DOCSLIB.ORG

Ipseities, No

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ipseities, No presents I P S E I T I E S S pe C I AL L I V est R E AM E V E N T Sunday, April 25, 2021, at 8:00 pm Livestream from Soapbox Gallery, Brooklyn 636 Dean Street, Brooklyn, NY 11238 How to Purchase Virtual Tickets Soapbox Gallery makes their livestreams available free of charge. We are asking you to consider purchasing a pay-what-you-can ticket to support the artists on this program. All amounts are appreciated, and support above $25 will be tax-deductible and treated as a donation to Periapsis Music and Dance. To purchase, please visit our event page and fill out the form. You can also make a Venmo payment to @periapsisnyc and indicate that the transaction is for a virtual ticket. How to View the Livestream At the time of the livestream, April 25 at 8:00 pm EDT, visit Soapbox Gallery’s livestream page to view. The video will remain viewable on the page for about three days. After the first day, you may need to scroll down to find it, as newer videos will be added above. Program On the passage of time Choreography: Rebecca Walden Music: Ipseities, No. 1, by Jonathan Howard Katz Dancers: Mac Twining and Rebecca Walden Music commissioned by Elizabeth Falk and Martin Piecuch. to give someone your weight but not let them move you Choreography: Marlaina Garcia Riegelsberger (she/they) in collaboration with the dancers Music: Ipseities, No. 10, by Jonathan Howard Katz Dancers: Dot Armstrong (they/them) and Nicole Truzzi (she/her) Music commissioned by Theresa Huntsman. If I Speak (and no one listens, does it still make a sound?) Choreography: Ashley Carter Music: Ipseities, No. 8, by Jonathan Howard Katz Dancer: Ashley Carter Ipseities XIX Choreography: Maggie Joy and Erin Maher Music: Ipseities, No. 19, by Jonathan Howard Katz Dancers: Maggie Joy and Erin Maher Push a Boulder, Catch a Feather Choreography: Kyla Barkin Barkin/Selissen Project Music: Ipseities, No. 17, by Jonathan Howard Katz Dancer: Kyla Barkin Staging Assistant: Amanda Sommers Music commissioned by Dawn Lille. a moment of silence Choreography: Annie Nikunen Music: Ipseities, No. 20, by Jonathan Howard Katz Dancer: Annie Nikunen Jonathan Howard Katz, piano Lighting and video by Jimmy Greenfield, Soapbox Gallery A BRIEF TALKBACK WITH THE ARTISTS WILL FOLLOW THE PERFORMANCE This program was supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. About the Artists KYLA BARKIN, Artistic & Founding Director of Barkin/Selissen Project (“B/S P”) and the Dancers Above Water Covid relief fund, has lived in El Barrio (East Harlem) for over 16 years. She studied with “La Mariquilla” at the Academia de Ballet Flamenco in Granada, Spain then received her BA in dance from UCLA. Her New York City- based dance company B/S P created a series of five short dance films called Titles Project, released via online platforms with the intention of creating open access to art and meeting people where they are; three of the films were created as a Wilson College Summer Artist-in-Residence. B/S P and DAW are proud to have been recently featured at the Bessie awards as well as in a PSA produced and soon to be aired by the Ovation channel. Barkin’s choreography has been shown at venues including The Staller Center for the Arts, Jacob’s Pillow Inside/Out, Jazz at Lincoln Center, West End Theater, Boston’s Dance Complex, Touhill PAC (St. Louis, MO), Bryant Park, The Flea, The Joyce SOHO, National Math Festival, and the 92nd St Y, among others. Her work has also been presented internationally in Berlin, Edinburgh, Yogyakarta (Indonesia), and more. Notable collaborations include dance films with Juano Castillo, Idle House, FALKOR Systems, Reggie Watts for Sally Taylor’s ConSenses, Martinez Miroto for Body in Between, James Simons, Sirius String Quartet, and Nel Shelby on Differential Cohomology & its documentary, as well as ongoing artistic partnerships with composers James Guastaferro, Zac Selissen, Lindsey Boise, and Kevin Keller. Barkin has been working with Janis Brenner & Dancers since 1998 and has taught and set works, both of Brenner’s and her own, at institutions such as NCSA, The Juilliard School, The Joffrey School, Stony Brook University, NIA (Taiwan), ISI in Yogyakarta, SUNY Brockport and Tanzakademie Balance 1 (Berlin). She has also danced with companies including Isabel Gotzkowsky and Friends, Carolyn Dorfman Dance Co., and Doug Elkins Dance Co. Kyla has been on