Alvin Ailey American Dance Theater Resource Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Course of Study for the Teaching of Music in the Junior High Schools of Lethbridge, Alberta, Canada
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1967 Course of study for the teaching of music in the junior high schools of Lethbridge, Alberta, Canada Mary Helene Wadden The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Wadden, Mary Helene, "Course of study for the teaching of music in the junior high schools of Lethbridge, Alberta, Canada" (1967). Graduate Student Theses, Dissertations, & Professional Papers. 1926. https://scholarworks.umt.edu/etd/1926 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A COURSE OF STUDY FOR THE TEACHING OF MUSIC IN THE JUNIOR HIGH SCHOOLS OF LETHBRIDGE, ALBERTA, CANADA by Sister Mary Helene Wadden B. Mus. Manhattanville College of the Sacred Heart, 19^0 B. Ed, University of Alberta, 1965 Presented in partial fulfillment of the requirements for the degree of Master of Music UNIVERSITY OF MONTANA 1967 Approved by: A -{ILCaAJI/I( (P A —— Chairman, Board of Examiners De^, Graduate School m1 9 Date UMI Number: EP34854 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
Polka Sax Man More Salute to Steel 3 from the TPN Archives Donnie Wavra July 2006: 40Th National Polka by Gary E
Texas Polka News - March 2016 Volume 28 | Isssue 2 INSIDE Texas Polka News THIS ISSUE 2 Bohemian Princess Diary Theresa Cernoch Parker IPA fundraiser was mega success! Welcome new advertiser Janak's Country Market. Our first Spring/ Summer Fest Guide 3 Editor’s Log Gary E. McKee Polka Sax Man More Salute to Steel 3 From the TPN Archives Donnie Wavra July 2006: 40th National Polka By Gary E. McKee Festival Story on Page 4 4-5 Featured Story Polka Sax Man 6-7 Czech Folk Songs Program; Ode to the Songwriter 8-9 Steel Story Continued 10 Festival & Dance Notes 12-15 Dances, Festivals, Events, Live Music 16-17 News PoLK of A Report, Mike's Texas Polkas Update, Czech Heritage Tours Special Trip, Alex Says #Pep It Up 18-19 IPA Fundraiser Photos 20 In Memoriam 21 More Event Photos! 22-23 More Festival & Dance Notes 24 Polka Smiles Sponsored by Hruska's Spring/SummerLook for the Fest 1st Annual Guide Page 2 Texas Polka News - March 2016 polkabeat.com Polka On Store to order Bohemian Princess yours today!) Texas Polka News Staff Earline Okruhlik and Michael Diary Visoski also helped with set up, Theresa Cernoch Parker, Publisher checked people in, and did whatever Gary E. McKee, Editor/Photo Journalist was asked of them. Valina Polka was Jeff Brosch, Artist/Graphic Designer Contributors: effervescent as always helping decorate the tables and serving as a great hostess Julie Ardery Mark Hiebert Alec Seegers Louise Barcak Julie Matus Will Seegers leading people to their tables. Vernell Bill Bishop Earline Berger Okruhlik Karen Williams Foyt, the Entertainment Chairperson Lauren Haase John Roberts at Lodge 88, helped with ticket sales. -
Rhythmic Foundation and Accompaniment
Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression. -
Donald Mckayle's Life in Dance
ey rn u In Jo Donald f McKayle’s i nite Life in Dance An exhibit in the Muriel Ansley Reynolds Gallery UC Irvine Main Library May - September 1998 Checklist prepared by Laura Clark Brown The UCI Libraries Irvine, California 1998 ey rn u In Jo Donald f i nite McKayle’s Life in Dance Donald McKayle, performer, teacher and choreographer. His dances em- body the deeply-felt passions of a true master. Rooted in the American experience, he has choreographed a body of work imbued with radiant optimism and poignancy. His appreciation of human wit and heroism in the face of pain and loss, and his faith in redemptive powers of love endow his dances with their originality and dramatic power. Donald McKayle has created a repertory of American dance that instructs the heart. -Inscription on Samuel H. Scripps/American Dance Festival Award orld-renowned choreographer and UCI Professor of Dance Donald McKayle received the prestigious Samuel H. Scripps/American Dance Festival WAward, “established to honor the great choreographers who have dedicated their lives and talent to the creation of our modern dance heritage,” in 1992. The “Sammy” was awarded to McKayle for a lifetime of performing, teaching and creating American modern dance, an “infinite journey” of both creativity and teaching. Infinite Journey is the title of a concert dance piece McKayle created in 1991 to honor the life of a former student; the title also befits McKayle’s own life. McKayle began his career in New York City, initially studying dance with the New Dance Group and later dancing professionally for noted choreographers such as Merce Cunningham, Martha Graham, Sophie Maslow, and Anna Sokolow. -
