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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. -
Pentacle-40Th-Ann.-Gala-Program.Pdf
40 Table of Contents Welcome What is the landscape for emerging artists? Thoughts from the Founding Director Past & Current Pentacle Artists Tribute to Past Pentacle Staff Board of Directors- Celebration Committee- Staff Body Wisdom: Pentacle Celebrates Forty Years Tonight’s Program & Performers Event Sponsors & Donors Greetings Welcome Thank you for joining us tonight and celebrating this 40th Anniversary! In 1976 we opened our doors with a staff of four, providing what we called “cluster management” to four companies. Our mission was then and remains today to help artists do what they do best….create works of art. We have steadfastlyprovided day-to-day administration services as well as local and national innovative projects to individual artists, companies and the broader arts community. But we did not and could not do it alone. We have had the support of literally hundreds of arts administrators, presenters, publicists, funders, and individual supporters. So tonight is a celebration of Pentacle, yes, and also a celebration of our enormously eclectic community. We want to thank all of the artists who have donated their time and energies to present their work tonight, the Rubin Museum for providing such a beautiful space, and all of you for joining us and supporting Pentacle. Welcome and enjoy the festivities! Mara Greenberg Patty Bryan Director Board Chair Thoughts from the Founding Director What is the landscape for emerging dance artists? A question addressed forty years later. There are many kinds of dance companies—repertory troupes that celebrate the dances of a country or re- gion, exquisitely trained ensembles that spotlight a particular idiom or form—classical ballet or Flamenco or Bharatanatyam, among other classicisms, and avocational troupes of a hundred sorts that proudly share the dances, often traditional, of a hundred different cultures. -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
“A True Original.” Jennifer Dunning, the New York Times
“A True Original.” Jennifer Dunning, The New York Times Contact Chris Elam / Misnomer Dance Theater 588 10th Street, Suite 4 Brooklyn, NY 11215 917-602-0478 [email protected] Video clips & Info. www.misnomer.org Founded in 1998 by choreographer Chris Elam, Misnomer Dance Theater is a six-person modern dance company that finds hope, humor, and absurdity in peoples’ efforts to relate to one another. Whether between adolescent sisters, estranged lovers, animalistic creatures, or abstract beings, Elam devises meaningful exchanges, sometimes producing poignant and awkward tenderness, at other moments resulting in fiercely dismal misunderstandings. Elam uses physical illusions as a tool to investigate personal and group transforma- tion: an arm sprouts out of an ear, a person becomes an ostrich, five dancers appear to share a single head. Assertive contact partnering in which dancers climb upon each other to form improbable human architectures serves to fuse performers into unusual entities. With commissions in Indonesia, Cuba, Brazil, Turkey, and Suriname, Elam approaches dance from the perspectives of an ethnographer as well as a choreographer. His study of traditional dances informs the technical and conceptual complexity of his modern-minded choreography. Drawing from his extensive training in both traditional Balinese and Modern Dance, Elam’s choreography integrates the angular, quick- action style of Balinese dance with his own broken-flow modern movement. The Village Voice’s Elizabeth Zimmer writes about his invented vocabulary, “Fusion -
Master Document National Register of Historic Places Nomination Form
Master Document National Register of Historic Places Nomination Form The Burgess-Osborne Memorial Auditorium 1701 Wabash Avenue Mattoon, Illinois Prepared by Stephen A. Thompson Intrepid Consulting Services, Inc. April 2018 Executive Summary The following document is the master National Register of Historic Places (NRHP) nomination form submitted in a draft configuration to the Illinois State Historic Preservation Officer on 04 August 2017 for the 1953 Burgess-Osborne Memorial Auditorium (the Burgess) located at 1701 Wabash Avenue, Mattoon, Illinois. This NRHP document addresses the social and architectural significance of the Burgess and is an expansion of the 2013 Coles County List of Significant