Modern I Course at a Glance 2020-2021 Unit Intro to Modern I
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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. -
Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608
Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 This finding aid was produced using ArchivesSpace on June 11, 2018. English Describing Archives: A Content Standard Walter P. Reuther Library 5401 Cass Avenue Detroit, MI 48202 URL: https://reuther.wayne.edu Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 Table of Contents Summary Information .................................................................................................................................... 3 History ............................................................................................................................................................ 4 Scope and Content ......................................................................................................................................... 4 Arrangement ................................................................................................................................................... 6 Administrative Information ............................................................................................................................ 6 Related Materials ........................................................................................................................................... 7 Controlled Access Headings .......................................................................................................................... 7 Collection Inventory ...................................................................................................................................... -
Uncork the Champagne Garth Fagan Dance Celebrates 40 Years with Two World Premieres at the Joyce Theater, November 9-14
For Immediate Release ! ! PHOTO OF “WOZA” BY GREG BARRETT UNCORK THE CHAMPAGNE GARTH FAGAN DANCE CELEBRATES 40 YEARS WITH TWO WORLD PREMIERES AT THE JOYCE THEATER, NOVEMBER 9-14 Forty years ago a small, scrappy dance troupe arrived on the scene. It called itself Bottom of the Bucket, But … Dance Theatre. Now transformed into one of the most elegant and original dance troupes in the world, Garth Fagan Dance continues to be directed by its founder Garth Fagan, who, besides becoming the Tony Award- winning choreographer of “The Lion King,” has created works for New York City Ballet, Alvin Ailey American Dance Theater, Dance Theatre of Harlem and the Limón Dance Company. Fagan’s “Griot New York” was subject of a Great Performances program, which aired nationwide on PBS. Garth Fagan Dance has toured round the world and back again. You’ve come a long way, baby. To celebrate its four decades, two world premieres – one by the master himself, and the other by Fagan’s protégé and longtime principal dancer, Norwood Pennewell – are on the boards for Garth Fagan Dance’s Joyce Theater season, November 9-14. The week of shows also features Fagan classics such as “Passion Distanced” dating back to 1987. Fagan’s premiere, aptly entitled “Thanks Forty,” a celebration of his company’s four decades, is set to cello music by Shostakovitch, a melodic percussion score by Angolian composer Bonga Kwenda and Gerald Albright’s music for tenor, alto and baritone sax. The MORE !"" Broadway Suite #$% • New York NY "$$"& USA • T: &"&'&#('("$$ • F: &"&'%)*'""$& • eja@ejassociates'org • www'ejassociates'org ELLEN JACOBS ASSOCIATES GARTH FAGAN DANCE ADD ONE dance opens with a solo for Nicolette Depass, an homage to the toughness, strength and femininity of women. -
Chiarts Dance Overview and Audition Guide
CHIARTS DANCE OVERVIEW AND AUDITION GUIDE This guide is designed to help you prepare for the Dance conservatory audions and for considering ChiArts as an opon for your high school. ChiArts is a wonderfully creave and educaonal environment, and we take our work seriously. DECIDING IF CHIARTS DANCE IS RIGHT FOR YOU What can I expect from ChiArts Dance? Our programs are modeled on college-level Conservatory programs and tailored for high school students. It is a rigorous training program that is taught by professionals in their fields who have high standards of excellence and a commitment to training the next generaon of arsts. Classroom instrucon is supplemented by a variety of performance opportunies in