October 2009 Newsletter:January 2008 Newsletter
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Arts Council Ballet Policy Review
ARTS COUNCIL BALLET POLICY REVIEW November 2013 1 TABLE OF CONTENTS INTRODUCTION EXECUTIVE SUMMARY CHAPTER 1: HISTORICAL CONTEXT 1.1 Chapter introduction 1.2 A brief overview of ballet history 1.3 Ballet’s relevance in western contemporary society 1.4 Irish ballet in brief 1.5 Chapter conclusion CHAPTER 2: EDUCATION 2.1 Chapter introduction 2.2 Impediments to the development of formal dance education in Ireland 2.3 A brief overview of the current provision for pre-vocational dance training in Ireland 2.4 A possible model for professional dance education in Ireland 2.5 Proposed outline of course content for a BA in Dance 2.6 The positioning of a professional dance programme within a university setting and the development of international associations for quality assurance 2.7 Chapter conclusion CHAPTER 3: AN AUDIENCE PERSPECTIVE 3.1 Chapter introduction 3.2 Audience data sources 3.3 Audience data observations 3.4 Participation observations 3.5 Strategies for nurturing and developing audiences/engagement. 3.5.1 Research 3.5.2 Skills 3.5.3 Partnerships 3.5.4 Branding 3.5.5 Programming 3.5.6 External perceptions 3.5.7 Participatory activities 3.6 Chapter conclusion CHAPTER 4: PROFESSIONAL PRACTICE 4.1 Chapter introduction 4.2 Common factors 4.3 Artistic considerations and planning 2 4.3.1 A commitment to creativity and moving the art form forward. 4.3.2 Producing a ‘balanced’ programme 4.3.3 Imaginative programming achieved taking account of practical considerations 4.4 Model of practice for Ireland 4.5 Chapter conclusion APPENDIX 1: ARTS COUNCIL CONSULTATION PROCESS NOTES APPENDIX 2: ABOUT THE AUTHORS 3 INTRODUCTION In May 2006 the Arts Council commissioned an independent review of the context and issues affecting professional ballet in Ireland. -
October 2010 Newsletter:January 2008 Newsletter.Qxd 22/09/2010 14:08 Page 1
October 2010 Newsletter:January 2008 Newsletter.qxd 22/09/2010 14:08 Page 1 OCTOBER 2010 dance ireland NEWS October 2010 Newsletter:January 2008 Newsletter.qxd 22/09/2010 14:08 Page 2 Dance Ireland is the trading name of the Association of Professional Dancers in Ireland Ltd. Established in 1989, Dance Ireland is a membership-led organisation, operating on an all-Ireland basis, dedicated to the promotion of professional dance practice in Ireland. Incorporated in 1992 as a not-for-profit company with limited guarantee, the organisation has evolved into a national, umbrella resource whose core aims are the promotion of dance as a vibrant art form, the provision of support and practical resources for professional dance artists through our training and development programmes and advocacy on dance and choreography issues. Dance Ireland manages DanceHouse, a purpose-built, state-of-the-art dance rehearsal venue, located in the heart of Dublin’s north-east inner city. DanceHouse is at the heart of Dance Ireland activities, as well as being a home for professional dance artists and the wider dance community. Studios are available for hire. In addition to hosting our artistic programme of professional training and development, performances, exhibitions, special events and a fully equipped artists’ resource room, DanceHouse offers a range of evening classes to cater to the interests and needs of the general public. BOARD MEMBERS Adrienne Brown Chairperson, Cindy Cummings, Richard Johnson, Megan Kennedy Secretary, Lisa McLoughlin, Anne Maher, Fearghus Ó Conchúir. DANCE IRELAND PERSONNEL Paul Johnson, Chief Executive Siân Cunningham, General Manager Elisabeth Bisaro, Programme Manager Inga Byrne, Administrator Brenda Crea & Glenn Montgomery, Receptionists/Administrative Assistants Dance Ireland, DanceHouse, Foley Street, Dublin 1. -
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. -
The Generosity of Our Donors Has Changed Thousands of Lives Across the Island of Ireland and Around the World
thank you The generosity of our donors has changed thousands of lives across the island of Ireland and around the world. The Ireland Funds has never wavered in its commitment and core mission: to deliver private philanthropy support to worthy causes that promote peace and reconciliation, arts and culture, education and community development. On behalf of the organizations doing extraordinary work, we thank you. connect 2017 • 6 “Co-operation Ireland is committed to peace-building on the island of Ireland and we will continue to deliver innovative programs which challenge people’s thinking and attitudes. Support we receive from The Ireland Funds highlights what can be achieved with funding that allows for more creativity and input from the people the programs aim to help.” — CO-OPERATION IRELAND “The Ireland Funds have been huge to our charity. We