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												  Katie MartinKatie Martin Some fact´s at first… When and where were you born? I was born in Coventry, England on the 1st of September 1980. Your height? 5’ 7 ½ . What is your favourite food? Seafood and Pasta Your favourite music? Chart music and R´and´ B. Joss Stone, maroon 5, Lucie Silvas, Kelly Clarckson, etc. Your favourite movie? „Notting Hill“, „My best friends Wedding“, „Stepmom“. Julia Roberts is my favourite actress. Your favourite city / place in the world, you have visited so far? Cape town in South Africa is my most favourite place in the whole world. Do you have any hidden talents, we don’t know about? I have a Diploma in make up artistory for film and television. What’s the most treasured moment in your life, so far? My most treasured moment in the Show is dancing in Hyde Park with Feet of Flames and also performing Lead for the first time. About your family… Please tell us something about your parents - what do they do for their living? Do they dance as well? My dad is an engineer and my mom is a nurse. My mum is also an amazing Irish Dancing teacher and was my very first teacher. Do you have any brothers or sisters? How old are they? Do they dance, too? What do they do for their living? My brothers name is Thomas and he is 23 years old. He is also in Troupe 1. Is it hard for you, to be apart from your family for such a long time while touring? How often are you able to travel back home again? It can be hard but because we have been touring for so many years we´re use to it now.
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												  Download 2015 Lending Library (PDF)AETN Foundation Ambassadors Circle Lending Library The Lending Library is open only to Ambassadors Circle members and can be accessed by calling Karen Cooper at 1-800-662-2386, or 1-501-730-9310, or by emailing [email protected]. Each program listed is available on a first-come, first-served basis and has a two-week loan period. AETN Productions - DVD AETN Presents: Front Row with Trout Fishing in America – My Best Day (2006) – DVD There is no better way to experience Trout Fishing in America than LIVE in concert. My Best Day is just that . A live family concert with Grammy- nominated recording artists Keith Grimwood (bass), Ezra Idlet (guitar) with special guest, multi-instrumentalist Fred Bogert. Intelligent, witty and fun, their music cuts across the generations from toddlers to grandparents bringing them together with songs full of the extraordinary as well as the everyday things that make life great! Arkansas Nature Trilogy (2003) – DVD This DVD contains three special programs featuring the scenic beauty of the Natural State: Arkansas Serenade, Arkansas’ Natural Wonders, and An Arkansas Autumn. With no narration, only inspiring music and the symphony of nature, these three programs celebrate Arkansas’ diversity of landscapes and the majesty of the seasons. 90 minutes. Bayou Bartholomew – World’s Longest Bayou (2013) DVD From its meager beginnings in a fern-laden area near Pine Bluff, Arkansas – Bayou Bartholomew has the unique distinction of being the longest bayou in the world. It stretches for 359 miles before emptying in the Ouachita River near Sterlington, LA. It’s one of the most diverse streams in North America, containing 117 species of fish and 197 birds.
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												  Primer Irskega PlesaUNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Maja Batagelj Modernizacija tradicionalnega vzorca - primer irskega plesa Diplomsko delo Ljubljana, 2011 UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Maja Batagelj Mentor: izr. prof. dr. Peter Stanković Modernizacija tradicionalnega vzorca - primer irskega plesa Diplomsko delo Ljubljana, 2011 ZAHVALA: Prvo bi se rada zahvalila svojima staršema, ki sta me spodbujala v vseh letih študija in sestri, ki je vedno verjela vame. Posebna zahvala gre tudi Joan McIntyre, ki me je popeljala v svet irskih korakov in članom Šole irskega plesa, ki poskrbijo, da je irski ples več kot le ples. Hvala tudi mentorju Petru Stankoviću za pomoč in nasvete pri izdelavi naloge. Modernizacija tradicionalnega vzorca - primer irskega plesa Vsaka kultura je organiziran svet pomenov, saj v njej obstaja samo tisto, kar kultura definira. Tradicija kulture se nenehno obnavlja s prenosom kulturnih vzorcev. Ta predstavlja kombinacijo kulturnih elementov, saj za vsako kulturo obstaja nek spekter možnih vedenj. Da vzorec lahko deluje, ga morajo posamezniki poznati in se ga naučiti. Skozi proces socializacije postanejo posamezniki člani družbe in tipični predstavniki neke kulture. Naučijo se jezika, navad, običajev, telesnih tehnik. Telesne tehnike so procesi, kjer posamezniki uporabljajo svoje telo na nek specifičen način, ki so se ga naučili v procesu prenosa tradicije iz generacije v generacijo. Ples je ena takih tehnik. Vsaka kultura ima edinstvene plesne značilnosti, ki se razlikujejo ko primerjamo plese ene kulture z drugimi. Članom irske kulture je irski ples postal del nacionalne kolektivne identitete. Ena ključnih značilnosti irskega plesa je tog in nepremičen zgornji del telesa, medtem ko noge izvajajo serijo hitrih in ritmično raznolikih korakov.
