Fiscal Year 2017 Appropriations Request
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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. -
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. -
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 -
University of California, Los Angeles. Department of Dance Master's Theses UARC.0666
http://oac.cdlib.org/findaid/ark:/13030/c8833tht No online items Finding Aid for the University of California, Los Angeles. Department of Dance Master's theses UARC.0666 Finding aid prepared by University Archives staff, 1998 June; revised by Katharine A. Lawrie; 2013 October. UCLA Library Special Collections Online finding aid last updated 2021 August 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections UARC.0666 1 Contributing Institution: UCLA Library Special Collections Title: University of California, Los Angeles. Department of Dance Master's theses Creator: University of California, Los Angeles. Department of Dance Identifier/Call Number: UARC.0666 Physical Description: 30 Linear Feet(30 cartons) Date (inclusive): 1958-1994 Abstract: Record Series 666 contains Master's theses generated within the UCLA Dance Department between 1958 and 1988. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Conditions Governing Reproduction and Use Copyright of portions of this collection has been assigned to The Regents of the University of California. The UCLA University Archives can grant permission to publish for materials to which it holds the copyright. All requests for permission to publish or quote must be submitted in writing to the UCLA University Archivist. Preferred Citation [Identification of item], University of California, Los Angeles. Department of Dance Master's theses (University Archives Record Series 666). UCLA Library Special Collections, University Archives, University of California, Los Angeles. -
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. -
Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
DANCE 124 Rev Aug 2020
COURSE OUTLINE : DANCE 124 D Credit – Degree Applicable COURSE ID 001133 AUGUST 2020 COURSE DISCIPLINE : DANCE COURSE NUMBER : 124 COURSE TITLE (FULL) : Hip-Hop I COURSE TITLE (SHORT) : Hip-Hop I CATALOG DESCRIPTION DANCE 124 provides students with practical experience in current hip-hop techniques, such as popping, locking, and ticking. Through exercise and discussion the course emphasizes the development of coordination, strength, cardiovascular fitness, and rhythm necessary to meet the demands of high intensity performance skills in the popular street dancing trends. The students are also encouraged to develop individual interpretation and personal style indigenous to this dance form. Total Lecture Units: 1.00 Total Laboratory Units: 0.50 Total Course Units: 1.50 Total Lecture Hours: 18.00 Total Laboratory Hours: 27.00 Total Laboratory Hours To Be Arranged: 0.00 Total Contact Hours: 45.00 Total Out-of-Class Hours: 36.00 Prerequisite: None. GLENDALE COMMUNITY COLLEGE --FOR COMPLETE OUTLINE OF RECORD SEE GCC WEBCMS DATABASE-- Page 1 of 4 COURSE OUTLINE : DANCE 124 D Credit – Degree Applicable COURSE ID 001133 AUGUST 2020 ENTRY STANDARDS Subject Number Title Description Include 1 Read, write, and converse in English; Yes 2 add, subtract, divide, and multiply. Yes EXIT STANDARDS 1 Reproduce a basic hip-hop warm-up; 2 interpret a basic hip-hop combination; 3 examine the application of hip-hop terminology as utilized in live, video and in class performance; 4 compare the development of hip-hop technique from Breakdancing to Funk styles. STUDENT LEARNING OUTCOMES 1 analyze and define basic hip-hop dance terminology and center work; 2 practice correct hip-hop dance placement and dynamic alignment. -
Annual Report 2005-2006
V I R G I N I A F O U N D A T I O N F O R T H E H U M A N I T I E S ANNUAL REPORT 2005-2006 V I R G I N I A F O U N D A T I O N F O R T H E H U M A N I T I E S www.virginiafoundation.org Each time a man stands up for an ideal, or acts to improve the lot of others, or strikes out against injustice, he sends forth a tiny ripple of hope, and crossing each other from a million different centers of energy and daring, those ripples build a current that can sweep down the mightiest walls of oppression and resistance. — Robert F. Kennedy President’s Letter ...............................2 Programs and Projects ......................4 VFH Grants ........................................14 VFH Fellows ......................................20 VFH Donors .......................................21 Statement of Financial Position ......28 VFH Board and Staff .........................29 Two years ago Encyclopedia Virginia was an idea; one year ago at it was a promise; today it is building the Virginia Foundation for the in energy. Now the currents flow in Humanities (VFH). A strong sense two directions. Some people are of mission and an excitement about researching, writing, and designing the future charge our work. It is an the database of knowledge about exciting mission to help individuals, Virginia culture and history, while organizations, and communities others are envisioning its structural harness their ideas and raw energy underpinnings. Our goal is to make to understand the past, confront this website fun and easy for all to important issues in the present, and use, no matter their age or their shape a promising future. -
