Elemental and Nicholasvan Young #Bamnextwave No Intermission LOCATION: RUN TIME: DATES: Approx 70Min BAM Fisher (Fishman Space) DEC 8At2pm DEC 5—8At7:30Pm
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
FOR IMAGES and MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations Coordinator 413.243.9919 X132 [email protected]
FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations Coordinator 413.243.9919 x132 [email protected] TIRELESS: A TAP DANCE EXPERIENCE, AT JACOB’S PILLOW JUNE 28-JULY 2 CURATED BY TAP SENSATION MICHELLE DORRANCE June 5, 2017 – (Becket, MA) Astonishing tap artists from across the U.S. and abroad come together in a Jacob’s Pillow-exclusive program curated and introduced by the “tireless ambassador of tap” Michelle Dorrance (The New York Times). TIRELESS: A Tap Dance Experience will come to the Ted Shawn Theatre, June 28-July 2, and features outstanding tap artists including Jumaane Taylor and M.A.D.D. Rhythms of Chicago, siblings Joseph and Josette Wiggan of Los Angeles, Joe Orrach of San Francisco, and Reona and Takashi Seo of Japan. A Tap Program in The School at Jacob’s Pillow, All Styles Dance Battle, and many free public events make this an expansive week celebrating the art of tap dance. “I’m very interested in exploring the practice of artist as curator,” comments Pamela Tatge, Jacob’s Pillow Director. “A year ago, Michelle Dorrance had just returned from Japan where she regularly interacts with their vibrant and innovative tap scene. She told me about Reona Seo and that led her to highlight for me the many explosive tap talents she sees in the U.S. and abroad. I had the idea that we should invite her to bring some of these artists together in an evening that she would curate exclusively for the Pillow. And so, TIRELESS was born. We also invited Michelle and Dormeshia Sumbry-Edwards to host a two week program at The School so that young talents will have the opportunity to learn from them, outstanding faculty, and all of the virtuosic artists performing at the Festival. -
Dorrance Dance
BLUE RIBBON CHILDREN’S FESTIVAL CURRICULUM MATERIALS Dorrance Dance March 2nd, 2021 Materials by: Susan Cambigue Tracey & Tara Cook Davis 1" TABLE OF CONTENTS Overview of the Blue Ribbon Children’s Festival 3 Before You Experience the Festival 4 Story of Dorrance Dance 5# • Meet the Creative Team 6 • Themes 7 Preparation • Short History of Tap Dance 8 $ Dance Movement Terms 9 $ Things to Watch for at the Performance 10# After the Performance# • Draw Your Impressions; Dance and Movement 11 • Assessment for Students 12 Short and Easy Lessons for the Classroom • Becoming a Musician 13-15 • Learning to Tap 16-17 • Tap Dance-Movement Bank 18-19 • Tap Choreography 20-21 Background on The Music Center 22 Dance for Students to Learn 23-25 • Directions for the Dance 2" OVERVIEW THE 50TH ANNUAL BLUE RIBBON CHILDREN’S FESTIVAL The Blue Ribbon Children’s Festival - one of California’s longest ongoing free arts education programs, and a huge favorite among L.A’s students and teachers - is now expanding from fifth grade to include students in grades 3-12! The Blue Ribbon Children’s Festival is an opportunity for students to experience the performing arts by a professional dance company, along with the chance to dance along at home. WHEN? March 2, 2021 10:00am-10:45 WHERE?# http://musiccenter.org/brcf WHAT DOES IT INCLUDE? Performance of Holiday House Jam, Basses Loaded, Sugar Rum Cherry and Cavalier Duet, Aaron and Warren Trade and DD128QR by Dorrance Dance Materials for teachers Curriculum, Dance Directions, Instructional link for the Student Dance WHO SPONSORS IT? The Blue Ribbon in association with The Music Center 3" Before You Experience The Festival REVIEW all the included background information. -
Invisible-Punctuation.Pdf
