Black Dance Stories Presents All-New Episodes Featuring Robert
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Dance Theater of Harlem and a Large-Scale Recycling of Rhythms
dance theater of harlem and a large-scale recycling of rhythms. Moreover, the Stolzoff, Norman C. Wake the Town and Tell the People: Dance- philosophical and political ideals featured in many roots hall Culture in Jamaica. Durham, N.C.: Duke University reggae lyrics were initially replaced by “slackness” themes Press, 2000. that highlighted sex rather than spirituality. The lyrical mike alleyne (2005) shift also coincided with a change in Jamaica’s drug cul- ture from marijuana to cocaine, arguably resulting in the harsher sonic nature of dancehall, which was also referred to as ragga (an abbreviation of ragamuffin), in the mid- Dance Theater of 1980s. The centrality of sexuality in dancehall foregrounded arlem ❚❚❚ H lyrical sentiments widely regarded as being violently ho- mophobic, as evidenced by the controversies surrounding The Dance Theater of Harlem (DTH), a classical dance Buju Banton’s 1992 hit, “Boom Bye Bye.” Alternatively, company, was founded on August 15, 1969, by Arthur some academics argue that these viewpoints are articulat- Mitchell and Karel Shook as the world’s first permanent, ed only in specific Jamaican contexts, and therefore should professional, academy-rooted, predominantly black ballet not receive the reactionary condemnation that dancehall troupe. Mitchell created DTH to address a threefold mis- often appears to impose on homosexuals. While dance- sion of social, educational, and artistic opportunity for the hall’s sexual politics have usually been discussed from a people of Harlem, and to prove that “there are black danc- male perspective, the performances of X-rated female DJs, ers with the physique, temperament and stamina, and ev- such as Lady Saw and Patra, have helped redress the gen- erything else it takes to produce what we call the ‘born’ der balance. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
Dance Theatre of Harlem
François Rousseau François DANCE THEATRE OF HARLEM Founders Arthur Mitchell and Karel Shook Artistic Director Virginia Johnson Executive Director Anna Glass Ballet Master Kellye A. Saunders Interim General Manager Melinda Bloom Dance Artists Lindsey Croop, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher Charles McDaniel, Anthony Santos, Dylan Santos, Anthony V. Spaulding II Artistic Director Emeritus Arthur Mitchell PROGRAM There will be two intermissions. Friday, March 1 @ 8 PM Saturday, March 2 @ 2 PM Saturday, March 2 @ 8 PM Zellerbach Theatre The 18/19 dance series is presented by Annenberg Center Live and NextMove Dance. Support for Dance Theatre of Harlem’s 2018/2019 professional Company and National Tour activities made possible in part by: Anonymous; The Arnhold Foundation; Bloomberg Philanthropies; The Dauray Fund; Doris Duke Charitable Foundation; Elephant Rock Foundation; Ford Foundation; Ann & Gordon Getty Foundation; Harkness Foundation for Dance; Howard Gilman Foundation; The Dubose & Dorothy Heyward Memorial Fund; The Klein Family Foundation; John L. McHugh Foundation; Margaret T. Morris Foundation; National Endowment for the Arts; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; New England Foundation for the Arts, National Dance Project; Tatiana Piankova Foundation; May and Samuel Rudin -
Frankie Manning: Ambassador of Lindy Hop Free
FREE FRANKIE MANNING: AMBASSADOR OF LINDY HOP PDF Frankie Manning,Cynthia R. Millman | 312 pages | 28 Sep 2008 | Temple University Press,U.S. | 9781592135646 | English | Philadelphia PA, United States Frankie Manning - Wikipedia N o one has contributed more to the Lindy Hop than Frankie Manning -- as a dancer, innovator and choreographer. For much of his lifetime he was an unofficial Ambassador of Lindy Hop. Once again, since the swing dance revival that started in the s, Frank Manning was a driving force worldwide with his teaching, choreography and performance. His own love of swing music and dancing was contagious as his dazzling smile. History African Roots Reading. F rankie Manning started dancing in his early teens at a Sunday afternoon dance at the Alhambra