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Made in BC Dance on Tour
MADE IN BC - DANCE ON TOUR January 29, 2019 ARTIST INFO RAVEN SPIRIT DANCE EARTHSONG Starr Muranko (Artistic Associate), Heather Lamoureux (Outreach Coordinator) PROJECT DESCRIPTION Earth Song – a mixed program of contemporary Indigenous dance featuring choreography by Starr Muranko & Michelle Olson, two visionary choreographers bring their diverse voices to the act of connection. Moving from Spirit to form through currents of spatial tension, these are the songs of the land and body, deeply rooted and ever reaching. Starr Muranko’s Spine of the Mother and Michelle Olson’s Northern Journey traverse territories of impulse, memory, and landscape. Additionally, the program includes the solo, Frost Exploding Trees Moon, choreographed by Michelle Olson and Floyd Favel; this piece follows the breath, instinct & impulse of a woman on her northern trap line. ARTIST PROFILE The artistic vision of Raven Spirit Dance Society is to share stories from an Indigenous worldview. Our medium is contemporary dance; and, we incorporate other expressions such as traditional dance, theatre, puppetry and multi-media to tell these stories. By sharing this work on local, national and international stages, Raven Spirit Dance reaffirms the vital importance of dance to the expression of human experience and to cultural reclamation. Raven Spirit Dance aims to explore how professional artistic work is responsive and responsible to the community it is a part of and to continue to redefine dance’s place in diverse community settings. Raven Spirit is Vancouver-based yet indelibly tied to the Yukon through its projects and inspirations, as our Artistic Director, Michelle Olson is from the Tr’ondek Hwech’in First Nation. -
Why Stockton Folk Dance Camp Still Produces a Syllabus
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2018 FINAL In Memoriam Rickey Holden – 1926-2017 Rickey was a square and folk dance teacher, researcher, caller, record producer, and author. Rickey was largely responsible for spreading recreational international folk dancing throughout Europe and Asia. Rickey learned ballroom dance in Austin Texas in 1935 and 1936. He started square and contra dancing in Vermont in 1939. He taught international folk dance all over Europe and Asia, eventually making his home base in Brussels. He worked with Folkraft Records in the early years. He taught at Stockton Folk Dance Camp in the 1940s and 50s, plus an additional appearance in 1992. In addition to dozens of books about square dancing, he also authored books on Israeli, Turkish, Bulgarian, Hungarian, Greek, and Macedonian dance. STOCKTON FOLK DANCE CAMP – 2018 FINAL Preface Many of the dance descriptions in the syllabus have been or are being copyrighted. They should not be reproduced in any form without permission. Specific permission of the instructors involved must be secured. Camp is satisfied if a suitable by-line such as “Learned at Folk Dance Camp, University of the Pacific” is included. Loui Tucker served as editor of this syllabus, with valuable assistance from Karen Bennett and Joyce Lissant Uggla. We are indebted to members of the Dance Research Committee of the Folk Dance Federation of California (North and South) for assistance in preparing the Final Syllabus. Cover art copyright © 2018 Susan Gregory. (Thanks, Susan.) Please -
Dancing My Way Through Life; Embodying Cultural Diversity Across Time and Space: an Autoethnography
The Qualitative Report Volume 25 Number 1 Article 7 1-13-2020 Dancing My Way Through Life; Embodying Cultural Diversity Across Time and Space: An Autoethnography Nan Zhang Monash University, Australia, [email protected] Maria Gindidis Monash University, Australia Jane Southcott Monash University, Australia Follow this and additional works at: https://nsuworks.nova.edu/tqr Part of the Art Education Commons, and the Bilingual, Multilingual, and Multicultural Education Commons Recommended APA Citation Zhang, N., Gindidis, M., & Southcott, J. (2020). Dancing My Way Through Life; Embodying Cultural Diversity Across Time and Space: An Autoethnography. The Qualitative Report, 25(1), 88-104. https://doi.org/10.46743/2160-3715/2020.4022 This Article is brought to you for free and open access by the The Qualitative Report at NSUWorks. It has been accepted for inclusion in The Qualitative Report by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Dancing My Way Through Life; Embodying Cultural Diversity Across Time and Space: An Autoethnography Abstract In this paper, I research how my background, in different times and within diverse spaces, has led me to exploring and working with specific Content and Language Integrated Learning (CLIL) programs. I am forever motivated to engage students learning second languages by providing them with possibilities to find out who they are, to know other ways of being and meet diverse peoples, to maintain languages more effectively and maintain culture(s) more authentically. I employ autoethnography as a method to discover and uncover my personal and interpersonal experiences through the lens of my dance related journeys. -
