiristas, the two male dancers share everything—hopes, dreams and the Capoeira circle. The story line is a metaphor for how young people are drawn to Capoeira, in part because of the urban coolness inherent in the heart- pounding gymnastics and defensive fighting technique. But students also are captivated by the power of the movements to convey complex feelings of conflict, anxiety and isolation that teens often find difficult to verbalize. That power, which drew hundreds of young people to the New York dance theater, is on full display in a program now under way in Pittsburgh. The performances here are less grandiose—they are played out in school gymnasiums Nego Gato instructor Justin Laing helps a student with his form in and bare bones community centers—but no less energetic. And here the a Capoeira movement. -
2017 11 28 St Still-Young-At-Art.Pdf
| THE STRAITS TIMES | TUESDAY, NOVEMBER 28, 2017 EPIGRAM BOOKS FICTION PRIZE CULTURE VULTURE D From croupier and Is travel writing prison officer to relevant in the age award-winning writer of social media? D3 D5 Making up the expanded team at Teater Ekamatra, which celebrates its 30th anniversary next year, are (from far left) resident designer Akbar Syadiq, associate artist Munah Bagharib, company manager Erny Melissa, artistic director Fared Jainal, company director Shaza Ishak and associate artists Irfan Kasban, Ruby Jayaseelan and Eric Lee. STILL YOUNG AT ART The Straits Times speaks to super high production values, but contemporary language and style has contributed to its longevity in will invite six drama companies to now so does everybody else.” for Malay theatre. the scene. reinterpret plays from three long-running art groups about She adds that competition is from In 1995, Lut handed over the reins Effendy and his successor Zizi decades of its repertoire as short, not just other theatre groups, but to poet Rafaat Hamzah, actor Azah Abdul Majid also set up train- one-man performances. renewal, staying relevant and also visual arts festivals, museums – Zamberi A. Patah, and interdiscipli- ing frameworks that nurtured Fared says: “It’s for us to engage where Singaporeans get free access nary artist Zai Kuning, along with younger artists including Shaza. with people we’ve not thought challenges ahead – and even Netflix. theatre-maker Noor Effendy She and artistic director Fared about or talked to, to understand “Do you want to watch House Of Ibrahim. The latter left for the Jainal are part of an expanding what’s out there so we are con- Cards or come to SRT’s Hand To United States two years later, but team which this year added com- nected to the larger community.” God? That’s a tough one,” she says. -
MARK MORRIS DANCE GROUP and MUSIC ENSEMBLE Wed, Mar 30, 7:30 Pm Carlson Family Stage
2015 // 16 SEASON Northrop Presents MARK MORRIS DANCE GROUP AND MUSIC ENSEMBLE Wed, Mar 30, 7:30 pm Carlson Family Stage DIDO AND AENEAS Dear Friends of Northrop, Northrop at the University of Minnesota Presents I count myself lucky that I’ve been able to see a number of Mark Morris Dance Group’s performances over the years—a couple of them here at Northrop in the 90s, and many more in New York as far back as the 80s and as recently as last MARK MORRIS year. Aside from the shocking realization of how quickly time flies, I also realized that the reason I am so eager to see Mark Morris’ work is because it always leaves me with a feeling of DANCE GROUP joy and exhilaration. CHELSEA ACREE SAM BLACK DURELL R. COMEDY* RITA DONAHUE With a definite flair for the theatrical, and a marvelous ability DOMINGO ESTRADA, JR. LESLEY GARRISON LAUREN GRANT BRIAN LAWSON to tell a story through movement, Mark Morris has always AARON LOUX LAUREL LYNCH STACY MARTORANA DALLAS McMURRAY been able to make an audience laugh. While most refer to BRANDON RANDOLPH NICOLE SABELLA BILLY SMITH his “delicious wit,” others found his humor outrageous, and NOAH VINSON JENN WEDDEL MICHELLE YARD he earned a reputation as “the bad boy of modern dance.” *apprentice But, as New York Magazine points out, “Like Martha Graham, Merce Cunningham, Paul Taylor, and Twyla Tharp, Morris has Christine Tschida. Photo by Patrick O'Leary, gone from insurgent to icon.” MARK MORRIS, conductor University of Minnesota. The journey probably started when he was eight years old, MMDG MUSIC ENSEMBLE saw a performance by José Greco, and decided to become a Spanish dancer. -
NSF Funds LIGO Public Education All the World's a Stage