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												  Lauren StapletonLauren Stapleton Some fact´s at first… When and where were you born? 27.05.1981, South London Your height? 5’’ 3’ What is your favourite food? Indian food Your favourite music? all kinds – do love a bit of irish and also hiphop and rock and - everything Your favourite movie? ”Sound of Music”, “Wizard of Oz” or “Bugsy Malone”. Your favourite City / Place in the world, you have visited so far? Las Vegas, Baby! Do you have any hidden talents, we don’t know about? I am able to do quite a few different accents. About your family… Do you have any brothers or sisters? How old are they? Do they dance, too? I have two brothers Lee and Ryan. One is 34 one is 31. They never danced. Is it hard for you, to be apart from your family for such a long time while touring? How often are you able to travel back home again? I missed home at the beginning a lot as it was my first time away from home but after living in Vegas and only going home twice a year I adapted quite quickly. It depends on how long the tour is to when we get home. What do your family thinks of your job as a Show Dancer? Are they proud of you? How often do they visit you on tour and watch you dancing the Show? My family think it is great that I am in the Show. They are very proud! A lot of my family came to Las Vegas to see me and they have also seen me perform in Troupe 1.
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												  United Irish League, and M.PFrom: Redmond Enterprise Ronnie Redmond To: FOMC-Regs-Comments Subject: Emailing redmond.pdf Date: Wednesday, October 14, 2020 2:44:55 PM Attachments: redmond.pdf NONCONFIDENTIAL // EXTERNAL I want this cause im a Redmond and i want to purchase all undeveloped and the government buildings the Queen of England even if i have to use PROBATES LAW RONNIE JAMES REDMOND Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 118 PAPERS OF JOHN REDMOND MSS 3,667; 9,025-9,033; 15,164-15,280; 15,519-15,521; 15,523-15,524; 22,183- 22,189; 18,290-18,292 (Accessions 1154 and 2897) A collection of the correspondence and political papers of John Redmond (1856-1918). Compiled by Dr Brian Kirby holder of the Studentship in Irish History provided by the National Library of Ireland in association with the National Committee for History. 2005-2006. The Redmond Papers:...........................................................................................5 I Introduction..........................................................................................................5 I.i Scope and content: .....................................................................................................................5 I.ii Biographical history: .................................................................................................................5 I.iii Provenance and extent: .........................................................................................................7 I.iv Arrangement and structure: ..................................................................................................8
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												  Gillian NorrisGillian Norris Gillian wurde am 28. Dezember 1978 geboren und stammt aus Kilmacthomas, Co. Waterford, Irland. Ihre Eltern sind Desmond und Mary Norris. Ihre Mutter war früher Irish Dancer, ihr Vater ist Zimmermann, spielt in seiner Freizeit Akkordeon und singt. Sie ist in ihrer Familie die Jüngste von 6 Kindern und hat drei ältere Brüder: Michael, Steven und PJ., und zwei Schwestern: Clare and Annie-Marie. Gillian wuchs als richtiger Wildfang auf, der gerne Fußball spielt. Mit 10 Jahren ging sie widerwillig zum Irish Dance Unterricht in der Higgins Dance School in Waterford wo sie von Phil und Mary Higgins unterrichtet wurde. Ihre Mutter trug sie für die Tanzstunde um 18 Uhr ein – gleich nach der Schule. Aber Gillian schaffte es regelmäßig, ihren Bus nach Hause zu verpassen und sich so vor der Tanzstunde zu drücken. Schließlich brachten ihre Eltern sie in eine spätere Stunde, damit sie keine Ausrede mehr hätte. „Aber Mum, ich mag das nicht!“ war ihre Reaktion. Doch dann lernte ihre Gruppe eine Tanz, den sie mochte und sie ging regelmäßiger zum Tanzen. In ihrer relativ kurzen Amateur-Karriere (6 Jahre) gewann Gillian einige Munster-, All Ireland-, und Great Britain Nationals und wurde bei den World Championships of Irish Dance 1996 als Dritte platziert. Gleich nach den Weltmeisterschaften im April 1996 tanzte Gillian bei Lord of the Dance vor, und bekam die Leadrolle der Morrighan – der Verführerin. Bis 1997 blieb sie bei Troupe 1. Seit der Premiere von Troupe 2 tanzt sie dort mit John Carey, Cian Nolan und Areleen Ni Bhaoill und begleitet die Truppe auf ihrer Tournee durch Amerika.
