Reproductionssupplied by EDRS Are Thebest That Can Be Made
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Pleidooi Voor Een Integraal, Inclusief Muziekbeleid, Is Een Uitgave Van De Raad Voor Cultuur
De balans, de behoefte Pleidooi voor een integraal, inclusief muziekbeleid Voorwoord 4 Muziek in dialoog 6 Hoofdaanbevelingen 7 1. Naar een integrale, inclusieve visie op muziek 8 Sectoradvisering 8 Een integrale blik 8 De rol van de overheid 11 Muziek in relatie tot andere domeinen 12 2. Het muzikale ecosysteem 14 Inleiding 14 Kunstenaars en producerende instellingen 15 Presentatieplekken: podia en festivals 28 Digitale distributie 30 Talentontwikkeling 31 Kunstvakonderwijs 32 Ondersteunende instellingen 35 Tot slot 37 3. De muzieksector vanuit artistiek perspectief 41 Artistieke ontwikkelingen in productie en presentatie 41 Talentontwikkeling 48 De creatie van nieuwe muziek 50 Documentatie en ontsluiting 50 Aanbevelingen 54 4. De muzieksector vanuit maatschappelijk perspectief 58 Iedereen is een luisteraar 58 Publieksmarkt en toegankelijkheid 59 Muziekeducatie en -participatie 61 Aanbevelingen 66 5. De muzieksector vanuit economisch perspectief 70 Financieringsstromen vanuit de overheid 70 Private financieringsstromen 79 6. Hoofdaanbevelingen 91 Ontwikkel een integraal, inclusief muziekbeleid 91 Besteed meer aandacht aan essentiële functies 92 Erken de kenmerken en kracht van een regionaal muziekklimaat 93 Herbezie de samenstelling van de culturele basisinfrastructuur 94 Besteed expliciet aandacht aan diversiteit 95 Besteed expliciet aandacht aan de arbeidsmarkt voor muziekprofessionals 96 Tot slot 97 Bijlagen 99 Adviesaanvraag 100 Lijst van gesprekspartners 111 Literatuur 116 Colofon 122 Sectoradviezen / Muziek / Inleiding / Voorwoord Voorwoord Muziek in Nederland, waar hebben we het dan over? De muzieksector is groot en Nederlandse artiesten en ensembles brengen samen een lange, gevarieerde speellijst in praktijk. Op een willekeurige dag tijdens het opstellen van dit advies klinken tegelijkertijd Janáčeks ‘Ave Maria’ door Cappella Amsterdam en ‘Nobody’s Wife’ van Anouk over de radio (respectievelijk op NPO Radio 4 en 2). -
University of California, Los Angeles. Department of Dance Master's Theses UARC.0666
http://oac.cdlib.org/findaid/ark:/13030/c8833tht No online items Finding Aid for the University of California, Los Angeles. Department of Dance Master's theses UARC.0666 Finding aid prepared by University Archives staff, 1998 June; revised by Katharine A. Lawrie; 2013 October. UCLA Library Special Collections Online finding aid last updated 2021 August 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections UARC.0666 1 Contributing Institution: UCLA Library Special Collections Title: University of California, Los Angeles. Department of Dance Master's theses Creator: University of California, Los Angeles. Department of Dance Identifier/Call Number: UARC.0666 Physical Description: 30 Linear Feet(30 cartons) Date (inclusive): 1958-1994 Abstract: Record Series 666 contains Master's theses generated within the UCLA Dance Department between 1958 and 1988. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Conditions Governing Reproduction and Use Copyright of portions of this collection has been assigned to The Regents of the University of California. The UCLA University Archives can grant permission to publish for materials to which it holds the copyright. All requests for permission to publish or quote must be submitted in writing to the UCLA University Archivist. Preferred Citation [Identification of item], University of California, Los Angeles. Department of Dance Master's theses (University Archives Record Series 666). UCLA Library Special Collections, University Archives, University of California, Los Angeles. -
Scissor Dance: the Danzaq of Southern Peru in New York
