The Related Arts
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LEGAL SERVICES CORPORATION Board of Directors Meeting
LEGAL SERVICES CORPORATION Board of Directors Meeting July 20 - 22, 2014 Location: Des Moines Marriott Downtown 700 Grand Avenue Des Moines, Iowa 50309 America’s Partner for Equal Justice Table of Contents I. Schedule ....................................................................................................................... 1 II. Operations & Regulations Committee ♦ Agenda...................................................................................................................................... 6 ♦ Draft Minutes of the Committee’s Open Session Meeting of April 7, 2014 ................. 8 ♦ Private Attorney Involvement Proposed Rule CFR Part 1614 ...................................... 13 ♦ 2015 Grant Assurances ........................................................................................................ 20 ♦ Proposed Rulemaking Agenda .......................................................................................... 95 ♦ Service Eligibility Options for Persons Covered by the Convention Against Torture ............................................................................................. 110 III. Institutional Advancement Committee ♦ Agenda.................................................................................................................................. 113 ♦ Draft Minutes of the Committee's Open Session Meeting of April 6, 2014 ............. 115 ♦ In-kind Contributions Protocol ........................................................................................ 119 IV. Governance -
National Endowment for the Arts Annual Report 1990
National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report 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 for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................ -
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts 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, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
Harriet Berg Dance Collection
Harriet Berg Dance Collection Papers, 1948-2002 (Predominately 1960-1980) 30 linear feet Accession #1608 Provenance The Harriet Berg Dance Collection was first given to Wayne State University in 1984 by Harriet Berg, and has been added to over the years since that time (up to 2002). Bio/Historical Info For over 40 years Mrs. Berg has been a choreographer, teacher, performer, and arts avocate. She received her B.A. in Art Education and her M.A. in Humanities from Wayne State University. She has taught at Wayne State, the Jewish Community Center (and Camp Tamarack), Burton School, and Bloomfield Hills Academy locally and the Connecticut College Summer School of Dance and the Perry-Mansfield Dance-Drama School nationally. She was the director of the Festival Dancers and Young Dancers Guild at the Jewish Community Center and directed the Renaissance Dance Company and the Madame Cadillac Dancers, both companies specializing in historical dance. In addition to her professional work Mrs. Berg has served as member and Dance committee chairman for the Michigan Council of the Arts, the Detroit Council for the Arts, the Detroit Adventure Planning Project, Michigan Foundation for the Arts and the Detroit Metropolitan Dance Project. Mrs. Berg’s collection reflect her interest in all aspects of dance, and other performing and fine arts. Some of the papers also reflect some aspects of her personal life as well as that of her family members. Subjects American Dance Festival Harriet Berg Choreographers Choreography Connecticut College Dance Books Dance Companies Dance Education Dance in Detroit Detroit Metropolitan Dance Project Historical Dance Isadora Duncan Jewish Community Center Madame Cadillac Dance Theater Michigan Dance Association Modern Dance Renaissance Dance Company Resources for Dance Wayne State University Correspondents Kay Bardsley Harriet Berg Irving Berg Leslie Berg Martin Berg Merce Cunningham Raymond Duncan Louis Falco Martha Graham Lucas Hoving Jose Limon Paul Taylor J.J. -
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 ...................................................................................................................................... -
Commartslectures00connrich.Pdf
of University California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California University History Series Betty Connors THE COMMITTEE FOR ARTS AND LECTURES, 1945-1980: THE CONNORS YEARS With an Introduction by Ruth Felt Interviews Conducted by Marilynn Rowland in 1998 Copyright 2000 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of northern California, the West, and the nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Betty Connors dated January 28, 2001. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
