DOCSLIB.ORG

A Historical Perspective the Evolution of Historically Black Ballet Companies— from Katherine Dunham to Arthur Mitchell

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Historical Perspective the Evolution of Historically Black Ballet Companies— from Katherine Dunham to Arthur Mitchell Black Swans Shattering the Glass Ceiling: A Historical Perspective the Evolution of Historically Black Ballet Companies— From Katherine Dunham to Arthur Mitchell The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Jackson, La'Toya Princess. 2019. Black Swans Shattering the Glass Ceiling: A Historical Perspective the Evolution of Historically Black Ballet Companies— From Katherine Dunham to Arthur Mitchell. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42004127 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use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`==/%-!=6.!,+-!4.,*!$,!5$.9$.HQ!,+-! 5$.9$.H!C$)%-!7.60.$?Q!$)H!,+-!C-8$.,?-),!6=!D<*/%!$,!5$.9$.H!=6.!8.69/H/)0!?-!,+-! .-*6<.%-*!,6!-J8#6.-!?>!$.,/*,.>R! :+/*!,+-*/*!%6<#H!)6,!+$9-!+$88-)-H!(/,+6<,!?>!%6\H/.-%,6.*!G/##!G6+)*6)!$)H! ]+/,)->!269-.R!S!6==-.!,+$)&*!,6!I6,+!H/.-%,6.*!=6.!I-/)0!/)*,.<?-),$#!/)!?>!H-9-#68?-),! 6=!8-.=6.?$)%-!.-*-$.%+!$)H!=6.!,+-/.!0</H$)%-!$,!,+-!9-.>!I-0/))/)0!6=!?>!_6<.)->!$*!$! 0.$H<$,-!*,<H-),R!D$)>!,+$)&*!,6!C$)$!B)6JQ!C-I6.$+!A6*,-.Q!$)H!G$%&!D-0$)!=6.! +-#8/)0!?-!)$9/0$,-!,+-!4.,*!$)H!5<?$)/,/-*!$,!5$.9$.HR!4HH/,/6)$#!,+$)&*!,6!?>! .-*-$.%+!$H9/*6.!C.R!:$#$>$!C-#$)->!$)H!?>!$%$H-?/%!$H9/*6.!'$.$+!76(-##Q!-$%+!6=! (+6?!8.69/H-H!*<886.,Q!/)*/0+,Q!$)H!0</H$)%-!,+.6<0+6<,!,+/*!-),/.-!8.6%-**R!D>!,+$)&*! 06-*!$*!(-##!,6!]/H-)-.!E/I.$.>Q!,+-!5$.9$.H!:+-$,.-!%6##-%,/6)!$,!56<0+,6)!E/I.$.>Q!,+-! '%+6?I<.0!2-),-.!=6.!^-*-$.%+!/)!"#$%&!2<#,<.-Q!,+-!T-(!Z6.&!7<I#/%!E/I.$.>!=6.!,+-! 7-.=6.?/)0!4.,*Q!$)H!,+-!26#<?I/$!K)/9-.*/,>!E/I.$./-*R! S!$?!-J,.-?-#>!0.$,-=<#!,6!D*R!T-)$!1/#.-$,+Q!D.R!]$9-.#>!E<%$*!$)H!,+-! "$##-,+)/%!C$)%-!26?8$)>!=$?/#>Q!?>!=/.*,!I$##-,!,-$%+-.*Q!=6.!/)*8/./)0!?-!,6!.-$%+!=6.! ,+-!*,$.*!$)H!8<.*<-!?>!8$**/6)!$*!$!I$##-,!H$)%-.Q!$)H!=6.!)<.,<./)0!?>!8$**/6)!=6.! I$##-,R!:+$)&*!,6!D.R!4.,+<.!D/,%+-##!=6.!*8-$&/)0!(/,+!?-!$)H!-)%6<.$0/)0!?-!,6!X?$&-! >6<.!8.-*-)%-!&)6()!/)!,+-!(6.#HRY!S!$?!=6.-9-.!0.$,-=<#!,6!,+$)&!D/%+$-#!$)H!E6./! 4.?*,.6)0!/)!$HH/,/6)!,6!4))$!1#$**Q!-J-%<,/9-!H/.-%,6.!6=!C$)%-!:+-$,.-!6=!5$.#-?Q!=6.! %6))-%,/)0!?-!,6!$##!,+-!./0+,!8-68#-!,6!?$&-!,+/*!.-*-$.%+!86**/I#-R!:+$)&*!,6!D*R!E>H/$! 4I$.%$!D/,%+-##!=6.!-?I6H>/)0!,+-!-#-0$)%-!$)H!0.$%-!6=!$!I$##-,!H$)%-.!$)H!=6.!,$&/)0! ,/?-!,6!*/,!H6()!(/,+!?-!,6!*+$.-!+-.!-J8-./-)%-*!$*!6)-!6=!,+-!-$.#>!%6?8$)>!?-?I-.*! 6=!C$)%-!:+-$,.-!6=!5$.#-?R!:+$)&*!,6!D.R!56?-.!".>$),!=6.!+/*!,+6<0+,=<#!/),-.9/-(!! ! 9/! ! ! ! ! ! $)H!*+$./)0!.$.-!8+6,6*!=.6?!,+-!56?-.!".>$),!26##-%,/6)R!:+$)&*!,6!C.R!5$#/=<! `*$?$.-!$)H!7$,./%/$!]/#*6)!=.6?!,+-!S)*,/,<,-!=6.!C<)+$?!:-%+)/a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a<-R! A/)$##>Q!S!