Spring–Summer 2015 Volume 41: 1–2 The Journal of New York Folklore Scissor Dance: The Danzaq of Southern Peru in New York Stephen Alcorn on Drawing by Hand in a Digital Age Craft Revisited: A Consumer Revolution In Memoriam: Hilt Kelly, Catskills Fiddler and Caller From the Director From the Editor In the past few weeks, Addy had played in the lives of his family and An explosion of pol- I have been strongly band members. As the family patriarch, Yacub len sent us to the hospi- reminded of the value Addy was the senior “tradition bearer” of a tal one May morning. A of traditional arts and family legacy of the renowned Addy family seemingly extraordinarily culture and their im- of drummers, singers, and dancers from the long winter ended sud- portance to the fabric Avenor neighborhood in Accra, Ghana. This denly with 80-degree of our everyday life. role as the elder statesman of the tradition temperatures and soak- As executive direc- of drumming by the Ga people held great ing showers! Spring flow- tor of the New York cultural importance. However, it was also ers responded immedi- Folklore Society, I consider traditional arts important from an economic viewpoint. ately, enthusiastically casting pollen into the and culture to be an important aspect of Throughout the decades of his involvement air, covering porches and cars in a fine yel- one’s sense of self, and a source of pride with Ghanaian drumming, (from before the low dust. Heaven for those awaiting spring. for a community. It seems to me, without independence of Ghana in 1957 to the pres- Hell for those suffering from allergies and question, that one’s knowledge of one’s own ent), Yacub Addy involved at least 62 band asthma. -
The Role of Dance in Haitian Vodou Dancing, Along with Singing And
The Role of Dance in Haitian Vodou Camille Chambers, University of Florida Dancing, along with singing and drumming, is a fundamental part of Haitian Vodou ritual ceremonies. Just as how the songs and the drums have a spiritual function and reflect a creolized heritage, dance holds a similar value in Vodou. As a religion that is kinesthetic in nature, dance is part of the physical manifestation of serving the lwa. Dance is not only an important part of Haitian Vodou but also of Haitian culture, in which there are two types of dance: secular and sacred (Dunham 1947: 15). For the purpose of this paper, the sacred dance will be addressed. Many anthropologists have studied ritual dances in the African diaspora of the Caribbean. Through the studies of dance in Haitian Vodou, the connection to spirituality and memory provided to the community through dance and music in Vodou ceremonies is evident. The community is a key element in Vodou ceremonies. Hebblethwaite argues that Vodou songs are important because they are the “living memory of a Vodou community” (2012: 2). Dance holds the same importance in preserving this “living memory.” Vodou songs educate about the lwa and the philosophy of Vodou and they signal the transitions between phases of the ceremony. Dance in Vodou also educates about the lwa and philosophy and through careful study of the different dances, one may also understand how dances change in the different phases of the ceremony. Before getting into the study of dances, the importance of drums must be addressed. Wilcken (2005) describes the drums as providing the fuel and guidance to the dance participants. -
Satan's Sibling - Poems
Poetry Series Satan's Sibling - poems - Publication Date: 2008 Publisher: Poemhunter.com - The World's Poetry Archive Satan's Sibling(15/03/1990) I am a poetry enthusiast with a variety of poetry styles. Some are love poems, some are hate poems. But I guess that love and hate are the basis of life, Aren't they? (My motto for life is 'There is no God, he is a figment of our imagination. There is no Karma, we punish ourselves. No destiny, we choose our own path. No freedom. We are bound by our own laws. For now.) www.PoemHunter.com - The World's Poetry Archive 1 1 Million Years Bc (Lyrics) They're calling me, the creatures of the nigh, Beautiful music, Animal instincts survived, the serpent tongue, so ancient before the dawn of time, Spread throughout the ages, On the blood of mankind. I've seen it all. From grace man falls, Babylon, curse of all creation, Winged serpent of the pit, Monstrosity. Ten thousand centuries ago, Cast down from heaven, To pillage below, The serpents eye, Still watching for it's easy prey, Feed upon the hopeless, the weak and afraid. I've seen it all. From grace men fall, Babylon, curse of all creation. Winged serpent of the pit, Monstrosity. 