DOCSLIB.ORG

YAGP 2021 Japan.Xlsx [Group]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
YAGP 2021 Japan.Xlsx [Group] PC Finalists YAGP 2021 Japan (Osaka) Oct. 22-25, 2020 ##### # Name Age School CL Title 9 Momoha Sato 9 YARITA YU BALLET STUDIO Paquita 10 Koko Ishihara 9 SHIHO BALLET CLASS Fairy Doll 12 Asuka Hara 9 BALLET LE COEUR Fairy Doll 19 Hikari Otomo 10 Otomo Chinami ballet studio Coppelia 27 Kaho Kimura 10 Skhole Ballet Art The Flames of Paris 38 Azusa Okamura 10 Ballet Studio KK International The Sleeping Beauty 39 Yui Fujita 10 Ballet of America Le Corsaire 40 Luna Sakamoto 10 Nashiki Ballet Studio La Fille Mal Gardee 43 Kae Osada 10 BALLET LE COEUR Paquita 44 Shion Ono 10 YARITA YU BALLET STUDIO Don Quixote 45 Yuna Yano 10 Ballet Platine The Sleeping Beauty 47 Karin Tsukamoto 10 Symphony Ballet Studio Paquita Takako Mori Ballet School (Panda 49 Sakura Nagai 10 Ballet) La Bayadere 50 Saki Koshida 10 Yuki Tokunaga Ballet School Harlequinade 51 Nanoha Yamadoi 10 Kagari Matsuura Ballet Academy Satanella 59 Anzu Kawakami 10 Symphony Ballet Studio Fairy Doll 63 Rioka Nakamura 10 Kumiko Matada Ballet Studio Paquita 68 Maira Otani 11 Matsumoto Chiaki Ballet Studio Fairy Doll 71 Karina Komiya 11 K-Grace Ballet Fairy Doll 72 Rio Enami 11 Aristo BALLET STUDIO Harlequinade 73 Nika Fujiwara 11 Ballet Studio Lien Harlequinade 75 Makoto Odajima 11 S.BALLET.ART Harlequinade 76 Momoka Mega 11 Wakui ballet school La Fille Mal Gardee 1 / 3 PC Finalists YAGP 2021 Japan (Osaka) Oct. 22-25, 2020 ##### # Name Age School CL Title 77 Mona Tsukamoto 11 YARITA YU BALLET STUDIO Flower Festival at Genzano 80 Natsu Fukuyama 11 Nashiki Ballet Studio Harlequinade 86 Nozomi Akamine 11 Ballet Atelier Crea Paquita 89 Ruka Suginohara 11 BALLET LE COEUR Harlequinade 90 Anna Maejima 11 Atelier de Ballet Ange Paquita 94 Mai Sakaguchi 11 SHIHO BALLET CLASS Paquita 95 Sora Aoyama 11 Takeuchi Tsubasa Ballet Studio The Awakening of Flora 98 Konoka Mori 11 angel.k.ballet Coppelia 99 Kokomo Ito 11 Morinaka Maki Ballet Studio Coppelia 100 Yuka Uesaka 11 Ballet Studio forte The Sleeping Beauty 105 Channizemae Rontale 11 Aki Ballet School Don Quixote 108 Ayasa Watanabe 11 YARITA YU BALLET STUDIO Paquita 110 Kurara Ishikawa 11 Symphony Ballet Studio The Awakening of Flora 115 Ayaka Yamashita 11 Tottori city ballet Paquita 116 Sakura Kuroki 11 GRACE BALLET SCHOOL The Sleeping Beauty 118 Momo Kishimoto 11 Symphony Ballet Studio La Fille Mal Gardee 124 Kokona Ueno 11 Ballet Studio Tiara Paquita 126 Aika Shirase 11 Wakui ballet school Fairy Doll Takako Mori Ballet School (Panda 127 Sachika Ando 11 Ballet) The Sleeping Beauty 129 Haruka Nasui 11 Morinaka Maki Ballet Studio Harlequinade 137 Yu Hozumi 11 Nakano Yukako Ballet School Paquita 2 / 3 PC Finalists YAGP 2021 Japan (Osaka) Oct. 22-25, 2020 ##### # Name Age School CL Title 151 Yugo Yamakita 8 Star Ballet Academy The Sleeping Beauty 152 Shun Saito 8 Aristo BALLET STUDIO Coppelia 153 Yuto Inoue 9 Aristo BALLET STUDIO Harlequinade 154 Sho Ikenaga 9 Sugai Risa Classic Ballet Studio Harlequinade 155 Uichiro Inoue 10 de-parc Ballet School Coppelia 157 Eita Akita 10 Wakui ballet school Paquita 160 Waku Tohara 11 K-Grace Ballet Paquita 161 Souichiro Fukuyama 11 Soubi Ballet School La Bayadere 162 Mio Matsumoto 11 yoshii ballet Swan Lake 3 / 3.