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											GAY MALE UNDERGRADUATES' STUDENT EXPERIENCES SchoolLIVING DIFFERENTLY: GAY MALE UNDERGRADUATES’ STUDENT EXPERIENCES R ic h a r d t a u l k e -jo h n s o n School of Social Sciences Cardiff University This dissertation is submitted to Cardiff University in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY October 2009 UMI Number: U585270 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U585270 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 D e c l a r a t io n D e c l a r a t i o n This work has not previously been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. Signed . (candidate) Date .%.j)7r.JoP\ STATEMENT 1. This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed (candidate) Date STATEMENT 2. This thesis is the result of my own independent work / investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed (candidate) Date 0 .^ STATEMENT 3.
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												  They Dreamed and Are Dead Limerick 19161916 Cover 6 page.qxp_Layout 1 02/03/2016 17:59 Page 1 Too long a sacrifice Can make a stone of the heart O when may it suffice? That is Heaven's part, our part they dreamed and are dead - Limerick 1916 To murmer name upon name, As a mother names her child When sleep at last has come On limbs that had run wild. What is it but nightfall? No, no, not night but death; Was it needless death after all? For England may keep faith For all that is done and said. We know their dream; enough To know they dreamed and are dead; And what if excess of love Bewildered them till they died? I write it out in a verse- MacDonagh and MacBride And Connolly and Pearse Now and in time to be, Wherever green is worn, they dreamed and are dead Are changed, changed utterly: A terrible beauty is born. W B Yeats Limerick 1916 Easter 1916 ISBN: 978-0-905700-24-3 John J Quilty and his wife Madge in the Brisco car, used by the By Dr Matthew Potter | William O’Neill | Brian Hodkinson | Edited by Jacqui Hayes 1 Volunteers for the ill-fated trip to Kerry to meet Roger Casement and the Aud. (Courtesy Joe Quilty) 1 1916 Cover 6 page.qxp_Layout 1 02/03/2016 17:59 Page 2 We know their dream; enough to know they dreamed and are dead William Butler Yeats Copyright Information: Authors: Design and Print: Published by Limerick City and County Council Dr. Matthew Potter, Historian, Limerick Archives AViD Graphic Design, Limerick © Limerick City and County Council William O’ Neill, Scholar Limerick Museum and The Daly family as returned in the 1901 census.
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												  Four Men and a Baby2 5 OCT 1290 Take That love affair I WAS. A TEENAt;E. GROUPIE: PAUE.S 12-13 STIJDENIncorporating juice magazine Britain's biggest weekly student newspaper October 25, 1996 Vol 27: Issue 4 CASTLE AND KINGS Four men ,,k Labour's grand old lady talks about Tony Blair, the election showdown and and a Baby women in polilics 1 God you're gorgeous! Chart-busting Baby Bird speaks about his new See Outlook, page 16-17 girlfriend (Jesus) and his greatest fan (Elton John)in juice magazine THE STONE IS COMING HOME - BUT JOCK DAVID ADAM ISN'T HAPPY POLICE HUNT FOR CAMPUS GUNMAN Threat to student in Roll up, armed robbery attack roll up by NAGA MUNCHETTY, CHIEF REPORTER conducting .01 investigation into the all keen POLICE are hunting attack. an armed robber One possibie suspect is a known troublemaker around the university. who held a man at who police are trying to eliminate from young their enquiries. gunpoint on a The attacker is said to he Afro- university campus Caribbean. around tift tall, round faced and was wearing a dark denim shin on bloods the night. and made off with Peter Vincent. Senior Supervisor of by SHIRAZ LALANI stolen cash. the security service. expressed concerti about the incident. "We wouldn't 81.001) donors were There are fears that the anticipate the use of any firearms on encouraged to give attacker, who threatened campus. but we would act accordingly generously on Wednesday to any situation that arises," he by this vocal town crier_ the man with a handgun, stressed.
