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A Prophylactic Α-Gal-Based Glycovaccine Effectively Protects Against Murine Acute Chagas Disease
www.nature.com/npjvaccines ARTICLE OPEN A prophylactic α-Gal-based glycovaccine effectively protects against murine acute Chagas disease Susana Portillo1, Brenda G. Zepeda1, Eva Iniguez1, Janet J. Olivas1, Nasim H. Karimi1, Otacilio C. Moreira2, Alexandre F. Marques1,3, Katja Michael4, Rosa A. Maldonado1 and Igor C. Almeida 1 Chagas disease (ChD), caused by the hemoflagellate parasite Trypanosoma cruzi, affects six to seven million people in Latin America. Lately, it has become an emerging public health concern in nonendemic regions such as North America and Europe. There is no prophylactic or therapeutic vaccine as yet, and current chemotherapy is rather toxic and has limited efficacy in the chronic phase of the disease. The parasite surface is heavily coated by glycoproteins such as glycosylphosphatidylinositol (GPI)-anchored mucins (tGPI-mucins), which display highly immunogenic terminal nonreducing α-galactopyranosyl (α-Gal)-containing glycotopes that are entirely absent in humans. The immunodominant tGPI-mucin α-Gal glycotope, the trisaccharide Galα1,3Galβ1,4GlcNAc (Galα3LN), elicits high levels of protective T. cruzi-specific anti-α-Gal antibodies in ChD patients in both the acute and chronic phases. Although glycoconjugates are the major parasite glycocalyx antigens, they remain completely unexplored as potential ChD vaccine candidates. Here we investigate the efficacy of the T. cruzi immunodominant glycotope Galα3LN, covalently linked to a carrier protein (human serum albumin (HSA)), as a prophylactic vaccine candidate in the acute model of ChD, using the α1,3- galactosyltransferase-knockout (α1,3GalT-KO) mouse, which mimics the human immunoresponse to α-Gal glycotopes. Animals vaccinated with Galα3LN-HSA were fully protected against lethal T. -
Guide to Social Dance Etiquette
one of life’s peak experiences, a dance is only three inadvertent. You should stop dancing for a second, and Social Dance minutes long and the experience will not kill you. say “I’m sorry, but you’re holding my hand a little tightly. Could we try again?” If you receive an inconsiderate Etiquette CIRCULATING response or your partner seems unwilling to modify his In a social dance situation it is appropriate to dance with behavior, it is then appropriate to say, “thank you, but I’d a variety of people. It is generally poor dance etiquette to like to stop now.” Social dancing should never be MAY I HAVE THIS DANCE? partner up and dance with the same person all evening physically painful or dangerous. long. Naturally, some people will prefer certain dance When you ask someone to dance, be sure to make eye FLOOR CRAFT contact with your prospective partner, offer our hand, partners to others, but this should not prevent them and ask clearly, “Would you like to dance?” If your from accepting an offer to dance from a new person. If In order for a social dance to be enjoyable for all partner says yes, smile, offer your hand, and escort him the same person asks you to dance repeatedly, for several participants, it is crucial to be considerate and aware in or her onto the dance floor and into dance position. This dances in a row, it is acceptable to tell that person, “thank your floor craft. No matter how much you may want to will make your partner feel supported and at ease. -
4 Steps to a More Relaxed Pregnancy: Antenatal Coping and Relaxation
4 STEPS TO A MORE RELAXED PREGNANCY: ANTENATAL COPING AND RELAXATION INTERVENTION MANUAL Authors: Heather O’Mahen, Dorothy King, Esther Wilkinson, Pasco Fearon, Sarah Halligan, Leonie Lee- Carbon, Jeannette Milgrom, Jennifer Ericksen, Jacqueline Dunkley-Bent, Anna Birbrajer, Paul Ramchandani Group set-up • Arrive in plenty of time to set up and prepare • Therapists should plan out the session together in advance – bear your particular group in mind • Arrange chairs in a circle (and remove any tables) • Have the flipchart ready where everyone can see it • Have refreshments available in a corner of the room • Have pens and paper available • Have tissues available • Have name badges ready to hand out when people arrive • Have session handouts ready • Therapists ready to welcome people Things for therapists to bear in mind • Be mindful of timings – try