Decades Day 5/24
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Funkids Amb La Black Music Big Band & Brodas Junior
Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès. -
Eyeclops Bionic Eye From
2007: the year in review THE “TOYING OF TECHNOLOGY” FocusingFocusing In:In: TheThe EyeClopsEyeClops®® BionicBionic EyeEye TakeTake itit toto thethe WebWeb GetGet MovingMoving THE YEAR OF HANNAH MONTANA® TOYS MICROECONOMICS ALSO IN TOYLAND TRENDTREND ALERT:ALERT: WHOWHO DOESN’TDOESN’T LOVELOVE CUPCAKES?CUPCAKES? AR 2007 $PRICELESS AR 2007 TABLE of CONTENTS JAKKS’ 4Girl POWER! In 2007 Disney® “It Girl” Miley Cyrus, a.k.a. Hannah Montana, hit the scene, and JAKKS was right there with her to catch the craze. Tween girls weren’t the only ones who took notice of the teen phenom. Hannah Montana toys from JAKKS were nominated for “Girls Toy of the Year” by the Toy Industry Association, received a 2008 LIMA licensing excellence award, and numerous retailers and media outlets also chose them as their top holiday picks for 2007. WIRED: SPOTLIGHT 6 on TECHNOLOGY From video game controllers to scientific magnifiers – in 2007 JAKKS expanded on its award-winning Plug It In & Play TV Games™ technology and created the EyeClops Bionic Eye, an innovative, handheld version of a traditional microscope for today’s savvy kids. JAKKS continued to amaze BOYS the action figure community will be by shipping more than 500 unique WWE® and BOYS Pokémon® figures to 8 retailers in more than 60 countries around the world in 2007. Joining the JAKKS powerhouse male action portfolio for 2008 and 2009 are The Chronicles of Narnia™: Prince Caspian™, American Gladiators®, NASCAR® and UFC Ultimate Fighting Championship® product lines, and in 2010… TNA® Total Non-Stop Action Wrestling™ toys. W e Hop e You E the Ne njoy w Ma gazine Format! - th 6 e editor 2007 ANNUAL REPORT THIS BOOK WAS PRINTED WITH THE EARTH IN MIND 2 JAKKS Pacifi c is committed to being a philanthropic and socially responsible corporate citizen. -
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. -
Disentangling Immigrant Generations
THEORIZING AMERICAN GIRL ________________________________________________________________ A Thesis presented to the Faculty of the Graduate School University of Missouri-Columbia ________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ________________________________________________________________ by VERONICA E. MEDINA Dr. David L. Brunsma, Thesis Advisor MAY 2007 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled THEORIZING AMERICAN GIRL Presented by Veronica E. Medina A candidate for the degree of Master of Arts, And hereby certify that, in their opinion, it is worthy of acceptance. Professor David L. Brunsma Professor Mary Jo Neitz Professor Lisa Y. Flores DEDICATION My journey to and through the master’s program has never been a solitary one. My family has accompanied me every step of the way, encouraging and supporting me: materially and financially, emotionally and spiritually, and academically. From KU to MU, you all loved me and believed in me throughout every endeavor. This thesis is dedicated to my family, and most especially, to my parents Alicia and Francisco Medina. Mom and Dad: As a child, I often did not recognize and, far too often, took for granted the sacrifices that you made for me. Sitting and writing a thesis is a difficult task, but it is not as difficult as any of the tasks you two undertook to ensure my well-being, security, and happiness and to see me through to this goal. For all of the times you went without (and now, as an adult, I know that there were many) so that we would not, thank you. -
“DANCES WE KNOW by HEART” Presented by Meg Greiner [email protected]
“DANCES WE KNOW BY HEART” presented by Meg Greiner [email protected] AGADOU - Australia Music: Agadou - Black Lace (there is a french and an english version) FLAIR (fla 107) Position: Scattered or lines Agadoo - do -do - jab index fingers forward 3 times Push Pineapple - pushing movement forward with hands Shake the tree - Clasp hands together swing over left shoulder and right Agadoo - do -do - jab index fingers forward 3 times Push Pineapple - pushing movement forward with hands Grind Coffee - make circles with hands over each other roly poly movement To the left - point left arm in air or step to left side To the right - point right arm in air or step to right side Jump Up - both arms in the air and jump And to the knees - bring arms down to knees Cross over - hands at knees Shoop during versus two to right and two to left! Repeat THE ALLEY CAT (American Novelty Dance - Origin Uncertain) Music: The Alley Cat, Christmas Twist - Jingle Bell Rock Formation: Scattered Cues: right to the right (side touches) left to the left (side touches) right back, right back left back, left back right knee up twice left knee up twice right knee up left knee up clap and jump repeat!! THE BUS STOP (modified version) Music: Le Freak or any good 4/4 beat music (disco) CD: Pure Disco Vol. #3 Formation: Lines Cues: back, 2, 3, clap forward 2, 3, clap side 2, 3, clap side 2, 3, clap jump forward jump back jump forward and back click, click heel, heel toe, toe front back side turn Start by walking backward for four counts with a clap on four Walk forward four counts with a clap on four Turn right and strut sideways for four counts with a clap on four Turn left and strut sideways for four counts with a clap on four Jump forward, hands up 2cts Jump backward, hands down 2cts Jump forward and back 2cts Click your heels together like Dorothy 2 cts. -