Load more

Recommended publications
  • ABSTRACTS Keywords: Ballet, Performance, Music, Musical
    ABSTRACTS Yuri P. Burlaka PAQUITA GRAND PAS AND LE CORSAIRE GRAND PAS: COMPARATIVE ANALYSIS The article explores the origin of creation and the production history of such masterpieces as Grand pas from Paquita and Grand pas Le Jardin Animé from Le Corsaire by Marius Petipa. The analysis proves the fact that with the invention of these choreographic structures the Romantic Pantomime Ballet turn into the Grand Ballet of the second half of the 19th century. In Petipa’s mature works the plot of the ballet is revealed not only in pantomime but through dance as well. Keywords: Marius Petipa, Paquita, Le Corsaire, history of Russian Ballet, ballet dramaturgy. Anna P. Grutsynova MOSCOW DON QUIXOTE: ON THE WAY TO ST. PETERSBURG The article is devoted to one of M. Petipa’s the most famous ballets called Don Quixote which was shown in Moscow and St. Petersburg versions in 1869 and 1871 respectively. The primary Moscow choreography is in a focus. Musical dramaturgy of the ballet is analyzed as well as connections between musical dramaturgy and drama plot are traced. Besides, the article contains a brief comparative analysis of music from Moscow and St. Petersburg choreographies of Don Quixote. Keywords: ballet, performance, music, musical dramaturgy, libretto, Don Quixote, M. Petipa, L. Minkus. Grafi ra N. Emelyanova P. TCHAIKOVSKY’S AND M. PETIPA’S THE SLEEPING BEAUTY IN K. SERGEYEV’S AND YU. GRIGOROVITCH’S VERSIONS The article is focused on preservation of the classical ballet heritage. An example of this theme is The Sleeping beauty ballet by M. Petipa and P. Tchaikovsky in K.
    [Show full text]
  • The Firebird
    EDUCATION Education RESOURCE THE WITH PAQUITA SUPPORTED BY NATIONAL TOURING SUPPORTING EDUCATION CHOREOGRAPHER VAL CANIPAROLI PARTNER rnzb.org.nz facebook.com/nzballet CONTENTS Curriculum links 3 The Firebird 4 The characters 4 The story 5 The creatives 7 Q&A with Loughlan Prior 12 The history of The Firebird 14 Dance activities 16 Crafts and puzzles 18 What to do at a ballet 22 Ballet timeline 23 THE FIREBIRD 29 JULY – 2 SEPTEMBER 2021 2 CURRICULUM LINKS In this unit you and your students will: WORKSHOP LEARNING • Learn about the elements that come OBJECTIVES FOR together to create a theatrical ballet LEVELS 3 & 4 experience. Level 3 students will learn how to: • Identify the processes involved in Develop practical knowledge making a theatre production. • Use the dance elements to develop and share their personal movement vocabulary. CURRICULUM LINKS IN Develop ideas THIS UNIT • Select and combine dance elements in response to a variety of stimuli. Values Communicate and interpret Students will be encouraged to value: • Prepare and share dance movement • Innovation, inquiry and curiosity, individually and in pairs or groups. by thinking critically, creatively and • Use the elements of dance to describe dance reflectively. movements and respond to dances from a • Diversity, as found in our different cultures variety of cultures. and heritages. • Community and participation for the Level 4 students will learn how to: common good. Develop practical knowledge • Apply the dance elements to extend personal KEY COMPETENCIES movement skills and vocabularies and to explore the vocabularies of others. • Using language, symbols and text – Develop ideas Students will recognise how choices of • Combine and contrast the dance elements to language and symbols in live theatre affect express images, ideas, and feelings in dance, people’s understanding and the ways in using a variety of choreographic processes.