Fit to Dance Survey: Elements of Lifestyle and Injury Incidence in Chinese Dancers
Fit to Dance Survey: elements of lifestyle and injury incidence in Chinese dancers Yanan Dang, MSc1,2; Yiannis Koutedakis, PhD1,3; Matthew Wyon, PhD1,4 1 Institute of Human Sciences, University of Wolverhampton, UK 2 Beijing Dance Academy, Beijing, China 3 Department of Sport Science, University of Thessaly, Greece 4 National Institute of Dance Medicine and Science, Walsall, UK Corresponding author Prof Matthew Wyon Institute of Human Sciences, University of Wolverhampton, Gorway Rd, Walsall, WS1 3BD, UK email: [email protected] Abstract The Fit to Dance survey has been conducted a number of times using primarily Western participants and has provided foundation data for other studies. The purpose of the current study was to replicate the Fit to Dance 2 survey focusing on features of health and injuries in pre-professional and professional Chinese dancers of different genres. Results revealed that respondents (n=1040) were from Chinese Folk dance (44.4%), Chinese Classical Dance (25.6%), ballet (10.2%) and contemporary dance (9.8%). Compared to the Fit to Dance 2 survey, alcohol consumption (29% vs 82%; p<0.01) and smoking (13% vs 21%; p<0.05) were significantly less in Chinese dancers, but a higher percentage reported using weight reducing eating plans (57% vs 23%; p<0.01) or having psychological issues with food (27% vs 24%; p<0.05). Reported injuries in a 12-month period prior to data collection were significantly lower in the current survey (49% vs 80%; p<0.01). The type of injury (muscle and joint/ligament) and perceived cause of injury (fatigue, overwork and reoccurrence of an old injury) were the same in both the current and previous survey. -
Curriculum Vitae MATTHIAS BUCK
Curriculum Vitae MATTHIAS BUCK 23229 Shelburne Road Department of Physiology & Biophysics Shaker Heights, Ohio 44122 Case Western Reserve University Medical School German/US citizenship 10900 Euclid Ave., Cleveland, Ohio 44106-4970 DoB 11/30/1967 Fax.: 216-368-3952 Phone: 216-368-8651 Married to Mia Kim, daughter: Gia Arianna E-mail: [email protected] 1. Education 1987-1990 Fitzwilliam College, University of Cambridge, UK B.A. (Hons.), M.A., Natural Sciences Tripos with specialization in Biochemistry 1990-1995 Oxford Centre for Molecular Sciences, University of Oxford, UK Doctoral Research (D.Phil.) in Structural Biochemistry Supervised by Prof. Christopher M. Dobson (now at Dept. of Chemistry, Univ. of Cambridge) Thesis “Nuclear Magnetic Resonance (NMR) Studies of the Dynamics and the Folding of Hen Lysozyme” 1995-1999 Department of Chemistry and Chemical Biology, Harvard University, USA Postdoctoral Research in Computational Biophysics “Studies of Protein Motion and Unfolding using Molecular Dynamics Simulation” Fellow of the International Human Frontiers Science Program Organization Sponsored by Prof. Martin Karplus (Nobel Laureate for Chemistry, 2013) 1997-1999 Laboratoire de Chimie Biophysique, Université Louis Pasteur, Strasbourg, FR Postdoctoral Research in Computational Biophysics (continued) Marie Curie Fellow of the European Commission Biophysics Program Sponsored by Prof. Martin Karplus 1999-2002 Cellular Biophysics and Biochemistry Program, Memorial Sloan Kettering Cancer Center, New York City, USA Postdoctoral Research -
Defining Self: Performing Chinese Identity Through Dance in Belfast
eSharp Issue 24: Belonging and Inclusion Defining Self: Performing Chinese Identity through Dance in Belfast Wanting Wu (Queen's University Belfast) Abstract This paper takes an auto-ethnographic approach to questions of belonging and inclusion through anthropological analysis of my own experience as a Chinese dancer in Belfast, Northern Ireland. The Chinese community in Belfast has been well established since the 1970s, retaining a distinctive identity within a city dominated by ‘British’ and ‘Irish’ ethnici- ties. Dance plays a significant role in communal ceremonies and festivals as a symbol and enactment of Chinese identity. As a Beijing trained Chinese dancer who came to Belfast as a postgraduate student, I found myself playing a significant role in the expression of Chinese identity within the city, and having emotional experiences when dancing which were differ- ent to those I had experienced in China. These experiences led me to reflect upon the sources of my own identity as a Chinese person. Through a detailed auto-ethnographic account of my dance experience as a Beijing trained dancer performing in the context of a multi-cultural city far removed from China, I explore the ways that dance may form and transform embodied identities and redefine prac- tices and selves in interaction with different environments and audiences. The article will uti- lise theorisations of “flow,” “authenticity” and “habitus” to understand the emergence of identity in embodied action. The article concludes that the perceived ‘Chineseness’ of my dance performance, and my own experience of myself as a ‘Chinese’ dancer, are rooted in ways of being that have been embodied through extensive socialisation and training from an early age. -