faculty at USDAN and teaches classes, private lessons and workshops both in the United States and internationally. Ms. Barkin has also been a Medical Exercise Specialist and Yoga Teacher/Therapist in NYC for over 25 years, and is honored to serve on the board of the Foundation for a Just Society since 2010. ASHLEY CARTER has performed/choreographed at Jacob’s Pillow, Teatro Madrid, Battery Dance Festival, The Barrow Street Theater, SummerStage, The Highline Ballroom, and Webster Hall, among others. She is on faculty at Ballet Academy East and Ellison Ballet in New York, studios in Mexico and Spain, and has taught at Broadway Dance Center, Steps on Broadway in New York City, and master classes internationally. Ashley has worked with Ricky Martin, NeYo, Nicki Minaj, and Mila Kunis; for companies like Pilobolus, Derek Mitchell, Daniel Gwirtzman, Hanna Q Dance, Germaul Barnes/Viewsic Expressions, RTG Dance Collage, Ruddur Dance; and brands such as Netflix, Nike, Athleta, Nokia, Pixar, Microsoft, Heineken, Yahoo, the Rachel Ray Show and Lush Cosmetics. She has been seen off-Broadway in shows like West Side Story. She was invited to Madrid to teach at the Association of Dance Professionals and choreograph for recording artist Nuria Elosegui. Ashley performed in Sia’s music video “Soon We Will Be Found,” in Central Park Summerstage, in a Boost Mobile commercial, in a feature film with Justin Timberlake, and is credited with choreographing the feature film The Ride of Tom and Valkyrie. Ashley was in the original dance film Here We Go Again, has performed two seasons as Fritz/Rat King/Russia in DIY Nutcracker, danced in The Barber of Seville with the Amore Opera, and worked on a production of in Peter Pan for Broadway Asia. Co-director of DoubleTake Dance, Ashley has presented performances in the City Parks SummerStage festival, Battery Dance Festival, the ACLU’s 100th birthday celebration, and others. She is credited with Directing/choreographing commercials for Fuse TV and Dropps laundry detergent. She also routinely travels to the West Coast, Europe, and Mexico to teach contemporary workshops. Recent credits include choreographic commissions for the world-renowned Dancing Wheels Company, HT Chen’s NewSteps, and JPAC’s Next Stage Residency; choreography for new musicals Dragula and Parallel Lines; and a choreography grant from Eryc Taylor Dance. Ashley’s choreography has twice been featured in YAGP finals. MAGGIE JOY is a freelance dance artist living in New York. A Dallas, TX, native, Maggie is an honors graduate of Booker T Washington High School for the Performing and Visual Arts. She graduated in 2019 summa cum laude with a BFA in dance and a minor in psychology from New York University’s Tisch School of the Arts. At Tisch, she performed works by Christina Robson, Yin Yue, and repertory by Arnie Zane, and had the opportunity to study internationally at the Salzburg Experimental Academy of Dance. She has performed at The Joyce Theater with the Scottish Ballet Dance Exchange and at other venues, including Dock11 (Berlin), Triskelion Arts and the Ace Hotel (CreateART performance). Maggie is currently in process with cullen+them and Dual Rivet. This is the second piece Erin and Maggie have created together; their first premiered at Arts on Site in February 2020. Composer and pianist JONATHAN HOWARD KATZ is gaining increasing recognition for the unique immediacy and expressive depth of his music, which speaks to audiences and performers alike. Harnessing his intuitive grasp of communication, combined with a rigorous technical command, he has developed a strong artistic voice that is recognizable through a diverse body of work. Current projects include a large-scale work for solo voice (written for Sophie Delphis, Stephanie Lamprea, Emily Solo, and Zen Wu), and new works for Periapsis Music and Dance with choreographers Gabrielle Lamb and Alia Kache. Dr. Katz’s music has been performed by the Mivos Quartet, Da Capo Chamber Players, Ensemble Pi, pianists Ursula Oppens and Jerome Lowenthal, and many others. His music has been heard at venues such as Symphony Space, Jacob’s Pillow, Bargemusic, Merkin Hall, the Kozciuszko Foundation, and Roulette. He’s a recipient of the Robert Helps Prize and a Javits Fellowship; commissions and other support have come from Concert Artists Guild, New Music USA, the Charles and Joan Gross Family Foundation, and numerous individuals. One of Dr. Katz’s major artistic interests