1- Ll. en 1- 1- Ll. en en The campus community biweekly June 17, 2004, vol. 4, no. 12 NSF funds All the world's a stage ... LIGO public education The National Science Foundation has Noted Caltech announced a $5 million, five-year coop geologist dies erative agreement with Caltech and its partners in educational outreach to estab lish an Educational Outreach Center as an Robert Phillip Sharp, a leading authority on integral part of the NSF-funded Laser the surfaces of Earth and Mars, the long Interferometer Gravitational-Wave Obser time head of Caltech's geological sciences vatory (LIGO) in Livingston, Louisiana. division, and an alum, died May 25 at his The center will support programs home in Santa Barbara. He was 92. that communicate LIGO-related science Though Sharp was a renowned geolo concepts to the public, strengthen re gist in his own right, his most significant gional science teaching, and reach a role was arguably his modernization of broad audience of students in Louisiana Caltech's earth-science programs during and beyond. a time of unparalleled progress in human The project brings together research kind's knowledge of its own planet and of scientists from the LIGO Livingston Ob other worlds. Known for hiring top people, servatory, Caltech, and MIT as well as he had a strong interest in creating new educators from Southern University in interdisciplinary approaches to take advan Baton Rouge, the Louisiana Systemic tage of-the dawning age of manned and Initiatives, and the Exploratorium of San unmanned planetary exploration. Francisco. These partners provide exper Particularly noteworthy were Sharp's tise specific to LIGO science, experience support of planetary science as a vehicle in exhibit development, connections to for extending geological research to teacher development, and access to a other planets, and his contributions to statewide community of public schools. -
Rising Choreographic Star Aszure Barton and Her Virtuosic Dance Troupe Make Their Dance Celebration Debut
FOR IMMEDIATE RELEASE MEDIA CONTACT: April 7, 2011 LAUREN SAUL Marketing & Communications Manager Annenberg Center for the Performing Arts 215.573.8537 [email protected] JPEG images available upon request Rising choreographic star Aszure Barton and her virtuosic dance troupe make their Dance Celebration debut May 5 – 7 at the Annenberg Center “One of the most innovative choreographers of this generation” – Mikhail Baryshnikov (Philadelphia, April 7, 2011) — She has been called “brilliant” by the San Francisco Chronicle, “audacious” by the New York Times, the Globe & Mail has called her choreography “exuberant” and the Boston Globe considers her “a rare accomplishment in the world of contemporary dance.” Now Philadelphia audiences can experience for themselves the joyful, sassy, playful and quirky work of rising choreographic star and Baryshnikov protégée Aszure Barton and her collective of visual, sound and performing artists, Aszure Barton & Artists. Performances take place on Thursday, May 5 at 7:30 PM; Friday, May 6 at 8:00 PM; and Saturday, May 7 at 2:00 PM & 8:00 PM and are the final performances of the 2010/11 Dance Celebration series, presented by Dance Affiliates and the Annenberg Center. Tickets are $24-$42 (afternoon performances) $28- $48 (evening performances). For tickets or for more information, please visit AnnenbergCenter.org or call 215.898.3900. Tickets can also be purchased in person at the Annenberg Center Box Office located at 3680 Walnut Street. The program opens with Blue Soup, a movement-to-music spectacular drawn from Barton's early repertoire. A series of vignettes, Blue Soup is set to an eclectic score that mixes Hungarian, Italian and African music with American pop music including artists such as Paul Simon, Andy Williams and even a recording of Maya Angelou reciting her poetry. -
Chapter 1 Uday Shankar and Locating Modernity
CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead. -
Bowl History