Juilliard Dance
Juilliard Dance Senior Graduation Concert 2019 Welcome to Juilliard Dance Senior Graduation Concert 2019 Tonight, you will experience the culmination of a transformative four-year journey for the senior class of Juilliard Dance. Through rigorous physical training and artistic and intellectual exploration, all of the fourth-year dancers have expanded the possibilities of their movement abilities, stretching beyond what they thought possible when entering the program as freshmen. They have accepted the challenge of what it means to be a generous citizen artist and hold that responsibility close to their hearts. Chosen by the dancers, the solos and duets presented tonight have been commissioned for this evening or acquired from existing repertory and staged for this singular occasion. The works represent the manifestation of an evolution of growth and the discovery of their powerfully unique artistic voices. I am immensely proud of each and every fourth-year artist; it has been a joy and an honor to get to know the senior class, a group of individuals who will inevitably change the landscape of the field of dance as it exists today. Please join me for a standing ovation, cheering on the members of the class of 2019 as they take the stage for the last time together in the Peter Jay Sharp Theater. Well done, dancers—we thank you for your beautiful contributions to our Juilliard community and to the world beyond our campus. Sincerely, Little mortal jump Alicia Graf Mack Director, Juilliard Dance Cover: Alejandro Cerrudo's This page: Collaboration -
Kayhan Kalhor/Erdal Erzincan the Wind
ECM Kayhan Kalhor/Erdal Erzincan The Wind Kayhan Kalhor: kamancheh; Erdal Erzincan: baglama; Ulaş Özdemir: divan baglama ECM 1981 CD 6024 985 6354 (0) Release: September 26, 2006 After “The Rain”, his Grammy-nominated album with the group Ghazal, comes “The Wind”, a documentation of Kayhan Kalhor’s first encounter with Erdal Erzincan. It presents gripping music, airborne music indeed, pervasive, penetrating, propelled into new spaces by the relentless, searching energies of its protagonists. Yet it is also music firmly anchored in the folk and classical traditions of Persia and Turkey. Iranian kamancheh virtuoso Kalhor does not undertake his transcultural projects lightly. Ghazal, the Persian-Indian ‘synthesis’ group which he initiated with sitarist Shujaat Husain Khan followed some fifteen years of dialogue with North Indian musicians, in search of the right partner. “Because I come from a musical background which is widely based on improvisation, I really like to explore this element with players from different yet related traditions, to see what we can discover together. I’m testing the water – putting one foot to the left, so to speak, in Turkey. And one foot to the right, in India. I’m between them. Geographically, physically, musically. And I’m trying to understand our differences. What is the difference between Shujaat and Erdal? Which is the bigger gap? And where will this lead?” Kayhan began his association with Turkish baglama master Erdal Erzincan by making several research trips, in consecutive years, to Istanbul, collecting material, looking for pieces that he and Erdal might play together. He was accompanied on his journeys by musicologist/player Ulaş Özdemir who also served as translator and eventually took a supporting role in the Kalhor/Erzincan collaboration. -
The Research on the Development of Musicals in China
2020 3rd International Conference on Interdisciplinary Social Sciences & Humanities (SOSHU 2020) The Research on the Development of Musicals in China Haijing Shi Xi'an University, Xi'an, Shaanxi Province, China Keywords: Musical Drama, Chinese Musical, Original Musical Abstract: in recent years, musical drama creation has become a trend in china. The various literary and art circles and cultural enterprises have placed too much hope on the musicals in the development of performances and the pursuit of market selling points. After a burst of enthusiasm, it looks like a Chinese musical that blooms on all sides, but it has not seen the splendid spring. Whether it is a box office, audience reputation or art awards, Chinese musicals are still in an embarrassing situation. This paper analyzes the current development of Chinese musicals and the future development. 1. Introduction The musical was born in the late 19th century. It originated from a British opera genre. Its endings mostly ended in a happy reunion, conveying an optimistic thought. Musical dramas are more understandable and popular with the people. Its form of entertainment and performance have always attracted Americans. Musical plays are performed all over the world, but they are most concentrated in Broadway and west end. In order to better develop the space, musicals must accommodate a variety of needs. It is necessary to consider the preferences of the audience and make the musicals smoother in the future development [1]. In the past, people just started to get in touch with musicals. They have a fresh sense of the stage effect and performance of music. -
Christmas Around the World - in the Round for the First Time!