has been developing close collaborations with dance artists, and to date he has worked with dozens of choreographers, including Seán Curran, Manuel Vignoulle, Kate Skarpetowska, Da’ Von Doane, and Erin Dillon. He is the artistic director and cofounder of Periapsis Music and Dance and served as adjunct faculty at NYU Tisch Dance. Dr. Katz holds degrees in piano performance from Indiana University, New England Conservatory, and Northwestern University. He studied composition with Jason Eckardt and Tania León at the CUNY Graduate Center, and his principal piano teachers were Ursula Oppens, Gabriel Chodos, and Edward Auer. ERIN MAHER grew up near Chicago, Illinois, where she began dancing at a young age. She trained at Foster Dance Studios and performed with CoCoDaCo Dance Project while attending New Trier High School. Upon graduation, Erin attended New York University and graduated magna cum laude in 2019 with a BFA in dance and a minor in child and adolescent mental health studies.
Load more

Recommended publications
  • Underserved Communities
    National Endowment for the Arts FY 2016 Spring Grant Announcement Artistic Discipline/Field Listings Project details are accurate as of April 26, 2016. For the most up to date project information, please use the NEA's online grant search system. Click the grant area or artistic field below to jump to that area of the document. 1. Art Works grants Arts Education Dance Design Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts 2. State & Regional Partnership Agreements 3. Research: Art Works 4. Our Town 5. Other Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of April 26, 2016. Arts Education Number of Grants: 115 Total Dollar Amount: $3,585,000 826 Boston, Inc. (aka 826 Boston) $10,000 Roxbury, MA To support Young Authors Book Program, an in-school literary arts program. High school students from underserved communities will receive one-on-one instruction from trained writers who will help them write, edit, and polish their work, which will be published in a professionally designed book and provided free to students. Visiting authors, illustrators, and graphic designers will support the student writers and book design and 826 Boston staff will collaborate with teachers to develop a standards-based curriculum that meets students' needs. Abada-Capoeira San Francisco $10,000 San Francisco, CA To support a capoeira residency and performance program for students in San Francisco area schools. Students will learn capoeira, a traditional Afro-Brazilian art form that combines ritual, self-defense, acrobatics, and music in a rhythmic dialogue of the body, mind, and spirit.
    [Show full text]
  • Performing Disability. Dance. Artistry
    Performing Disability. Dance. Artistry. PAGE 2 ACCESSIBILITY This document has been designed with a number of features to optimize accessibility for low-vision scenarios and electronic screen readers: √ Digital Version: Alt text metadata has been added to describe all charts and images. √ Digital Version: Alt text has also been duplicated as actual text captions for screen readers that do not read metadata and instead read what is visually seen on the screen. (Note: This will result in redundancy for those using advanced screen readers, which read both.) √ Digital Version: The layout has been designed continuously and free of complex layouts in order to maintain a simple and consistent body flow for screen readers. √ Digital Version: Page numbers are tagged to be ignored by screen readers so as to not interrupt information flow (and at the top of the page for other screen readers). √ Headlines and body introductions are set at 18 points, which is considered large print by the American Printing House for the Blind (APH). √ Body text is set at 14 points, which is considered enlarged by the APH. √ Fine print and labels are set in heavier weights to increase readability. √ High contrast has been maintained by using black body text. √ Ample white space has been applied (to page margins and line spacing) to make pages more readable by providing contrast to the print and creating luminance around the text. PAGE 3 TABLE OF CONTENTS 4 Acknowledgments 6 Testimony 8 Introduction 11 Methodology 19 Key Learning 28 Recommendations 49 Appendices Profiles Conversation Series Videos & Field Notes by moderator Kevin Gotkin Application & Reporting Templates Interview Transcripts Cover: Cover: Alice Sheppard and Laurel Lawson, Kinetic Light.