History HUSKIES History 1924 Rose Bowl Washington 14, Navy 14 January 1, 1924 eligible to catch a pass. Bryan delayed, then released and gathered in Abel’s pass, stumbling across the goal line for the touchdown. The Sherman-booted extra point made it 14–14. Washington missed a field goal “by a scant three feet” as time expired and the Huskies Washington had one last chance to win, as the Huskies drove to the 25-yard line with less settled for a 14–14 tie with the heavily favored Midshipmen of the Naval Academy in the 1924 than five minutes to play on a long pass from Abel to Wilson. Washington’s field goal attempt Rose Bowl, played before 40,000 fans. by Leonard Zeil from 24 yards out had the distance but curved left. Navy took over on downs The Huskies, coached to a 10–1 record coming into the game by third-year coach Enoch at the 20, and advanced as far as midfield when the game ended. Bagshaw, had to fight back twice, falling behind 7–0 early and later trailing 14–7 to the well- drilled Middies of Annapolis. The Naval Academy (5–1–1) used a sophisticated passing attack, Attendance a style not seen before on the West Coast, to confuse the Husky defense in the first half. Navy 40,000 completed all 11 passes it attempted in the first half, and hit 14 in a row before the Huskies managed to stop one. Navy completed 16-of-20 for the day. Scoring Navy opened the scoring at the start of the second period on a 20-yard pass from Q Team-Scoring Play (Conversion) quarterback Ira McKee to halfback Carl Cullen. -
Central Arroyo Master Plan Lower Arroyo Master Plan Arroyo Seco Design Guidelines
Central Arroyo Master Plan CITY OF PASADENA September 2003 THE CITY OF PASADENA CENTRAL ARROYO SECO MASTER PLAN September 2003 The Arroyo Seco Master Plans consist of: Hahamongna Watershed Park Master Plan Central Arroyo Master Plan Lower Arroyo Master Plan Arroyo Seco Design Guidelines Prepared by TAKATA & ASSOCIATES CITY OF PASADENA / ARROYO SECO MASTER PLANS Central Arroyo Master Plan CENTRAL ARROYO MASTER PLAN Central Arroyo Master Plan Advisory Committee Omel Nieves, Chairman Dennis Crowley Greg Jones Elizabeth Pomeroy Porfirio Frausto Joe Little Tom Selinske Pat Green Dennis Murphy Pat Shanks Michael Hurley Henreen Nunley Gordon Treweek Leland Zanteson Past Committee Members Tom Seifert, Past Chair Charles McKenny Planning & Development Department Richard Bruckner, Director Brian League, Project Manager Joshua Hart, Associate Planner Jolene Piel, Assistant Planner Cover Art by rhandi CITY OF PASADENA / ARROYO SECO MASTER PLANS Central Arroyo Master Plan TABLE OF CONTENTS Page 1.0 INTRODUCTION 1.1 Relationship to Other Plans …………………………………………………………… 1-3 1.2 Project History ………………………………………………………………………… 1-5 2.0 EXISTING CONDITIONS 2.1 Ownership, Zoning, Easements …………………………………………………….. 2-1 2.2 Los Angeles County Flood Control Channel ………………………………………….. 2-1 2.3 Utilities ………………………………………………………………………………… 2-2 2.4 Regional and Local Access …………………………………………………………….. 2-8 2.5 Existing Local Public Transit Services ……………………………………………….. 2-11 2.6 Landscape and Natural Environment ………………………………………………….. 2-11 2.7 Rose Bowl Stadium …………………………………………………………………… 2-20 2.8 Brookside Golf Course ………………………………………………………………… 2-21 2.9 Brookside Park …………………………………………………………………………. 2-21 2.10 Recreation Loop ……………………………………………………………………….. 2-24 2.11 Recreation Trails and Pedestrian Access ……………………………………………….. 2-26 2.12 Special Events in the Central Arrroyo ………………………………………………… 2-30 2.13 Special Events Shuttle Bus Routes ……………………………………………………. -
The Dialectics of Virtuosity: Dance in the People's Republic of China
The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox A dissertation submitted in partial satisfaction of the requirements for the degree of Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology of the University of California, Berkeley Committee in charge: Professor Xin Liu, Chair Professor Vincanne Adams Professor Alexei Yurchak Professor Michael Nylan Professor Shannon Jackson Spring 2011 Abstract The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology University of California, Berkeley Professor Xin Liu, Chair Under state socialism in the People’s Republic of China, dancers’ bodies became important sites for the ongoing negotiation of two paradoxes at the heart of the socialist project, both in China and globally. The first is the valorization of physical labor as a path to positive social reform and personal enlightenment. The second is a dialectical approach to epistemology, in which world-knowing is connected to world-making. In both cases, dancers in China found themselves, their bodies, and their work at the center of conflicting ideals, often in which the state upheld, through its policies and standards, what seemed to be conflicting points of view and directions of action. Since they occupy the unusual position of being cultural workers who labor with their bodies, dancers were successively the heroes and the victims in an ever unresolved national debate over the value of mental versus physical labor.