The Folk Dancer Fall 2012 Christmas Around the World - In the Round for the First Time! - Mark your calendars: • November 30th and December 1st, 7:30 p.m. • Saturday Matinee, December 1st at 2:00 p.m. • Alumni Reception, December 1st at 3:45 p.m. (Cougar Room, hope to see you there!!!) Tickets go on sale October 29th at 9:00 a.m. at the Marriott Center ticket office. *Pre-sale for alumni Folk Dance students is Oct. 26th, 9:00 am. $2.00 discount for 2 tickets (discount link) Ticket will range from $10 - $20. This year we will feature new choreographies from Scotland, Ireland, and the U.S. with a new percussive piece. Featuring styles of Tap, American clogging, French Canadian step dancing, Irish hard shoe, Welsh clogging, and English clogging. Special guests: The Aerial Arts oF Utah The Creative Dance Children with the Chinese Dragon Hispanic Children’s Dance Group Shelley School oF Irish Dance The concert will feature many of your favorite choreographies set for the round, and will Be sure to set off your Christmas season to a great start. Don’t miss this annual tradition! International Folk Dance Ensemble Bigger and Better in Texas and the Deep South Our spring tour was a marvelous whirlwind of an experience for all involved! The tour took us to New Mexico, Texas, Louisiana and Arkansas. We drove nearly 4,000 miles on “Le Bus” and, believe it or not, experienced many different climates, people, and cultures. It was a fantastic adventure and I would do it all over again if I could. -
Sussan Deyhim the House Is Black
Sussan Deyhim The House is Black WORLD PREMIERE ABOUT THE PROGRAM Fri Jan 23 The House is Black is Sussan Deyhim’s media-film-performance project, inspired by the works Royce Hall of Forough Farrokhzad, one of Iran’s most influential feminist poets and filmmakers of the 20th Century. This project seeks to shed light on the importance of progressive Iranian contemporary arts through the vision of two of Iran’s most avant-garde female artists, Forough Farrokhzad and Sussan Deyhim. PERFORMANCE DURATION: Deyhim has created a series of non-linear poetic tableaux inspired by the poems of Forough Approximately 75 minutes Farrokhzad. The audience travels through a visual, sonic and theatrical journey into the heart of Forough ‘s prophetic vision where her most intimate, soulful and provocative moments leap off the page and onto the stage. Her message is as poetically and politically relevant today for the women of PRE-SHOW POETRY BUREAU Iran and the world as it was fifty years ago when she died tragically at the age of 32. Join us in the West Lobby and get a poem written An original score composed by Deyhim and Golden Globe-winning composer Richard Horowitz, on the spot. featuring brilliant special guests, creates a cinematic musical landscape, including influences rooted Doors open at 6:45 in Persian and Western contemporary classical music, jazz and electronic music with an elaborate vocal soundscape and intricate sound design component. Archival images and scenes from Forough’s documentary The House is Black and Bernardo CAP UCLA SPONSOR: Bertolucci’s 1965 interview with Forough, along with Deyhim’s original film and visual projections, Supported in part by the will create the backdrop and provide a window into the life of Iran’s most controversial poet and Performing Arts at Royce filmmaker. -
Kayhan Kalhor Shah Kaman Ali Bahrami Fard Bass Santour
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