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												  Technique Danse IrlandaiseLa Danse Irlandaise QuQuQu ´estestest-est ---cece que la danse irlandaise? La danse irlandaise représente une branche de danse qui n ´est pas ttrèsrès connue par les gens. En TchéTchéquiequie son apparition est récente et les groupes pratiquant la danse irlandaise ne sont pas encencoreore nombreux. Pourtant la popularité des danses irlandaises, qui sont très attractives pour les spectateurs, augmente. La danse irlandaise est assez difficile à pratiquer. On remue presque exclusivement les jambes ; les bras et la part supérieure du corps restent pratiquement immobiles. On danse avec le dos droit et les bras tenus fermement le long du corps. Au contraire, les jambes sont toujours en mouvement rapide car la musique pour danser est souvent très vive. Histoire De La danse Irlandaise LLL´histoire de la danse irlandaise commence probablement à l ´époque des druides qui dansaient au cours des rites divers. A peu près avant 2000 ans, les Celtes arrivent en Irlande et leur culture influence l ´art irlandais. Puis il y avait la christianisation avec l ´arrivée du St Patrice (431 apres J.J.----C.)C.) et l ´invasion des Vikings (8 eee et 9 eee siècle après J.J.----C.)C.) et des Normands (12 eee siècle). Ce sont les Normands qui apportent en Irlande les danses en rond de France. Sur le même principe de base que l’histoirel’histoire de la musique celtique irlandaise, la danse irlandaise a été malmenée par la colonisation des Britanniques en Irlande. Tout comme la musique irlandaise, la danse irlandaise a su se préserver de façon clandestine dans les campagnes irlandaises.
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												  Caribbean Music History: a Selective Annotated BibliographyCaribbean Music History: A Selective Annotated Bibliography Rele~·ont items published between 1975 ond 1980 are reservedfor o Supplementory Annototed 81bliogruphy to be publ1shed in lnter-Arnerican Mus1c Rcview, VII (fU/I 1982). Adams, Alton J. "Whence carne the calypso?" Tire Carrbbeon [Port of SpainJ, VIII/ 10 (May 1955), 218-2?0, 230, 235. Calypso is "no more a producl of the island of frinidad than it is of the il>lands of St. Thomas, St. John and St. Croix. Like the dan¿ón, son, danza, rhumba, bamboula, me rengue, and their other relativel>, the calypso l>lClll\ from and is a varianl of thc habanera rhythm. \\.C. Handy Ul>ed this rhythm in his S1. Lou1s Blues . .. The peculiar qualit) of the Trinidad calypso which seems to fa)cinate foreigners is due mainly to thc choice and pronunciation of words. There i) a broad 'a' andan cver prcsenl acccn1uation of whal toan American secms the y,rong syllable. For example, in the \\Ords ol the song Rum 011</ Cocu Colo the Jast syllable of both Coca and Cola is accented. l:Jesides, there i) the ever-ready facility of crowding or telescoping syllables." In contrast with Southern sorrow spirituals, Wcsl Jndian Negro music "expresses hís eanhly drcams of a giganllc sprec." Thc typel> ol dance\ tradítíonally uscd on the plantatíons of St. Croix, Virgín lslands, in the last century wcre the curai;ao and mackshun; in St. Thomas, the curai;ao and bamboula. "For the ac companimcnt of che curai;ao and mad~hun che players Y.ould l>it a\tride the t\\o-headed drum, y,ith bach togecher, each player usíng a stíck.
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												  Volume 72, Number 12 (December 1954) Guy MccoyGardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1954 Volume 72, Number 12 (December 1954) Guy McCoy Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation McCoy, Guy. "Volume 72, Number 12 (December 1954)." , (1954). https://digitalcommons.gardner-webb.edu/etude/73 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. - T 0 TilE EDITOR "Piano Recitals of 'remerrew'' work out all approach that will lay Sir: I have been reading the ar- a groundwork of musical under- PIANO SOLOS ticle on "Recitals of Tomorrow" standing similar to the way in which (March 1954), and heartily agree reading and writing are taught. No ELVES ANO THE SHOEMAKER school teaches all children to read EUe Siegmeister with the facts stated. In fact, a re- FOLK.WAYS, U.S.A., Book II . A story with music by Marie Westervelt andlaneFlory cital was already planned in which and write as if they were going to . music based on American folk tunes. the pupils were to use their music, be professional journalists and writ- ers, yet the few that do make their Contains twenty-seven titles.