... ' I •e •e •4 I •e •e •4 •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • ••••• • • •• • • • • • I •e •e •4 In/visible Punctuation • • • • •• • • • •• • • • •• • • • • • •• • • • • • •• • • • • • • •• • • • • • •• • • • • • ' •• • • • • • John Lennard •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • I •e •e •4 I •e •e •4 I •e •e •4 I •e •e •4 I •e •e •4 I ••• • • 4 I.e• • • 4 I ••• • • 4 I ••• • • 4 I ••• • • 4 I ••• • • 4 • • •' .•. • . • .•. •. • ' .. ' • • •' .•. • . • .•. • . • ' . ' . UNIVERSITY OF THE WEST INDIES- LENNARD, 121-138- VISIBLE LANGUAGE 45.1/ 2 I •e •e' • • • • © VISIBLE LANGUAGE, 2011 -RHODE ISLAND SCHOOL OF DESIGN- PROVIDENCE, RHODE ISLAND 02903 .. ' ABSTRACT The article offers two approaches to the question of 'invisible punctuation,' theoretical and critical. The first is a taxonomy of modes of punctuational invisibility, · identifying denial, repression, habituation, error and absence. Each is briefly discussed and some relations with technologies of reading are considered. The second considers the paragraphing, or lack of it, in Sir Philip Sidney's Apology for Poetry: one of the two early printed editions and at least one of the two MSS are mono paragraphic, a feature always silently eliminated by editors as a supposed carelessness. It is argued that this is improbable -
Chapter Two Literature Review in This Study, the Researcher Shows
11 Chapter Two Literature Review In this study, the researcher shows definition and theory in literature review. The researcher writes some definition of punctuation marks taken from some researchers. Then, the researcher also adds review of related study that contains some research results taken from some researchers. The last is conceptual framework. The researcher takes summary from the theory from some researchers before. English Punctuation According to Jones (1994, p.421) “punctuation, as we consider it, can be defined as the central part of the range of non-lexical orthography”. Allthough arguments could be made for including the sub-lexical marks (e.g. hyphens, apostrolphes ) and structural marlcs (e.g. bullets in itemisations), they are excluded since they tend to be lexicalised or rather difficult to represent, respectively. The other concept comes from Samson (2014, p.23). He said, “punctuation enables us to clarify statements and communicate better with readers.” It is similar with the opinion from Ritter (2001, p. 112) said that “Punctuation exists to clarify meaning in the written word and to facilitate reading. Too much can hamper understanding through an uneven, staccato text, while too little can lead to misreading. Within the framework of a few basic rules (fewer still in fiction), an 12 author's choice of punctuation is an ingredient of style as personal as his or her choice of words.” Writing Writing is an outward expression of what is going on in the writer’s mind (Hussain, Hanif, Asif, and Rehman, 2013). Furthermore, according to Hussain et al (2013), “writing is the visual medium through which graphical and grammatical system of a language is manifested” (p.832). -
THE IMPORTANCE of BIBLICAL PUNCTUATION by John Temples
BIBLICAL INSIGHTS #57: JOTS AND TITTLES: THE IMPORTANCE OF BIBLICAL PUNCTUATION By John Temples Jesus said in the Sermon on the Mount, “Do not think that I came to destroy the Law or the Prophets. I did not come to destroy but to fulfill. For assuredly, I say to you, till heaven and earth pass away, one jot or one tittle will by no means pass from the law till all is fulfilled” (Matthew 5:17-18). What on earth are jots and tittles? A jot (or yod) was the smallest letter in the Hebrew alphabet. It resembled an apostrophe (‘). A tittle was even smaller, and was a little “horn” or pen stroke on the end of a letter, rather like a serif on a letter in the English alphabet. The NIV does a good job of rendering the sense of Matthew 5:18--“I tell you the truth, until heaven and earth disappear, not the smallest letter, not the least stroke of a pen, will by any means disappear from the Law until everything is accomplished.” (It’s important to note that the law was fulfilled in Jesus and His sacrifice; so once that sacrifice was completed, and the sin debt was paid by Christ’s blood, the law did pass away and was replaced by the New Testament.) So Jesus was saying that not even the smallest parts of the law of Moses would pass away until all the law’s requirements were fulfilled. We use similar expressions when we want to emphasize the importance of small details, such as “dotting our i’s and crossing our t’s.” Also, in English we have small but important marks of punctuation--commas, periods, colons, question marks, etc. -
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. -
SM a R T M U S E U M O F a R T U N Iv E R S It Y O F C H IC a G O B U L L E T in 2 0 0 6 – 20