    [Show full text]
  • Stephanie Schroedter Listening in Motion and Listening to Motion. the Concept of Kinaesthetic Listening Exemplified by Dance Compositions of the Meyerbeer Era
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Berner Fachhochschule: ARBOR Stephanie Schroedter Listening in Motion and Listening to Motion. The Concept of Kinaesthetic Listening Exemplified by Dance Compositions of the Meyerbeer Era Musical life in Paris underwent profound and diverse changes between the July Monar- chy and the Second Empire. One reason for this was the availability of printed scores for a broader public as an essential medium for the distribution of music before the advent of mechanical recordings. Additionally, the booming leisure industry encouraged music commercialization, with concert-bals and café-concerts, the precursors of the variétés, blurring the boundaries between dance and theatre performances. Therefore there was not just one homogeneous urban music culture, but rather a number of different music, and listening cultures, each within a specific urban setting. From this extensive field I will take a closer look at the music of popular dance or, more generally, movement cultures. This music spanned the breadth of cultural spaces, ranging from magnificent ballrooms – providing the recognition important to the upper-classes – to relatively modest dance cafés for those who enjoyed physical exercise above social distinction. Concert halls and musical salons provided a venue for private audiences who preferred themoresedateactivityoflisteningtostylized dance music rather than dancing. Café- concerts and popular concert events offered diverse and spectacular entertainment
    [Show full text]
  • Robert F. Cook Dance Bio: 10/09, Revised 7/12
    Robert F. Cook dance bio: 10/09, revised 7/12 Studied with Louis Nunnery and Constance Hardinge (1957-65) and at the School of American Ballet (Stanley Williams, André Eglevsky, and Alexandra Danilova) under the auspices of the Ford Foundation (Summers, 1964- 65). Further training at Atlanta Ballet (1962; Robert Barnett, Merrilee Smith), Joffrey School (1965; Françoise Martinet) and in Paris with Serge Peretti, then retired from the school of the Paris Opera (1964). Workshops and master classes with Roni Mahler, Salvatore Aiello, Maryon Lane, and Edward Villella. Later study at Richmond Ballet (1980-82; Arnott Mader, Leslie Peck, Jerry Schwender, Mary Sue Dodd) and RAD training in Edinburgh and Cambridge (UK, 1983-84). Appeared with Cauthen-Nunnery Ballet (Charlotte, NC, 1959) and with Bristol Ballet (Bristol, VA; a regional honor company; apprentice, 1960-62, member 1963-65, dance captain 1965). Soloist with the summer drama Horn in the West, Boone, North Carolina, 1959-62. Medalist in Highland Fling, Sword Dance, and Seann Triubhas at Grandfather Mountain Highland Games (1958- 60). Demi-soloist in Atlanta Ballet’s production of Swan Lake under the direction of David Blair (1965); this was the first production of the entire ballet in the United States. Guest artist with Virginia Players (1977-78), at Randolph-Macon Woman’s College (1980-81), Richmond Ballet (1982), and Fairfax Ballet (2001-2005). Recent major roles include Drosselmeyer in The Nutcracker, Dr. Coppelius in the Balletschool’s Coppelia, Death in Mary Marshall’s Emperor and the Nightingale, the Father of the Reluctant Bride in Pecos Bill and the Cyclone, and the Father in La fille mal gardée.