which training is put into pracce. Whether or not a student chooses to ulmately pursue a career in the arts, the curriculum will provide a wide variety of learning opportunies and experiences that can benefit them throughout their lives and in whatever field they choose to pursue. What does ChiArts Dance expect from me? The school day at ChiArts is from 8 am to 5 pm and includes some evening rehearsals and events. Students must have stamina and focus throughout the enre day and must be commied to both academic and arts educaon. Students are expected to arrive to each Dance class on me, fully prepared to work with all of their materials and dedicated to their cra and community. Students should be open to praccing sustained focus, taking risks, and providing a safe learning environment for others. Your aendance affects the work of your peers as well as yourself. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
Abstract in Our Society, Priority Does Not Lie in Arts Education the Arts Are
Abstract In our society, priority does not lie in arts education the arts are rarely noticed, as kids growing up don't reallydo not acquire have any background knowledge dealing with anything about the history and practice of the arts. Funding cuts in education affect the arts in a negative fashion precluding the possibility of exposure and flourishing of future artists. In my childhood, I was introduced to dance only through my church. As school may soon take arts classes away from schools, that will not only decrease some knowledge that kids need but also allow kids to not see what their passion could be. Growing up I wasn't introduced to dance until my church introduced it to me. My liturgical dance practice remained my connection to the arts. Later, After I only sawI was exposed to ballet dance in the community through television where a ballet class was being broadcasted which most dance companies teach students infrom a local their studio. I believe that students should be introduced to dance, both western concert and other cultural dance forms, as part of their education. s other than the basics.In my presentation, I argue that kids should be able to learn modern dance at a young age. My thesis focus particularly one in particularon Graham technique conceived and teveloped by modern dance pioneer, Martha Graham. What Martha Graham teaches dancers to question the norm. Her technique differs starkly from ballet and it is one way of acknowledging difference of personality, emotionality, and soulful movement. introduces is how to be different and kids at a young age should understand that it's alright to go a different route and it's alright to not look like what you see in Ballet. -
1984 Category Artist(S)
1984 Category Artist(s) Artist/Title Of Work Venue Choreographer/Creator Anne Bogart South Pacific NYU Experimental Theatear Wing Eiko & Koma Grain/Night Tide DTW Fred Holland/Ishmael Cowboys, Dreams, and Ladders The Kitchen Houston Jones Julia Heyward No Local Stops Ohio Space Mark Morris Season DTW Nina Wiener Wind Devil BAM Stephanie Skura It's Either Now or Later/Art Business DTW, P.S. 122 Timothy Buckley Barn Fever The Kitchen Yoshiko Chuma and the Collective Work School of Hard Knocks Composer Anthony Davis Molissa Fenley/Hempshires BAM Lenny Pickett Stephen Pertronio/Adrift (With Clifford Danspace Project Arnell) Film & TV/Choreographer Frank Moore & Jim Self Beehive Nancy Mason Hauser & Dance Television Workshop at WGBH- Susan Dowling TV Lighting Designer Beverly Emmons Sustained Achievement Carol Mulins Body of Work Danspace Project Jennifer Tipton Sustained Achievement Performer Chuck Greene Sweet Saturday Night (Special Citation) BAM John McLaughlin Douglas Dunn/ Diane Frank/ Deborah Riley Pina Bausch and the 1980 (Special Citation) BAM Wuppertaler Tanztheatre Rob Besserer Lar Lubovitch and Others Sara Rudner Twyla Tharp Steven Humphrey Garth Fagan Valda Setterfield David Gordon Special Achievement/Citations Studies Project of Movement Research, Inc./ Mary Overlie, Wendell Beavers, Renee Rockoff David Gordon Framework/ The Photographer/ DTW, BAM Sustained Achievement Trisha Brown Set and Reset/ Sustained Achievement BAM Visual Designer Judy Pfaff Nina Wiener/Wind Devil Power Boothe Charles Moulton/ Variety Show; David DTW, The Joyce Gordon/ Framework 1985 Category Artist(s) Artist/Title of Work Venue Choreographer/Creator Cydney Wilkes 16 Falls in Color & Searching for Girl DTW, Ethnic Folk Arts Center Johanna Boyce Johanna Boyce with the Calf Women & DTW Horse Men John Jesurun Chang in a Void Moon Pyramid Club Bottom Line Judith Ren-Lay The Grandfather Tapes Franklin Furnace Susan Marshall Concert DTW Susan Rethorst Son of Famous Men P. -