1 million yeasr bc x3 Satan's Sibling www.PoemHunter.com - The World's Poetry Archive 2 8 Line Poem (Lyrics) The tactful cactus by your window Surveys the prairie of your room The mobile spins to its collision Clara puts her head between her paws They've opened shops down West side Will all the cacti find a home But the key to the city Is in the sun that pins the branches to the sky Satan's Sibling www.PoemHunter.com - The World's Poetry Archive 3 A Desirable Complication I sit here in anguish, Silently suffering. -
Easter Eggs: a Narrative Chronology
EASTER EGGS: A NARRATIVE CHRONOLOGY Adrienne Edwards and Thomas J. Lax Collaboration is a touchstone for Ralph, who has turned family members into participants and made lifelong artistic affiliations with strangers. As a young girl, Chelsea Lemon Fetzer, the artist’s daughter and one of his first collaborators, remembers methodically taking a bite out of dozens of apples used as props in his Wanda in the Awkward Age, of 1982. Twenty years later, her video documents of his Living Room Dances—in which Lemon cold called the oldest living descendants of blues musicians, showing up to dance in their living rooms and record their reactions—are fruits of an exercise in supreme observation. Under the auspices of the Ralph Lemon Company, founded in 1985 and dissolved in 1995, and of Cross Performance, Inc., founded in 1995 with the support of Ann Rosenthal and MAPP International Productions, Ralph has worked with movement artists and storytellers across the places he has traveled and then stayed: Minneapolis; New York; Port-au-Prince, Haiti; Abidjan, Côte d’Ivoire; Accra, Ghana; Nrityagram, India; Nagoya, Japan; Kunming, China; Little Yazoo, Mississippi; and many more. It seemed only fitting that the story of Ralph’s work be narrated by those whose words, gestures, and likenesses have helped to make it. What follows is a roughly chronological, wholly partial account of Ralph’s forty years of art making, compiled through in-person, telephone, and email conversations conducted on the occasion of this publication. It is an imitation of Ralph’s work, which, as Kathy Halbreich told us, always walks that very fine line between the carefully crafted and the amateur, engaging muscle knowledge so sedimented it looks untaught. -
From the Black Death to Black Dance: Choreomania As Cultural Symptom
270 Cambridge Journal of Postcolonial Literary Inquiry, 8(2), pp 270–276 April 2021 © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/pli.2020.46 From the Black Death to Black Dance: Choreomania as Cultural Symptom Ananya Jahanara Kabir Keywords: choreomania, imperial medievalism, Dionysian revivals, St. John’s dances, kola sanjon Paris in the interwar years was abuzz with Black dance and dancers. The stage was set since the First World War, when expatriate African Americans first began creating here, through their performance and patronage of jazz, “a new sense of black commu- nity, one based on positive affects and experience.”1 This community was a permeable one, where men and women of different races came together on the dance floor. As the novelist Michel Leiris recalls in his autobiographical work, L’Age d’homme, “During the years immediately following November 11th, 1918, nationalities were sufficiently con- fused and class barriers sufficiently lowered … for most parties given by young people to be strange mixtures where scions of the best families mixed with the dregs of the dance halls … In the period of great licence following the hostilities, jazz was a sign of allegiance, an orgiastic tribute to the colours of the moment. It functioned magically, and its means of influence can be compared to a kind of possession. -
Usa Dance Suncoast Chapter 6004
