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The Choreographer Lar Lubovitch, Who Has Been Making Dances for 50 Years, Is Known for His Musicality
The choreographer Lar Lubovitch, who has been making dances for 50 years, is known for his musicality. CreditGeorge Etheredge for The New York Times Lar Lubovitch: His Palette? All Arms and Legs. Mr. Lubovitch, who’s been a choreographer for 50 years, talks about his work and learning from the best: Graham, Limón and the stage of a nightclub. By MARINA HARSSAPRIL 13, 2018 The choreographer Lar Lubovitch didn’t discover dance until college, where he had gone in hopes of becoming a painter. The impulse to fill a canvas hasn’t left him. When he describes making a dance, he does so not only in kinetic terms but through the prism of painting: “I’m reacting to the effect the music has on me and making that visual by painting the space and the time that the music is occupying,” he said recently over lunch at a cafe near his Chelsea apartment He has been painting with bodies for 50 years now, a milestone that he is celebrating with a weeklong run at the Joyce, beginning April 17. The dances on view date back to his “Brahms Symphony,” from 1985, a work he considers a watershed in his career. It vividly embodies the two qualities for which he has come to be known: lush musicality and unabashed emotionalism. (It will be performed by dancers from George Mason University, for whom he restaged it earlier this year.) For his own company, he has created a new dance, “Something About Night,” which contains passages from previous works, many of them forgotten. -
IDO Dance Sports Rules and Regulations 2021
IDO Dance Sport Rules & Regulations 2021 Officially Declared For further information concerning Rules and Regulations contained in this book, contact the Technical Director listed in the IDO Web site. This book and any material within this book are protected by copyright law. Any unauthorized copying, distribution, modification or other use is prohibited without the express written consent of IDO. All rights reserved. ©2021 by IDO Foreword The IDO Presidium has completely revised the structure of the IDO Dance Sport Rules & Regulations. For better understanding, the Rules & Regulations have been subdivided into 6 Books addressing the following issues: Book 1 General Information, Membership Issues Book 2 Organization and Conduction of IDO Events Book 3 Rules for IDO Dance Disciplines Book 4 Code of Ethics / Disciplinary Rules Book 5 Financial Rules and Regulations Separate Book IDO Official´s Book IDO Dancers are advised that all Rules for IDO Dance Disciplines are now contained in Book 3 ("Rules for IDO Dance Disciplines"). IDO Adjudicators are advised that all "General Provisions for Adjudicators and Judging" and all rules for "Protocol and Judging Procedure" (previously: Book 5) are now contained in separate IDO Official´sBook. This is the official version of the IDO Dance Sport Rules & Regulations passed by the AGM and ADMs in December 2020. All rule changes after the AGM/ADMs 2020 are marked with the Implementation date in red. All text marked in green are text and content clarifications. All competitors are competing at their own risk! All competitors, team leaders, attendandts, parents, and/or other persons involved in any way with the competition, recognize that IDO will not take any responsibility for any damage, theft, injury or accident of any kind during the competition, in accordance with the IDO Dance Sport Rules. -
February 12 – 16, 2016
February 12 – 16, 2016 danceFilms.org | Filmlinc.org ta b l e o F CONTENTS DA N C E O N CAMERA F E S T I VA L Inaugurated in 1971, and co-presented with Dance Films Association and the Film Society of Lincoln Center since 1996 (now celebrating the 20th anniversary of this esteemed partnership), the annual festival is the most anticipated and widely attended dance film event in New York City. Each year artists, filmmakers and hundreds of film lovers come together to experience the latest in groundbreaking, thought-provoking, and mesmerizing cinema. This year’s festival celebrates everything from ballet and contemporary dance to the high-flying world of trapeze. ta b l e o F CONTENTS about dance Films association 4 Welcome 6 about dance on camera Festival 8 dance in Focus aWards 11 g a l l e ry e x h i b i t 13 Free events 14 special events 16 opening and closing programs 18 main slate 20 Full schedule 26 s h o r t s p r o g r a m s 32 cover: Ted Shawn and His Men Dancers in Kinetic Molpai, ca. 1935 courtesy of Jacob’s Pillow Dance festival archives this Page: The Dance Goodbye ron steinman back cover: Feelings are Facts: The Life of Yvonne Rainer courtesy estate of warner JePson ABOUT DANCE dance Films association dance Films association and dance on camera board oF directors Festival staFF Greg Vander Veer Nancy Allison Donna Rubin Interim Executive Director President Virginia Brooks Liz Wolff Co-Curator Dance on Camera Festival Paul Galando Brian Cummings Joanna Ney Co-Curator Dance on Camera Festival Vice President and Chair of Ron -
