Welcome by the IFLA President

Total Page:16

File Type:pdf, Size:1020Kb

Welcome by the IFLA President Welcome by the IFLA President Welcome by the President of the Italian National Committee Words of Welcome by Anna Maria Tammaro, IFLA Governing Board Member Acknowledgements to Institutions Acknowledgements to Grant Institutions Important Deadlines Documents required in order to apply for a visa Congress Sponsors Keynote Speaker at the Opening Session Plenary Speakers Satellite Meetings Overview of Congress Programmes IFLA Headquarters at the World Library and Information Congress 2009! Website Submitting Conference papers Contact Information 1 Welcome Words by the IFLA cultural exchanges, and building friendships with colleagues from across the globe. IFLA WLIC 2009 President in Milan will indeed enrich our IFLA family. Welcome to the Claudia Lux, President of IFLA World Library and Information Congress 2009, and welcome to Welcome by the President of the this inspiring city of Milan, Italy. I am Italian National Committee very proud that this IFLA event Dear Colleagues, is being held for the first time in In 2009 we celebrate Milan, and Italy the 75th anniversary for the fifth time, of the IFLA Congress following Rome which first took place (1928, 1929 and in Rome, Florence 1951, 1964) and and Venice in 1929. Florence and Venice (1929). The World Library It is wonderful to be in this country which has such and Information a rich cultural heritage. To again emphasise the Congress will once words of the Mayor of Milan Letizia Moratti, Milan more come back is an ideal setting for IFLA’s annual congress, to Italy, this time in with this unique opportunity to discover Milan’s Milan from 23 to 27 treasures, and historical, artistic and cultural August 2009 at the heritage. Milan offers the right environment for Milan Convention us to share our ideas on our Congress theme Centre. of Libraries create futures: building on cultural heritage. We will gather here, surrounded by Libraries create futures: building on cultural heritage, to discuss important issues in our field heritage is the chosen theme for the IFLA 2009 and to work together in creating our future. Congress. Libraries can really build the future if In this my last Congress as IFLA President, I would they improve the quality of people’s lives through like to bring the theme of my presidency to the their culture. Thanks to libraries, people have attention of all delegates: Libraries on the Agenda! been gathering and storing their scientific, artistic, By influencing the agendas of our communities, literary, musical as well as religious activity over regions, institutions, companies, governments, time. Libraries preserve the bases of all human and the international bodies that deal with the knowledge. Knowledge transmission today has world we live in, we librarians and information radically changed: the scope of bibliography workers are creating not only our future, but a has widened immensely. Libraries therefore had better world. Whatever the economic, social or to update their role: preservation and access political conditions, our profession must take an are still the main points to be achieved, though active role in defining and delivering equitable in a new, critical and professional way, in order access to the resources that provide information to assure the adequate standard of the service. for all, lead us to knowledge, and improve the In this way libraries keep pace with the change quality of community and individual lives. I look brought about by history and technology, forward to further discussions on this theme in helping to shape the future through the resources Milan. inherited from the past. Century long traditions On behalf of the Governing Board of our have created a wide and diversified context, in Federation, I welcome all to IFLA’s World Library which medieval libraries (mostly in monasteries and Information Congress in Milan, Italy. We and universities) live together with Renaissance are very grateful to the National Committee for libraries as well as modern libraries, whose their strong dedication to preparing this world efficient standards effectively promote public event for our profession. We all look forward reading and research. to dialogues, new insights and experiences, 2 Milan, as well as the whole of Lombardia and this Conference will be an opportunity