$?!-*8-%/$##>!0.$,-=<#!,6!D/**>!C<0$)!$)H!,+-!"6>*!$)H!1/.#*!2#<I!6=! D-,.6!4,#$),$!=6.!/)9-*,/)0!/)!?>!-H<%$,/6)!$)H!G$%a<-#/)-!1#$*,-.!$)H!D*R!B--*+$! "6>%-\1$*&/)*!=6.!-)%6<.$0/)0!?-!,6!8<.*<-!?>!?$*,-.F*!H-0.--!$,!5$.9$.H!K)/9-.*/,>R! 4HH/,/6)$#!,+$)&*!,6!G<)-!7/%&-,,!=6.!*<886.,/)0!?-!,+.6<0+6<,!?>!-),/.-!_6<.)->!$*!$! 0.$H<$,-!*,<H-),R!4#*6Q!?$)>!,+$)&*!,6!2+-./-!76,,*!=6.!-H/,/)0!$)H!=6.?$,,/)0!,+/*!,+-*/*R! E$*,#>Q!?>!(6.&!$,!,+-!"6*,6)!"$##-,!($*!/)*,.<?-),$#!/)!0/9/)0!?-!,+-!8$**/6)!,6! -J8#6.-!,+/*!,68/%R!D>!*/)%-.-*,!0.$,/,<H-!,6!,+-!7*/!`?-0$!2+$8,-.!6=!4#8+$!B$88$! 4#8+$!'6.6./,>!=6.!>6<.!#69-!$)H!*<886.,!H<./)0!,+/*!8.6%-**R!D$)>!,+$)&*!,6!T/)$! b$)*<%+Q!G6*+!B.$=,Q!,+-!"6>*!$)H!1/.#*!2#<I!6=!"6*,6)Q!$)H!,+-!B.$=,!A$?/#>! A6<)H$,/6)!=6.!8.69/H/)0!?-!,+-!.-*6<.%-*!)--H-H!,6!0-,!,+.6<0+!?>!8.60.$?R! ! ! ! ! ! ! ! ! ! 9//! ! ! ! ! ! ! ! ! :$I#-!6=!26),-),*! ! ! ! C-H/%$,/6)!RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR!9! 4%&)6(#-H0-?-),*!RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR!9/! E/*,!6=!7+6,6*!RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR!J//! E/*,!6=!A/0<.-*!RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR!J/9!
Load more

Recommended publications
  • Children's Concert Series an INTERACTIVE CONCERT WITH
    Children’s Concert Series 2020–2021 AN INTERACTIVE CONCERT WITH MUSIC, DANCE, AND NARRATION Saturday, March 13, 2021 | 6:00 pm Virtual Family Concert 1 ver fifty years ago, a brave American man stepped out of a landing craft onto the surface Gerard Schwarz of the moon and made history. With the help of Conductor O the Demetrius Klein Dance Company and four exciting pieces of all-American music, Palm Beach Symphony Brenda Alford brings that indelible moment of Milky Way magic to the Narrator stage through an interactive concert in which students will literally take part in exploring such scientific concepts as Demetrius Klein Dance Company (DKDC) the Earth’s rotation, gravity and telescope viewing. All this choreography and dance while thrilling to a powerful Copland fanfare, the soaring themes of Star Wars and sharing the adventures of a very special resident of Earth’s satellite, Rocky de Luna, an Saturday, March 13, 2021 | 6:00 pm inquisitive moon rock. Virtual Family Concert With a special narrative accompanied by the music of Copland’s Lincoln Portrait, students will meet Rocky as she hitches a ride with two friendly NASA astronauts on the Program Apollo 11 lunar module en route back to Aaron Copland – Fanfare for the Common Man planet Earth. Neil Armstrong and Buzz Aldrin show Rocky some out-of-this-world John Williams – Princess Leia’s Theme from Star Wars views of the moon, help define the moon’s John Williams – The Imperial March (Darth Vader’s Theme) from Star Wars place in the solar system, describe how the moon Aaron Copland – Selections from Lincoln Portrait affects all life on Earth ..
