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1156 Broadway, Suite 1056 | New York, NY | 10018 Phone: (646) 237-6928 | e-Fax: (646) 253-1258 www.msaagency.com Francine Espiritu AEA/AGVA Height: 5’0” Hair: Black Eyes: Dark Brown Voice Type: Alto THEATER A Chorus Line Female Swing; u/s Connie New York City Center Dir: Bob Avian; Chor. Baayork Lee A Chorus Line Dance Captain/Female Swing US National and Japan Tour Dir/Chor. Baayork Lee Soft Power Dance Lab Center Theater Group/Dir. Leigh Silverman Choreographer: Sam Pinkleton Sesame Street Live Elmo/Small Understudy VEE Entertainment/ Chor. Cheryl Baxter West Side Story Shark Girl UC Irvine/ Dir. Eli Simon INDUSTRIALS El Capitan Theater Live Show Mickey Mouse/Mike Dir. Barnette Ricci Barbie Fashion Show Dancer/Model Mattel, Inc. Paris By Night Dancer DANCE BC Beat Fall 2015 Featured Dancer Chor. Al Blackstone Los Angeles Sparks Kid Dancer WNBA Los Angeles Sparks Pepito’s Story Kid Dancer Chor. Debbie Allen TRAINING University of California, Irvine Bachelors of Fine Arts, Dance Performance *New York Satellite Participant 2009 Graduation: March 2010 Jazz: Shannon Mather, Blake McGrath, Leslie Kenfield, Tyce Diorio, Brian Friedman, Nick Florez, Patrick McCollum, Pamela Chu Tap: Eddie Strachan, Nick Bowman, Gregg Russell, Ray Hesselink Ballet: Molly Lynch, Melissa French, Francisco Gella, El Gabriel, Erin Holmes Modern: Donald McKayle, Loretta Livingston, Stephanie Powell, Kiki Lucas, Musical Theater: Al Blackstone, Dana Solimando, Tracey Bonner, Patti Wilcox, Michael Kubala (Fosse) Vocal: Amanda Flynn Vocal Studio, William Demaniow, Dennis Castellano, Myrona DeLaney, Acting: T. Schreiber Acting Studio, Jenn Collela, Sage Howard, Valerie Adami and Batt Johnson (Weist Barron TV/Film) Master Classes: Jay Binder, Bob Kale, Michael Lavine, Kyle Gonyea, Geoffrey Soffer, Michael Gorman, The Growing Studio, Stage Door Connections SPECIAL SKILLS Professional dancer (Ballet, Tap, Jazz, Hip Hop), Lindy Hop, Jitter Bug, African Dance, Basic Tumbling, Basic Partnering, Filipino Karaoke, Swimming. .

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California Cultural Districts Program - One Year On
The content in this preview is based on the last saved version of your email - any changes made to your email that have not been saved will not be shown in this preview. Greetings! At the height of summer, with a dizzy month of events behind us, and many more to come, we are devoting much of our August newsletter to a thoughtful look at the California Cultural Districts Program - one year on. Both Grass Valley-Nevada City Cultural District and Truckee Cultural District are now entering their second year of a five year state designation under the California Cultural District Program. Watch an Introduction to California Cultural Districts What does this mean and do we all understand yet what cultural districts are, or should look like? Because the program is still in its "pilot" phase, California Arts Council expects us to arrive at our own visions for our communities, and even within Nevada County this can mean different things. Read on for more... In this month's newsletter - as a regular component - we remind our arts community of a few of the resources available to them as members, while highlighting the ubiquitous talents of one particular artist, Maggie McKaig, in our special Artists of Nevada County feature. We also highlight eight upcoming events, from Summer Music in the Park Concert Series' Déjà Vu at Truckee River Regional Park, to Foothills Ceramic Art Museum's 20th Century Masters at ASIF, to featured artist, Ron Jermyn, at Ellu Gallery's Third Thursday Art Reception. All of them - and more - are worth more than a look-in.
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1 in 1992, I Found out That I Was Going to Be Missing Two of My Front Teeth. I
In 1992, I found out that I was going to be missing two of my front teeth. I was eight, lying on the dentist’s chair, staring at my velcro shoes when I heard Mrs. Nguyễn, the office administrator, cry: “We must help her!” My x-rays had just been processed, and they showed that my permanent lateral incisors did not exist. Just a week earlier, on the playground, I had been picking at my baby incisors, noodling my tongue around them and peel- ing them slowly away from my gums. They were the last of my baby teeth; I was getting excited for my permanent smile. But my excitement turned to confusion and anxiety upon learning that my smile would be abnormal. Dr. Don rolled his chair over, x-rays in hand. “The teeth you just lost will not be replaced by new ones. Now, say: “O-O-O-O-O- O-O.” He kept talking while he examined my mouth with his circular dental mirror. “We will have to figure out what to do with you. Some people let their teeth naturally fill in the empty spaces, so your canines would sit next to your front teeth. Others push the canines back to make room for false lateral incisors. We don’t need these teeth anymore, and someday, no one will have them. You might be ahead of human evolution.” 1 Four hundred million years ago, rain fell on Gondwana and eroded the limestone in the Earth. The Earth shifted. Wind pattered, slapped, and whipped, boring into the hollows of the rock, pushing the water ahead of it and sculpting the rock into an ecosystem of caves.