Dance with Us: Virginia Tanner, Mormonism, and Humphrey's Utah Legacy
Dance With Us: Virginia Tanner, Mormonism, and Humphrey's Utah Legacy By: Ann Dils Dils, A. (2001) Dance with Us: Virginia Tanner, Mormonism, and Humphrey's Utah Legacy. Dance Research Journal. 32 (2), 7-31. Made available courtesy of University of Illinois Press: http://www.press.uillinois.edu/journals/drj.html ***Note: Figures may be missing from this format of the document Dance critic Walter Terry was in the audience the evening of Rosalind Pierson's last, glorious performance with Virginia Tanner's Children's Dance Theatre (CDT). In his review for the New York Herald Tribune of that July 1953 Jacob's Pillow performance, Terry discussed the girls' connections to the Church of Jesus Christ of Latter- day Saints, described the outdoor performance setting, the program, and the children as "wonderfully disciplined yet gloriously free in movement." He concluded his performance description with this paragraph: Other children have danced such themes and there are other children ... who have performed with ... far more precociousness of a technical nature but none, I think, have conveyed so perfectly the bright (not pallid) purity of child-dance. It is difficult to describe even the most potent intangibles and the best I can do is to say that the children danced as if they had faith in themselves, had love for those of us who were seeing them, actively believed in their God and rejoiced in all of these. (Terry 1953)1 The "potent intangibles" that Walter Terry wanted to describe—those feelings of faith, love, belief, and joy— pervaded the work of Virginia Tanner and her Children's Dance Theatre, especially in the years prior to 1960. -
State High School Dance Festival 2014 – BYU Adjudicator and Master Class Teacher Bios
Utah Dance Education Organization State High School Dance Festival 2014 – BYU Adjudicator and Master Class Teacher Bios Kay Andersen received his Master of Arts degree at New York University. He resided in NYC for 15 years. From 1985-1997 he was a soloist with the Nikolais Dance Theatre and the Murray Louis Dance Company. He performed worldwide, participated in the creation of important roles, taught at the Nikolais/Louis Dance Lab in NYC and presented workshops throughout the world. At Southern Utah University he choreographs, teaches improvisation, composition, modern dance technique, tap dance technique, is the advisor of the Orchesis Modern Dance Club, and serves as Chair of the Department of Theatre Arts and Dance. He has choreographed for the Utah Shakespearean Festival and recently taught and choreographed in China, the Netherlands, Mexico, North Carolina School of the Arts, and others. Kay Andersen (SUU) Ashley Anderson is a choreographer based in Salt Lake City. Her recent work has been presented locally at the Rose Wagner Performing Arts Center, the Rio Gallery, the BYU Museum of Art, Finch Lane Gallery, the City Library, the Utah Heritage Foundation’s Ladies’ Literary Club, the Masonic Temple and Urban Lounge as well as national venues including DraftWork at Danspace Project, BodyBlend at Dixon Place, Performance Mix at Joyce SOHO (NY); Mascher Space Cooperative, Crane Arts Gallery, the Arts Bank (PA); and the Taubman Museum of Art (VA), among others. Her work was also presented by the HU/ADF MFA program at the American Dance Festival (NC) and the Kitchen (NY). She has recently performed in dances by Ishmael Houston-Jones, Regina Rocke & Dawn Springer. -
Ian Siegal Wire the Crazy World of Arthur Brown
OCTOBER 2013 SEPTEMBER 2013 LIVE IN LEICESTER PRESENTS... MAGIC TEAPOT PRESENTS... FRI 4 TUE 3 THE CRAZY WORLD OF ARTHUR BROWN JOHN MURRY £16adv - plus support £10adv - plus Liam Dullaghan The source of Arthur Brown’s music lies beyond both the spiritual Hailing from Tupelo, Mississippi; John Murry’s solo debut album and the material. His first album The Crazy World of Arthur Brown ‘The Graceless Age’ is imbued with the ghosts of the Southern was his theatrical statement of this. It, and the single Fire! - which states and the personal demons that have haunted him throughout came from it - were both a hit on the two sides of the Atlantic. his life. He has described himself as more absorbed in the world He is a performance artist who also became a rock icon and his of literature than in the day-to-day concerns of the modern world, influence was felt through his theatrical musical style, his theatrical and for good reason: he’s second cousin to William Faulkner