    [Show full text]
  • Soirée Petipa Vignette De Couverture Marins Petipa
    Soirée Petipa Vignette de couverture Marins Petipa. Opéra de Bordeaux DE/J_ BORDEAUX SOIREE PETIPA Ballet de l'Opéra de Bordeaux Paquita (grand pas) Huit danseuses : Nathalie Anglard, Silvie Daverat, Sophie Guyomard, Stefania Sandrin, Barbara Vignaud, Carole Dion, Corba Mathieu, Maud Rivière Couples : Céline Da Costa, Petulia Chirpaz Hélène Ballon, Celia Millan Viviana Franciosi, Sandrine Gouny Première Variation : Emmanuelle Grizot Deuxième Variation : Aline Bellardi Troisième Variation : Christelle Lara Quatrième Variation : Sandra Macé Raymonda (J*™ acte) Czardas Solistes : Viviana Franciosi Giuseppe Delia Monica (24, 25, 29 avril), Gilles Martin (27, 28 avril) Couples : Petulia Chirpaz, Céline Da Costa, Maud Rivière (24, 25, 29 avril), Corba Mathieu (27, 28 avril), Carole Dion, Sandrine Gouny, Chantai Perpignan, Stefania Sandrin, Sophie Guyomard Gilles Martin ou Giuseppe Delia Monica, Salvatore Gagliardi, Johannes Haider, Alexis Malovik, Christophe Nicita, Omar Taïebi, Sébastien Riou, Emiliano Piccoli Première Variation (variation d'Henriette) : Christelle Lara Deuxième Variation (variation de Clémence) : (24, 25, 29 avril) : Emmanuelle Grizot, Silvie Daverat, Barbara Vignaud (27, 28 avril) : Sandra Macé, Celia Millan, Hélène Ballon Pas de dix Nathalie Anglard, Hélène Ballon, Aline Bellardi, Barbara Vignaud Brice Bardot, Jean-Jacques Herment, Konstantin Inozemtzev, Gregory Milan Opéra de Bordeaux Ballet de l'Opéra de Bordeaux Directeur artistique : Charles Jude Soirée Petipa Paquita (grand pas) Don Quichotte (pas de deux du 3ème acte)
    [Show full text]
  • Teaching Children Excellence
    teaching children The Master Series November 14th excellence 10:00 am Art of Port de Bras Jenny Sosa Former Principal Dancer – Laura Alonso Ballet of Cuba Born and raised in Havana, Cuba, in 1996 Mrs. Sosa was accepted into the Cuban National Ballet School where she graduated with a Gold Medal and obtained the title of dancer and teacher in Cuban Ballet Methodology. In 2005, at the age of 17, she began dancing with the famous Ballet de Camagüey, the second largest ballet company in Cuba. In 2006, Mrs. Sosa was invited to perform with Laura Alonso Ballet in Havana, Cuba, where she became a principal dancer and danced lead and solo roles of Don Quixote, The Nutcracker, Harlequinade, The Flames of Paris, Grand Pas Classique, Le Corsaire, Paquita, La Bayadère, Dracula, Flower Festival in Genzano, Nikiya and Gamzatti in La Bayadère, La Fille Mal Garde, Coppélia, Medora in Le Corsaire, Kitri, in Don Quixote, Giselle in Giselle, Odette and Odile in Swan Lake, and many other works from the classical repertoire. She also performed several contemporary pieces by renowned choreographers such as Alberto Méndez, Nana Badrena, Ivan Monrreal-Alonso and many others. In 2007, Mrs. Sosa represented Cuba and won the Third Prize in the Joinville Ballet Competition, Brazil. In 2010, she joined Ballet Revolucion, a Cuban neoclassical and contemporary dance company, performing in the most prestigious theaters and festivals in England, France, Austria, Monaco, Italy, Germany, Spain, and Singapore. In 2015, Mrs. Sosa joined the Aalto Ballett Essen in Germany, where she danced a vast classical and contemporary repertoire.