Ballroom in Harlem to the music of Vernon Andrade. From there he moved on to the Rennaissance Ballroomwhich had an early Frankie Manning: Ambassador of Lindy Hop dance for older teens with the live swing music of the Claude Hopkins Orchestra. Finally, Frankie "graduated" to the Savoy Ballroomwhich was known for its great dancers and bands. Competitive as well as gifted, Manning, became a star in the informal jams in the " Kat's Korner " of Frankie Manning: Ambassador of Lindy Hop Savoy, frequently won the Saturday night contests, and was invited to join the elite Clubwhose members could come to the Savoy Ballroom daytime hours to practise alongside the bands that were booked at the Savoy. F Frankie Manning: Ambassador of Lindy Hop Manning's dancing stood out, even among the greats of the Savoy Ballroom, for its unerring musicality. -
For Immediate Release April 4, 2013
Presented by Dance Affiliates and the Annenberg Center for the Performing Arts For Immediate Release April 4, 2013 Media Contact Sarah Fergus Dance Affiliates—Community Outreach Marketing and Communications Manager Anne-Marie Mulgrew Annenberg Center for the Performing Arts Director, Education & Special Projects 215.573.8537 215.636.9000 ext.110 [email protected] [email protected] Hi-res images available at AnnenbergCenter.org/press. Dance Theatre of Harlem makes its highly anticipated return to the Philadelphia stage Rock School alum and featured dancer in the documentary First Position Michaela DePrince is featured Philadelphia’s Robert Garland continues with the company as Resident Choreographer (Philadelphia, April 4, 2013)—The newly relaunched Dance Theatre of Harlem (DTH) makes its return to the dance world and Philadelphia after an eight-year hiatus with an eclectic mix of new and familiar works that highlight the range and diversity of this legendary company. Among the world’s foremost interpreters of the Balanchine canon, the company has garnered critical acclaim for history-making productions and returns in full force under the artistic direction of founding member and longtime prima ballerina, Virginia Johnson. This production wraps up Dance Celebration’s 30th anniversary season, presented by Dance Affiliates and the Annenberg Center. Performances take place at the Annenberg Center, 3680 Walnut Street, on Thursday, May 16 at 7:30 PM; Friday, May 17 at 8 PM*; Saturday, May 18 at 2 PM and 8 PM; and Sunday, May 19 at 3 PM. Tickets are $20-$75 (prices are subject to change). For tickets or for more information, please visit AnnenbergCenter.org or call 215.898.3900. -
Beyond the Machine 21.0
Beyond the Machine 21.0 The Juilliard School presents Center for Innovation in the Arts Edward Bilous, Founding Director Beyond the Machine 21.0: Emerging Artists and Art Forms New works by composers, VR artists, and performers working with new performance technologies Thursday, May 20, 2021, 7:30pm ET Saturday, May 22, 2021, 2 and 7pm ET Approximate running time: 90 minutes Juilliard’s livestream technology is made possible by a gift in honor of President Emeritus Joseph W. Polisi, building on his legacy of broadening Juilliard’s global reach. Juilliard is committed to the diversity of our community and to fostering an environment that is inclusive, supportive, and welcoming to all. For information on our equity, diversity, inclusion, and belonging efforts, and to see Juilliard's land acknowledgment statement, please visit our website at juilliard.edu. 1 About Emerging Artists and Art Forms The global pandemic has compelled many performing artists to explore new ways of creating using digital technology. However, for students studying at the Center for Innovation in the Arts, working online and in virtual environments is a normal extension of daily classroom activities. This year, the Center for Innovation in the Arts will present three programs featuring new works by Juilliard students and alumni developed in collaboration with artists working in virtual reality, new media, film, and interactive technology. The public program, Emerging Artists and Artforms, is a platform for students who share an interest in experimental art and interdisciplinary collaboration. All the works on this program feature live performances with interactive visual media and sound. -