wouldn’t be here today if it wasn’t for The Ireland Funds. In those early years the funding was so critical because when we started there was nothing else coming in. It’s been a great relationship.” — IRISH DOGS FOR THE DISABLED Impact Report “Historically, there hasn’t been a tradition of private philanthropy in Ireland. But it’s organizations like The Ireland Funds that have taken the lead. Their role has been absolutely vital to philanthropy here.” — THE LITTLE MUSEUM OF DUBLIN “Our work is pioneering and without The Ireland Funds’ support we would not be able to deliver this. Support from The Ireland Funds is helping us to change the lives of these young people in Northern Ireland.” — THE PLAYHOUSE connect 2017 • 7 BELOW IS A SAMPLE OF THE OVER 3,000 OUTSTANDING ORGANIZATIONS YOUR GENEROSITY HAS ASSISTED. -
Music Generation Enters Phase Two
SPRING/SUMMER 2017 PROGRESS THROUGH PHILANTHROPY Music Generation Enters Phase Two WWW.IRELANDFUNDS.ORG At the heart of business in Ireland © 2016 KPMG, an Irish partnership 12 56 3 Message from the Chairman 24 Irish Wheelchair Association 5 Message from the Worldwide President & CEO 28 ReCreate 6 Your Philanthropic Impact - Thank You! 32 The Spectrum Centre 10 The Ireland Funds 2016 Flagship Grants 36 Gaisce 14 Music Generation 40 Inner City Enterprise 18 The Irish Film Institute 46 Anam Cara contents 22 Youth Initiatives connect 2016 | 1 48 The Ireland Funds Young Leaders - Membership Opportunities 50 The Ireland Funds Young Leaders – Global 5K 54 The Ireland Funds Golf Events 56 Events Around the World 56 100 The Ireland Funds Heritage Society 102 Board of Directors 104 Contacts Read Connect magazine online at www.irelandfunds.org 50 10 connect 2017 • 2 ConnectSPRING / SUMMER / 2017 Dear Fellow Donors, As I have the privilege of beginning my second term, I do so with great enthusiasm. In 2017 we continue to see economic improvements in Ireland, North and South. Unemployment is falling, new businesses are being created and a renewed sense of confidence is establishing itself after the ravages of the Great Recession. However, we cannot afford to overlook the considerable challenges Ireland, North and South, could face, not least as a result of Brexit. Despite the progress that has been made, many sectors of society remain untouched by the recovery and many others are still feeling the wounds of such a difficult period. To help strengthen society, the Irish not-for-profit sector plays a critical role. -
Annual Conference Attendance List Key: F = Full Member, I = Individual Member; a = Affiliate Member; NM = Non Member
Annual Conference Attendance list Key: F = Full member, I = Individual member; A = Affiliate member; NM = Non Member # Name Surname Title Organisation Mem 1 Aideen Howard Literary Director Abbey Theatre F 2 Declan Cantwell Director of Finance & Administration Abbey Theatre F 3 Fiach Mac Conghail Director Abbey Theatre F 4 Catherine Carey Director of Public Affairs Abbey Theatre F 5 Barry McKinney General Manager An Tain F 6 Laura Condon Administrator Andrew's Lane Theatre F 7 Mary McVey Andrew's Lane Theatre F 8 Graham Main Festival Manager Anna Livia Dublin Opera Festival F 9 Margaux Nissen Gray Liaison Manager Anna Livia Dublin Opera Festival F 10 Pádraig Naughton Director Arts & Disability Ireland F 11 John McArdle Artistic Director Artswell F 12 Colm Croffy Operations Director Association of Irish Festival Events F 13 Mark O'Brien Local Arts Development Officer axis arts centre Ballymun F 14 Lali Morris Programme Director Baboró Arts Festival for Children F 15 Mona Considine General Manager Backstage Theatre F 16 Anne Maher Managing Director Ballet Ireland F 17 Jenny Walsh Bassett Artistic Director Banner Theatre Company NM 18 Tríona NíDhuibhir General Manager Barabbas F 19 Vincent Dempsey General Manager Barnstorm Theatre Company F 20 Philip Hardy Artistic Director Barnstorm Theatre Company F 21 Frances O'Connor Company Administrator Barnstorm Theatre Company F 22 Peter McNamara Chief Executive Belltable Arts Centre F 23 Karl Wallace Artistic Director Belltable Arts Centre F 24 Alistair Armit Sales Engineer Blackbaud Europe NM 25 -
Colorado Ballet Donation Request