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How Do I Know If My Census Digital Program Is Working?
How do I Know if My Census Digital Program is Working? 2020 IMPORTANT NOTICE The enclosed material is proprietary to Trilogy Interactive LLC. This material is presented for the purpose of evaluating services and may not be disclosed in any manner to anyone other than the addressee and employees or authorized representatives of client named here within. Raffi Appel Ottavia Lezzi Ross Nelson Zuha Khan VP, Strategic Services Digital Strategist Sr. Director, Media Buying Sr. Media Planner He/Him She/Her He/Him She/They IMPORTANT NOTICE The enclosed material is proprietary to Trilogy Interactive LLC. This material is presented for the purpose of evaluating services and may not be disclosed in any manner to anyone other than the addressee and employees or authorized representatives of client named here within. OUR PLAN FOR TODAY Media Background Creative Measurement Planning BACKGROUND BACKGROUND THE ASK MEDIA PLANNING MEDIA PLANNING Overall Considerations: ❏ Reaching hard-to-count communities ❏ Geographically defined areas ❏ Multilingual MEDIA PLANNING Targeting FB? Targeting AD? Hard-To-Count Populations (defined by U.S. Census Bureau) No No Complex households (blended families, multi-generations, etc) Ish Ish Cultural and linguistic minorities No No Displaced persons affected by a disaster Yes Ish LGBTQ+ Ish Yes Low income How do we No No Homeless No No Low or no internet access target No No Places difficult for enumerators to access Yes Yes Rural or geographically isolated areas hard-to-count No No Non- traditional housing Yes Yes Non-English-speaking communities? No No Distrust in the government No No Mental and/or physical disabilities Yes Yes Persons without a high school diploma Yes Yes Racial and ethnic minorities Ish Yes Renters Ish No Undocumented immigrants (or recent immigrants) No No Young children Yes Yes Young, mobile persons MEDIA PLANNING ❏ Have a commitment to follow through.
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ULM College of Arts, Education and Sciences Visual and Performing Arts
ULM College of Arts, Education and Sciences Visual and Performing Arts JAZZ DANCE I DANC 1014, CRN 63516 Tuesday/Thursday 11:00 am-12:15 pm BROWN ANNEX 120 INSTRUCTOR: Vanessa Kanamoto, MFA, BA, BS Office: Brown Annex 120 Office Phone: 342-1312 Office Hours: By appointment Office E-mail: [email protected] Recommended text: Jazz Dance: A History of the Roots and Branches by LIndsay Guarino & Wendy OLIver *Can access on Moodle I. COURSE DESCRIPTION The purpose of this course is to introduce students to Jazz technique and to develop a “thinking body” through active participation and personal discovery. Drawing on a variety of influences, students will be able to understand and demonstrate the aesthetic attributes and styles of Jazz dance by focusing on rhythm, gravity, isolations, coordination, and alignment. Students will also become familiar with terminology and historical aspects associated with Jazz dance. II. COURSE OBJECTIVES • To establIsh a consIstency of ‘daILy’ studio practIce and towards usIng jazz class progressIon to buiLd a ‘permanent’ foundatIon for buiLding your technique • The student wILL demonstrate an understanding of beginning/Intermediate jazz termInology. • The student wILL be able to consIstentLy execute proper body aLIgnment and body- mechanic princIples in statIc and dynamIc movement. • Students wILL deveLop and increase in strength, flexibiLIty, baLance, endurance, coordinatIon, and precIsIon in executIng barre exercIses and center floor combinatIons. • Students wILL buiLd musIcaL, rhythmIc, phrasIng, and spatIaL skiLLs suitable to the technique and style of jazz dance. • Students wILL learn aspects of jazz dance history. III. INSTRUCTIONAL METHODS AND ACTIVITIES 1. Class demonstratIon and partIcIpatIon 2.