Places document generated for local landmarking of the Burgess. A related social sub-context addressed in detail in Appendix A of Section 8 is the role the Burgess played in the regional 1950s and 1960s pop music culture, with emphasis on the teen dances/concerts held at the facility and the bands that played there. The research of the associated contexts and the preparation of the nomination form were undertaken by Stephen A. Thompson of Intrepid Consulting Services, Inc., Carolyn Cloyd and Joyce St. Michael, members of the Coles County Historic Preservation Advisory Council, assisted with research and preparation of the National Register documentation. The Coles County Historic Preservation Advisory Council is an historic preservation advisory body under the Coles County Regional Planning & Development Commission, which reports to the Coles County Board. After thorough research and evaluation it has been determined that the Burgess is eligible for listing on the NRHP in that it: 1. Is locally significant under NRHP Criterion A, “…events that have made a significant contribution to the broad patterns of our history.” 2. -
Change Capital in Action: Lessons from Leading Arts Organizations Alvin Ailey American Dance Theater in Alvin Ailey’S Revelations
Change Capital in Action: Lessons from Leading Arts Organizations Alvin Ailey American Dance Theater in Alvin Ailey’s Revelations. Photo by Andrew Eccles. 2 ©2013, Nonprofit Finance Fund® nonprofitfinancefund.org Change Capital in Action: Lessons from Leading Arts Organizations By Rebecca Thomas and Rodney Christopher, Nonprofit Finance Fund & Holly Sidford, Helicon Collaborative Introduction 4 Genesis of the Leading for the Future Program 6 What Makes Change Capital Distinct? 8 Features of the Program 10 Participant Profiles and Program Results 12 Lessons Learned: Readiness for Change Capital 16 Lessons Learned: Context Counts 18 The Leading for the Future Initiative is a program of Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation. ©2013, Nonprofit Finance Fund® nonprofitfinancefund.org 3 Introduction Ping Chong + Company’s Tales from the Salt City. Photo by Michael Davis. 4 ©2013, Nonprofit Finance Fund® nonprofitfinancefund.org Technology Investment Yields Meaningful Returns The Alvin Ailey Dance Foundation is an internationally recognized artistic treasure, one of the most celebrated modern dance companies in the world. While best known for its main touring company (Alvin Ailey American Dance Theater), Ailey also operates a second company (Ailey II), a professional training academy (The Ailey School), and extensive dance and fitness programs for everyday people (Ailey Extension). Additionally, it runs a boutique and manages a sophisticated development operation. In 2007, as Ailey neared its 50th anniversary, each of these separate divisions was functioning successfully but had Growing Program Revenue Supports developed its own approach to data management and Artistic Risk patron engagement. The organization had no easy way In 2007, Ping Chong + Company’s Undesirable Elements was to encourage audience members to take advantage of gaining national recognition as an artistically imaginative its multiple offerings, or to track and deepen a person’s way to engage audiences. -
The Rockefeller Foundation Annual Report 2011 President’S Letter
The Rockefeller Foundation Annual Report 2011 president’s letter. At the beginning of the second decade of the new millennium, the ground is shifting beneath us. The impacts of climate change are accelerating. The global population is growing rapidly and restlessly. Much of our work at The Rockefeller Foundation focuses on innovating to meet these 21st century challenges. As we present our 2011 Annual Report, it is worth pausing to consider a question fundamental to Rockefeller’s mission: why innovation? Sometimes, it seems a word without weight. Last year, “innovative” had the dubious distinction of being the second-most overused term in LinkedIn’s 85-million user profiles. (In my local grocery store, I’ve even seen the word applied to thin-crust frozen pizza.) But at Rockefeller, innovation is much more than a buzz- word—it is our byword, the past and future of our foundation. We have always understood that in a world of ever-increasing complexity, success goes to the non-linear, the aggregator, the connector. Solutions flow from the innovator. Innovation—what John D. Rockefeller called “scientific philanthropy”—has defined our mission for nearly a century, as Rockefeller researchers and resources created the field of public health, or launched a Green Revolution in agriculture credited with saving a billion lives. None of these advances were straightforward or predictable. They required reframing problems and recombining insights. Pioneering Rockefeller scientists, for instance, saw food security not just as a problem of agricultural science, but of economics, sociology, and psychology as well. As one of Rockefeller’s grantees once observed, “You cannot solve a problem at the same level of consciousness that created it. -