to foster Italy, will do their best to welcome you warmly research and to share opinions and experiences and show you their most beautiful libraries – on how to improve library services. It is also ancient and modern – as well as valuable pieces anticipated that cooperation between cultural of art, music, fashion, design, landscape, food heritage institutions and knowledge content and wine, all things that contribute in making our providers will be improved as a result of this country famous throughout the world. event. Come as many as you can! See you in Italy! See Every IFLA Conference is different, but the you in Milan in August 2009! participants have the opportunity to benefit from the international exchange of information that Mauro Guerrini results from the direct contact with the practice University of Florence and the philosophy of library services in different President of the Italian Library Association President of the Italian National Committee IFLA 2009 Milan contexts. As member of the IFLA Governing Board, I am very pleased that many important colleagues will come to my country, Italy. You will experience the importance of tradition and Words of welcome by Anna Maria continuity for libraries, visiting the libraries in Milan and the other Italian cities. You will also gain an Tammaro, IFLA Governing Board understanding of the challenges of combining Member tradition and innovation to support society needs. I am also sure that all the participants will Dear IFLA enjoy not only the Conference content but also colleagues, the friendliness of the people, the beauty of the city of Milan and its surroundings and the quality of life and food. The theme of this year IFLA World Library I look forward to meeting you in Milan, the 23-27 and Information of August, 2009. Please come in great numbers Conference has a to promote international cooperation in libraries focus on cultural and to reinforce the importance of the role of heritage. This theme libraries in the Knowledge Society is important for Anna Maria Tammaro Italy and Southern Member of the Governing Board Europe, where most of the ancient books and manuscripts are held, but this should not be misunderstood with a Acknowledgements to Institutions conservative approach to the profession, as a wish to looking to the past and forgetting the The National Committee gratefully present society. The cultural heritage institutions acknowledges the following institutions and have the role of delivering and communicating associations: the knowledge basis of the past and not only that of recording the memory. The present situation ABEI - Associazione Biblioteche Ecclesiastiche is very challenging for librarians and information Italiane professionals: there is the need of building a ANCI - Associazione Nazionale dei Comuni closer convergence of the cultural heritage d’Italia institutions and the need to ensure that they are Biblioteca Ambrosiana able to fully exploit the existing opportunities of Biblioteca Apostolica Vaticana digital technologies, for providing quality access Biblioteca centrale del CNR, Roma to all, as well as preserving the artefacts of the Biblioteca del Senato cultural heritage for the future. IFLA has been Biblioteca dell’Università Bocconi and continues to be very engaged in stimulating Biblioteca dell’Università cattolica del Sacro and promoting this important role of library and Cuore information professionals in the Knowledge Biblioteca dell’Università statale di Milano Society as agents of change and facilitators Biblioteca Nazionale Braidense of learning and access for all. I am sure that Biblioteca nazionale centrale di Firenze 3 Biblioteche civiche torinesi IMPORTANT DEADLINES Biblioteche comunali di Milano Biblioteche oggi Centro per il libro e la lettura • Guaranteed Hotel Booking Deadline – on or Comune di Milano before May 15, 2009 Conferenza episcopale italiana • Deadline for receipt of accepted papers at Coordinamento delle Regioni e Province IFLA HQ – on or before June 6, 2009 autonome CRUI – Conferenza dei Rettori delle Università For Registration: Italiane Discoteca di Stato • Early registration fee : on or before May 15, Fondazione Arnoldo e Alberto Mondadori 2009 Fondazione Biblioteca europea di informazione • Refund deadline for cancelled / altered e cultura registration: on or before May 15, 2009 Fondazione Centro di Documentazione Ebraica • After