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Shadows a Thesis Submitted to the Graduate Division of the University of Hawai'i in Partial Fulfillment of the Requirements Fo
UNIVERSITY ~f HAWAii L.lj,).""",_ - SHADOWS , A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF • MASTER OF FINE ARTS IN DANCE AUGUST 2007 By Celia Ann Wright Thesis Committee: Gregg Lizenbery, Chairperson Betsy Fisher Paul Maley -' r We certify that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Masterof Fine Arts in Dance , -.THESIS COMMITTEE .. • -"'- 1 Ai< " I IRlmmmDI~m~tW~~n 10 004226160 UNIVERSITY OF HAWAII HAWN CB5 _H3 1 no. 3 L-/ 3 C-f TABLE OF CONTENTS " Chapter 1 Thesis Proposal Introduction,., ...... ,., .... ,.,., ...... ,., ........ ,., .... ,.,., .... 3 Master Thesis Performance Proposal., .... ,. , .,.' .. '. :., .... 5 Production Information. , .... , . , ...............................7 Proposal Deadl~nes ............................................. 8 Chapter 2 Creative Process ..........................................9 Chapter 3 Performance and Reflection .............................13 Appendix A Spring Footholds 2007 Program and Poster ......... 16 , .j ,I • 2 .. '., ," Chapter 1 Introduction Returning to school was not ~ easy decision. It elicited many questions: Why? What is . the purpose? is the achievement necessary? Is the time right? Now, as I am finishing my last year at the University of HaWaii, I begin to understand the process and I revel in it. There have been many changes in my life during the past two and a half years and'''my thesis project embraces and reflects them. ,. My background in dance began with classical ballet, not in a rigid, structured format but in a small, let's-have-fun school. This naturally developed my love for dance - the friendships, the physical exercise, and the ecstatic joy of moving through space. -
The Cunningham Costume: the Unitard In-Between Sculpture and Painting Julie Perrin
The Cunningham costume: the unitard in-between sculpture and painting Julie Perrin To cite this version: Julie Perrin. The Cunningham costume: the unitard in-between sculpture and painting. 2019. hal- 02293712 HAL Id: hal-02293712 https://hal-univ-paris8.archives-ouvertes.fr/hal-02293712 Submitted on 31 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE CUNNIN Julie PERRIN GHAM COS TUME: THE UNITARD IN-BETWEEN SCULPTURE AND PAINTING Translated by Jacqueline Cousineau from: Julie Perrin, « Le costume Cunningham : l’académique pris entre sculpture et pein- ture », Repères. Cahier de danse, « Cos- tumes de danse », Biennale nationale de danse du Val-de-Marne, n° 27, avril 2011, p. 22-25. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE Julie PERRIN CUNNINGHAM COSTUME : THE UNITARD IN- Translated by Jacqueline Cousineau BETWEEN SCULPTURE from: Julie Perrin, « Le costume Cun- ningham : l’académique pris entre AND PAINTING sculpture et peinture », Repères. Ca- hier de danse, « Costumes de danse », Biennale nationale de danse du Val- de-Marne, n° 27, avril 2011, p. 22-25. -
DOCUMENT RESUME ED 340 695 SP 033 509 AUTHOR Overby
DOCUMENT RESUME ED 340 695 SP 033 509 AUTHOR OverbY, Lynette Young, Ed.; And Others TITLE Early Childhood Creative Arts. Proceedings of the International Conference on Early Childhood Creative Arts (Los Angeles, California, December 6-9, 1990). INSTITUTION American Alliance for Health, Physical Education, Recreation and Dance, Reston, VA. National Dance Association. REPORT NO ISBN-0-88314-522-7 PUB DATE 91 NOTE 281p. AVAILABLE FROMAAHPERD, Publications Sales, 1900 Association Drive, Reston, VA 22091. PUB TYPE Collected Works - Conference Proceedings (021) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Art Education; Art Teachers; *Class Activities; *Creative Art; Cultural Awareness; Curriculum Development; *Dance Education; Dramatics; Early Childhood Education; Integrated Activities; Learning Activities; *Multicultural Education; *Music Education; Play ABSTRACT This conference focused on the central role of play and arts throughout the early childhood years, the unique learning styles of young children (ages 3-8), and children's developmental needs. Special emphasis was placed on curriculum, assessment, the essential role of the arts in learning, multicultural awareness, needs of special populations, and the interrelatedness of the arts in the learning process. The participants were early childhood and arts educators who have responsibility for designing and implementing quality educational experiences for young children. The book is organized into four major sections. Section 1, "General Sessions," provides theoretical material in the areas of curriculum development, arts assessment, and child development. The second section, "Specific Arts Instruction," contains many practical activities as well as theoretical discourses in music, art, dance, and drama. Section 3, "Model Programs," describes three well-developed arts programs. -