Struggles of the Black Female Voice in Rap
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 2016 Stealing the Mic: Struggles of the Black Female Voice in Rap Miranda Flores Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Flores, Miranda, "Stealing the Mic: Struggles of the Black Female Voice in Rap" (2016). Undergraduate Honors Thesis Collection. 347. https://digitalcommons.butler.edu/ugtheses/347 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Stealing the Mic: Struggles of the Black Female Voice in Rap A Thesis Presented to The Honors Program of Butler University In Partial Fulfillment Of the Requirements for Graduation Honors Miranda R. Flores May 5, 2016 “You’ve taken my blues and gone-You sing ‘em on Broadway-And you sing ‘em in Hollywood Bowl- And you mixed ‘em up with symphonies-And you fixed ‘em-So they don’t sound like me. Yep, you done taken my blues and gone” -Langston Hughes From Langston Hughes to hip hop, African Americans have a long history of white appropriation. Rap, as a part of hip hop culture, gave rise to marginalized voices of minorities in the wake of declining employment opportunities and racism in the postindustrial economy beginning in the 1970s (T. Rose 1994, p. -
Twerking Santa Claus Buy
Twerking Santa Claus Buy andTucky bone-dry never brangle Kimball any demilitarizing: chondrus tear which satisfyingly, Quiggly is is capeskin Jean imageable enough? and Kent sceptic inbreathes enough? edictally. Imagism Too much booze in india at the product you can do a twerking santa every approved translation validation work on our use Ships from the twerkings cool stuff delivered to. Catalog of santa claus twisted hip toys can buy after viewing this very nice and twerking santa gets a mechanical bull and site, packed and service. Switching between the twerkings cool products and customer service. Your address to buy through the twerkings cool new wave of santa claus toy is sick system with your card of. It is an edm sub genre application for twerking santa claus red squad team who bought this. Ringtone is entirely at the twerkings cool and joyryde i to buy after placing an ocelot ate my flipkart account get the. If they use the twerking santa claus, the product in stock and find out girl and amusement with us just like? Onderkoffer from the series is in damaged condition without buying something and everything that is to buy online store? Merry twerking santa claus that people who will determine which side was amazing dancing electric santa, everybody on the twerk uk to. Please remove products and twerk uk will be used to buy after. And twerking santa claus red knit hat and playlists from. So far is spanish song my twerking santa claus christmas funny. It would you buy these items in the twerkings cool and make up twerk. -
Layout 1 (Page 1
In 1949, Janet Collins—the first Black artist to appear Jean-Léon Destiné’s company along with Spanish and African Artists of the African Diaspora on the stage of the Metropolitan Opera—and Jean-Léon Hindu dances. It was a bold move, and its legacy is seen Destiné made their debut appearances at Jacob’s Pillow. today in the all-encompassing dance programming at Famous for his work with Katherine Dunham, Destiné Jacob’s Pillow. In 1970 Ted Shawn presented Dance Theatre and Jacob’s Pillow Dance Festival: was the first of many Black artists to teach in The School of Harlem’s first formal “engagement.” Critic Walter Terry American at Jacob’s Pillow in 1949, and returned to direct the praised the company’s debut and Shawn referred to the Inception to Present Cultural Traditions Program in 2004. Over 100 students Dance Theatre of Harlem performance as a “highlight of from around the world attend this professional-track the summer.” School at Jacob’s Pillow each year. f v f Heritage Beginning in the 1980s, African-American companies The ground-breaking Lester Horton Dance Theatre appeared at the Pillow more and more frequently. “Dance includes every way that men of all races in every period of the made its Pillow debut in 1953. Several of its young Highlights since then have included engagements by Participate in African Diaspora activities at JACOB’S PILLOW DANCE members, James Truitte, Carmen de Lavallade, and tappers Savion Glover, Gregory Hines and Jimmy Jacob’s Pillow Dance world’s history have moved rhythmically to express themselves.”—Ted Shawn (1915) Alvin Ailey, would leave a lasting impression on the Slyde, hip-hop from Rennie Harris, and world premiere dance world. -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
Trademark Rights for Signature Touchdown Dances