August 3, 2009: only on-site registration Contemporanea will be accepted Fondazione Per Leggere - Biblioteche Sud Ovest Milano ICCU – Istituto Centrale per il Catalogo Unico Istituto nazionale di fisica nucleare Documents required in order to apply for Istituto Universitario Europeo a visa Mibac: Ministero per i beni e le attività culturali: Direzione per i beni librari, gli lstituti culturali e il diritto d’autore 1. Form to require visa (Contact the Italian Provincia di Milano Embassy in your country for this form). Regione Lombardia 2. Photograph Università di Milano 3. Valid passport or equally recognized travel Università di Parma document. The document must be valid for at Università di Pavia least three months after the issue date of the Università di Pisa visa. Università di Roma “La Sapienza” 4. Valid, confirmed, return ticket or demonstration
Recommended publications
  • The Ajkun Ballet Theatre Artists
    THE AJKUN BALLET THEATRE ARTISTS LUIGI MARTELLETTA - Ballet Master Mr. Martelletta is the Artistic Director of the National Ballet Company of Rome, a leadership he shares with Raffaele Paganini, where he first met Dr. Chiara Ajkun in the capacity of guest ballet mistress and choreographer in residence. Luigi’s leadership is extended to the role of producer for Almatanz, a production and presenting company that tours ballet and modern dance performances throughout Europe, with main distribution in the major theaters of Italy, Germany, France, Spain and Russia since 1992, e.g. Spoleto Festival dei due mondi, Versiliana Festival, Terme di Caracalla. Almatanz has often engaged the Artists of the Ajkun Ballet Theatre, to include Dr. Chiara Ajkun, for his performing tours. As a choreographer, Luigi has created original ballets for the Teatro dell’ Opera di Roma, Opera House del Cairo, Macedonia National Balletto, among others. Luigi Martelletta’s performing career was entirerly dedicated to the company of the Teatro dell’Opera di Roma where, as principal dancer, he shared the stage with dancers of the likes of Roberto Bolle, Alessandra Ferri, Ethan Stiefel, Rudolf Nureyev, Carla Fracci, Vladimir Vassiliev, Ekaterina Maximova, Fernando Bujones, Maja Plisseskaja, Eva Edmokimova. Luigi performed repertory ballets and creations by Rolan Petit, Leonide Massine, and Ben Stevenson and was formally educated at the Ballet School of the Teatro dell’Opera di Roma. The Ajkun Ballet Theatre Company, The Ajkun Ballet Theatre Organization and its authorized Agents exclusively represent all AjkunBT Artists, worldwide. Their name, photos, videos and likeness are copyrighted and require written consent from The Ajkun Ballet Theatre’s Press and Communication Division for any use.
    [Show full text]
  • AATI Newsletter Message from the President
    INVESTORAMERICAN NEWSLETTER ASSOCIATION ISSUE OF TEACHERSN°3 OF ITALIAN SPRING FALL 2005 2015 AATI Newsletter Message from the President Dear AATI Members: AATI elections allow our Association to integrate new members into the Executive Council, while maintaining some previously elected members, most of whom serve a three-year term. This is an ideal situation because it allows for an orderly transition of leadership, which provides both continuity and change. This report is a collaborative effort by the former and current Presidents of the AATI. Frank Nuessel’s term of office began on January 1, 2012 and it ended on December 31, 2014, while Salvatore Bancheri's term of office began on January 1, 2015 and will end on December 31, 2017. IN THIS ISSUE 1. Message from the President Fall 2014 Report and Votes 5. Message from the Editor of The AATI had a successful meeting in conjunction with ACTFL in Italica San Antonio, TX November 21-23, 2015. The AATI will meet again 6. AATI Officers and Exec. Council with ACTFL in San Diego, CA November 20-22, 2015. 8. AATI-ACTFL Conference 9. Distinguished Service Award AATI EC Votes 10. AP Resources The AATI EC voted: 11. Essay Contest & Member Recognition 1. To hold a joint meeting of AATI and ACTFL in San Diego, CA 12. Scholarships, Exams, and November 20-22, 2015. (Approved November 21, 2014). Regional News 14. 2015 AATI Conference 2. To approve Chris Concolino's request for funding ($500.00) for a 15. Publications 19. Center for Italian Studies reusable Webinar prepared by now Vice-President Lyn Scolaro “Babilonia” (Prospect High School, IL) for the California Region.