Yalivta Fw16
YALIVTA FW16 ZORA Cardigan Wrap The ZORA Crop Cardigan wrap KIDS ADULT made in a soft cotton stretch. A 0 (4-6) 0 (XS) light weight layer piece that fits ZORA Cardigan Wrap 100% COTTON 1 (6-8) 1 (S) YAL117K/117 longer in the front for function or 2 (8-10) 2 (M) fashion. 3 (10-12) 3 (L) Available in black and cream. AMO Open Back Sweater The AMO Open Back Sweater is our bestseller! KIDS ADULT Layer over dance attire during 0 (4−6) 0 (XS) AMO Open Back Sweater warm ups and lounging and show 100% COTTON 1 (6−8) 1 (S) YAL126K/126 off that beautiful dancer back. 2 (8−10) 2 (M) Added thumb holes are cozy and 3 (10−12) 3 (L) functional. Available in black and cream from kids to adult sizes. NAVO Open Back Sweater Our revamp on our bestseller the Amo Open Back Sweater, introducing the Navo Open Back, KIDS ADULT available in Vanilla Ice and Orchid 0 (4−6) 00 (XXS) Ice. Paired over dance attire or NAVO Open Back Sweater 100% COTTON 1 (6−8) 0 (XS) YAL161K/161 alone this sweater will accentuate 2 (8−10) 1 (S) a dancers beautiful back. This 3 (10−12) 2 (M) sweater comes slightly oversized 3 (L) for added comfort. Size down for a slim fit. Lace Up Sweater Yalivta introduces the Lace Up. The inspiration for this sweater was our KIDS ADULT secret obsession: laces on ballet 0 (4−6) 00 (XXS) shoes. We love subtle details that 1 (6−8) 0 (XS) YAL150K/150 Lace Up Sweater will allow your Yalivta pieces to 100% COTTON become part of your wardrobe for 2 (8−10) 1 (S) years to come. -
1 Section 11: APPARATUS and ATTIRE REGULATIONS
Section 11: APPARATUS AND ATTIRE REGULATIONS I. GENERAL REGULATIONS A. All apparatus must meet USA Gymnastics/FIG specifications. This is the responsibility of the coach and the gymnast. Refer to FIG "Measurements, Dimensions and Forms" booklet and the FIG Code of Points . B. An equipment check can be conducted for all USA Gymnastics sanctioned meets. II. ROPE SPECIFICATIONS A. Material: The rope may be of hemp, or synthetic material provided that it posses the identical qualities of lightness, suppleness as does rope made of hemp. B. Length: the length is in proportion to the size of the gymnast. C. Ends: Handles of any kind are not allowed but one or two knots are permitted at each end. At the ends (to the exclusion of all other parts of the rope) an anti-slip material, either colored or neutral may cover a maximum of 10 cm. D. Shape: The rope may be either of a uniform diameter or be progressively thicker in the center provided that this thickening is of the same material as the rope. E. Color: The rope must be colored (all or partially). III. HOOP SPECIFICATIONS A. Material: The hoop may be of wood or plastic, provided that the latter retains its shape during the movement. Note: Foreign particles should be removed from inside the hoop before use. B. Diameter: The interior diameter of the hoop is from 80 to 90 centimeters. C. Weight: A minimum of 300 grams 1. Novice and Children age group weight: a minimum of 225 grams. D. Shape: The cross section of the hoop may be in several different shapes; circular, square, rectangular, oval, etc. -
Ballet West Student In-Theater Presentations
Ballet West for Children Presents Ballet and The Sleeping Beauty Dancers: Soloist Katie Critchlow, First Soloist Sayaka Ohtaki, Principal Artist Emily Adams, First Soloist Katlyn Addison, Demi-Soloist Lindsay Bond Photo by Beau Pearson Music: Peter Ilyich Tchaikovsky Adapted from Original Choreography: Marius Petipa Photo: Quinn Farley Costumes: David Heuvel Dear Dance enthusiast, Ballet West is pleased that you are viewing a Ballet West for Children Presentation as a virtual learning experience. Enclosed you will find the following information concerning this performance: 1. Letter from Artistic Director, Adam Sklute. 2. Letter to the parent/guardian of the students who will be viewing. 