    [Show full text]
  • The Psychosocial Effects of Compensated Turnout on Dancers: a Critical Look at the Leading Cause of Non-Traumatic Dance Injuries
    University of Tennessee at Chattanooga UTC Scholar Student Research, Creative Works, and Honors Theses Publications 5-2018 The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries Rachel Smith University of Tennessee at Chattanooga, [email protected] Follow this and additional works at: https://scholar.utc.edu/honors-theses Part of the Medicine and Health Sciences Commons Recommended Citation Smith, Rachel, "The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries" (2018). Honors Theses. This Theses is brought to you for free and open access by the Student Research, Creative Works, and Publications at UTC Scholar. It has been accepted for inclusion in Honors Theses by an authorized administrator of UTC Scholar. For more information, please contact [email protected]. The Psychosocial Effects of Compensated Turnout on Dancers 1 The Psychosocial Effects of Compensated Turnout on Dancers: A Critical Look at the Leading Cause of Non-Traumatic Dance Injuries Rachel Smith Departmental Honors Thesis University of Tennessee at Chattanooga Department of Health and Human Performance Examination Date: March 22, 2018 ________________________________ ______________________________ Shewanee Howard-Baptiste Burch Oglesby Associate Professor of Exercise Science Associate Professor of Exercise Science Thesis Director Department Examiner ________________________________ Liz Hathaway Assistant Professor of Exercise
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Arthur Mitchell
    Finding Aid to The HistoryMakers ® Video Oral History with Arthur Mitchell Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Mitchell, Arthur, 1934-2018 Title: The HistoryMakers® Video Oral History Interview with Arthur Mitchell, Dates: October 5, 2016 Bulk Dates: 2016 Physical 9 uncompressed MOV digital video files (4:21:20). Description: Abstract: Dancer, choreographer, and artistic director Arthur Mitchell (1934 - 2018 ) was a principal dancer for the New York City Ballet for fifteen years. In 1969, he co-founded the Dance Theatre of Harlem, the first African American classical ballet company and school. Mitchell was interviewed by The HistoryMakers® on October 5, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_034 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Dancer, choreographer and artistic director Arthur Mitchell was born on March 27, 1934 in Harlem, New York to Arthur Mitchell, Sr. and Willie Hearns Mitchell. He attended the High School of Performing Arts in Manhattan. In addition to academics, Mitchell was a member of the New Dance Group, the Choreographers Workshop, Donald McKayle and Company, and High School of Performing Arts’ Repertory Dance Company. After graduating from high school in 1952, Mitchell received scholarships to attend the Dunham School and the School of American received scholarships to attend the Dunham School and the School of American Ballet. In 1954, Mitchell danced on Broadway in House of Flowers with Geoffrey Holder, Louis Johnson, Donald McKayle, Alvin Ailey and Pearl Bailey.
    [Show full text]
  • Hans Ulrich Obrist a Brief History of Curating
    Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist.
    [Show full text]
  • Dance Theater of Harlem and a Large-Scale Recycling of Rhythms
    dance theater of harlem and a large-scale recycling of rhythms. Moreover, the Stolzoff, Norman C. Wake the Town and Tell the People: Dance- philosophical and political ideals featured in many roots hall Culture in Jamaica. Durham, N.C.: Duke University reggae lyrics were initially replaced by “slackness” themes Press, 2000. that highlighted sex rather than spirituality. The lyrical mike alleyne (2005) shift also coincided with a change in Jamaica’s drug cul- ture from marijuana to cocaine, arguably resulting in the harsher sonic nature of dancehall, which was also referred to as ragga (an abbreviation of ragamuffin), in the mid- Dance Theater of 1980s. The centrality of sexuality in dancehall foregrounded arlem ❚❚❚ H lyrical sentiments widely regarded as being violently ho- mophobic, as evidenced by the controversies surrounding The Dance Theater of Harlem (DTH), a classical dance Buju Banton’s 1992 hit, “Boom Bye Bye.” Alternatively, company, was founded on August 15, 1969, by Arthur some academics argue that these viewpoints are articulat- Mitchell and Karel Shook as the world’s first permanent, ed only in specific Jamaican contexts, and therefore should professional, academy-rooted, predominantly black ballet not receive the reactionary condemnation that dancehall troupe. Mitchell created DTH to address a threefold mis- often appears to impose on homosexuals. While dance- sion of social, educational, and artistic opportunity for the hall’s sexual politics have usually been discussed from a people of Harlem, and to prove that “there are black danc- male perspective, the performances of X-rated female DJs, ers with the physique, temperament and stamina, and ev- such as Lady Saw and Patra, have helped redress the gen- erything else it takes to produce what we call the ‘born’ der balance.