Identity, Meaning, and the Kinesthetic Language of Cuban Casino Dancing Brian Martinez
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 ¡Casinando!: Identity, Meaning, and the Kinesthetic Language of Cuban Casino Dancing Brian Martinez Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ¡CASINANDO! IDENTITY, MEANING, AND THE KINESTHETIC LANGUAGE OF CUBAN CASINO DANCING By BRIAN MARTINEZ A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2012 Brian Martinez defended this thesis on March 26, 2012. The members of the supervisory committee were: Frank Gunderson Professor Directing Thesis Michael Bakan Committee Member Charles Brewer Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For my father, mother, and brother, for all of your unfailing love and support iii TABLE OF CONTENTS LIST OF TABLES....................................................................................................................... vi LIST OF FIGURES.................................................................................................................... vii ABSTRACT.................................................................................................................................. ix 1. INTRODUCTION TO CASINO ..........................................................................................1 -
Dance/USA's Engaging Dance Audiences Awards Over $1 Million
FOR IMMEDIATE RELEASE Press Contact: October 7, 2009 Suzanne Callahan [email protected] 202-955-8325 Dance/USA’s Engaging Dance Audiences Awards over $1 Million Additional General Operating Support Stabilizes Budgets During Economic Crisis Washington, DC – October 7, 2009 – Dance/USA, the national service organization for professional, not- for-profit dance, is pleased to announce that nine organizations have been awarded funding by Engaging Dance Audiences (EDA), the first national funding program and related study of audience engagement practices focused specifically on the art form of dance. EDA was established through the generosity of the Doris Duke Charitable Foundation and The James Irvine Foundation. Out of a rigorous national review of 179 idea submissions, 34 were invited to submit full applications, from which nine were selected by a national panel. Engaging Dance Audiences is a $1.9 million pilot program that enables Dance/USA to analyze current dance-going activities, and its members to explore and research methods of engaging audiences for dance, learn from peers, and share the learning nationally. EDA was conceived of by Dance/USA in collaboration with the Doris Duke Charitable Foundation, which made a three-year, $1.5 million award. Additional support in the amount of $400,000 was granted from The James Irvine Foundation, targeted for the California component of the program. “EDA has been conceived to significantly increase the dance field’s capacity to engage audiences by implementing and documenting the most effective and forward-thinking practices,” comments Executive Director Andrea Snyder. “It proactively responds to increasing concerns throughout our membership and the dance community at large about changes in audience behavior. -
City of Manchester Municipal Code