    [Show full text]
  • Arts and Special Education Exemplary Programs and Approaches Introduction
    2013 VSA Intersections: Arts and Special Education A Jean Kennedy Smith Arts and Disability Program Exemplary Programs and Approaches Acknowledgments and Credits The John F. Kennedy Center Authors for the Performing Arts Sally Bailey, MFA David M. Rubenstein Chairman Jean B. Crockett, PhD Michael M. Kaiser Rhonda Vieth Fuelberth, PhD President Kim Gavin, MA Darrell M. Ayers Beverly Levett Gerber, EdD Vice President, Education and Jazz Donalyn Heise, EdD Betty R. Siegel Director, VSA and Accessibility Veronica Hicks, MA Lynne Horoschak, MA Editor Sophie Lucido Johnson Sharon M. Malley, EdD Karen T. Keifer-Boyd, PhD Editorial reviewers L. Michelle Kraft, PhD Beverly Levett Gerber, EdD Linda Krakaur, MSt Karen T. Keifer-Boyd, PhD Lynda Ewell Laird, MM Laurie MacGillivray, PhD Alice Hammel, PhD Tim McCarty, MA Barbara Pape, EdM Mark Tomasic, MFA You are welcome to copy and distribute this publication with the following credit: Produced by The John F. Kennedy Center for the Performing Arts, © 2014. The content of this publication, developed under a grant from the U.S. Department of Education, does not necessarily represent the policy of the U.S. Department of Education. You should not as- sume endorsement by the federal government. Contents Introduction 5 Sharon M. Malley, Editor Next Steps: New Research and Teaching Journals 10 at the Intersection of the Arts and Special Education Beverly Levett Gerber, Karen T. Keifer-Boyd, and Jean B. Crockett Exemplary Theatre Practices: Creating Barrier-Free Theatre 25 Sally Bailey Visual Theatre: Building
    [Show full text]
  • Spotlight on Erie – 19 Flagship Multimedia, Inc, 1001 State St., Julian Is Referring to Voodoo Able, with Window Air Condition- Suite 901, Erie, Pa, 16501
    CONTENTS: From the Editors The only local voice for Gainfully employing Erie’s strengths news, arts, and culture. September 28, 2016 Editors-in-Chief: live on the lower west This circumstance, as we all Brian Graham & Adam Welsh side of Erie, and I like my know, has a paralyzing ripple Managing Editor: Just a Thought – 4 Katie Chriest “I neighborhood a lot.” effect. Assignment Editor: Taking a cue from autumn That’s how Dan Schank be- “When the health of our Nick Warren gins his feature on concentrated schools relies on the value of Contributing Editors: poverty in this issue. Schank’s our properties, we incentivize Ben Speggen opening immediately under- flight and punish those who Jim Wertz A Day in the Life of an Erie City mines the generalization that stay put,” Schank writes. “When Contributors: Lisa Austin, Civitas Firefighter – 7 young professionals don’t want trust breaks down between our Ed Bernik to live here. The reality, as usu- police and our most vulnerable Mary Birdsong Running into a blazing building al, is far more nuanced than the neighborhoods, crime flourish- Tracy Geibel Lisa Gensheimer can be ‘terrifying,’ but some supposition. es and abuses occur. When fear Gregory Greenleaf-Knepp As Schank explains, “the prob- of that crime escalates, foot traf- Dan Schank choose to do it, anyway. Tommy Shannon lem isn’t that I wouldn’t be fic disappears, businesses fail, Ryan Smith happy in Frontier or Fairview. and basic needs can’t be met.” Ti Sumner Matt Swanseger The problem is that I’m already Schank’s approach is multifac- Bryan Toy happy where I am.