Mccarter THEATRE CENTER FOUNDERS Arthur Mitchell Karel
McCARTER THEATRE CENTER William W. Lockwood, Jr. Michael S. Rosenberg SPECIAL PROGRAMMING DIRECTOR MANAGING DIRECTOR presents FOUNDERS Arthur Mitchell Karel Shook ARTISTIC DIRECTOR EXECUTIVE DIRECTOR Virginia Johnson Anna Glass BALLET MASTER INTERIM GENERAL MANAGER Marie Chong Melinda Bloom DANCE ARTISTS Lindsey Donnell, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Kouadio Davis, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher McDaniel, Sanford Placide, Anthony Santos, Dylan Santos ARTISTIC DIRECTOR EMERITUS Arthur Mitchell Please join us after this performance for a post-show conversation with Artistic Director Virginia Johnson. SATURDAY, FEBRUARY 8, 2020 The taking of photographs and the use of recording equipment of any kind during performances is strictly prohibited. Support for Dance Theatre of Harlem’s 2019/2020 professional Company and National Tour activities made possible in part by: Anonymous, The Arnhold Foundation; Bloomberg Philanthropies, The Dauray Fund; Doris Duke Charitable Foundation; Elephant Rock Foundation; Ford Foundation; Ann & Gordon Getty Foundation; Harkness Foundation for Dance; Howard Gilman Foundation; The Dubose & Dorothy Heyward Memorial Fund; The Klein Family Foundation; John L. McHugh Foundation; Margaret T. Morris Foundation; National Endowment for the Arts, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; New England -
Dance Theatre of Harlem Returns to the Auditorium Theatre November 1820 View in Browser
10/11/2016 Auditorium Theatre Dance Theatre of Harlem Returns to the Auditorium Theatre November 1820 View in browser 50 E Congress Pkwy Lily Oberman Chicago, IL 312.341.2331 (office) | 973.699.5312 (cell) AuditoriumTheatre.org [email protected] Release date: October 11, 2016 Dance Theatre of Harlem Returns to the Auditorium Theatre November 1820 Company presents Midwest premiere of Francesca Harper's System The acclaimed Dance Theatre of Harlem (DTH) gives three performances at the Auditorium Theatre on November 18, 19, and 20 with a program that includes System, a major new work by choreographer Francesca Harper. The work is supported by the New England Foundation for the Arts, and is inspired by the current social, political, and economic climate in the United States. System was choreographed in collaboration with Dance Theatre of Harlem dancers who used their own experiences as people of color for inspiration. DTH Artistic Director Virginia Johnson told the Washington Post that System “addresses social justice issues in the Black Lives Matter era” and is “a very contemporary piece, but also very beautiful and uplifting." A live string quartet performs composer John Adams’ original music for the piece. “Dance Theatre of Harlem’s Midwest premiere of System is relevant, timely, and connected to current events happening around the country, especially right here in Chicago,” says Auditorium Theatre CEO Tania Castroverde Moskalenko. “We are honored to present this powerful work at the Auditorium, and know that it will have an impact on all those who experience it." The company also performs Brahms Variations, a new neoclassical ballet by Dance Theatre of Harlem’s Resident Choreographer Robert Garland set to Johannes Brahms’ “Variations on a Theme by Joseph Haydn,” and Coming Together, the 1991 work by Spanish choreographer Nacho Duato. -
BLACK GIRL: Linguistic Play
Reference and Resource Guide Camille A. Brown’s BLACK GIRL: Linguistic Play draws from dance, music, and hand game traditions of West and Sub-Saharan African cultures, as fltered through generations of the African- American experience. The result is a depiction of the complexities in carving out a positive identity as a black female in today’s urban America. The core of this multimedia work is a unique blend of body percussion, rhythmic play, gesture, and self-expression that creates its own lexicon. The etymology of her linguistic play can be traced from pattin’ Juba, buck and wing, social dances and other percussive corollaries of the African drum found on this side of the Atlantic, all the way to jumping double dutch, and