MARY HARTSOCK Family Member - Carter Family Fold – Hiltons, VA
MARY HARTSOCK Family Member - Carter Family Fold – Hiltons, VA * * * Date: February 21, 2009 Location: Carter Family Fold - Hiltons, VA Interviewer: Amy C. Evans, SFA Oral Historian Transcription: Shelley Chance, ProDocs Length: 13 minutes, 40 seconds Project: Carter Family Fold Mary Hartsock-Carter Family Fold 2 [Begin Mary Hartsock Interview] 00:00:02 Amy Evans: This is Amy Evans on Saturday, February 21, 2009, in Hiltons, Virginia, at the Carter Family Fold. I’m in the kitchen here, and I’m with some Carter Family members: sisters, Mary [Hartsock] and Nancy [Carter]. And Mary, who I’m sitting with right now, if you would introduce yourself for the record and explain your relationship to the family? 00:00:22 Mary Hartsock: Okay. My name is Mary Hartsock, and my husband’s name is Paul and his mother and Sara [Dougherty] Carter are sisters. And that’s how I’m connected with the Carters. 00:00:36 AE: And his mother’s name was—? 00:00:37 MH: Mae [Dougherty] Hartsock. 00:00:40 AE: And you work here every Saturday morning at the Fold. Can you explain that? 00:00:43 MH: I—I usually work here every Saturday morning at the Fold. I seldom come in the evenings. Once in a while I do but not very often, but I help Rita every Saturday morning, help ©Southern Foodways Alliance www.southernfoodways.org Mary Hartsock-Carter Family Fold 3 her get it all ready to go because it’s a lot to it just to get it ready for evening. And as I was telling you, these people love beans and cornbread, and when you have beans and cornbread, that is the main dish of—of the evening because people love cornbread back here. -
50-State Field Scan
Rural Prosperity through the Arts and Creative Sector: A Rural Action Guide for Governors and States 50-State Field Scan Introduction The National Assembly of State Arts Agencies (NASAA) is providing research and consulting services to the National State Index Governors Association Center for Best Practices (NGA) in support of an initiative funded by the National Endowment for the Arts (NEA) to better understand how the arts and creative industries • Alabama • Montana can facilitate sustainable economic development in rural • Alaska • Nebraska communities. NASAA's expertise and research—which includes a • Arizona • Nevada literature review, the identification of publicly available • Arkansas • New Hampshire quantitative data offering a national perspective of rural • California • New Jersey economies and a 50-state field scan of rural creative economic development projects and practices—will inform the NGA's • Colorado • New Mexico development of an expert roundtable discussion, other • Connecticut • New York convenings and a publication designed to help governors and • Delaware • North Carolina their staff support and benefit from their state's creative sector. • Florida • North Dakota • Georgia • Ohio The results of NASAA's 50-state field scan are summarized in this document, which serves as an atlas of the many rural creative • Hawai'i • Oklahoma economic development programs, projects and initiatives around • Idaho • Oregon the country. It addresses efforts of state arts agencies as well as • Illinois • Pennsylvania other state and local government agencies, nonprofit arts • Indiana • Rhode Island groups, community development organizations, chambers of • Iowa • South Carolina commerce, foundations and other stakeholders. This field scan • report does not comprehensively list of every instance of rural Kansas • South Dakota creative economic development in the country. -
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL B
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL b. 1938 CYMBELINE: DRAMA AFTER SHAKESPEARE (1984, rev. 1996) CYMBELINE [1] I. Prelude 4:03 [2] II. Duet: Imogen and Posthumus 3:26 [3] III. Interlude 1:39 [4] IV. Aria: Iachimo 1:10 [5] V. Imogen 3:39 [6] VI. Scene with Arias: Iachimo 10:19 [7] VII. Interlude 2:14 [8] VIII. Scene: Cloten 1:21 [9] IX. Song: Cloten 3:22 [10] X. Recitative and Arioso: Imogen and Belarius 3:04 ALIANA DE LA GUARDIA soprano [11] XI. Duet, Dirge: Guiderius and Arviragus 3:58 MATTHEW DiBATTISTA tenor [12] XII. Battle with Victory March 4:05 DAVID SALSBERY FRY narrator [13] XIII. Scene: Ghosts (Mother and Sicilius) and Jupiter 5:17 [14] XIV. Duet: Imogen and Posthumus 3:07 BOSTON MODERN ORCHESTRA PROJECT [15] XV. Finale: Soothsayer and Cymbeline 4:14 Gil Rose, conductor TOTAL 55:02 COMMENT By Charles Fussell The idea of a musical depiction of this work came as a result of seeing the Hartford Stage productions of Shakespeare. Their Cymbeline, directed by Mark Lamos (who later moved to opera), ended with an unforgettable scene between Imogen and her husband: “Why did you throw your wedded lady from you? Think that you are upon a rock and throw me again.” His reply, “Hang there like fruit, my soul, till the tree die.” This exchange touched me deeply and really convinced me to try some music for the songs that appear in the play as well as this beautiful expression of love. I noticed the familiar “Hark, hark the lark” was sung by the frightful Cloten.