Registration Packet 2015-16
! Registration Packet 2015-16 Faculty Artur Sultanov, Artistic Director Mr. Sultanov was born and raised in St. Petersburg, Russia. He trained at Vaganova Ballet Academy and at age 17, joined the Kirov ballet where he danced a classical repertoire. Artur has also performed with Eifman Ballet as a Soloist. In 2000 he moved to San Francisco to join Alonzo King’s Lines Ballet. In 2003 Artur joined Oregon Ballet Theatre. His principal roles at OBT include the Prince in Swan Lake, Ivan in Firebird, and the Cavalier in the Nutcracker, among others. Mr. Sultanov has performed on the stages of the Metropolitan Opera House, Kennedy Center, Bolshoi Ballet Theatre, and the Mariisnky Theatre in his native city of St. Petersburg. In addition to being an accomplished dancer, Mr. Sultanov has also taught extensively throughout his professional career. In the past eight years, Mr. Sultanov has taught and choreographed for the school of Oregon Ballet Theatre and Lines Contemporary Ballet School of San Francisco. His vast experience also includes holding master workshops in the Portland Metro Area, Seaside, OR, Vancouver and Tacoma, Washington. Artur Sultanov is excited to be a part of the Portland dance community and is looking forward to inspiring a new generation of dancers. Vanessa Thiessen Vanessa Thiessen is originally from Portland, OR. She trained at the School of Oregon Ballet Theatre, with James Canfield, and continued on to dance for Oregon Ballet Theatre from 1995-2003. At OBT she danced leading roles in Gissele and Romeo and Juliet. After moving to San Francisco in 2003, she danced with Smuin Ballet, ODC Dance, Amy Seiwert’s Imagery, Opera Parallele and Tanya Bello’s Project b. -
Flint Orchestra
Flint SymphonyOrchestra A Program of the Flint Institute of Music ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR MAY 8, 2021 FIM SEASON SPONSOR Whiting Foundation CONCERT SPONSORS Mr. Edward Davison, Attorney at Law & Dr. Cathy O. Blight, Dr. Brenda Fortunate & C. Edward White, Mrs. Linda LeMieux, Drs. Bobby & Nita Mukkamala, Dr. Mark & Genie Plucer Flint Symphony Orchestra THEFSO.ORG 2020 – 21 Season SEASON AT A GLANCE Flint Symphony Orchestra Flint School of Performing Arts Flint Repertory Theatre STRAVINSKY & PROKOFIEV FAMILY DAY SAT, FEB 6, 2021 @ 7:30PM Cathy Prevett, narrator SAINT-SAËNS & BRAHMS SAT, MAR 6, 2021 @ 7:30PM Noelle Naito, violin 2020 William C. Byrd Winner WELCOME TO THE 2020 – 21 SEASON WITH YOUR FLINT SYMPHONY ORCHESTRA! BEETHOVEN & DVOŘÁK SAT, APR 10, 2021 @ 7:30PM he Flint Symphony Orchestra (FSO) is one of Joonghun Cho, piano the finest orchestras of its size in the nation. BRUCH & TCHAIKOVSKY TIts rich 103-year history as a cultural icon SAT, MAY 8, 2021 @ 7:30PM in the community is testament to the dedication Julian Rhee, violin of world-class performance from the musicians AN EVENING WITH and Flint and Genesee County audiences alike. DAMIEN ESCOBAR The FSO has been performing under the baton SAT, JUNE 19, 2021 @ 7:30PM of Maestro Enrique Diemecke for over 30 years Damien Escobar, violin now – one of the longest tenures for a Music Director in the country. Under the Maestro’s unwavering musical integrity and commitment to the community, the FSO has connected with audiences throughout southeast Michigan, delivering outstanding artistry and excellence. All dates are subject to change. -
Competition Rule Book
NCA COLLEGE COMPETITION RULES COMPETITIONNCA & NDA RESERVES THE RIGHT TO BE THE ARBITRATOR RULE AND INTERPRETER OF ALL RULES BOOK COVERED IN THIS DOCUMENT. FOR COLLEGE TEAMS NCA & NDA COLLEGIATE CHEER AND DANCE CHAMPIONSHIP Daytona Beach, Florida April 7-11, 2021 UPDATED AS OF 3/9/21 COLLEGIATE RULE BOOK • 1 TABLE OF CONTENTS NCA & NDA RESERVES THE RIGHT TO BE THE ARBITRATOR AND INTERPRETER OF ALL RULES COVERED IN THIS DOCUMENT. HOW TO QUALIFY 1 DANCE CONT. NCA VIDEO QUALIFICATION AND ENTRY FORMAT 1 NDA LEGALITY AND SAFETY NDA VIDEO QUALIFICATION AND ENTRY FORMAT 2 SAFETY GUIDELINES 27 CODE OF CONDUCT 3 TUMBLING AND AERIAL STREET SKILLS (INDIVIDUALS) 27 EXCLUSIVITY POLICY 3 DANCE LIFTS AND PARTNERING (GROUPS) 28 ELIGIBILTY VERIFCATION 4 MUSIC FORMAT 5 UNASSISTED DISMOUNTS TO THE PERFORMANCE SURFACE 28 VIDEO MEDIA POLICY 5 INJURY DURING PERFORMANCE 29 LOGO USAGE 5 DEDUCTIONS 29 CHEER LEGALITY VERIFICATION 30 GENERAL COMPETITION INFORMATION NDA SCORING PERFORMANCE AREA 7 JUDGING PANELS 31 COLLEGIATE EXPECTATIONS 7 CATEGORY DESCRIPTIONS 31 COLLEGIATE IMAGE 7 JUDGING SCALE FOR DANCE FUNDAMENTALS 32 UNIFORM 7 RANGES OF SCORES 33 MUSIC 9 DANCE GLOSSARY OF TERMS 38 CHOREOGRAPHY 9 INJURY DURING PERFORMANCE 9 NCA & NDA COLLEGE GAME DAY DIVISION ORDER OF PERFORMANCE 9 GAME DAY COLLEGE CHEER DIVISIONS OBJECTIVE 45 DIVISIONS 10 BENEFITS OF GAME DAY 45 NUMBER OF MALE PARTICIPANTS VS. FEMALE PARTICIPANTS 10 GENERAL RULES 45 TEAM ROUTINE REQUIREMENTS 10 FORMAT 46 INTERMEDIATE DIVISION RESTRICTIONS 11 45 SECOND CROWD SEGMENT 12 SKILL SCORING & RESTRICTIONS -
Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J
Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J. Johnson and Allegra Fuller Snyder July 1999 Council on Library and Information Resources Washington, D.C. ii About the Contributors Catherine Johnson served as director for the Dance Heritage Coalition’s Access to Resources for the History of Dance in Seven Repositories Project. She holds an M.S. in library science from Columbia University with a specialization in rare books and manuscripts and a B.A. from Bethany College with a major in English literature and theater. Ms. Johnson served as the founding director of the Dance Heritage Coalition from 1992 to 1997. Before that, she was assistant curator at the Harvard Theatre Collection, where she was responsible for access, processing, and exhibitions, among other duties. She has held positions at The New York Public Library and the Folger Shakespeare Library. Allegra Fuller Snyder, the American Dance Guild’s 1992 Honoree of the Year, is professor emeritus of dance and former director of the Graduate Program in Dance Ethnology at the University of California, Los Angeles. She has also served as chair of the faculty, School of the Arts, and chair of the Department of Dance at UCLA. She was visiting professor of performance studies at New York University and honorary visiting professor at the University of Surrey, Guildford, England. She has written extensively and directed several films about dance and has received grants from NEA and NEH in addition to numerous honors. Since 1993, she has served as executive director, president, and chairwoman of the board of directors of the Buckminster Fuller Institute. -
Concordia Club Sale to Pitt Set to Close This Month PITTSBURGH POST-GAZETTE PITTSBURGH PHOTOS COURTESY of ©
INSIDE African American Council Endowed Scholarship....... 3 Pitt researchers, Large Hadron Collider project... 5 PittNewspaper of the University of PittsburghChronicle Volume X • Number 34 • December 14, 2009 $7.2 Million Grant for Pitt to Develop Microbicides Against HIV/AIDS By Clare Collins The University of Pittsburgh Gradu- “The HIV/AIDS epidemic remains evaluate these microbicides in two formula- women in developing countries, giving them ate School of Public Health (GSPH) has uncontrolled in many regions in the world,” tions—a film delivery system inserted into the power to prevent sexually transmitted received a five-year, $7.2 million grant said principal investigator Phalguni Gupta, the vagina and used for up to seven days, diseases,” Gupta said. from the National Institute of Allergy and professor and assistant chair, Department and a ring deliv- At the fore- Infectious Diseases (NIAID) to develop of Infectious Diseases and Microbiology, e r y s y s t e m front of research on microbicides against HIV transmission. The in GSPH. “In developing countries, HIV inser ted on a “The HIV/AIDS epidemic remains microbicides, the grant will allow Pitt to test two is most often spread through monthly or peri- University of Pitts- microbicide formulations—a unprotected heterosexual inter- odic basis. They uncontrolled in many regions in the burgh also leads the film and ring that release the course, creating a great need for also plan to test world. In developing countries, HIV National Institutes active ingredient over time. new ways to prevent transmis- the microbicides of Health-funded Microbicides are sub- sion beyond the condom, whose in the presence is most often spread through Microbicides Trial stances designed to prevent or use is often at the discretion of of other sexually Network (MTN). -
AM Tanny Bio FINAL