DECORATIVE SPECTER Noah Mcwilliams, Master of Fine Arts In
ABSTRACT Title of Thesis: DECORATIVE SPECTER Noah McWilliams, Master of Fine Arts in Studio Art, 2021 Thesis directed by: Assistant Professor Cy Keener, Department of Art This exhibition reflects a tragic and anticlimactic future. The ultimate outcome of human exploration of the universe will no doubt shed light on the dismal nature of our interpersonal relationships and grand aspirations. Decorative Specter is an exhibition of sculpture and video that depicts a distant future inhabited by decorative artifacts of long extinct human civilizations. The works in this exhibition are speculative portraits of alien, but eerily familiar puppets. They represent moments within an implied overarching narrative, frozen for study and contemplation. My use of commonly overlooked aesthetics is intended to remind us that other intelligent life will likely spring from an unexpected place and with unexpected results. In the following text I will explain the formal qualities and concepts behind the work. DECORATIVE SPECTER by Noah Leonard McWilliams Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Fine Arts in Studio Art 2021 Advisory Committee: Professor Cy Keener, Chair Professor Shannon Collis Professor Brandon Donahue Professor John Ruppert © Copyright by Noah Leonard McWilliams 2021 Table of Contents Table of Contents ............................................................................................................... -
Finding Aid to the Stefanie Eskander Papers, 1986-2018
Brian Sutton-Smith Library and Archives of Play Stefanie Eskander Papers Finding Aid to the Stefanie Eskander Papers, 1986-2018 Summary Information Title: Stefanie Eskander papers Creator: Stefanie Eskander (primary) ID: 118.8603 Date: 1986-2018 (inclusive); 1990s (bulk) Extent: 7.5 linear feet (physical); 130 MB (digital) Language: This collection is in English. Abstract: The Stefanie Eskander papers are a compilation of concept sketches, presentation drawings, and other artwork for dolls, toys, and games created by Eskander for various toy companies. The bulk of the materials are from the 1990s. Repository: Brian Sutton-Smith Library and Archives of Play at The Strong One Manhattan Square Rochester, New York 14607 585.263.2700 [email protected] Administrative Information Conditions Governing Use: This collection is open for research use by staff of The Strong and by users of its library and archives. Though the donor has not transferred intellectual property rights (including, but not limited to any copyright, trademark, and associated rights therein) to The Strong, she has given permission for The Strong to make copies in all media for museum, educational, and research purposes. Custodial History: The Stefanie Eskander papers were donated to The Strong in August 2018 as a gift of Stefanie Clark Eskander. The papers were accessioned by The Strong under Object ID 118.8603 and were received from Eskander in a portfolio and several oversized folders. Preferred citation for publication: Stefanie Eskander papers, Brian Sutton-Smith Library and Archives of Play at The Strong Processed by: Julia Novakovic, January 2019 Controlled Access Terms Personal Names • Eskander, Stefanie Corporate Names • Hasbro, Inc. -
2020 Class Schedule
2020 Class Schedule Time Class Name Level Level (Age) Dance Style Term Fee Casual Fee (inc. (Ability) (inc. GST) Based GST) Per Class on 10week Term Monday 4:00pm to 4:30pm Kindy Hip Hop Beginners 4yrs to 6yrs Hip Hop-All Styles $110.00 $19.00 4:00pm to 4:45pm Mini Funksters Beginners 5yrs to 8yrs Hip Hop-All Styles $150.00 $19.00 4:45pm to 5:30pm FunkBeatz Beg/Int 8yrs to 10yrs Hip Hop-All Styles $150.00 $19.00 5:30pm to 6:15pm FunkCrew Beg/Int 11yrs to 14yrs Hip Hop-All Styles $150.00 $19.00 5:30pm to 6:30pm K-Pop Beginners Open K-Pop $170.00 $19.00 6:15pm to 7:15pm Breakdance Beg/Int 10yrs+ Breakdance $170.00 $19.00 7:15pm to 8:15pm Adult Intermediates Intermediate Open Age 20+ All Styles – No Breakdance $170.00 $19.00 8:15pm to 9:15pm Adult Beginners Beginners Open Age 20+ Foundation & Urban Choreo $170.00 $19.00 Tuesday 4:00pm to 4:30pm Kindy Hip Hop Beginners 4yrs to 6yrs Hip Hop-All Styles $110.00 $19.00 4:00pm to 4:45pm Mini Workshoppers Beg/Int 5yrs to 8yrs Urban Choreography $150.00 $19.00 4:45pm to 5:30pm KrushGroove Beg/Int 9yrs to 12yrs Urban Choreography $150.00 $19.00 5:30pm to 6:30pm Contemporary/Acrobatics Beginner Open Contemporary/Acrobatics $170.00 $19.00 5:30pm to 6:30pm School of Hip Hop Beg/Int Open Hip Hop–All Styles/Knowledge $170.00 $19.00 6:30pm to 7:45pm Junior Crew (Audition/Try outs) Intermediate 9yrs to U12yrs Hip Hop-All Styles $180.00 N/A Saturday 9:15am to 10:00am Mini Groovers Beginners 6yrs to 9yrs Urban Choreography $150.00 $19.00 9:15am to 10:00am GrooveCrew Beg/Int 9yrs to 11yrs All Styles $150.00 -