to stick roughly to the given timings, but be a bit flexible in order meet to the needs of your particular group • Try to ensure a balance in group discussion, paying equal attention to individuals • Aim to draw quiet members in by asking them directly for contributions (gently) • If one or two members of the group are dominating the discussion, try to balance things out – thank them for their contribution and direct questions to the rest of the group • It’s ok to go into detail on individual examples as long as they are relevant to the group discussion. Try to draw on a variety of examples from different members of the group. • If asked medical/midwifery questions, it’s ok to answer them if you can do so briefly (and if they aren’t very specific to that individual). -
Teaching English Through Body Movement a Pa
AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection -
Dance Etiquette Brochure
OUR PLEDGE Smoothstyle promotes joy and excellence in contemporary partner dances, particularly West Coast Swing and New York Hustle. AN We encourage diversity and strive to create an atmosphere where everyone feels welcome. ESSENTIAL GUIDE TO Partner - Dance Etiquette We pledge to give you high-quality dance lessons, social dance events, workshops, and performances. We do not tolerate harassment or discrimination. We will ensure that our dance environment is a safe and fun place for you to learn, meet people, and to express your creativity through music and movement. PARTNER DANCE TO POPULAR MUSIC (613) 291-4376 [email protected] TLDR: BE SOCIAL, BE CLEAN, www.smoothstyle.ca BE AWESOME WELCOME! BE CLEAN To be sustainable, a dance community requires Partner dancing puts you in close contact with diversity. This includes a range of levels of other people. So: ability, age groups, gender identifications, and cultural backgrounds. Shower and wear freshly laundered clothes. Apply deodorant and bring extra deodorant. We invite you to participate in the growth of Brush your teeth before dancing. If you eat our community. This means dancing with people during the evening, brush them again. who are not like you, encouraging new dancers, If you sweat, change shirts often, and avoid and modelling a friendly and inspiring vibe. sleeveless tops. Use perfume or cologne only in moderation. Tuck long hair in or wear it up so that it doesn't whip your partner's face. Dance at least 10% of your social dances with beginners. If it hurts, you're not doing it right. BE SOCIAL BE AWESOME Become a popular dance partner by mastering A dance and a friendly smile can Earn the respect of other dancers and dance this etiquette: partners in these ways: make someone's whole night special! Ask others to dance, and smile when you are Take lessons and never stop learning. -
Leech-Wilkinson, Compositions, Scores, Performances, Meanings
Volume 18, Number 1, April 2012 Copyright © 2012 Society for Music Theory Compositions, Scores, Performances, Meanings Daniel Leech-Wilkinson NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.12.18.1/mto.12.18.1.leech-wilkinson.php KEYWORDS: Performance, Performance Style, Theory, Analysis, Ontology ABSTRACT: The standard model of musical transmission, in which composers embody their intentions in works which they encode in scores which performers (and scholars in their imagination) decode as accurately as possible for audiences, is unpicked in the light of the evidence of recorded performance. It is replaced with a model that recognizes the large extent to which performances trigger the generation of musical meaning in the minds of listeners, and the extent to which changes in performance style cause those meanings to change. Some implications for thought about music are considered. Received January 2012 I [1.1] It is still generally assumed that musical meaning is encoded in works by composers. I say “still” because there has been a lot of research, and a fair number of publications over the past two decades, that raise doubts about that easy assumption, yet none of it seems to have made much difference to the way scores are taught, analyzed, or discussed. Studies of specific instances of musical affect frequently treat the composer as if s/he were the principal agent of meaning. “Schubert lingers affectively on this glimpse of bucolic happiness, though without slackening the pace of the song” (Kramer 1998, 129). “Beethoven hurls forth the P 0 module, Allegro vivace, in a set of three impetuous, downward-cast precipitations, measures 1–8” (Hepokoski 2010, 11). -