    [Show full text]
  • Ready2go Arts In-Person 2020-2021
    CLEVELAND EDUCATION RTCONSORTIUM IN RESIDENCE AT SCLEVELAND STATE UNIVERSITY Ready To Go Arts Programs In-person and On-site 2020-2021 As the coronavirus has forced Cleveland Arts Education Consortium members to move arts learning online, we invite you to browse this list of in-person programs and activities for future options. In the meanwhile, check our Spring 2021 ONLINE book for new arts adventures for every age. Questions? Call or email the person listed with the program or Judith Ryder, CAEC Manager 216-802-3378. [email protected] Ready to Go Arts Programs 2020-2021 In these pages you’ll find a range of in-person arts programs for all ages from the Cleveland Arts Education Consortium member organizations listed below. Follow the numbers to find programs. While a few members are safely presenting some of their in-person programs, we suggest you check our ONLINE Spring 2021 book for the greatest range of options. Organization # and Name # of Programs included Arts Discipline 1 - Apollo’s Fire 2 programs MUSIC 2 - Art House, Inc. 2 programs VISUAL ART 3 - Beck Center for the Arts 2 Programs MULTIPLE ARTS 4 - Bluewater Chamber Orchestra 3 Programs MUSIC 5 - Boys and Girls Clubs of Cleveland/Open Tone Music 1 Programs MUSIC 6 - Broadway School of Music & the Arts 3 Programs MUSIC 7 - Center for Arts-Inspired Learning 3 Programs MULTIPLE ARTS 8 - Chris Siebert via CAL 1 Program THEATER/CREATIVE WRITING 9 - City Music Cleveland 2 Programs MUSIC & OTHER ARTS 10 - Cleveland Association of Black Storytellers, Inc. 2 Programs STORYTELLING/CULTURE
    [Show full text]
  • 2017-Festival-Brochure
    www.ohiodance.org 2 www.ohiodance.org Dance Matters: Inscribing The OhioDance Festival and Conference is an annual statewide celebration of dance through classes, workshops, discussions and performances. Nationally recognized Alexis Willson, will serve as a guest artist. As a professional dancer she has performed classically and commercially all over the world. Alexis earned her B.F.A. in drama from the prestigious Carnegie-Mellon University. After retiring from dancing, she acted in com- mercials and later became a casting associate. Alexis has written and published poetry, a full length musical, made contributions to a variety of published works, and self-published her recent memoir, Not So Black and White. Friday, April 28 Young Artists’ Concert, 10:30-11:30am Master classes begin at 2:30pm. 8:00pm: BalletMet’s Romeo and Juliet at the Ohio Theatre 7:00pm Reception Saturday, April 29 Full day of master classes 12:30-1:30pm Alexis Wilson guest speaker after the Luncheon 2-3:30pm Virtual Dance Collection unveiling Panel Discussion 3:45 Alexis Wilson Composition Master Class 6:30pm Evening Performance and Award Ceremony. Awards will be presented to Dr. Melanye White Dixon for outstanding contributions to the advancement of dance education, Sheri Williams for outstanding contributions to the advancement of the dance artform and Pamela Young for outstanding contributions to the advancement of dance arts administration. The Maggie Patton dance scholarship and OhioDance outstanding dance student will be awarded to a graduating high school student. Sunday, April 30, 10:00am-3:00pm- Wellness day and Master classes Registration and Classes Festival Guide Index held at BalletMet Columbus Festival Schedule........................pg.
    [Show full text]
  • Fiscal Year 2017 Appropriations Request
    National Endowment for the Arts Appropriations Request For Fiscal Year 2017 Submitted to the Congress February 2016 National Endowment for the Arts Appropriations Request for Fiscal Year 2017 Submitted to the Congress February 2016 TABLE OF CONTENTS I. Overview ......................................................................... 1 II. Creation of Art .............................................................. 21 III. Engaging the Public with Art ........................................ 33 IV. Promoting Public Knowledge and Understanding ........ 83 V. Program Support ......................................................... 107 VI. Salaries and Expenses ................................................. 115 www.arts.gov BLANK PAGE National Endowment for the Arts – Appropriations Request for FY 2017 OVERVIEW The National Endowment for the Arts (NEA) is America’s chief funder and supporter of the arts. As an independent Federal agency, the NEA celebrates the arts as a national priority, critical to America’s future. More than anything, the arts provide a space for us to create and express. Through grants given to thousands of non-profits each year, the NEA helps people in communities across America experience the arts and exercise their creativity. From visual arts to digital arts, opera to jazz, film to literature, theater to dance, to folk and traditional arts, healing arts to arts education, the NEA supports a broad range of America’s artistic expression. Throughout the last 50 years, the NEA has made a significant contribution to art and culture in America. The NEA has made over 147,000 grants totaling more than $5 billion dollars, leveraging up to ten times that amount through private philanthropies and local municipalities. The NEA further extends its work through partnerships with state arts agencies, regional arts organizations, local leaders, and other Federal agencies, reaching rural, suburban, and metropolitan areas in all 50 states, the District of Columbia, special jurisdictions, and military installations.