B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H
B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5. -
45936 MOC Must Toys Book6 12/1/05 7:52 Am Page 32
45936 MOC Must Toys Book6 12/1/05 7:52 am Page 32 1980s Consumer research was very much part of the production process in the US since the 1960s. In Britain, little consumer research had been done before the 1980s and little design input went into good advertising. In fact pre-war advertising as evidenced by the catalogues of Lines Bros. and Kiddicraft was far more eye catching. Combined with the difficulties thrown up by the current economic climate; increased imports, the rising cost of raw materials, increased labour costs and removal of fixed prices, it was inevitable that even large businesses could not guarantee long term security and survival. Desperate measures were tried by some, but by the beginning of the 1980s over sixteen British companies had collapsed including some of the major players; Lesney, Mettoy, Berwick Timpo and Airfix. Eventually these were to be absorbed by other companies in the US and the Far East, as well as in Britain. However, many major British companies managed to survive including some venerable examples, such as Britains, Spears, Hornby, Waddingtons, Galt and Cassidy Brothers. Torquil Norman started Bluebird Toys in 1983, his first product being the now famous Big Yellow Teapot House. This was one of the first ‘container’ houses which broke away from the traditional architectural style of dolls’ houses in favour of this light and colourful family home. He is also famous for his Big Red Fun Bus and Big Jumbo Fun 30 45936 MOC Must Toys Book6 12/1/05 7:52 am Page 33 Plane, Polly Pocket and the Then there were Mighty Max range, as fantasy toys which well as the invention took off in the of the plastic lunch 1980s with cute, box. -
Harmony Residents Seel(. Relief Newark Selects Merry Christmas!
Newark basketball tean1 stuns Howard in opener/lb Kids pen letters to Santa/4b Main Street decorations/3a Vol. 76, No. 27 Newark. Del. December 24, 1986 Harmony residents seel(. relief A petition protesting expansion of the proposed The 1986 legislature approved $50,000 for a said the study will take nearly one year to com Metroform traffic study - a move which would State Department of Transportation study .to plete, and will require follow-up studies to fully in effect delay action to alleviate rush hour "develop solutions to the traffic problems m the evaluate its findings. r ! bottlenecks on heavily traveled Harmony Road areas of Route 4, Route 7, South Harmony Road, That will slow action to alleviate traffic jams was hand-delivered Monday to the office of Gov. Churchman's Road and the Kirkwood Highway." considerably and leaves residents "frustrated," Michael N. Castle by representatives of the af Such a study would have been completed by Eshelmann said. fected east Newark communities. spring according to Sherry Eshelmann, presi The petition contains the signatures of more dent of the Harmony Hills Civic Association. The petition was delivered to Castle's office than 800 residents who are unhappy with a However, in an Oct. 15 letter to State Sen. along with a supporting letter from Allen L. recommendation by State Secretary of Transpor Thomas B. Sharp, D-9th District, Justice reveal Johnson, president of The Medical Center of tation Kermit Justice that the Metroform traffic ed a desire to expand the study to include more Delaware. study be enlarged. than five times the original area. -
JAKKS Pacific 2006 Annual Report Table of Contents
JAKKS Pacific 2006 Annual Report Table of Contents The Big Picture 2 What a Character 4 The Magic Touch 6 Expanding Our Horizons 8 Dreaming the Dream 10 Boys Action Toys 12 Dolls, Plush & Role-Play 14 Games & Electronics 16 Pets 18 Stationery & Activities 20 Seasonal 22 Stockholders’ Letter 24 Financial Section 29 ii JAKKS Pacific 2006 Annual Report Our Brands Our Licenses iv JAKKS Pacific 2006 Annual Report What began as a big idea from two imaginative and ambitious men blossomed into JAKKS Pacific®, an unwavering ambassador to America’s greatest brands. Today, our diverse portfolio features dozens of known licenses and more than 3,000 toys and consumer products, and we employ more than 700 people around the globe. One thing remains the same – our vision, imagination and drive have brought us here today, and we are just getting started! �������������������� ������� ������� ��� � Take these 3-D glasses! Some of the illustrations in this book are 3-D! Whenever you see this icon in the upper-right corner of the page, put them on! 1 o hav ���������������� T e “ a idea eat , hav r e g a lo t o f t h e m . ” – T h o m a n s o E s i d � ������� � The Big Picture � �� ����� �� OUR BUSINESS APPROACH. JAKKS applies innovation and �� imagination to its products AND to implement its business strategy. We start with a diverse product portfolio – classic toys such as action figures, vehicles, dress-up outfits, art activities, dolls and kites, alongside toys and other consumer products with cutting-edge technology. We align ourselves with industry leaders and focus heavily on top licenses and evergreen brands.