Highlights Garth Fagan Dance at Joyce Theater
For Immediate Release GARTH FAGAN DANCE RETURNS! WORLD PREMIERE OF ‘PHONE TAG, THANKS & THINGS’ HIGHLIGHTS GARTH FAGAN DANCE AT JOYCE THEATER, NOVEMBER 4-9 Season also features recent and classic works including “Prelude: Discipline is Freedom,” “Feel/Think” (excerpt from “Senku”), “Light” (excerpt from “Life: Dark/Light”), “Translation Transition,” “Edge/Joy” and “Time After Before Place” Garth Fagan, whose gift for illuminating the unexpected in his musical choices and fusing disparate dance forms, takes on a trio of American and South African composers for the world premiere of “Phone Tag, Thanks & Things,” a highlight of Garth Fagan Dance’s Joyce Theater engagement, November 4-9. Voice mails including questions about an upcoming rendezvous, pride from company members anticipating the birth of their first child, renewed contact by a “prodigal” son and enthusiasm from an eager fan are among the compelling messages of mystery, joy and discovery received by Fagan over the past few years. Inserted into the accompanying solo piano music composed by Bogani Ndodana (South Africa), Florence Price (USA) and Wallace Cheatham (USA), performed by William Chapman Nyaho, the messages form the heart and soul of “Phone Tag, Thanks & Things.” At times the choreography embodies the emotional content of the voice mails, while at others the relationship is more abstract, inviting the audience’s imagination. Such dramatic tension is part of Fagan’s creative genius. His choreographic signature reads loud and clear in “Phone Tag, Thanks & Things” as Fagan applies contemporary rhythmic structures to traditional ballet forms and places Caribbean movement into a classical structure. Conventional notions of elegance, grace, discord and harmony are upended and redefined. -
Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009
http://oac.cdlib.org/findaid/ark:/13030/c8c24wzf No online items Lewis Segal Collection of Dance and Theater Materials, 1902-2011; Bulk, 1970-2009 Preliminary processing by Andrea Wang; fully processed by Mike D'Errico in 2012 in the Center for Primary Research and Training (CFPRT), with assistance from Jillian Cuellar; machine-readable finding aid created by Caroline Cubé. The processing of this collection was generously supported by Arcadia funds. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2012 The Regents of the University of California. All rights reserved. Lewis Segal Collection of Dance 1890 1 and Theater Materials, 1902-2011; Bulk, 1970-2009 Descriptive Summary Title: Lewis Segal Collection of Dance and Theater Materials Date (inclusive): 1902-2011; Bulk, 1970-2009 Collection number: 1890 Collector: Segal, Lewis Extent: 24 record cartons (24 linear ft.) Abstract: Lewis Segal is a performing arts critic who has written on various topics related to the performing arts, from ballet to contemporary dance and musicals. He began working as a freelance writer in the 1960s for a number of publications, including the Los Angeles Times, Performing Arts magazine, the Los Angeles Free Press, Ballet News, and High Performance magazine. He joined the staff of the Los Angeles Times in 1976. From 1996 to 2008 he held the full-time position of chief dance critic, writing full features and reviews on dance companies and performing arts organizations from around the world. -
Student Hanbook
MARTHA GRAHAM SCHOOL OF CONTEMPORARY DANCE STUDENT HANBOOK Founder: Martha Graham Director of School: Virginie Mécène Director of Education: Tami Alesson International Student Advisor: Angela Wiele School Administrator: Karin Weidner-Mubanda 316 East 63rd Street New York, NY 10065 (212) 838 6886 marthagraham.org 1 TABLE OF CONTENTS Page 4 School History and Mission General Open classes Levels – Elementary, Intermediate, Advance, and Open Mixed, Ballet, and Pilates 5 Full Time Programs 5 Independent Program 6 Professional Training Program 7 Third Year Post Certificate 8 Teacher Training Program 9 Graham II 9 Work Study 9 The Intensives Winter Intensive Summer Intensive 10 Course Description Repertory I & II Composition I & II Music I & II Dance History Pedagogy Others Lectures and Q&A 11 Fee Schedule