Song Catalogue February 2020 Artist Title 2 States Mast Magan 2 States Locha E Ulfat 2 Unlimited No Limit 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G
Song Catalogue February 2020 Artist Title 2 States Mast Magan 2 States Locha_E_Ulfat 2 Unlimited No Limit 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G. Runnin' (Trying To Live) 2Pac Feat. Dr. Dre California Love 3 Doors Down Kryptonite 3Oh!3 Feat. Katy Perry Starstrukk 3T Anything 4 Non Blondes What's Up 5 Seconds of Summer Youngblood 5 Seconds of Summer She's Kinda Hot 5 Seconds of Summer She Looks So Perfect 5 Seconds of Summer Hey Everybody 5 Seconds of Summer Good Girls 5 Seconds of Summer Girls Talk Boys 5 Seconds of Summer Don't Stop 5 Seconds of Summer Amnesia 5 Seconds of Summer (Feat. Julia Michaels) Lie to Me 5ive When The Lights Go Out 5ive We Will Rock You 5ive Let's Dance 5ive Keep On Movin' 5ive If Ya Getting Down 5ive Got The Feelin' 5ive Everybody Get Up 6LACK Feat. J Cole Pretty Little Fears 7Б Молодые ветра 10cc The Things We Do For Love 10cc Rubber Bullets 10cc I'm Not In Love 10cc I'm Mandy Fly Me 10cc Dreadlock Holiday 10cc Donna 30 Seconds To Mars The Kill 30 Seconds To Mars Rescue Me 30 Seconds To Mars Kings And Queens 30 Seconds To Mars From Yesterday 50 Cent Just A Lil Bit 50 Cent In Da Club 50 Cent Candy Shop 50 Cent Feat. Eminem & Adam Levine My Life 50 Cent Feat. Snoop Dogg and Young Jeezy Major Distribution 101 Dalmatians (Disney) Cruella De Vil 883 Nord Sud Ovest Est 911 A Little Bit More 1910 Fruitgum Company Simon Says 1927 If I Could "Weird Al" Yankovic Men In Brown "Weird Al" Yankovic Ebay "Weird Al" Yankovic Canadian Idiot A Bugs Life The Time Of Your Life A Chorus Line (Musical) What I Did For Love A Chorus Line (Musical) One A Chorus Line (Musical) Nothing A Goofy Movie After Today A Great Big World Feat. -
Dance Syllabus
ZIMBABWE MINISTRY OF PRIMARY AND SECONDARY EDUCATION DANCE SYLLABUS FORMS 1 - 4 2015 - 2022 Curriculum Development Unit and Technical Services P.O. Box MP 133 Mount Pleasant Harare © All Rights Reserved 2015 Dance Syllabus Forms 1 - 4 ACKNOWLEDGEMENTS The Ministry of Primary and Secondary Education would like to acknowledge the following for their valued contribution in the production of this syllabus: • The National Dance Syllabus Panel • National Arts Council of Zimbabwe (NACZ) • Zimbabwe School Examinations Council (ZIMSEC) • University Representatives • Kwabatsha Dance Company • Cerea Performing Arts • United Nations Educational Scientific and Cultural Organisation (UNESCO) • United Nations Children’s Fund (UNICEF) i Dance Syllabus Forms 1 - 4 CONTENTS ACKNOWLEDGEMENTS.................................................................................................................. i CONTENTS........................................................................................................................................ii 1.0 PREAMBLE................................................................................................................................. 1 2.0 PRESENTATION OF SYLLABUS.............................................................................................. 2 3.0 AIMS............................................................................................................................................ 2 4.0 SYLLABUS OBJECTIVE........................................................................................................... -
Confluences 9
CONFLUENCES 9 Deciphering decolonisation in Dance Pedagogy in the 21st century in Cape Town, South Africa CONFLUENCES 9 Deciphering decolonisation in Dance Pedagogy in the 21st century in Cape Town, South Africa Hosted by SCHOOL OF DANCE in the FACULTY OF HUMANITIES 12 – 14 July 2017 Conference Convenor: Dr Gerard Samuel Conference Organiser: Sharon Friedman Conference Committee: Sharon Friedman, Lisa Wilson, Jacki Job Proceedings edited by: Sharon Friedman CD Rom compiled by: Dr Eduard Greyling CD Rom design: Assoc. Prof Emeritus Elizabeth Triegaardt Technical Supervisor: Shane van Rheede Published and distributed by: UCT School of Dance Woolsack Drive ROSEBANK CAPE TOWN This collection of papers has been compiled from electronic copies provided