    [Show full text]
  • Finally the Academies”: Networking Communities of Knowledge in Italy and Beyond
    1 “Finally the Academies”: Networking communities of knowledge in Italy and beyond Lisa Sampson University College London [NOTE: This is a copy of the final version of the essay (27 Sept. 2019) accepted by Chicago University Press for publication in I Tatti Studies in the Italian Renaissance, issue Fall 2019. Any references should be made to the final printed/online formatted version.] For Giambattista Vico in his Principi di una scienza nuova, academies represented the culmination of human civilization.1 His view has not always been shared, but especially since the new millennium, academies have attracted growing international scholarly interest as cultural and socio-political hubs central to forming knowledge across all disciplines of the arts and sciences. Their study as a scholarly field in their own right was given new impetus around 1980 by Amedeo Quondam, Claudia Di Filippo Bareggi, Laetitia Boehm, Ezio Raimondi, and Gino Benzoni, and in the Anglosphere by Frances Yates and Eric Cochrane. This coincided with a growing socio-historical interest in associative and relational culture, setting aside Burckhardtian concerns for the individual. More recently, the field has diversified considerably to include interest in cultural mobilities and transnational networks, while the availability of digital resources offers new research possibilities. The groundwork for studying these rather loosely defined institutions which proliferated in the Italian peninsula and beyond from around the turn of the sixteenth century, 2 was first laid out with Michele Maylender’s multi-volume compendium Storia delle accademie d’Italia (published posthumously 1926-30). This documents over 2,000 academies of varying constitutions formed at various dates, but mostly between the sixteenth and eighteenth centuries.
    [Show full text]
  • English.Pages
    KRISTIAN CELLINI BIOGRAPHY Born in Chieti (Italy), Kristian Cellini creator and artistic director of "Peccioli in Danza" (Tuscany-Italy), is now an established freelance teacher and choreographer. In 1989, Kristian Cellini graduated as a classical and modern dancer and began his 20-year career working as principal dancer with Carla Fracci and George Iancu in "Five Events of Medea" and "Romeo and Juliet", with Vladimir Derevjanko, Luciana Savignano, Daniel Ezralow, Micha Van Hoecke, Renato Greco. During this time, Kristian has been invited as guest dancer and as choreographer in the most important TV shows in Italy and abroad, as well as in Istanbul for the Turkish Television "Canal D”. He received multiple awards as a dancer:"Premio Paride” (1993) and "Ballerino d’Argento"(2004) Equipped with a suggestive choreographic talent, he develops his style by putting into practice all his professional experiences in different artistic fields and developing a personal choreographic idea that combines technical language, expressive musical language and the personality of each dancer, taking care of the choreographic direction in all its aspects. In 2014 he received awards as a choreographer "Aurel Milloss" and "Napoli Cultural Classic" for choreographic talent with the following motivation "Choreographer and teacher of recognized artistic depth. Innovative in language, thanks to his bursting creative energy and on the basis of a consolidated technique and effective musical choices, creates masterly interpretations. Among the latest most important choreographic creations "La Mietitura" (2018) for Laura Rosillo Ramirez of HET and Casey L.Herd, while at the Teatro San Carlo in Naples in honor of the "Gala Nureyev", Giuseppe Picone and Candida Sorrentino danced his pas de deux "Albinoni".
    [Show full text]
  • 8 Giugno 2007 «Così, Perfetto, Lasciati Andare, Danza Col Cuore. Sei Così Bello, Bellissimo, Dai Libertà Alle Tue Emozioni!
    8 giugno 2007 «Così, perfetto, lasciati andare, danza col cuore. Sei così bello, bellissimo, dai libertà alle tue emozioni!». Georgina Parkinson, la bravissima maîtresse dell'American Ballet Theatre, incoraggia Roberto Bolle. Sembra quasi rapita dal fascino del nostro ballerino scaligero, l'anziana insegnante dell'Abt, mentre segue lui e Alessandra Ferri nel pas de deux che i due ballerini italiani provano ogni giorno, per almeno un'ora, in una delle sale del Metropolitan di New York. Lunedì e giovedì, l'erede di Nureyev, nato a Casale Monferrato salirà sul palco del leggendario teatro newyorchese come primo ballerino e si esibirà nella Histoire de Manon. Poi, il 23, avrà New York in lacrime, quando accompagnerà la Ferri, ballerina dell'Abt da molti anni, nel suo addio alla danza. Dopo 22 anni di danza la Ferri ha scelto proprio lui per dare l'addio al Metropolitan, in un Romeo e Giulietta i cui biglietti sono da tempo introvabili. «Mi mancherà molto Alessandra», ha spiegato Roberto Bolle con un'ombra di tristezza negli occhi. «Questa è la stagione delle ballerine che danno l'addio e lei è una grande artista. Ma mi tolgo tanto di cappello di fronte ad una ballerina che ha capito che, vista la sua età, è il momento di lasciare le scene e lo fa con coraggio». La sua grande passione per la Ferri traspare dai suoi occhi dolci e dal suo modo di danzare potente, nella geometria classica e perfetta dei movimenti ma anche rispettoso e pieno di amore, quando durante le prove la sollevava nel pas de deux e la lascia scivolare delicatamente sul pavimento della sala americana.