http://smartmuseum.uchicago.edu Chicago, Illinois 60637 5550 South Greenwood Avenue SMART SMART M U S EUM OF A RT UN I VER SI TY OFCH ICAG O RT RT A OF EUM S U M SMART 2008 – 2006 N I ET BULL O ICAG H C OF TY SI VER I N U SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2006– 2008 SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2006–2008 MissiON STATEMENT / 1 SMART MUSEUM BOARD OF GOVERNORS / 3 REPORTS FROM THE CHAIRMAN AND DiRECTOR / 4 ACQUisiTIOns / 10 LOANS / 34 EXHIBITIOns / 44 EDUCATION PROGRAMS / 68 SOURCES OF SUPPORT / 88 SMART STAFF / 108 STATEMENT OF OPERATIOns / 112 MissiON STATEMENT As the ar t museum of the Universit y of Chicago, the David and Alfred Smar t Museum of Ar t promotes the understanding of the visual arts and their importance to cultural and intellectual history through direct experiences with original works of art and through an interdisciplinary approach to its collections, exhibitions, publications, and programs. These activities support life-long learning among a range of audiences including the University and the broader community. SMART MUSEUM BOARD OF GOVERNORS Robert Feitler, Chair Lorna C. Ferguson, Vice Chair Elizabeth Helsinger, Vice Chair Richard Gray, Chairman Emeritus Marilynn B. Alsdorf Isaac Goldman Larry Norman* Mrs. Edwin A. Bergman Jack Halpern Brien O’Brien Russell Bowman Neil Harris Brenda Shapiro* Gay-Young Cho Mary J. Harvey* Raymond Smart Susan O’Connor Davis Anthony Hirschel* Joel M. Snyder Robert G. Donnelley Randy L. Holgate John N. Stern Richard Elden William M. Landes Isabel C. -
A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l . -
TAP INTO HISTORY Study Guide for Educators
TAP INTO HISTORY Study Guide for Educators Highlights of Tap History: 1600’s: English people migrate to the United States, bringing social dance, waltzes, jigs, reels and clogs. At the same time, Africans come to America (as slaves) and bring percussive, grounded and syncopated rhythms. 1880’s: Vaudeville (a variety entertainment performance circuit) establishes tap as an American art form. 1915: Metal taps are added to shoes. 1930’s-50’s: The era of dance movies starring Fred Astaire, Ginger Rogers, Eleanor Powell, Bill Robinson, Buddy Ebsen, James Cagney, Gene Kelly, Donald O’Connor, Ann Miller, and others. 1970’s: Dance studios and colleges start teaching tap. Hip hop and other social dance forms eclipse tap’s popularity. 1980’s: The first tap companies are formed, primarily by women, and the first international tap festival takes place in New York City. 1989: Congress establishes National Tap Dance Day to honor Bill “Bojangles” Robinson’s birthday, May 25th. 1990’s: Tap/percussive dance shows such as Riverdance, Lord of the Dance, Stomp and Tap Dogs become popular worldwide. Savion Glover becomes the poster child for the genre for his appearances in shows like Bring in ‘da Noise, Bring in ‘da Funk and on Sesame Street. Present: Many veteran tap dancers pass away, giving rise to a new generation of tap dancers like Michelle Dorrance, Chloe Arnold, and Jason Samuels Smith. Contemporary tap dance pushes the boundaries of the art form beyond just tapping, exploring elements such as storytelling, technology, and fusion with other dance forms. Questions? [email protected] © 2020 Ryan P. -
DOCUMENT RESUME ED 345 505 FL 019 874 Journal of the Irish Association for Applied Linguistics, Number 5 = TEANGA; Iris Chumann
DOCUMENT RESUME ED 345 505 FL 019 874 TITLE Journal of the Irish Association for Applied Linguistics, Number 5 = TEANGA; Iris Chumann na Teangeolaiochta Feidhmi, Uimhir 5. INSTITUTION Irish Association for Applied :,inguistics, Dublin. REPORT NC ISSN-0332-205X PUB DATE 85 NOTE 119p. PUB TYPE Collected Works - Serials (022) JOURNAL CIT TEANGA: Journal of the Irish Association for Applied Linguistics; n5 1985 EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS Applied Linguistics; Bilingualism; Discourse Analysis; Elementary Education; English; Foreign Countries; *Immersion Programs; Interpersonal Comnunication; *Language Acquisition; *Language of Inszruction; Language Research; *Language Role; Language Tests; Mothers; *Multilingualism; Parent Child Relat_onship; Regional Dialects; Syntax; Test Use; Uncommonly Taught Languages IDENTIFIERS Canada; *English (Irish) ABSTRACT Articles in this issue of a journal on applied linguistics include: "Multilingualism as a Relaxed Affair: The Case of the Western Canadian Halfbreeds" (Patrick C. Douaud); "Testing a Group of Bilingual Children with the Bilingual Syntax Measure" (Christine Helot); "Two Years On: A Sample of Mother Child Interaction in a Second Language" (Maire Owens); "Schooling Through L2 -- Its Effect on Cognitive and Academic Development" (Gearoid 0 Ciarain); "The Potential for Irish-English Dual-Medium Instruction in the Primary School" (Liam Mac Mathuna); "Discourse Aralysis and Language Acquisition" (Michael F. McTear); "Pre-primary Education Through the Medium of Lesser Used Languages" -