    [Show full text]
  • RUSSIAN NATIONAL BALLET THEATRE Artistic Director: Elena Radchenko
    RUSSIAN NATIONAL BALLET THEATRE Artistic Director: Elena Radchenko The Russian National Ballet Theatre was founded in Moscow during the transitional period of Perestroika in the late 1980s, when many of the great dancers and choreographers of the Soviet Union's ballet institutions were exercising their new-found creative freedom by starting new, vibrant companies dedicated not only to the timeless tradition of classical Russian Ballet but to invigorate this tradition as the Russians began to accept new developments in the dance from around the world. The company, then titled the Soviet National Ballet, was founded by and incorporated graduates from the great Russian choreographic schools of Moscow, St. Petersburg and Perm. The principal dancers of the company came from the upper ranks of the great ballet companies and academies of Russia, and the companies of Riga, Kiev and even Warsaw. Today, the Russian National Ballet Theatre is its own institution, with over 50 dancers of singular instruction and vast experience, many of whom have been with the company since its inception. In addition to their upcoming tour, beginning in January 2011 the company will embark upon a 4-month coast-to-coast tour of the United States. In 1994, the legendary Bolshoi principal dancer Elena Radchenko was selected by Presidential decree to assume the first permanent artistic directorship of the company. Ms. Radchenko is the founder of the Russian National Ballet Theatre, and she has focused the Company on upholding the grand national tradition of the major Russian ballet works and developing new talents throughout Russia, with a repertory of virtually all of the great full works of Petipa: Don Quixote, La Bayadere, The Sleeping Beauty, Swan Lake, Raymonda, Paquita, Coppelia and La Sylphide, as well as productions of, among others, The Nutcracker, Sylvia, and La Fille Mal Gardee.
    [Show full text]
  • Mariinsky Ballet & Orchestra
    CAL PERFORMANCES PRESENTS PROGRAM Wednesday, October 10, 2012, 8pm PROGRAM Thursday, October 11, 2012, 8pm Friday, October 12, 2012, 8pm Saturday, October 13, 2012, 2pm & 8pm Swan Lake Sunday, October 14, 2012, 3pm Ballet in Four Acts Zellerbach Hall Act I Mariinsky Ballet & Orchestra of the Mariinsky Theatre Act II St. Petersburg, Russia INTERMISSION Valery Gergiev, Artistic & General Director Yury Fateev, Interim Ballet Director Act III Mikhail Agrest, Conductor INTERMISSION The Company Act IV Principals Music Pyotr Il’yich Tchaikovsky Ekaterina Kondaurova, Anastasia Kolegova, Oksana Skoryk Libretto Vladimir Begichev & Vasili Geltzer Yevgeny Ivanchenko, Danila Korsuntsev, Vladimir Schklyarov Choreography Marius Petipa & Lev Ivanov Alexander Sergeev, Maxim Zyuzin Revised Choreography & Stage Direction Konstantin Sergeyev Soloists Set Designer Igor Ivanov Olga Gromova, Maria Shirinkina, Olga Akmatova, Elena Bazhenova, Tatiana Bazhitova, Costume Designer Galina Solovieva Nadezhda Batoeva, Olga Belik, Victoria Brileva, Daria Grigoryeva, Ksenia Dubrovina, Valeria Zhuravleva, Ekaterina Ivannikova, Svetlana Ivanova, Keenan Kampa, Lidia Karpukhina, World Premiere Mariinsky Theatre, St. Petersburg, Victoria Krasnokutskaya, Liubov Kozharskaya, Lilia Lishchuk, Anna Lavrinenko, January 15, 1895 Anastasia Mikheikina, Olga Minina, Anastasia Nikitina, Ksenia Ostreykovskaya, Irina Prokofieva, Premiere of Sergeyev’s Version Mariinsky Theatre, St. Petersburg, Ksenia Romashova, Yulia Stepanova, Alisa Sodoleva, Irina Tolchilshchikova, Tatiana Tiliguzova,