Tuition breakdown per program payment plans etc. 12 Credit Assignment 13 Performance opportunities Graham II Student Concert Outside performance Credit assignments 13 Policies and Procedures 16 General Information and Facilities 17 EFSD 18 Readings 19 Graham School Library Information 2 21 Sample of Leave of Absence Form 22 Sample of Additional Semester Credit Registration Form 23 Sample of Full-Time Program In-Class Evaluation Form 24 Sample of Change of Level In-Class Evaluation Form 3 History and Mission of the Martha Graham School Of Contemporary Dance History Recognized as one of the greatest artists of the 20th century Martha Graham created a movement language based upon the expressive capacity of the human body. It all begun in 1926 when Martha Graham began teaching a group of dancers who had been drawn to her creative work. Thus began the Martha Graham Studio, to remain under her personal guidance for the next 66 yeas. -
Transmissions and Traces: Rendering Dance
INAUGURAL CONFERENCE Transmissions and Traces: Rendering Dance Oct. 19-22, 2017 HOSTED BY THE DEPARTMENT OF DANCE Sel Fou! (2016) by Bebe Miller i MAKE YOUR MOVE GET YOUR MFA IN DANCE AT THE UNIVERSITY OF MICHIGAN We encourage deep engagement through the transformative experiences of dancing and dance making. Hone your creative voice and benefit from an extraordinary breadth of resources at a leading research university. Two-year MFA includes full tuition coverage, health insurance, and stipend. smtd.umich.edu/dance CORD program 2017.indd 1 ii 7/27/17 1:33 PM DEPARTMENT OF DANCE dance.osu.edu | (614) 292-7977 | NASD Accredited Congratulations CORD+SDHS on the merger into DSA PhD in Dance Studies MFA in Dance Emerging scholars motivated to Dance artists eager to commit to a study critical theory, history, and rigorous three-year program literature in dance THINKING BODIES / AGILE MINDS PhD, MFA, BFA, Minor Faculty Movement Practice, Performance, Improvisation Susan Hadley, Chair • Harmony Bench • Ann Sofie Choreography, Dance Film, Creative Technologies Clemmensen • Dave Covey • Melanye White Dixon Pedagogy, Movement Analysis Karen Eliot • Hannah Kosstrin • Crystal Michelle History, Theory, Literature Perkins • Susan Van Pelt Petry • Daniel Roberts Music, Production, Lighting Mitchell Rose • Eddie Taketa • Valarie Williams Norah Zuniga Shaw Application Deadline: November 15, 2017 iii DANCE STUDIES ASSOCIATION Thank You Dance Studies Association (DSA) We thank Hughes, Hubbard & Reed LLP would like to thank Volunteer for the professional and generous legal Lawyers for the Arts (NY) for the support they contributed to the merger of important services they provide to the Congress on Research in Dance and the artists and arts organizations. -
Garth Fagan Dance
“Thanks Forty” Photo © Yi-Chun Wu © Yi-Chun Photo Forty” “Thanks GARTH FAGAN DANCE Applause Series CURRICULUM GUIDE CIVIC CENTER OF GREATER DES MOINES February 8, 2013 GUIDE CONTENTS About the Civic Center Page 3 Going to the Theater and Theater Etiquette Page 4 Civic Center Field Trip Dear Teachers, Information for Teachers Page 5 Thank you for joining us for the Applause Series presentation of Garth Fagan Dance. For more than 40 years, Garth Fagan Vocabulary has made the art of dance come alive through his Page 6 choreography. By combining Afro-Caribbean movement (inspired by his Jamaican roots), the precision of ballet, and About the Performance the rule-breaking experimentation of modern dance, Fagan Page 7 has created a wholly unique style of dance that not only reflects, but also uplifts the human experience. Captivating About Garth Fagan audiences worldwide, Garth Fagan Dance is also committed Page 8 to performing for and sharing their craft with young people — firmly believing that engagement with the arts, including About the Company, dance, is key to promoting critical thinking, emotional Garth Fagan Dance intelligence, and self-esteem. Page 9 We thank you for sharing this special experience with your The People Behind the Scenes students and hope that this study guide helps you connect the Page 10 performance to your in-classroom curriculum in ways that you find valuable. In the following pages, you will find contextual What is Dance? information about the performance and related subjects, as Pages 11 well as a variety of discussion questions and activities. Some pages are appropriate to reproduce for your students; others Elements of Dance — B.A.S.T.E.