Volume 31, Issue 4 Aug/September 2021 Studios and Gulfport Casino are now holding dances except for Largo Community Ctr, Rhapsody Ballroom. Wed Tea Dance begins August 4th at Dancers Co-op 2-4pm Here we are in Hurricane Season again, hoping that no hurricane The St Petersburg Coliseum will re- will threaten any of our monthly open Wed, October 6th, and our USA Dances at Suncoast Suncoast Chapter will hold a late Ballroom. celebration of National Ballroom Dance Week on Wed, October 20th Our Suncoast Chapter is 30 with $5 admission for USA Dance years old this year! In spite of members with their card. losing ballroom dancers every year to death and disability, I Memorial Dance for Wayne Meier hope we can keep going. will be held at Suncoast Ballroom nd 2-4pm Wed, September 1st. At our November 22 Dance we will elect a Board of Directors for Now that vaccinated dancers are a two-year term. Telephone getting mild symptoms of COVID, Tree Chair Lorraine Ostrowski Marjorie Reynolds, Lois Rotella Bayou Dance Club will require a will run for office so she can Lois Rotella loved ballroom dancing reservation and take your temp at attend Board meetings and help at local studios, the VFW, Gulfport the door. make decisions for the good of Casino for several years, and was our members. good friends with Marge Meigs, Volunteers Mary and Ed Zuranski Marjorie Reynolds, Trish Johnston. who assist me with this Tempo Everyone is welcome to run for designed a new format so that office at this election, so let me She is pictured here with Marjorie Mary can make changes more know as soon as possible if you who told me that Lois had died in easily. -
Jesus in the Washat
Digital Commons @ George Fox University Seminary Masters Theses Theses and Dissertations 12-2006 Jesus in the Washat Steven Nicholas Ceddia Follow this and additional works at: https://digitalcommons.georgefox.edu/seminary_masters JESUS IN THE W ASHA T A THESIS SUBMITTED TO THE FACULTY OF GEORGE FOX EVANGELICAL SEMINARY IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS BY STEVEN NICHOLAS CEDDIA MADRAS, OREGON DECEMBER 2006 PORTLAND CENTER LIBRARY GEORGE FOX UNIVERSITY PORTLAND,OR. 97223 THESIS ACCEPTANCE CERTIFICATE Title: JESUS IN THE WASHAT Presented by: STEVEN NICHOLAS CEDDIA Date: DECEMBER 2006 We, the undersigned, certify that we have read this thesis and approve it as adequate in scope and quality for the degree of Master of Arts in Theological Studies. (DanielL. Brunner) Copyright © 2006 by Steve Ceddia All rights reserved 111 To Tracy, and Taylor IV CONTENTS ABSTRACT ....................................................................................................................... vi ACKNOWLEDGMENTS ................................................................................................ vii Chapters 1. INTRODUCTION ....................................................................................... ! 2. W ASHAT HISTORY AND GENERAL THEOLOGY ............................ 10 3. WASHAT CHRISTOLOGY: THEORY ................................................... 31 4. W ASHA T CHRISTOLOGY: WORSHIP ................................................ .48 5. CONCLUSION ......................................................................................... -
Allison P. Coudert
MULSOW_f6-70-121 10/23/03 1:44 PM Page 88 88 ALLISON P. COUDERT The widespread incidents of conversions and reconversions dur- ing the sixteenth and seventeenth centuries were clearly a result of the fragmentation of Christianity in the wake of the Reformation. The Reformation encouraged conversion in another way as well, by making it more possible for those Jews who had been forcibly con- verted to Christianity or who had professed to accept it while con- tinuing to adhere to Judaism in secret (the so-called Marranos) to revert to the faith of their ancestors. As many historians have pointed out, the very fact of religious schism and the resulting religious plu- ralism, together with the conversion and reconversions of both Christians and Jews, created a situation in which doctrinal purity was undermined