    [Show full text]
  • Grand Jete 2020 Repertoire List
    GRAND , MARCH 21-22, 2020 JETE PRESENTED BY SOUTH CAROLINA ' S PREMIER A~~...JSC Governor's School .. for the Arts and Humanities STUDENT BALLET COMPETITION ~ Pre-Competitive (Females, Ages 10-12) Coppelia (L. Delibes/St. Leon) All Variations (except Swanilda Variation from Act lll) Don Quixote (L. Minkus/ M. Petipa, A. Gorsky) Cupid Variation Fairy Doll (R.Drigo/Legat) Variation Flames of Paris (A.Asafyev/V. Vainonen) Variation Flower Festival in Genzano (E. Helsted/A. Bournonville) Variation Giselle (A.Adam, F. Burgmuller/J.Perrot, J. Coralli, M. Petipa) Peasant Pas de Deux - variation: 1, 2 (alternative version) Harlequinade (R. Drigo/M. Petipa) Variation La Fille Mal Gardee (P. Hertel, F. Herold/ A. Gorsky, B.Nijinska) Variation of Lise Le Corsaire (A.Adam, C. Pugni, R. Drigo/M. Petipa) Odalisque Variations Paquita (L. Minkus/ M. Petipa ) All Variations (except Principal Variation) Raymonda (A. Glazunov/M. Petipa) All Variations (except Principal Variations of Act ll and Act lll) Swan Lake (P. Tchaikovsky/M. Petipa) Pas de Trois Variations Sleeping Beauty (P. Tchaikovsky/ M. Petipa) Fairies Variations from the Prologue (except Lilac Fairy) Princess Florine Variation *NOTE: Aurora Variations are NOT allowed in this category. Talisman (R.Drigo, C. Pugni / M. Petipa, P. Gusev) Variation of Niriti [Pre Competitive students are allowed to modify and /or simplify the variations to fit their technical level.] Pre-Competative (Males, Ages 10-12) Coppelia (L. Delibes/St. Leon, A. Gorsky) Franz Variation Flower Festival in Genzano (E. Helsted/ A. Bournonville) Variation Giselle (F. Burgmuller/ J.Coralli/M. Petipa) Peasant Pas de Deux Variation Harlequinade (R. Drigo/M.
    [Show full text]
  • The American History and Encyclopedia of Music
    fM NUBNW fKWM OWf THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MUSIC UBR."" Gift of Francis L. Peycke Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/americanhistorye02hubbiala THE AMERICAN HISTORY AND ENCYCLOPEDIA OF MUSIC W. L. HUBBARD EDITOR IN CHIEF ARTHUR FOOTE GEO. W. ANDREWS EDWARD DICKINSON Associate Editors Special Contributors G. W. CHADWICK FREDERICK STARR FRANK DAMROSCH H. E. KREHBIEL FREDERICK STOCK EMIL LIEBLING W. J. HENDERSON Irving Squire Toledo New York Chicago THE AMERICAN HISTORY AND KNCYCLOPEDIA OF MUSIC d^-yt < -- ew lr. la. I. a' 'T--! in *^^. "-I 2, ^ .^ ^ o 5* cu Si ^ a. •4 ^ '•X ^ 1-+- ij) &r 3.2* a >— M 61 'rf' 3 ^ frT a I-; O ^ Si. Q, 5'_ cc (« >> ?^ •-t- ''cr t3 cr cr O 3 < 65 o ft)^ a. d S- l-l t ad a w' cu o Z V c •5,. u. C 3 > OT U 4.*- —'-' f4 5' ,1 ,-iad -' tn 5. 3 r cr. a. G X &J Ou ;•' 3 cr l-l ..^ » (j> u^ Q, a s. a, ad a^ a u 3" 5' 5 1 THE AMERICAN HISTORY AND ENCYCLOPEDIA OF MUSIC OPERAS WITH INTRODUCTION BY H. E. KREHBIEL W. L. HUBBARD EDITOR VOLUME 1 IRVING SQUIRE Toledo New York Chicago Copyright 1908 by IRVING SQUIRE Entered Stationers* Hall LONDON MttSie Library ML OPERA, VOL. 2 LIST OF ILLUSTRATIONS. Page. La Scala, Milan (frontispiece) Emma Calve i6 Jenny Lind i*^ Wilhelmina Schroeder-Devrient 15° Madame Marcella Sembrich 238 Madame Lillian Nordica 246 Madame Fritzi Scheff 300 THE TAMING OF THE SHREW "The Taming of the Shrew," a comic opera in four acts, its libretto freely arranged by Joseph Widmann from the Shakespearian comedy of the same name, and with music by Hermann Goetz, was produced at Mannheim in 1872.