3. Specific Information on this Performance, including information on the ballet, music, choreography, follow-up projects and other pertinent material has also been compiled for the teacher's information. 4. We report to the Utah State Board of Education each year on our educational programs, and need your help. Usually, we gather information from teachers as to how the student reacted and what they may have learned from their experience. We’d love to hear from you by filling out our short Survey Monkey listed on our virtual learning page. We don’t have a way to track who and how many people are taking advantage of this opportunity and this will help us to know how we’re doing. You can always email me directly. Thank you very much for your interest in the educational programs of Ballet West. Please call if I may provide any additional information or assistance to you and your school. I can be reached at 801-869-6911 or by email at [email protected]. -
The Career of Lola Montez in the American Theatre
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1994 The aC reer of Lola Montez in the American Theatre. Sara Elizabeth Gotcher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Gotcher, Sara Elizabeth, "The aC reer of Lola Montez in the American Theatre." (1994). LSU Historical Dissertations and Theses. 5727. https://digitalcommons.lsu.edu/gradschool_disstheses/5727 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro Zone)
edition ENGLISH n° 284 • the international DANCE magazine TOM 650 CFP) Pina Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro zone) € 4,90 9 10 3 4 Editor-in-chief Alfio Agostini Contributors/writers the international dance magazine Erik Aschengreen Leonetta Bentivoglio ENGLISH Edition Donatella Bertozzi Valeria Crippa Clement Crisp Gerald Dowler Marinella Guatterini Elisa Guzzo Vaccarino Marc Haegeman Anna Kisselgoff Dieudonné Korolakina Kevin Ng Jean Pierre Pastori Martine Planells Olga Rozanova On the cover, Pina Bausch’s final Roger Salas work (2009) “Como el musguito en Sonia Schoonejans la piedra, ay, sí, sí, sí...” René Sirvin dancer Anna Wehsarg, Tanztheater Lilo Weber Wuppertal, Santiago de Chile, 2009. Photo © Ninni Romeo Editorial assistant Cristiano Merlo Translations Simonetta Allder Cristiano Merlo 6 News – from the dance world Editorial services, design, web Luca Ruzza 22 On the cover : Advertising Pina Forever [email protected] ph. (+33) 09.82.29.82.84 Bluebeard in the #Metoo era (+39) 011.19.58.20.38 Subscriptions 30 On stage, critics : [email protected] The Royal Ballet, London n° 284 - II. 2020 Les Ballets de Monte-Carlo Hamburg Ballet: “Duse” Hamburg Ballet, John Neumeier Het Nationale Ballet, Amsterdam English National Ballet Paul Taylor Dance Company São Paulo Dance Company La Scala Ballet, Milan Staatsballett Berlin Stanislavsky Ballet, Moscow Cannes Jeune Ballet Het Nationale Ballet: “Frida” BALLET 2000 New Adventures/Matthew Bourne B.P. 1283 – 06005 Nice cedex 01 – F tél. (+33) 09.82.29.82.84 Teac Damse/Keegan Dolan Éditions Ballet 2000 Sarl – France 47 Prix de Lausanne ISSN 2493-3880 (English Edition) Commission Paritaire P.A.P. -
International Exchange in Dance Annual of Contemporary Dance Double Issue 3.50 1963 • 1964
7 INTERNATIONAL EXCHANGE IN DANCE ANNUAL OF CONTEMPORARY DANCE DOUBLE ISSUE 3.50 1963 • 1964 • • WW * Copyright 1963 by Impulse Publications, Inc. l^yyKA' \s<s y Inde x S. I. Hayakawa THE UNACKNOWLEDGED LEGISLATORS 5 Rhoda Kellogg THE BIOLOGY OF ESTHETICS 9 Adele Wenig "IMPORTS AND EXPORTS" —1700-1940 16 Walter Sorell SOL THE MAGNIFICENT 29 Arthur Todd DANCE AS UNITED STATES CULTURAL AMBASSADOR 33 Walter Sorell A FAREWELL AND WELCOME 44 RECENT "EXPORTS" 46 as told to Rhoda Slanger Jean Erdman Meg Gordeau Paul Taylor as told to Joanna Gewertz Merce Cunningham Ann Halprin Jerry Mander THE UNKNOWN GUEST 56 Isadora Bennett SECOND THOUGHTS 63 Letter from Thomas R. Skelton STAGING ETHNIC DANCE 64 Thomas R. Skelton BALLET FOLKLORICO 71 Antonio Truyol NOTES FROM THE ARGENTINE 73 Ester Timbancaya DANCE IN THE PHILIPPINES^ 76 Joanna Gewertz THE BACCHAE 80 Ann Hutchinson NOTATION — A Means of International Communication 82 in Movement and Dance QLA Margaret Erlanger DANCE JOURNEYS 84 SPONSORSHIP AND SUPPORT 88 t> Editor: Marian Van Tuyl Editorial Board: Doris Dennison, Eleanor Lauer, Dorothy Harroun, Ann Glashagel, Joanna Gewertz; Elizabeth Harris Greenbie, Rhoda Kellogg, David Lauer, Bernice Peterson, Judy Foster, Adele Wenig, Rhoda Slanger, Ann Halprin, Dorrill Shadwell, Rebecca Fuller. Production Supervision: Lilly Weil Jaffe ACKNOWLEDGMENTS: Cover design by David Lauer Photographs by courtesy of: San Francisco Chronicle 15 Harvard Theatre Collection 18, 19, 22, 23 Dance Collection: New York Public Library 21, 25, 26 Hurok Attractions, New York 29, 30, 31 Studio Roger Bedard, Quebec 31 Fay Foto Service, Inc., Boston 32 U.S. Information Service, Press Section, Photo Laboratory, Saigon, Vietnam 33 U.S. -