by individual authors. In order to achieve a volume speedily available to the conference, any editing and proof reading has been done in the interest of standardised formatting. Individual Contributions: © 2017 by individual contributors. Collection as a whole: © 2017 UCT School of Dance. ISBN 978-0-7992-2537-2 WELCOME LETTER Dear Delegates Central to the subject of Dance Pedagogy is the body, and for so many, violence to their dancing bodies has taken on multiple forms: systemic/institutionalised; communal or cultural; and media-related oppression et. al. On this sombre note, many of us have gathered as ‘pedagogues of hope’ to consider and learn from our peers’ experiences on what has, and can be done to rid ourselves of such subjugation and trauma. I welcome you to Confluences 9 which suggests an entry point and a deciphering, if you will, of crystalised colonialism stagnant in the 21st century. -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
Gender and Dance in Modern Iran 1St Edition Ebook Free
GENDER AND DANCE IN MODERN IRAN 1ST EDITION PDF, EPUB, EBOOK Ida Meftahi | 9781317620624 | | | | | Gender and Dance in Modern Iran 1st edition PDF Book Burchell, C. The John F. Retrieved September 6, Like other sectors of society during Reza Shah's rule, however, women lost the right to express themselves and dissent was repressed. In , the ban on women was extended to volleyball. Mediterranean delight festival. During the rule of Mohammad Khatami , Iran's president between and , educational opportunities for women grew. The Telegraph. Women have been banned from Tehran's Azadi soccer stadium since Khomeini led protests about women's voting rights that resulted in the repeal of the law. A general trend in these writings has been to link the genealogy of whirling dervish ceremonies—which are performed in Turkey today by Mevlevi-order dervishes— to Iranian mysticism described in Persian poetry. Neil Siegel. Figure 1. It ana- lyzes the ways in which dancing bodies have provided evidence for competing representations of modernity, urbanity, and Islam throughout the twentieth century. Because the first Pahlavi Shah banned the use of the hijab, many women decided to show their favor of Khomeini by wearing a chador, thinking this would be the best way to show their support without being vocal. Retrieved March 12, Archived from the original on February 23, Anthony Shay and Barbara. Genres of dance in Iran vary depending on the area, culture, and language of the local people, and can range from sophisticated reconstructions of refined court dances to energetic folk dances. Khamenei called for a ban on vasectomies and tubal ligation in an effort to increase population growth. -
An Investigation Into Circle Dance As a Medium to Promote Occupational Well-Being Ana Lucia Borges Da Costa
AN INVESTIGATION INTO CIRCLE DANCE AS A MEDIUM TO PROMOTE OCCUPATIONAL WELL-BEING ANA LUCIA BORGES DA COSTA A thesis submitted in partial fulfilment of the requirements of the University of Bolton for the degree of Doctor of Philosophy November 2014 Table of Contents Table of figures .............................................................................................. 7 Acknowledgements ...................................................................................... 9 Dedication ...................................................................................................... 10 PhD Thesis Abstract ................................................................................... 11 Prologue ......................................................................................................... 13 Chapter 1 Introduction ............................................................................... 15 1.1 Contextualising circle dance ......................................................16 1.2 Motivation for conducting the investigation ..........................19 1.3 The rationale for the investigation ............................................19 1.4 Research questions .......................................................................22 1.5 Structure of the thesis ..................................................................23 Chapter 2 Occupational therapy, circle dance and well- being .... 26 2.1 The conceptual foundation of occupational therapy ..............27 1.1.1 Defining occupational therapy