and skepticism, if not outright atheism, flourished. In this climate, ecumenism could flourish as well. This was clearly the case in Sulzbach. As I have argued elsewhere, Sulzbach was perhaps the only place where true philosemitism flourished, for here Jews were accepted as Jews, not simply as possible converts.44 Conversion was not an issue among the Kabbalists at Sulzbach because they firmly believed that the Kabbalah provided the means for uniting every kind of Christian with every kind of Jew, Moslem, and Pagan in a single, universal religion. I would suggest that it was in this atmosphere that Späth gained the positive attitude towards Jews that eventually led to his conversion. Christian August’s policy towards the Jews was highly unusual for a ruler of the time. -
Chapter Five the Massacre at Wounded Knee
Chapter Five The Massacre at Wounded Knee 5 There was no hope on earth, and God seemed to have for- gotten us. Some said they saw the Son of God; others did not see Him.… The people did not know; they did not care. They snatched at the hope. They screamed like crazy men to Him for mercy. They caught at the promise they heard He had made. The white men were frightened and called for sol- diers. We had begged for life, and the white men thought we wanted theirs. —Red Cloud, Lakota, 1890 n 1890 a new religious movement called the Ghost Dance swept through the Indian tribes of the western United States. It promised followers that Ieverything on earth would be restored to the way it was before the white men came, with abundant land and game, if the people performed a ritual dance. The Ghost Dance originated with a Paiute prophet named Wovoka who lived on the Walker Lake Reservation in Nevada. Also known as Jack Wilson, Wovoka had lived with a white family during his youth and learned the principles of Christianity (see Wovoka biography, p. 152). On New Year’s Day 1889, a total eclipse of the sun occurred in the west- ern United States. As this unusual and startling event unfolded, Wovoka sud- denly became terribly ill with a high fever. Delirious, he returned to his home and fell unconscious. During this period, Wovoka said that he experienced a powerful dream or vision. “When the sun died, I went up to heaven and saw God and all the people who had died a long time ago,” he related. -
American Square Dance Vol. 44, No. 4
AMERICAN SQUARE DANCE Annual $12 APRIL 1989 Single $1.25 HANHURST'S TAPE & RECORD SERVICE THE "ORIGINAL" z SUBSCRIPTION z dS3 cc L TAPE SERVICE a Have you heard all the 75-80 releases that Y 1VdVH3 TR 1: 1 have come out in the 1: OUN 1V last 3 months? C Since 1971 GO OH CHICA 1VA "I think you and your staff are doing a great I— job with the record service. You have pro- vided very responsive service when it comes )IOONIHO to record ordering. Having both the tape and record service you provide, is well worth the 33 expense." -- S.H., APO, New York Er cr —4 a. ❑ 1 1: "l am quite impressed with the quality of the reproduction of the monthly Hanhurst tape." B.B., Alberta, Canada cc 009 03 1 SE HOU 139 0 The Continuing Choice of 1,300 Callers! 0 CH CALL TOLL FREE NOW RAN t - FOR FREE SAMPLE TAPE VISA' UV9 - 1-800-445-7398 9 (In N.J. 201-445-7398) HANHURST'S TAPE & RECORD SERVICE STAR P.O. BOX 687 z RIDGEWOOD, N.J. 07451-0687 —1 BLUE EUREKA STING SNOW LOU MAC BIG MAC AMERICAN [--71 SaURRE ORNCE VOLUME 44, No. 4 THE INTERNATIONAL MAGAZINE APRIL 1989 WITH THE SWINGING LINES ASD FEATURES FOR ALL OUR READERS SPEAK 4 Co-Editorial 6 Grand Zip 5 bly-Line 41 Straight Talk 7 Meandering with Stan 43 Feedback 11 Get Out Of Step 13 April Fool Fun SQUARE DANCE SCENE 14 Dancing Daffy-nitions 20 Late Callerlab News 15 The Anaria Sheikdom 58 A/C Lines (Advanced & Challenge) 19 The Late Great Square Dance 70 Callerlab News 21 Name A Day—Or A Club 72 International News 23 Vacation '89 (Events) 93 S/D Mastercard 29 Encore 101 LSF Institute 31 Hem-Line 104 Run To Oklahoma 35 Dandy Idea 36 Product Line ROUNDS 37 Best Club Trick 33 Cue Tips 39 On Line 63 R/D Pulse Poll 45 Party Line 47 Dancing Tips 79 Facing the L.O.D.