Colorado Ballet Donation Request Kaspar is preparatively apprehensive after faltering Beck intenerating his system dizzily. Nummary Ossie insculp joylessly, he corroded his Hobbist very sidearm. Clarence is exponentially load-bearing after congealed Madison rescales his halters gibingly. Basketball practices for myself, san francisco meeting daniel came from every donation request a whole crab apple varieties and the new If done as we are able to request is ideal for people back in order to procure the donation request using the department of payment that may be paid primarily from the instructions. Critical Acclaim Ballet West. Heather Waldon trained at Colorado Ballet School San Fransisco Ballet School and Pacific. Colorado Ballet boasts record-breaking season Ibotta CEO and closet donate millions to remote school CSU former president honored by. Requests for qualifications to guiding the selection and approval. Donation Requests Schools and non-profit organizations may submit one request one a charitable donation by type New York Hall life Science NYSCI. Colorado Absentee Ballots Voteorg. Events Colorado Ballet. For more information please to call 303339-1637 or email ticketscoloradoballetorg Group Sales for the 20202021 Season On end Try something will for. Colorado Symphony cancels all concerts through Dec 31. Virtual Little University Creative Movement Workshop with. If female are requesting a donation for a 501c3 recognized charitable organization please condition your reply through our online form below Donation. Colorado Ballet furloughs its dancers reduces staff salaries. Donate blood Thank you for beauty gift to Colorado Ballet Questions or concerns Contact Colorado Ballet Advancement Department at 3033391629 Colorado. Significant financial donations to similar mental health organizations across his Front Range. -
News from Elmhurst Patron HRH the Duchess of Cornwall Summer 2014
News from Elmhurst Patron HRH The Duchess of Cornwall Summer 2014 Welcome... It seems like just yesterday that we celebrated the successes of last year and already we are preparing to welcome back the students for yet another great year. The summer period has been a time of great activity for the school, two hugely successful summer schools and the handover of the new boarding accommodation are just two highlights that spring to mind. Left to right, Peter Hawksworth, Robert Parker, Guest of Honour Gillian Lynne, Jessica Ward, Roy Shields; photo: Phil Hitchman On a personal note, this summer also saw my wedding to my long-term partner James Wheeler, hence the change of my name from Ward to work and energies of all staff and students in the creation of these. I feel Wheeler. I shall of course explain this to the students when term starts but very proud that our students show su ch great versatility in their dancing, wanted to share the name change with you. turning their hands to wonderful British choreography such as Ashton’s A Birthday Offering but equally able to get their teeth into challenging Having now completed four years at Elmhurst I continue to be incredibly steps set by William Forsythe in Second Detail ; this is admirable. proud of the students and staff, they are a credit to the school community. At Elmhurst we aim to be consistently outstanding in all that we do – Live, I would like to extend thanks to Birmingham Royal Ballet for continuing to Dance and Learn. It is of paramount importance to us to develop the whole be an inspiration to the students and for their ongoing support; we are person so that Elmhurst students are prepared for professional life beyond truly grateful. -
How Do You Solve a Problem Like Ballet in Ireland?
Ballet Essay 3 Oct 2012:Layout 1 05/10/2012 10:00 Page 1 How do you solve a problem like ballet in Ireland? CHRISTIE SEAVER Ballet Essay 3 Oct 2012:Layout 1 05/10/2012 10:00 Page 2 Ballet. Yes, my daughter is enrolled. Just passed her exams. You know, her teacher passes more Grade 5 students than any other teacher in Ireland. Ballet. Oh, I got my tickets to Swan Lake. Yes, we’ll be sitting in the corporate box with my husband’s clients. I believe this Swan Lake is the best one that’s being presented in the whole of the world today. Ballet. Oh, there’s no real ballet in this country. All we see are Swan Lake and Nutcrackers. I have to go abroad if I want to see anything else. Ballet. Where’s the money? Did you hear the company in town actually might be folding? Some words evoke such powerful associations they immediately ignite the imagination and the senses. In Ireland, the word ballet evokes surprisingly incongruous reactions. And the confusing remarks gain a momentum of their own until ballet’s somewhat precarious foothold in this country seems all the more in question. Ballet has become a loaded word here. Today becomes history It needn’t be that way, considering this island enjoys an immense pride of place in ballet’s world history, due to one young dancer from Wicklow who launched what is now one of the most prestigious schools and companies in the world. As a child, Dame Ninette de Valois danced her first Irish jig on a farmhouse kitchen floor, and years later, her family moved to England and she devoted herself to studying with the best Russian, Italian and French teachers of her day. -
MINT Artsits Wall