    [Show full text]
  • Season Six Momentum Media Release
    ! FOR IMMEDIATE RELEASE March 1, 2016 Contact: Erika Overturff (Founder and Artistic Director), 402-541-6946 Click here for downloadable full-resolution photos GO WEST! PREMIERE HIGHLIGHTS BALLET NEBRASKA'S SEASON WRAP-UP OMAHA -- Ballet Nebraska will wrap up its sixth season April 1 and 3 with a program highlighted by the premiere of a new frontier-themed ballet, Go West! "I can guarantee there will be cowboys, tumbleweeds, and yodels in store," said Erika Overturff, Ballet Nebraska's founder and artistic director. "And since Momentum is our mixed-repertory program, we'll also offer a lively mix of other works that show off the range of what ballet can do." Overturff said she choreographed Go West! as part of the ballet company's ongoing collaboration with Joslyn Art Museum, in celebration of its current special exhibition: Go West! Art of the American Frontier from the Buffalo Bill Center of the West. Overturff said that what had struck her most strongly about the Joslyn exhibition was its sense of the West as a land of freedom and possibility. "I was inspired by the excitement and energy of the westward expansion. I was also moved by the struggle and hardship that many faced. You can imagine yourself in the West as a daring explorer, a brave pioneer, or a heroic cowhand. The works in the exhibition, and the popular songs I used in my ballet, appealed to that freedom of imagination. And since we’re dealing with imagination, that also gave us the freedom to have some fun!” Also on the program, Overturff said, will be: the famous Black Swan pas de deux from Swan Lake; Finch Concerto, a recent work by Ballet Vero Beach artistic director Adam Schnell; You've Gotta Be Kidding Me!, by St.
    [Show full text]
  • Curriculum Vitae
    Curriculum Vitae Name: Jacobs Given Name: Wilfried Nationality: Belgian Place/Date of birth: Diest / 21.09.1976 Languages: Flemish (mother tongue), English, French, German, Japanese Email: [email protected] [email protected] GSM: +358 50 413 7126 Education 1986 ~ 1987 Chopiniana - ballet school Direction: Ingrid Ceelen 1987 ~ 1995 Stedelijk Instituut voor Ballet, Antwerpen (now Royal Balletschool Antwerp). Direction: Jos Brabants – Marinella Paneda Teachers classical ballet: Alexander Sombart, Georges Houbiers, Jan Nuyts, Maria Metchkarova, Robert Denvers, Tom van Cauwenberg, Yen Stolk, Yvonne Vanderhoven. Apart of classical ballet my education included: Character Dance, Flamenco, Pas de Deux, Variations, Modern Dance (Graham – Horton – Limon), Jazz, repertoire, improvisation techniques. Further Education 5.2016 ~ 6.2017 Course: International Professional Teacher Education (IPTE) Pedagogy and educational science. Post graduate degree in teacher education Education provider: Häme University of Applied Science (HAMK), Hämeenlinna - Finland The extend of the course was 60 credits (ects). The teacher education programme consisted of the following modules: Basic studies in educational sciences (13 ects) Pedagogical studies: Teaching, guidance and assesment (15 ects) Building a learning community (12 ects) Practical teacher training (9 ects) Developing personal expertise in pedagogy (11 ects) Professional experience 1995 ~ 1998 Danza Viva, Ballet am Badisches Staatstheater, Karlsruhe, Germany. Direction: Germinal Cassado
    [Show full text]