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Jaimie Goodwin Sag/Aftra Height: 5’3 Weight: 115 Eyes: Brown Hair: Brown
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Page 1 of 57
Page 1 of 57 Dear Teachers, Dancers, Family and Friends, Welcome to the 2019 Season at Tribute National Talent. As we celebrate our 8th season, we feel very blessed to host an event that gives us the opportunity to do what we love while spending time with so many wonderful people. We hope you feel very welcome and a part of our family as you enjoy seeing all the outstanding dancers who will grace the stage this weekend. As we grow older, we begin to see things in a different light and our thoughts and feelings seem to be more important and significant. Over the last several years I have written welcome letters that talk about what Tribute is all about. Now going into our 8th season, I just wanted to simply say THANK YOU. As parents, we cherish every moment we can spend with our kids as they grow. Dance teachers also feel this way since they are like family as they see the dancers grow up in the studio and then graduate. In 2010 after my father passed, I knew I had to make some changes in my life so I could be a better husband and father. My son was 7 years old and my daughter was 2 years old at the time. I remember that before I started Tribute, I missed so much time with my own family when I was gone on the road so often and then all summer doing nationals. As I share this picture with you of me and my children from 2014, I am reminded of how truly blessed I am.
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LẦN ĐẦU MỘT CƠ QUAN TRUYỀN THÔNG HẢI NGOẠI BỊ LỘ DIỆN Từ mối liên hệ giữa TH Vĩnh Long và TH VietFace, nhìn lại hệ quả chuyện TN Paris thâm nhập Nhà Thờ Công Giáo Trần Phong Vũ Lần đầu một cơ quan truyền thông hải ngoại bị lộ diện Đầu năm dương lịch 2018, báo chí trong nước, dẫn đầu là tờ Nhân Dân Nhật Báo, đã mở cuộc đấu tố nhắm vào thành phần lãnh đạo Đài Truyền Hình Vĩnh Long, liên quan tới việc trao đổi làm ăn không minh bạch với Đài TH VietFace của công ty “Thúy Nga Paris Về Đêm” ở Hoa Kỳ. Nhà báo Phạm Trần đã có một bài viết nặng ký hôm 08 tháng 02. Ông thẳng thắn nêu lên câu hỏi là nếu quả thật qua dấu chân của NQ 36, CĐ người Việt tị nạn đã bị truyền thông CS nhuộm đỏ, báo chí và những người làm truyền thông tự do sẽ trả lời ra sao? Chẵn 20 ngày sau (28-02), Liên Ủy Ban Chống CS và Tay Sai (LUB//CCS&TS) ở nam California đã ra một bản Tuyên Cáo về cùng một vấn đề. Trung tuần tháng 3-2018 cuộc phỏng vấn với LS Đỗ Phủ và tiếp theo với ông Jonathan Tôn, CFO, Giám đốc Tài chánh của VietFace và LS Nguyễn Quốc Lân (người nhận bào chữa cho ông Tôn trong vụ kiện ngược lại đài VietFace) do ký giả Đoàn Trọng thực hiện trong CT “Mỗi Tuần Một Vấn Đề” trên đài Little Sàigòn Television ở Quận Cam đã đẩy câu chuyện về mối liên hệ giữa hai đài truyền hình Vĩnh Long và VietFace đi xa hơn một bước.
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Diasporic Returns and the Making of Vietnamese American Ghost Films in Vietnam Lan Duong University of California, Riverside
Dpr Rtrn nd th n f Vtn rn ht Fl n Vtn Ln Dn L: ltthn Ltrtr f th .., Vl 4, Nbr , Fll 206, pp. 0 (rtl Pblhd b xfrd nvrt Pr Fr ddtnl nfrtn bt th rtl http:.jh.drtl666 Access provided by University of California @ Riverside (12 Nov 2016 22:09 GMT) Diasporic Returns and the Making of Vietnamese American Ghost Films in Vietnam Lan Duong University of California, Riverside Since the end of the Vietnam War, it has been a cliche´ for writers, politicians, and journalists in the United States to speak about the “ghosts of war” as an enduring metaphor for the effects that the war has on the minds and bodies of Americans. “Vietnam” still casts a pall over today’s political discourses about war, refugees, and US foreign policy. For scholars in Vietnam studies, the “ghosts of war” appear in research about the social relations between the living and the dead in the post-war era; anthropologists, for example, have analyzed the ways that ghosts exert a symbolic and material influence on those grappling with the terrific changes the country has undergone through the ghosting of narratives.1 Unlike this body of work, which considers the impact of ghosts on lived realities, I am interested in the ways that ghosts have come to life in the form of film, most specifically in the movies directed by Vietnamese Americans who work in Vietnam. Such highly commercial films and their modes of production provide a compelling trace of diasporic history, one borne out of war and displacement, within narratives of the nation.
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MC Nguyễn Ngọc Ngạn Và Lời Phát Biểu
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Dear Attendee, We Are Excited for You to Join Us at the 9Th Annual Dance
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