    [Show full text]
  • 2016/2017 Annual Report
    2016/2017 Annual Report STAFF MEMBERS Mary Verdi-Fletcher, President/Founding Artistic Director Dana Kuhn, Manager of Development and Communications Kallie Beck, Manager of Marketing and Operations Catherine Meredith, Rehearsal Director Jessica Hodges, Manager of Education and Outreach Emma Parker, School Coordinator Sara Lawrence-Sucato, Tour Manager Matt Bowman, Social Media Manager Singer, Berger, Press & Co., Accountant COMPANY MEMBERS Matt Bowman, McKenzie Beaverson, Kelly Clymer, Tanya Ewell, Rilley Jacob, Kevin D. Marr II, Emily Schwarting, Demarco Sleeper, Sara Lawrence-Sucato, Mary Verdi-Fletcher, Ja’Vaughn White, Lianne Zydowicz BOARD MEMBERS Suzanne M. Joseph, Chair Karen Lazar Thomas P. Gilligan, Vice-Chair David S. Lockman Stephen H. Spaeth, Treasurer Bob Marx Wendy Campbell, Secretary Catherine McCain Kerry M. Agins, Esq. Janice McCullough Ridgeway Francois Bethoux, MD Kathleen J. Pantano, PT, Ph.D Donna L. Flynt Brian Pritchard William Dorsky Mary Verdi-Fletcher Stacy Gay President/Founding Artistic Director Maria Jukic John Voso, Jr. Brian J. Jungeberg John Wright Kevin Kuhn THE ORGANIZATION THE ORGANIZATION Advisory Council: Michael Belkin, Kevin Rhodes, Mickie McGraw ATR-BC Emeritus: Rabbi Michael A. Oppenheimer TEACHERS FROM THE SCHOOL OF DANCING WHEELS Mary Verdi-Fletcher, Emma Parker, Kelly Clymer, Brittany Kaplan, Gabriella Martinez, Sara Lawrence-Sucato, Catherine Meredith, Demarco Sleeper, Shannon Sterne, Lianne Zydowicz. Dear Friends, This season marked the 36th year of the Dancing Wheels Com- pany and School,
    [Show full text]
  • Read the Full Volume Here
    – practice, education and research Volume 9(2), 2018 Contents Editorial .......................................................................................................................................................................................................................................................................................3 Research Articles Sarah Holmes: Bodily Text and the Written Word of Pilates: A Theoretical Approach to How the Ballerina’s Body Concealed and Revealed Problematic Ideologies in an Exercise Practice ...................................................................................................................4 Hanna Pohjola: Ruumiillinen erilaisuus: tanssi ammattina? ........................................................................................................................................24 Susanna Hannus: Dancing with the Turquoise Waters of Mexico– Embodied Experiences and Observations for Environmental Justice .........................................................................................................................38 Practice Oriented Article Marie Lykkemark: OBJECT.MIRROR.TEMPO ..................................................................................................................................................................................52 Debate Anette Sture Iversen: Aesthetic Competence and Life Skills .................................................................................................................................................64
    [Show full text]
  • The Lived Experience of University Students with Visual Impairments and Their Sighted Partners’ Participation in Inclusive Social Ballroom Dance
    THE LIVED EXPERIENCE OF UNIVERSITY STUDENTS WITH VISUAL IMPAIRMENTS AND THEIR SIGHTED PARTNERS’ PARTICIPATION IN INCLUSIVE SOCIAL BALLROOM DANCE. Faine Bisset Thesis presented in fulfilment of the requirements for the degree of Master of Arts (Psychology) at Stellenbosch University. Supervisor: Dr J R Bantjes Co-supervisor: Prof E S Bressan March 2016 Stellenbosch University https://scholar.sun.ac.za DECLARATION By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the authorship owner thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Signature: ................................................ Date: ................................................ Copyright © 2016 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za ABSTRACT Ballroom and Latin American dance appear to be gaining popularity among people with disabilities, as a form of exercise and leisure activity. However, the majority of research conducted in this field seems to have focused on the physicality of dancers’ movements, while overlooking their unique interpretations of such an experience. Furthermore, there appears to be a dearth of literature on the experience of dance for visually impaired individuals. The aim of this study was to give a voice to the lived experience of visually impaired dancers and their sighted partners who participate in inclusive social ballroom and Latin American dance. The participants were members of the Differently-abled Dance Class that was held by the dance society of a university situated in the Western Cape, South Africa. This qualitative study was conducted within the theoretical framework of the social theory of disability.