    [Show full text]
  • Danza: Addio All'étoile Carla Fracci
    Primo piano - Danza: addio all'étoile Carla Fracci Milano - 27 mag 2021 (Prima Pagina News) Aveva 84 anni. E' deceduta a Milano, all'età di 84 anni l'étoile della danza Carla Fracci. Nata nel 1936, studìo alla scuola di ballo del Teatro alla Scala, dove esordì nel 1955, diventandone prima ballerina nel 1958, per poi ottenere il ruolo di étoile.Di umili origini, suo padre Luigi Fracci era alpino sergente maggiore in Russia e sua madre Rocca Santina era operaia alla Innocenti di Milano (bersaglio del Bomber Command britannico), ha una sorella Marisa Fracci, anch'essa ballerina di danza classica, formatasi presso la scuola di ballo del teatro alla Scala di Milano.Con l’inizio della guerra Carla e la sua famiglia sfollarono presso la campagna di Volongo dalla nonna materna Argelide. Lì Carla vive felice circondata dalla natura, in cui si sentiva a suo agio trascorrendo le giornate in campagna e in compagnia dei cugini. Con l’inizio della scuola elementare si trasferisce dalla zia a Ca’ Rigata di Gazoldo degli Ippoliti, per poi fare ritorno a Milano al termine della guerra, dove suo padre divenne impiegato dell’azienda tranviaria come bigliettaio.Spesso i suoi genitori la portavano con loro al Circolo ricreativo dell’azienda di trasporti di suo padre, e fu lì che alcuni amici dei suoi genitori notarono in lei uno spiccato senso del ritmo e li convinsero a farla provare l’audizione al Teatro alla Scala. Supera l’esame perché interessati al “suo bel faccino”, ma i primi anni furono duri perché Carla sentiva nostalgia degli spazi aperti in quell’ambiente rigido a cui fu difficile abituarsi nonostante i continui rimproveri della maestra, che la considerava ricca di doti ma svogliata.
    [Show full text]
  • CV Frosini Ok
    CURRICULUM DELL 'ATTIVITÀ SCIENTIFICA E DIDATTICA , CON ELENCO DELLE PUBBLICAZIONI Professoressa ordinaria presso l’Università per Stranieri di Siena (ssd: L.FIL.-LET./12, Linguistica italiana, cattedra di Storia della lingua italiana), Giovanna Frosini ricopre vari incarichi di natura scientifica e manageriale: • accademica corrispondente dell’Accademia della Crusca (dal 23 maggio 2014); componente del Comitato di direzione degli «Studi di lessicografia italiana» editi dall’Accademia della Crusca (da aprile 2015); è revisore di ricerca ( peer reviewer ) per Università italiane e riviste scientifiche di fascia A; valutatore di Progetti Preselezione Futuro in Ricerca 2012; valutatore per la VQR 2004-2010, Prodotti GEV/Area 10; componente di commissioni giudicatrici per l’esame finale nei corsi di Dottorato di ricerca dell’Università di Firenze, in procedure di valutazione comparativa per la copertura di posti di ricercatore e per assegnisti di ricerca presso le Università degli Studi di Pavia, di Torino, di Firenze, l’Istituto CNR «Opera del Vocabolario» di Firenze, la Scuola Normale Superiore di Pisa (anni 2010, 2012, 2015); componente di commissioni giudicatrici per l’assegnazione del Premio Boccaccio per Tesi di Dottorato e Tesi Magistrali (Ente Nazionale Giovanni Boccaccio), presidente di giuria del Premio Boccaccio Giovani (Associazione Letteraria Giovanni Boccaccio, dal 2015), componente della giuria del Premio Nencioni (Accademia della Crusca), del Premio Adriana Tramontano (Accademia della Crusca), per assegnazione di borse di studio
    [Show full text]
  • Features Obituary