THE MANCHESTER MUNICIPAL CODE Prepared by the MUNICIPAL TECHNICAL ADVISORY SERVICE INSTITUTE FOR PUBLIC SERVICE THE UNIVERSITY OF TENNESSEE in cooperation with the TENNESSEE MUNICIPAL LEAGUE November 1998 Change 20 May 7, 2019 CITY OF MANCHESTER, TENNESSEE MAYOR Lonnie J. Norman VICE MAYOR Bill Nickels ALDERMEN Bob Bellamy Chris Elam Ryan P. French Marilyn Howard Mark Messick FINANCE DIRECTOR Bridget Anderson ii PREFACE The Manchester Municipal Code contains the codification and revision of the ordinances of the City of Manchester, Tennessee. By referring to the historical citation appearing at the end of each section, the user can determine the origin of each particular section. The absence of a historical citation means that the section was added by the codifier. The word "modified" in the historical citation indicates significant modification of the original ordinance. The code is arranged into titles, chapters, and sections. Related matter is kept together, so far as possible, within the same title. Each section number is complete within itself, containing the title number, the chapter number, and the section of the chapter of which it is a part. Specifically, the first digit, followed by a hyphen, identifies the title number. The second digit identifies the chapter number, and the last two digits identify the section number. For example, title 2, chapter 1, section 6, is designated as section 2-106. By utilizing the table of contents and the analysis preceding each title and chapter of the code, together with the cross references and explanations included as footnotes, the user should locate all the provisions in the code relating to any question that might arise. -
Jesse Manno Cv 2011 Music Skills/Specifications
JESSE MANNO CV 2011 1 MUSIC SKILLS/SPECIFICATIONS: -Versatile collaborator, composer and improviser with well honed “one man band” skills. -Audio Producer, recording, mixing and live sound Engineer/designer. -Multi-lingual vocalist with 3.5 octave range, multiple styles. Instruments played: Lutes (laouto, bouzouki, bağlama, divan sazı, cura, oud, 6 and 12 string guitar), Percussion (drum set, doumbek, riqq, tabla baladi, davul, djembe, djun djuns, conga), flutes, accordion, piano, electronics, laptop, field recordings, and objects not typically used for musical purposes. Recording Studio: 500 sf, iso room, Logic Pro, Steinway 1919 grand piano, 24 ch. digital mixer, MOTU firewire interface, Grace and API pre-amps, Korg and Kurzweil synths. AKG, Røde and Chameleon mics. Foriegn languages: French (fluent with faults), Turkish (basic), Indonesian, Spanish, Italian (limited). COMMISSIONED SCORES/EVENTS for dance/theatre/film (partial list): Utopia Parkway 70 min. multimedia homage to visual artist Joseph Cornell directed by dance improvisation artists/choreographers Chris Aiken and Angie Hauser, with co-musician Ty Burhoe, premeired at Dance Center Columbia College, Chicago, IL, 2011. Come To Your Senses Closing event for the 16th annual Los Angeles Art Show, with aerial dance artists The Stebens Twins, Turning The Wheel, Timothy Yarger Fine Art. Cooper Design Space, L.A., 2011. Come, and Back Again Music director, arranger, performer, 12 min. dance theater piece exploring the work of Patti Smith. Choreographed and directed by David Dorfman, Bates Dance Festival, Maine, 2011. I, Disappear 12 min. modern dance work for laptop, Turkish Saz, and vocals, choreographed by Michael Foley. Commissioned by Bates Dance Festival, Bates College, Maine, 2010. -
Social Media, Video Footage, and the Law
Social Media, Video Footage, and the Law: What performing arts managers need to know Ticketing Software Satisfaction Survey March 2010 Technology in the Arts | www.technologyinthearts.org Technology in the Arts explores the intersection of arts management and technology to spark dialogue around the role of technology in our planning and programming, share best practices, and provide training in the use of online tools. Our services include consulting, professional development training, webinars, an online resource directory, monthly podcasts, and a discussion-based blog. Center for Arts Management and Technology | camt.artsnet.org Technology in the Arts is a series of services from the Center for Arts Management and Technology (CAMT), an applied research center at Carnegie Mellon University exploring ways in which arts managers can employ online technologies to more effectively meet their organizational goals and engage audiences. 2010 This work is licensed under the Creative Commons Attribution-No Derivative Works 3.0 United States License by Carnegie Mellon University’s Center for Arts Management Technology. Thanks! CAMT would like to give special thanks to Amelia Northrup, David Dombrosky, Corwin Christie, and David Gurwin for their efforts in preparing this report. Cover photo credits: Andreas Praefcke Galeno on Wikimedia Commons Bryan Ochalla Spwilliams13 on Wikimedia Commons 2 Social Media, Video Footage, and the Law Contents Foreword..................................................4 More Technology, More Problems...........5 Video