MY SUNFLOWER HAT New Mexico Dance Project Founded in 2019 by husband and wife team Scarlett Wynne and Erik Sampson, NMDP produces original concert works, performance installations, and short films that focus on capturing the imagination and inspiring curiosity. The company exists to widen the spectrum of how dance is accessed and experienced by its audience; emphasizing the art of storytelling as a means of bridging the divides brought on by cultural, racial, and social differences. New Mexico Dance Project is a contemporary dance company based in Santa Fe, New Mexico. Scarlett Wynne, Choreographer/ Artistic Director NMDP Scarlett has over ten years of professional experience in the performing arts industry as a dancer, choreographer, and instructor. She holds her Bachelor of Fine Arts in Dance and has worked with companies across the country such as The Georgia Ballet, Dominic Walsh Dance Theatre, Lemon Sponge Cake Contemporary Ballet, Wonderbound, and The Big Muddy Dance Company. Currently, Scarlett is the Co-Founder and Artistic Director of the New Mexico Dance Project and serves as Resident Choreographer and Instructor with the New Mexico School for the Arts (Santa Fe, NM). Erik Sampson, Dancer/ Executive Director, NMDP Erik has worked professionally as a dancer, teacher, and choreographer since 2010 and holds his Bachelor of Fine Arts degree in Dance. In 2014, Erik’s passion for youth development and community impact lead him into Education resulting in the founding of the Arts Immersion Program in 2014, later known as the Immersion STEAM Schools. In 2019, Erik returned to the stage with New Mexico Dance Project and currently serves as the company’s Executive Director. -
Irish Arts Sector Private Investment Report
Irish Arts Sector Private Investment Report Prepared by www.2into3.com March 2014 Contents Page 1 Introduction 3 1.1 About this Report 3 2 Private Investment Received by Arts Organisations 4 2.1 Introduction 4 2.2 Total Private Investment Received by Funded Organisations 4 2.3 Private Investment proportion of total income by organisation size 5 3 Art Form/Practice Review of Private Investment Received 6 3.1 Introduction 6 3.2 Total Private Investment Received by Artform & Practice 6 3.3 Voluntary Income Received by Art Form/Practice 7 3.4 Sponsorship Received by Art Form/Practice 7 3.5 Private Investment proportion of turnover by Artform/Practice 8 4 Geographical Review of Private Investment Received 9 4.1 Introduction 9 4.2 County Review 9 4.3 Province Review 12 5 UK/Ireland Comparison of Arts Private Investment 14 5.1 Private Investment Received by the Arts - Source Comparison 14 5.2 Voluntary Income Received by the Arts Comparison 15 6 Appendix 16 6.1 Financial Reporting of Private Investment by Funded Organisations 16 6.2 Artforms and Practices 17 6.3 Organisations Included in Report 18 Private Investment Report i 1 │ Introduction Figures Page Figure 2.1 – Private Investment Received, 2012 4 Figure 3.1 – Total Private Investment Received by Artform/Practice 6 Figure 3.2 – Total Voluntary Income Received by Artform/Practice 7 Figure 3.3 – Total Sponsorship Received by Artform/Practice 7 Figure 4.1 – Private Investment Received by County 9 Figure 4.2 – Voluntary Income Received by County 10 Figure 4.3 – Sponsorship Received by County -
Digital Bozone 121515
New recycling initiatives now in effect: by Rob Pudner ffective immediately, Gallatin Solid Waste Management District (GSWMD) is accepting only plastic bottles with an imprinted #1 or #2 (typical- ly on the bottom) in addition to paper, aluminum and steel cans, and cardboard. Unfortunately, the nation as a whole currently lacks a market for plas- tics marked with #3 through #7–they’re either removed from the recycling stream locally to be sent to a landfill or they travel hundreds of miles to then be removed and sent to a landfill. [See end of article for accepted/unaccepted item guidelines]. Right now, Gallatin County has an opportunity to reduce its carbon footprint and increase the value of its recycling program by managing non-recyclable materials at our own landfill in Logan. We decided to take responsibility for our own waste rather than burning more fossil fuel simply to truck garbage across the country. ECommon plastics with a number one include beverage bottles, such as water bottles and soda bottles, salad dressing bottles, and some juice bottles. Plastics with a number two include both “natural” and “colored” containers suck as milk jugs and laundry detergent bottles. Plastics must be bottles with a neck–no clamshell containers (from berries or mixed salads) or tubs (cream cheese, yogurt, sour cream) even if they are imprinted with a #1 or #2. Because bottles tend to occupy a lot of space in our drop-off bins, we are asking recycling participants to first crush their bottles and then replace the caps. This focus on #1s and #2s requires extra vigilance from county resi- dents as non-recyclable materials contaminate collected loads and jeop- ardize the livelihood of the entire program.