    [Show full text]
  • The Biomechanics of the Tendu in Closing to the Traditional Position, Pli#233
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 The iomechB anics of the Tendu in Closing to the Traditional Position, Pli#233; and Relev#233; Nyssa Catherine Masters University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Engineering Commons Scholar Commons Citation Masters, Nyssa Catherine, "The iomeB chanics of the Tendu in Closing to the Traditional Position, Pli#233; and Relev#233;" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4825 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Biomechanics of the Tendu in Closing to the Traditional Position, Plié and Relevé by Nyssa Catherine Masters A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Mechanical Engineering Department of Mechanical Engineering College of Engineering University of South Florida Major Professor: Rajiv Dubey, Ph.D. Stephanie Carey, Ph.D. Merry Lynn Morris, M.F.A. Date of Approval: November 7, 2013 Keywords: Dance, Motion Analysis, Knee Abduction, Knee Adduction, Knee Rotation Copyright © 2013, Nyssa Catherine Masters DEDICATION This is dedicated to my parents, Michael and Margaret, who have supported me and encouraged
    [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]
  • 1 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: the Importance of Émigré Art Dealers As Reflecte
    Working Paper--Draft 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: The Importance of Émigré Art Dealers as Reflected in the Case Studies Of Curt Valentin and Otto Kallir-Nirenstein Please permit me to begin with some reflections on my own work on art plunderers in the Third Reich. Back in 1995, I wrote an article about Kajetan Mühlmann titled, “The Importance of the Second Rank.” 1 In this article, I argued that while earlier scholars had completed the pioneering work on the major Nazi leaders, it was now the particular task of our generation to examine the careers of the figures who implemented the regime’s criminal policies. I detailed how in the realm of art plundering, many of the Handlanger had evaded meaningful justice, and how Datenschutz and archival laws in Europe and the United States had prevented historians from reaching a true understanding of these second-rank figures: their roles in the looting bureaucracy, their precise operational strategies, and perhaps most interestingly, their complex motivations. While we have made significant progress with this project in the past decade (and the Austrians, in particular deserve great credit for the research and restitution work accomplished since the 1998 Austrian Restitution Law), there is still much that we do not know. Many American museums still keep their curatorial files closed—despite protestations from researchers (myself included)—and there are records in European archives that are still not accessible.2 In light of the recent international conference on Holocaust-era cultural property in Prague and the resulting Terezin Declaration, as well as the Obama Administration’s appointment of Stuart Eizenstat as the point person regarding these issues, I am cautiously optimistic.
    [Show full text]
  • Tv Guide Boston Ma
    Tv Guide Boston Ma Extempore or effectible, Sloane never bivouacs any virilization! Nathan overweights his misconceptions beneficiates brazenly or lustily after Prescott overpays and plopped left-handed, Taoist and unhusked. Scurvy Phillipp roots naughtily, he forwent his garrote very dissentingly. All people who follows the top and sneezes spread germs in by selecting any medications, the best experience surveys mass, boston tv passport She returns later authorize the season and reconciles with Frasier. You need you safe, tv guide boston ma. We value of spain; connect with carla tortelli, the tv guide boston ma nbc news, which would ban discrimination against people. Download our new digital magazine Weekends with Yankee Insiders' Guide. Hal Holbrook also guest stars. Lilith divorces Frasier and bears the dinner of Frederick. Lisa gets ensnared in custodial care team begins to guide to support through that lenten observations, ma tv guide schedule of everyday life at no faith to return to pay tv customers choose who donate organs. Colorado Springs catches litigation fever after injured Horace sues Hank. Find your age of ajax will arnett and more of the best for access to the tv guide boston ma dv tv from the joyful mysteries of the challenges bring you? The matter is moving in a following direction this is vary significant changes to the mall show. Boston Massachusetts TV Listings TVTVus. Some members of Opus Dei talk business host Damon Owens about how they mention the nail of God met their everyday lives. TV Guide Today's create Our Take Boston Bombing Carjack. Game Preview: Boston vs.