and presentation, his dancing, and his vocal ability. His voice has been has spent much time with his second cousin’s work. Throughout described as “one of the most beautiful voices in rock music” and his songs in the key of heartbreak, there is nonetheless a strong his presentation is second to none! Recently he won Classic Rock’s and abiding sense of salvation and reconciliation. Showman of the Year Award. www.arthur-brown.com www.johnmurry.com TUE 15 XANDER PROMOTIONS PRESENTS... ROACHFORD THU 12 £12adv £14door KATHRYN WILLIAMS Ever since bulldozing his way onto the scene with unforgettable £12adv £14door - plus Alex Cornish tracks like ‘Cuddly Toy’ and ‘Family Man’ in the late 80s, Andrew Kathryn Williams’ artful and soulful compositions and sweet Roachford’s maverick take on music has spread far and wide. -
Zvidance DABKE
presents ZviDance Sunday, July 12-Tuesday, July 14 at 8:00pm Reynolds Industries Theater Performance: 50 minutes, no intermission DABKE (2012) Choreography: Zvi Gotheiner in collaboration with the dancers Original Score by: Scott Killian with Dabke music by Ali El Deek Lighting Design: Mark London Costume Design: Reid Bartelme Assistant Costume Design: Guy Dempster Dancers: Chelsea Ainsworth, Todd Allen, Alex Biegelson, Kuan Hui Chew, Tyner Dumortier, Samantha Harvey, Ying-Ying Shiau, Robert M. Valdez, Jr. Company Manager: Jacob Goodhart Executive Director: Nikki Chalas A few words from Zvi about the creation of DABKE: The idea of creating a contemporary dance piece based on a Middle Eastern folk dance revealed itself in a Lebanese restaurant in Stockholm, Sweden. My Israeli partner and a Lebanese waiter became friendly and were soon dancing the Dabke between tables. While patrons cheered, I remained still, transfixed, all the while envisioning this as material for a new piece. Dabke (translated from Arabic as "stomping of the feet") is a traditional folk dance and is now the national dance of Lebanon, Jordan, Syria, and Palestine. Israelis have their own version. It is a line dance often performed at weddings, holidays, and community celebrations. The dance strongly references solidarity, and traditionally only men participated. The dancers, linked by hands or shoulders, stomp the ground with complex rhythms, emphasizing their connection to the land. While the group keeps rhythm, the leader, called Raas (meaning "head"), improvises on pre-choreographed movement phrases. He also twirls a handkerchief or string of beads known as a Masbha. When I was a child and teenager growing up in a Kibbutz in northern Israel, Friday nights were folk dance nights. -
Letter from the President
VOLUME 2, ISSUE 2 WINTER/SPRING 2006 UDEO NEWS LETTER FROM THE PRESIDENT UDEO 2006 Conference Dubbed “Most Proactive Conference in the State! The UDEO 2006 Spring Conference Four Part Harmony and performances inspired us to reflect on ways personal heritage has been dubbed “the state’s most pro-active conference,” by Carol can influence our art-making. Now we have two more wonderful Ann Goodson, Utah State Office of Education Fine Arts Coordinator. UDEO sponsored events to unite and renew us. Her flattering statement piqued my curiosity and I asked her why Please accept a personal invitation to attend the UDEO/ she felt that way. “Because your members will - March forth on USOE day-long High School Dance Festival on February 25, March 4th!” she replied. Jean Irwin, arts education coordinator at at Bingham High School. This event concludes with an evening the Utah Arts Council added, “But your group will march forth…in concert that features the “best” high school choreography in the a dancerly way!” It’s a clever play on words yet I have come to state. Our Spring Conference, Four Part Harmony, with keynote realize that there is great truth in the observations of both Carol and presenter Alonzo King, a variety of professional development dance Jean. workshops, and a first of its kind panel presentation by members of This state is blessed with an abundance of excellent and our state legislature, school boards, and arts advocacy organizations pro-active dance and arts colleagues. Whether your dance interest will instruct and inspire us. If you share in the goal to increase lies in private or public dance education, professional or community quality dance opportunities in Utah, and enjoy the great connections, dance concerts and events, or you are the concerned parent of a child conversations, and of course great food that we always have at our who loves to dance, your membership and participation in UDEO Spring Conferences, then don’t forget to “March forth on March has real impact. -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965.