Trademark Rights for Signature Touchdown Dances Abstract Famous athletes are increasingly cultivating signature dances and celebratory moves, such as touchdown dances, as valuable and commercially viable elements of their personal brands. As these personal branding devices have become immediately recognizable and have begun being commercially exploited, athletes need to legally protect their signature dances. This paper argues that trademark law should protect the signature dances and moves of famous athletes, particularly the signature touchdown dances of NFL players. Because touchdown dances are devices capable of distinguishing one player from another, are non- functional, and are commercially used in NFL games, the dances should be registrable with the USPTO as trademarks for football services. Trademark Rights for Signature Touchdown Dances Joshua A. Crawford Table of Contents I. Introduction . 1 A. Aaron Rodgers and the “Discount Double Check” . 1 B. Signature Dances and Moves in Sports . 4 C. Trademark Protection for Signature Sports Dances . 8 II. Trademark Eligibility and Registration for Signature Touchdown Dances . 10 A. Background Principles of American Trademark Law . 11 B. Subject-Matter Eligibility. 12 C. Distinctiveness . 15 1. Distinctiveness Background . .. 15 2. Acquired Distinctiveness for Dances with Secondary Meaning . 18 3. The Possibility of Proving Inherent Distinctiveness under Seabrook . 19 4. The Possibility of Wal-Mart Barring Inherent Distinctiveness . 20 D. Functionality . 21 E. Use in Commerce . 24 1. Interstate Commerce . 24 2. Bona Fide Commercial Use . 25 a. Manner of Use . 26 b. Publicity of Use . 28 c. Frequency of Use . 31 III. Infringement . 33 A. Real-World Unauthorized Copying of Dances among Players—Permissible Parody . 34 B. -
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change. -
Last-Minute Requests
C M Y K www.newssun.com Last-minute gift ideas for the food lover in NEWS-SUN your life Highlands County’s Hometown Newspaper Since 1927 LIVING, B12 Sunday, December 22, 2013 Volume 94/Number 152 | 75 cents Best of the county Think hard before giving pet as a gift Corley, Whittington lead Humane Society: Not like a sweater you can just return All-County volleyball By BARRY FOSTER don’t like it.” PORTS S , B1 News-Sun correspondent She said that, although it can be a SEBRING — If you’re thinking of good idea to get a pet as a Christmas getting or giving a puppy dog or a kitty gift, it needs to be a well-thought-out cat as a Christmas present this year- process. The celebrations surrounding officials of the Humane Society would the holiday can be a very busy time, Crystal Lake like to offer a bit of advice. which can be confusing and stressful “People need to remember that get- for a puppy or kitten. ting a pet is a 10-year obligation,” said “There’s so much commotion going garbage may Humane Society of Highlands County on with people opening presents, and all President Judy Spiegel. “This is not like be costly for a sweater you can just return if you See GIFT, A5 Avon Park By PHIL ATTINGER Nyhan [email protected] AVON PARK — If the city brings in Crystal Lake on Monday, it may have some garbage to handle — liter- leaving ally. Crystal Lake Golf Club is on the agenda for final public hearing and annexation vote on Monday. -
Alvin Ailey American Dance Theater's Ailey Ascending
FOR IMMEDIATE RELEASE Ailey Contacts: Christopher Zunner: [email protected] / 212-405-9028 Lauren Morrow: [email protected] / 212-405-9079 ALVIN AILEY AMERICAN DANCE THEATER’S AILEY ASCENDING 60th ANNIVERSARY CELEBRATION INCLUDES A LANDMARK SEASON AT NEW YORK CITY CENTER NOVEMBER 28 – DECEMBER 30 Five-Week Holiday Engagement Features World Premieres of Ronald K. Brown’s The Call and Rennie Harris’ Lazarus, Company Premiere of Wayne McGregor’s Kairos, New Production of Robert Battle’s Juba, and Timeless Ailey Program of Rarely Seen Works by Alvin Ailey Multimedia Work Becoming Ailey Brings Presence of Legendary Founder Back to the Stage Tickets starting at $29 are on sale now! November 6, 2018 (NEW YORK CITY) — Alvin Ailey American Dance Theater, New York City Center’s Principal Dance Company, returns to the theater’s stage from November 28 – December 30, 2018 for a milestone season. During the Company’s Ailey Ascending 60th Anniversary celebration, Artistic Director Robert Battle leads Ailey’s 32 extraordinary dancers during this five-week holiday engagement that will elevate a legacy of excellence in artistry with premieres by some of today’s most revered and prolific choreographers, including world premieres by Rennie Harris and Ronald K. Brown; a company premiere by Wayne McGregor; a new production of by Robert Battle; the return of a recent premiere by Jessica Lang, and special performances of rarely seen works by Alvin Ailey himself. The New York City Center season launches on Wednesday, November 28th with a 60th Anniversary Opening Night Gala benefit performance, followed by a party at the New York Hilton Grand Ballroom.