    [Show full text]
  • The Dancing Wheels Company & School
    The Dancing Wheels Company & School 3030 Euclid Ave. ⧫ Suite 100 ⧫ Cleveland, OH ⧫ 44115 ⧫ dancingwheels.org ⧫ 216-432-0306 A UNIFYING EXPRESSION FOR ALL. OF MOVEMENT Mission & If dance is an expression of the human spirit, then it is best expressed by Purpose: people of all abilities. That is the fundamental belief behind the Dancing Wheels Company & School. Considered one of the premier arts and The Dancing Wheels disabilities organizations in the U.S., Dancing Wheels is a professional, Company & School is an physically integrated dance company uniting the talents of dancers both with organization of artists with and and without disabilities. without disabilities that educates, entertains and advocates Mary Verdi-Fletcher, the first professional wheelchair dancer in the U.S., through inclusive dance founded the Dancing Wheels Company in Cleveland in 1980. Born with worldwide. The purpose of the spina bifida, Mary wanted to offer others with disabilities full and equal organization is to provide artistic access into the world of dance. An almost unimaginable concept at the time, opportunities inclusively, which Mary’s vision and passion have since helped to revolutionize our very notion involves several principles and of dance – as well as what defines a dancer. goals: Furthering the mission of inclusive arts and recreating opportunities for all, Enhance integration and the School of Dancing Wheels proudly opened its doors in 1990. Its state- diversity in the arts with works of-the-art studios were soon regarded as a world-class training center for uniting people of all abilities. dancers, choreographers and educators. That same year, a partnership with the Cleveland Ballet created the ground-breaking Cleveland Ballet Dancing Provide successful, independent Wheels which went on to delight audiences for nearly a decade.
    [Show full text]
  • Download the Transcript
    CF VDC interview Mary Verdi-Fletcher/Dancing Wheels 1 VDC Interview Transcript Mary Verdi-Fletcher 9.30.16 Total time: 1:03:54 Dancing Wheels 3615 Euclid Ave., 3rd Floor Cleveland, OH 44115 CF: Candace Feck MVF: Mary Verdi Fletcher MDB: Megan Davis Bushway CF: Before we begin, I would like to say that you’re not only an Ohio treasure, but a national one. It’s quite an honor to talk with you. MVF: Thank you. CF: Thank you. I was wondering, Mary, if you could describe the dance scene in Cleveland as it was when you were coming up — before Dancing Wheels was a reality. MVF: The dance scene in Cleveland was primarily the Cleveland Ballet, at the time where I can first remember what was happening in the dance scene. There was a lot of social dancing happening, however. And it started because of a national television program called “Dance Fever.” A lot of people were watching the show and wanting to put their routines together and compete, so I remember those two things. The Cleveland Ballet was the most prominent company in the city, and there weren’t as many smaller groups, or mid-size companies as there are today, now that there no longer is the Cleveland Ballet. CF: “Dance Fever” actually played a pivotal role in your trajectory, right? MVF: “Dance Fever” was the starting point for me, on a public stage. And it happened quite innocently, I will say — but my mother, who was always supportive of me being an individual and being seen for who I am, had always taught me as I was growing up to say: “I’m not handicapped, I’m Mary.” And those words, I think — even though I didn’t quite understand it at the time she told me — kind of became the mantra for my life.
    [Show full text]