Black Dance Stories Kicks Off March 2021 Programming with 'The
Black Dance Stories Kicks off March 2021 Programming with ‘The Professor of Tap’ Dianne ‘Lady Di’ Walker and Choreographer/Dancer Gabri Christa, Thu Mar 4 at 6pm Featured Guests Include Gesel Mason, Jamal Story, Sidra Bell, Archie Burnett, Natasha Diamond-Walker, and Trebien Pollard (Brooklyn, NY/ March 4, 2021) – Black Dance Stories kicks off its March 2021 programming with tap legend Dianne "Lady Di" Walker and choreographer/dancer Gabri Christa on Thursday, March 4. The popular program will present new episodes during March featuring Black dancers, choreographers, movement artists, and creatives who use their work to raise societal issues and strengthen community. Black Dance Stories also welcomes Gesel Mason, Jamal Story, Sidra Bell, Archie Burnett, Natasha Diamond-Walker, and Trebien Pollard. The series streams live on YouTube Thursdays at 6 pm EST. Conceived and co-created by performer, producer, and dance writer Charmaine Warren, the weekly discussion series showcases and initiates conversations with Black creatives that explore social, historical, and personal issues and highlight the African Diaspora's humanity in the mysterious and celebrated dance world. Black Dance Stories is presented in association with 651 ARTS. Black Dance Stories Upcoming Live Episodes Thursdays at 6 pm EST • March 4, 2021 | Dianne Walker & Gabri Christa • March 11, 2021 | Gesel Mason & Jamal Story • March 18, 2021 | Sidra Bell & Archie Burnett • March 25, 2021 | Natasha Diamond-Walker & Trebien Pollard In January 2021, Black Dance Stories and 651 ARTS announced their partnership to co-present the series for the Spring 2021 season. The new partnership reflects Black Dance Stories' commitment to support, uphold, highlight, and celebrate Black creatives and mark the first time 651 presents an online series as part of its suite of programming. -
Dorrance Dance Program
Corporate Season Sponsor: Dorrance Dance Michelle Dorrance, Artistic Director Wed, Mar 8 / 8 PM / Granada Theatre Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Irma & Morrie Jurkowitz Barbara Stupay Corporate Sponsor: The Lynda and Bruce Thematic Learning Initiative: Creative Culture ACT I Excerpts from SOUNDspace (2013)* I have had the honor of studying with and spending time with a great number of our tap masters before they passed Direction and Choreography: Michelle Dorrance, with solo away: Maceo Anderson, Dr. Cholly Atkins, Clayton “Peg- improvisation by the dancers Leg” Bates, Dr. James “Buster” Brown, Ernest “Brownie” Brown, Harriet “Quicksand” Browne, Dr. Harold Cromer, Dancers: Ephrat “Bounce” Asherie, Elizabeth Burke, Gregory Hines, Dr. Jeni Legon, Dr. Henry LeTang, LeRoy Warren Craft, Michelle Dorrance, Carson Murphy, Myers, Dr. Fayard and Harold Nicholas, Donald O’Connor, Dr. Leonard Reed, Jimmy Slyde and Dr. Prince Spencer. Leonardo Sandoval, Byron Tittle, Nicholas Van Young I would also like to honor our living masters whom I am constantly influenced by: Arthur Duncan, Dr. Bunny Briggs, *Originally a site-specific work that explored the unique acoustics of New Brenda Bufalino, Skip Cunningham, Miss Mable Lee and Dianne Walker. York City’s St. Mark’s Church through the myriad sounds and textures of the feet, “SOUNDspace” has been adapted and continues to explore what is most While we are exploring new ideas in this show, we are also beautiful and exceptional about tap dancing – movement as music. constantly mindful of our rich history. Dr. Jimmy Slyde was The creation of “SOUNDspace” was made possible, in part, by the Danspace the inspiration for my initial exploration of slide work in Project 2012-2013 Commissioning Initiative, with support from the New York socks (in the original work) and his influence continues to State Council on the Arts.