Press Contact: Natasha Padilla, WNET 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , #AmericanMasters American Masters Tanaquil Le Clercq: Afternoon of a Faun Premieres nationally Friday, June 20, 10-11:30 p.m. on PBS (check local listings) Tanaquil Le Clercq Bio Born in Paris in 1929, Tanaquil was the daughter of a French intellectual and a society matron from St. Louis. When Tanny was 3, they moved to New York where Jacques Le Clercq taught romance languages. Tanny began ballet training in New York at age 5, studying with Mikhail Mordkin. She eventually transitioned to the School of American Ballet, which George Balanchine had founded in 1934. Balanchine discovered Tanny as a student there. He cast her as Choleric in The Four Temperaments at the tender age of 15, along with the great prima ballerinas in his company, then called Ballet Society. Before long she was dancing solo roles as a member of Ballet Society, never having danced in the corps de ballet. Some of Balanchine’s most memorable ballets were choreographed on Tanny; notably Symphony in C, La Valse, Concerto Barocco and Western Symphony . She was the original Dew Drop in The Nutcracker. Jerome Robbins was also fascinated with Tanny; famously attributing his enchantment with her unique style of dancing with his decision to join the New York City Ballet and work under Balanchine as both a dancer and choreographer. It was there he created his radical version of Afternoon of a Faun on Tanny. -
The Point, Summer 2019
The Magazine of Point Park University | SUMMER 2019 POINTTHE Steel City Showdown Great Entertainment Point Park and pro sports teams Playhouse presents new season kick off premier esports event of world-class productions Last Print Issue Going all digital! See page 33. One of the most vibrant aspects of our premieres, dazzling dance and compelling community of students, faculty, staff and speakers. The new Playhouse is a one-of- alumni is our shared commitment to making a-kind interdisciplinary center for all facets a positive impact in our own neighborhood of entertainment management, including and beyond. For example, the new Center our nationally ranked Conservatory of for Veterans Excellence at the Rowland Performing Arts. We hope you’ll join us for School of Business recently partnered with a performance or speaking event this fall Pittsburgh Hires Veterans to host an all- or spring. day workshop for active duty veterans and 12 their spouses. “The Starting Point to a New Finally, you’re holding the last print issue of Career” gave participants an opportunity The Point, which is undergoing an exciting CONTENTS to build job-fnding skills while networking transformation into a fully digital magazine. with business professionals. The University’s The new online version, which will be 2 News and Views 22 True Pioneer Center for Media Innovation recently produced twice a year in fall and spring, Anna Shields, Point Park’s most will enable us to continue to share Point announced the All Abilities Media Project, 12 Going Green decorated student-athlete, runs in which people with disabilities can receive Park stories and profles in a creative and School of Education students toward her professional dreams. -
JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. -
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Fall 1999 65 Raging Mothers: Maternal Subjectivity and Desire in the Dance Theater of Martha Graham Katharine Power During the 1940s Martha Graham created the now familiar genre of large- scale dance dramas that defined her repertory in its so-called mature period and brought her both national and international acclaim. These dance dramas were the result of Graham's interest in translating the great tales of classical mythology, western literature, and the Judeo-Christian tradition into choreographic narratives that featured a female protagonist whose internal struggle determined the dramatic action. Dances such as Errand into the Maze (the tale of Ariadne's encounter with the Minotaur); Seraphic Dialogue (the story of Joan of Arc); and Clytemnestra (a dance version of the Oresteia)1 exemplify Graham's reconfiguration of dramatic narrative structure into choreographic form. That these dance dramas have traditionally been interpreted through the framework of psychoanalytic theory is a function of the pervasive influence of both Freudian and Jungian ideas on postwar American art as well as Graham's own enthusiasm for a Jungian world-view, an enthusiasm inspired by, among others, her long-time friend and colleague, Joseph Campbell.2 Histories of Graham agree that the distinguishing feature of Graham's artistry at mid-century was her encounter with psychoanalytic theories prevalent and the influence of those theories on her choreographic process and attendant thematic concerns. What is proposed here, however, is that the dance dramas of Graham did not in fact serve as unmediated artistic renderings of current psychoanalytic thought, but instead contested the received discourses of Freud and Jung by challenging the very premises that structure discussions of female subjectivity and female desire, specifically with respect to the figure of the Mother.