    [Show full text]
  • 18Th Century Dance
    18TH CENTURY DANCE THE 1700’S BEGAN THE ERA WHEN PROFESSIONAL DANCERS DEDICATED THEIR LIFE TO THEIR ART. THEY COMPETED WITH EACH OTHER FOR THE PUBLIC’S APPROVAL. COMING FROM THE LOWER AND MIDDLE CLASSES THEY WORKED HARD TO ESTABLISH POSITIONS FOR THEMSELVES IN SOCIETY. THINGS HAPPENING IN THE WORLD IN 1700’S A. FRENCH AND AMERICAN REVOLUTIONS ABOUT TO HAPPEN B. INDUSTRIALIZATION ON THE WAY C. LITERACY WAS INCREASING DANCERS STROVE FOR POPULARITY. JOURNALISTS PROMOTED RIVALRIES. CAMARGO VS. SALLE MARIE ANNE DE CUPIS DE CAMARGO 1710 TO 1770 SPANISH AND ITALIAN BALLERINA BORN IN BRUSSELS. SHE HAD EXCEPTIONAL SPEED AND WAS A BRILLIANT TECHNICIAN. SHE WAS THE FIRST TO EXECUTE ENTRECHAT QUATRE. NOTEWORTHY BECAUSE SHE SHORTENED HER SKIRT TO SEE HER EXCEPTIONAL FOOTWORK. THIS SHOCKED 18TH CENTURY STANDARDS. SHE POSSESSED A FINE MUSICAL SENSE. MARIE CAMARGO MARIE SALLE 1707-1756 SHE WAS BORN INTO SHOW BUSINESS. JOINED THE PARIS OPERA SALLE WAS INTERESTED IN DANCE EXPRESSING FEELINGS AND PORTRAYING SITUATIONS. SHE MOVED TO LONDON TO PUT HER THEORIES INTO PRACTICE. PYGMALION IS HER BEST KNOWN WORK 1734. A, CREATED HER OWN CHOREOGRAPHY B. PERFORMED AS A DRAMATIC DANCER C. DESIGNED DANCE COSTUMES THAT SUITED THE DANCE IDEA AND ALLOWED FREEDOM OF MOVEMENT MARIE SALLE JEAN-GEORGES NOVERRE 1727-1820; MOST FAMOUS PERSON OF 18TH CENTURY DANCE. IN 1760 WROTE LETTERS ON DANCING AND BALLETS, A SERIES OF ESSAYS ATTACKING CHOREOGRAPHY AND COSTUMING OF THE DANCE ESTABLISHMENT ESPECIALLY AT PARIS OPERA. HE EMPHASIZED THAT DANCE WAS AN ART FORM OF COMMUNICATION: OF SPEECH WITHOUT WORDS. HE PROVED HIS THEORIES BY CREATING SUCCESSFUL BALLETS AS BALLET MASTER AT THE COURT OF STUTTGART.
    [Show full text]
  • Dance Program Handbook 2020-2021
    Bethel College Academy of Performing Arts Dance Program Handbook 2020-2021 DANCE HANDBOOK CONTENTS GUIDE Contact Information 1 General Policies 2 Dance Department Expectations 4 Dress Code 5 Class Requirements 7 Ballet 6 Pointe 10 Jazz 11 Tap 12 Modern 13 Irish 13 Hip Hop 14 Adult Classes 14 Company Requirements 14 IMPORTANT CONTACTS Bethel College Academy of Performing Arts (316) 283-4902 EMAIL: [email protected] 300 E 27th Street, North Newton KS 67117 WEBSITE: www.bcapaks.org Lisa Riffel, Operations Manager (316) 283-4902 [email protected] Haylie Berning, Director of Dance (316) 619-7580 [email protected] Molly Flavin, Instructor (316) 283-4902 [email protected] Emily Blane, Instructor (316) 283-4902 [email protected] Resa Marie Davenport, Instructor (316) 283-4902 [email protected] Aviance Battles, Instructor (316) 283-4902 [email protected] Cathy Anderson, Instructor (316) 283-4902 [email protected] 1 GENERAL INFORMATION AND POLICIES Please read the current registration packet for a complete list of BCAPA’s policies and safety precautions. Keep in mind that some of the below policies may be affected by COVID policies put in place by BCAPA and Bethel College. 1. Communication Methods and Response Time. The best way to contact BCAPA’s dance director is by phone message at (316) 283-4902 or by email at [email protected]. Current students can find important information on upcoming events, workshops, and other announcements at our website, www.bcapaks.org or our Facebook page. 2. *Drop-Off Expectations. In the interest of safety, students must be accompanied to and from their classes by an adult.
    [Show 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.
    [Show full text]