dancing The Dougie. Brown uses the rhythmic play of this African-American dance vernacular as the black woman’s domain to evoke childhood memories of self-discovery. Hambone, hambone, where you been? Around the world and back again Let’s use the hambone lyric as a metaphor for what happened culturally to song and dance forms developed in African-American enclaves during the antebellum era. The hambone salvaged from the big house meal made its way to cabins and quarters of enslaved Africans, depositing and transporting favors from soup pot to soup pot, family to family, generation to generation, and providing nourishment for the soul and for the struggle. When dancing and drumming were progressively banned during the 18th century, black people used their creativity and inventiveness to employ their bodies as a beatbox for song and dance. -
Process Metamorphosis, My Choreographic Journey
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2017 Process Metamorphosis, My Choreographic Journey Brianna J. Larson Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Dance Commons, and the Other Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4845 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Brianna Jean Lucas Larson 2017 All Rights Reserved Process Metamorphosis My Choreographic Journey A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre Pedagogy at Virginia Commonwealth University by BRIANNA JEAN LUCAS LARSON Bachelor of Arts, Theatre, Minnesota State University Moorhead, 2010 Director: David S. Leong Professor, Head of Graduate Performance, Department of Theatre Virginia Commonwealth University Richmond, Virginia May 2017 ii Acknowledgement I would rst and foremost like to thank my husband , Nicholas Larson, for his unwavering and never -ending supply of support throughout my graduate school journey. Without him I would never have made it this far. I want to thank Patti D’Beck, whose mentorship over the last two and a half years has shaped me into the artist I am today. She has opened my eyes to so much more about theatre and my potential than I ever knew existed. I also wish to thank David Leong for helping me discover how much I have changed as an artist and how to put that all into words. -
2019-2020 Season Overview JULY 2020
® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report. -
Too Hot to Handel Cincinnati Ballet's the Nutcracker Les Ballets
Too Hot to Handel November 29, 30 2003 Cincinnati Ballet's The Nutcracker December 5-14 2003 Les Ballets Africains February 27 2003 Dance Theatre of Harlem March 4-7, 2003 DETROIT Home of Michigan Opera Theatre David DiChiera, General Director DAIMLERCHRYSLER DaimlerChrysler Corporation Fund Copyright 2010,2003-04 Michigan Dance Series Opera Theatre No one can guarantee success. But knowing how to rehearse for it certainly helps. With over 250 relationship managers dedicated to one-on -one service, a full array of the latest financial products, and an emphasis on helping local businesses succeed, the Standard Federal Commercial Banking team makes sure your needs are always front and center. For more information, call 1-248-822-5402 or visit standardfede ralbank.c om . True Possibility. Standard Federal Bank ABN AMRO standardfederalbank.com ©2003 Standard Federal BankNA Copyright 2010, Michigan Opera Theatre Sur ender to Love DETROIT OPERA HOUSE . HOME OF MICHIGAN OPERA THEATRE ]B~VO 2003-2004 The Official Magazine of the Detroit Opera House BRAVO IS A MICHIGAN OPERA THEATRE PUBLICATION Winer CONTRIBUTORS Dr. David DiChiera, General Director Matthew S. Birman, Editor Laura Wyss cason Michigan Opera Theatre Staff PUBLISHER ON STAGE Live Publishing Company TOO HOT TO HANDEL. .4 Frank Cucciarre, Design and Art Direction Program ............ .5 Blink Concept &: Design, Inc. Production Artist Profiles .................. ... ...... .6 Chuck Rosenberg, Copy Editor Toby Faber, Director of Advertising Sales Rackham Symphony Choir ..... .. .............. .7 Marygrove College Chorale and Soulful Expressions Ensemble 7 Physicians' service provided by Henry Ford Medical Center. Too Hot to Handel Orchestra ... .... .... ........ 7 THE NUTCRACKER .9 Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House.