    Features 10 Classical Ballet Princes MIKE DIXON defines the criteria of a true ballet prince and appraises some of today's most striking exemplars 16 Jason Reilly LUCY VAN CLEEF has a virtual rendezvous with the Stuttgart Ballet principal 22 Christopher Powney The artistic director of The Royal Ballet School talks about the challenges of leading one of the world's top ballet schools 32 Marcelino Sambé The Royal Ballet's Portuguese principal shares his story from Paço de Arcos to Covent Garden with ANDREJ USPENSKI and 28 EMMA KAULDHAR 32 42 Carla Fracci and Giselle VALENTINA BONELLI watches an informative masterclass with the 65 Emily Suzuki Italian ballerina The English National Ballet dancer talks about her career to date Arthur Pita 46 ts ANDREJ USPENSKI and EMMA KAULDHAR 66 Dismissed follow the career of the Portuguese ALISON KENT considers the plight dancer turned choreographer of 12 dancers whose contracts have been brutally terminated in Schwerin 52 Benoit Swan Pouffer Rambert's artistic director on his journey from Paris to London via New York 70 Prix de Lausanne AMANDA JENNINGS applauds the outstanding young dancers in this year's competition 74 Henny Jurriens Studio VIKI WESTALL catches up with the movers and shakers behind Amsterdam's haven for professional dancers 80 Summer 2021 A round-up of some of the summer schools and programmes scheduled to take place this year 82 Inside New York City Ballet Prodigal Son conten AMANDA JENNINGS follows a fascinating insight on the Balanchine classic Obituary 60 Patrick Dupond 16 FRANÇOIS FARGUE laments the premature passing of the incomparable French étoile Front cover: Prix de Lausanne - António Casalinho, Conservatório Internacional de 6 ENTRE NOUS 79 AUDITIONS & JOBS 96 WHAT'S ON 98 PEOPLE Ballet e Dança Annarella Sanchez.
    [Show full text]
  • Actors Centered on a Parade of fl Ying fi Sh, Cat-Taming Mice and Circus Animals
    ARAB TIMES, SUNDAY, MAY 30, 2021 NEWS/FEATURES 13 People & Places Obits Italy’s Carla Fracci dies Classic ‘Caterpillar’ author Carle dead NEW YORK, May 29, (AP): Eric Carle, the beloved children’s author and illustrator whose classic “The Very Hungry Caterpillar” and other works gave mil- lions of kids some of their earliest and most cherished literary memories, has died at age 91. Carle’s family says he died last Sunday at his sum- mer studio in Northampton, Massachusetts, with fam- ily members at his side. The family’s announcement was issued by Penguin Young Leaders. Through books like “Brown Bear, Brown Bear, What Do You See?” “Do You Want to Be My Friend?” and “From Head to Toe,” Carle introduced universal themes in simple words and bright colors. “The unknown often brings fear with it,” he once observed. “In my books I try to counteract this fear, to replace it with a positive message. I be- lieve that children are naturally creative and eager to learn. I want to show them that learn- ing is really both fascinating and fun.” “The Very Hungry Caterpil- lar,” published in 1969, was welcomed by parents and de- lighted kids with its story of the metamorphosis of a green and Carle red caterpillar with a touch of blue and brown to a proudly multi-colored butterfl y. Originally conceived as a book about a bookworm - called “A Week with Willi the Worm” - the hero, who eats through 26 different foods, was changed to a caterpillar on the advice of his editor. It has sold some 40 million copies and has been translated into 60 lan- guages, spawned stuffed animal caterpillars and has been turned into a stage play.