12 Highland Street | Natick, MA 01760 | Summer Youth Dance Dress Code BALLET and POINTE: Girls
Summer Youth Dance Dress Code BALLET AND POINTE: Girls: • Black leotard any style, pink tights, pink canvas split-sole ballet shoes, pointe shoes if on pointe • Short black skirts may be worn for Pointe class • Hair in a neat, secure bun Boys: • Fitted white T-shirt or white leotard, black tights, flesh-colored dance belt, white socks, white canvas ballet shoes VARIATIONS AND REP REHEARSALS: Girls: • White lined camisole leotard, pink tights, pink ballet shoes, and pointe shoes if applicable. • Short white skirts may be worn for Variations and Rep Boys: • Fitted white T-shirt or white leotard, black tights, flesh-colored dance belt, white socks, and white canvas ballet shoes. MODERN: Girls: • Any solid-color leotard or unitard, convertible pink or black tights, no shoes • Hair in bun or high ponytail Boys: • Any solid-color fitted T-shirt or leotard, black convertible tights, flesh-colored dance belt, no shoes JAZZ: Girls: • Any solid-color leotard or unitard, convertible pink or black tights, black jazz pants, black jazz shoes (no laces) • Hair in bun or high ponytail Boys: • Any solid-color fitted T-shirt or leotard, black convertible tights, flesh-colored dance belt, black jazz pants, black jazz shoes (no laces) 12 Highland Street | Natick, MA 01760 | www.walnuthillarts.org 2 HYDROCONDITIONING: • Bathing suit • Sun hat optional • Sunscreen • Sunglasses optional • Water bottle • Beach towel • Cover-ups for walking to and from the pool PERFORMANCES: Girls: • Nude camisole for under costumes – must have nude straps, not clear • An extra pair of clean pink canvas split-sole ballet shoes. • Light makeup: blush, mascara, neutral eye shadow, lipstick (not too bright) • Hair gel, hairspray, hairnets that match hair color, bobby pins. -
Ballet and the Nutcracker
Ballet West for Children Presents Ballet and The Nutcracker Photo: Quinn Farley Music: Peter Ilyich Tchaikovsky Adapted from Original Choreography: Willem Christensen Costumes: David Heuvel 304 Trolley Square | Salt Lake City, UY 84102 | 801-869-6900 | www.balletwest.org Dear Principal: This letter is to confirm the arrangement we made for a performance of Ballet West for Children in your school. Please check the enclosed confirmation sheet for the correct date and performance start time. Please fill in the additional information about your school's facilities. With the current freeway construction please give directions for the best route and the open exit numbers so that the dancers can travel easily from school to school. Kindly sign and return the form immediately to me at Ballet West. I am also enclosing a letter from Adam Sklute, Artistic Director of Ballet West, which describes the program. Please duplicate his letter and all the educational materials for pre- performance student preparation and follow-up projects The Ballet West dancers will arrive 15-30 minutes before the performance. The group leader will check in with your office when the dancers arrive. They travel with their own dance floor to cover the performing area and a sound system in case the school’s equipment is limited. They will need the performing area to be clear, recently swept, and warm with electrical outlets and changing rooms as close as possible. The group leader will contact you if he/she has any questions about the directions or performance area. If you have any questions, please call me at Ballet West: 801-869-6911 Sincerely, Peter Christie Director of Educational Programs Enclosures www.balletwest.org 304 Trolley Square | Salt Lake City, UY 84102 | 801-869-6900 | www.balletwest.org Dear Teachers: It is with pleasure that I write to tell you of our Ballet West for Children program that is offered to you free of charge through the combined efforts of Ballet West and the Utah State Office of Education. -
DOCTORAL THESIS the Dancer's Contribution: Performing Plotless
DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991).