    [Show full text]
  • The Royal Opera House Announces Full Details of the 2021/22 Season
    Tuesday 1 June 2021 The Royal Opera House announces full details of the 2021/22 Season • 11 new productions, including 5 world premieres, and 20 revivals. • An exciting roster of UK and international talent with many debuts The Royal Opera House today confirms details for its 2021/22 Season, the first full Season since 2019. Opening on Monday 13 September, the Season includes five world premieres from The Royal Ballet and The Royal Opera, classic revivals and an exciting roster of international and UK talent performing across the two stages of the Royal Opera House. In its 90th anniversary year, The Royal Ballet presents a Season that respects the past and heralds the future. Three world premieres, including Wayne McGregor’s The Dante Project, Christopher Wheeldon’s Like Water for Chocolate and a new work by American choreographer Kyle Abraham, are performed alongside much-loved 19th-century classics and heritage ballets by Frederick Ashton and Kenneth MacMillan. The Linbury Theatre hosts a raft of partnerships and co-productions including with Ballet Black, Alessandra Ferri, Yorke Dance Project and a world premiere from Company Wayne McGregor. Creative opportunities for emerging talent will also feature with Draft Works and the Next Generation Festival. The Season culminates in July 2022 with The Royal Ballet 1 making a welcome return to international touring with a three-week tour of Japan where the Company will perform Kenneth MacMillan’s Manon and Peter Wright’s Giselle. The Royal Opera Season will open with a new production of Verdi’s Rigoletto, directed by Oliver Mears – his first production since becoming The Royal Opera’s Director of Opera in 2017.
    [Show full text]
  • Read the 2009 Romeo and Juliet Ballet Notes
    Ballet Notes Romeo and Juliet March 11-22, 2009 Aleksandar Antonijevic and Sonia Rodriguez Photo by Cylla von Tiedemann. 2008/09 Souvenir Book On Sale Now in the Lobby Featuring beautiful new images by Canadian photographer Sian Richards Tina Pereira Photo by Sian Richards. Orchestra Violins Trumpets Fujiko Imajishi, Richard Sandals, Principal Concertmaster • Mark Dharmaratnam Lynn Kuo, Raymond Tizzard Assistant Concertmaster Dominique Laplante, Trombones Principal Second Violin David Archer, Principal James Aylesworth Robert Ferguson Celia Franca, C.C., Founder Jennie Baccante David Pell, Bass Trombone George Crum, Music Director Emeritus • Sheldon Grabke Xiao Grabke Tuba Karen Kain, C.C. Kevin Garland • Nancy Kershaw Sasha Johnson Artistic Director Executive Director Sonia Klimasko-Leheniuk Csaba Koczó Harp • Lucie Parent, Principal David Briskin Rex Harrington, O.C. Yakov Lerner Music Director and Artist-in-Residence • Jayne Maddison Timpany Principal Conductor Ron Mah Michael Perry, Principal Aya Miyagawa Magdalena Popa Lindsay Fischer Wendy Rogers Percussion Principal Artistic Coach Artistic Director, • Filip Tomov Robert Comber, Principal YOU dance / Ballet Master Joanna Zabrowarna Mark Mazur Paul Zevenhuizen Keyboards Aleksandar Antonijevic, Guillaume Côté, Violas Janis Neilson Chan Hon Goh, Greta Hodgkinson, Angela Rudden, Principal Orchestra Personnel Nehemiah Kish, Zdenek Konvalina, Theresa Rudolph Koczó, Manager and Music Heather Ogden, Sonia Rodriguez, Assistant Pincipal Administrator Piotr Stanczyk, Xiao Nan Yu Valerie Kuinka
    [Show full text]
  • Eva Evdokimova (Western Germany), Atilio Labis
    i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective.
    [Show full text]