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Donald Mckayle Papers MS.P.023
http://oac.cdlib.org/findaid/ark:/13030/tf1k400389 No online items Guide to the Donald McKayle Papers MS.P.023 Finding aid prepared by Processed by Laura Clark Brown, machine-readable finding aid created by James Ryan, 1998; edited by Audra Eagle Yun, 2012. Special Collections and Archives, University of California, Irvine Libraries The UCI Libraries P.O. Box 19557 University of California, Irvine Irvine, California, 92623-9557 949-824-3947 [email protected] © 2012 Note Arts and Humanities --Performing Arts--DanceArts and Humanities--Performing Arts --Theater Guide to the Donald McKayle MS.P.023 1 Papers MS.P.023 Title: Donald McKayle papers Identifier/Call Number: MS.P.023 Contributing Institution: Special Collections and Archives, University of California, Irvine Libraries Language of Material: English Physical Description: 19.1 Linear feet(19 document boxes, 5 record cartons, 1 shoe box, 6 flat boxes, and 3 oversized folders) and 12.1 unprocessed linear feet Date (inclusive): 1930-2009 Abstract: Photographs, programs, production notes, music scores, audio and video recordings, costume designs, reviews, and other printed and graphic materials illustrate the eclectic career of world-renowned choreographer and University of California, Irvine Professor of Dance Donald McKayle. Early materials pertain to his youth in Harlem and his performance career in New York City in concert dance, theater and television. The bulk of the collection documents McKayle's career as the choreographer of over fifty concert dance pieces between 1948 and 1998 and as a director or choreographer for theatrical productions both off and on Broadway, including Raisin and Sophisticated Ladies. The materials illustrate the development of individual choreographic pieces, the evolution of McKayle as an artist, and his career as a dance educator. -
Donald Mckayle's Life in Dance
ey rn u In Jo Donald f McKayle’s i nite Life in Dance An exhibit in the Muriel Ansley Reynolds Gallery UC Irvine Main Library May - September 1998 Checklist prepared by Laura Clark Brown The UCI Libraries Irvine, California 1998 ey rn u In Jo Donald f i nite McKayle’s Life in Dance Donald McKayle, performer, teacher and choreographer. His dances em- body the deeply-felt passions of a true master. Rooted in the American experience, he has choreographed a body of work imbued with radiant optimism and poignancy. His appreciation of human wit and heroism in the face of pain and loss, and his faith in redemptive powers of love endow his dances with their originality and dramatic power. Donald McKayle has created a repertory of American dance that instructs the heart. -Inscription on Samuel H. Scripps/American Dance Festival Award orld-renowned choreographer and UCI Professor of Dance Donald McKayle received the prestigious Samuel H. Scripps/American Dance Festival WAward, “established to honor the great choreographers who have dedicated their lives and talent to the creation of our modern dance heritage,” in 1992. The “Sammy” was awarded to McKayle for a lifetime of performing, teaching and creating American modern dance, an “infinite journey” of both creativity and teaching. Infinite Journey is the title of a concert dance piece McKayle created in 1991 to honor the life of a former student; the title also befits McKayle’s own life. McKayle began his career in New York City, initially studying dance with the New Dance Group and later dancing professionally for noted choreographers such as Merce Cunningham, Martha Graham, Sophie Maslow, and Anna Sokolow. -
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
State High School Dance Festival 2014 – BYU Adjudicator and Master Class Teacher Bios
Utah Dance Education Organization State High School Dance Festival 2014 – BYU Adjudicator and Master Class Teacher Bios Kay Andersen received his Master of Arts degree at New York University. He resided in NYC for 15 years. From 1985-1997 he was a soloist with the Nikolais Dance Theatre and the Murray Louis Dance Company. He performed worldwide, participated in the creation of important roles, taught at the Nikolais/Louis Dance Lab in NYC and presented workshops throughout the world. At Southern Utah University he choreographs, teaches improvisation, composition, modern dance technique, tap dance technique, is the advisor of the Orchesis Modern Dance Club, and serves as Chair of the Department of Theatre Arts and Dance. He has choreographed for the Utah Shakespearean Festival and recently taught and choreographed in China, the Netherlands, Mexico, North Carolina School of the Arts, and others. Kay Andersen (SUU) Ashley Anderson is a choreographer based in Salt Lake City. Her recent work has been presented locally at the Rose Wagner Performing Arts Center, the Rio Gallery, the BYU Museum of Art, Finch Lane Gallery, the City Library, the Utah Heritage Foundation’s Ladies’ Literary Club, the Masonic Temple and Urban Lounge as well as national venues including DraftWork at Danspace Project, BodyBlend at Dixon Place, Performance Mix at Joyce SOHO (NY); Mascher Space Cooperative, Crane Arts Gallery, the Arts Bank (PA); and the Taubman Museum of Art (VA), among others. Her work was also presented by the HU/ADF MFA program at the American Dance Festival (NC) and the Kitchen (NY). She has recently performed in dances by Ishmael Houston-Jones, Regina Rocke & Dawn Springer. -
Nelisiwe Xaba
Nelisiwe Xaba Special Section Guest Editor Susan Manning Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00912 by guest on 28 September 2021 Nelisiwe Xaba Dancing between South Africa and the Global North Susan Manning The cluster of essays in this issue of TDR provides a range of responses to the work of Nelisiwe Xaba, a South African performer and choreographer who often receives commissions and tours in the Global North. Her work forms part of the rich landscape of dance and the- atre in postapartheid South Africa as well as part of the dynamic scene of contemporary dance across Africa.1 Yet she resists the rubric of “contemporary African dance,” for she believes that too often European and North American presenters use this rubric to isolate contempo- rary artists in Africa from their peers on the global stage. In fact, Xaba’s work constantly asks exactly what expectations spectators, inside and outside South Africa, bring to their encounters with contemporary performance. Born in 1970, Xaba grew up in Soweto and started dancing “during the political uprisings in the late 1980s [...] when formal schooling in Soweto was interrupted, when the youth were riot- ing.” She danced to “find something constructive [...,] a way of getting out of the streets” (in Piccirillo 2011:70). At the Johannesburg Dance Foundation for four years, Xaba studied bal- let, Graham technique, Horton technique, jazz, and gymnastics. In 1991–92 she toured the US with the South African company Soweto Street Beat, and so she arrived in the US as a 21-year- old who “had never lived alone, or had to sort out my life on my own.” She experienced intense culture shock. -
ANNA SOKOLOW Choreography and Dance Studies a Series of Books Edited by Robert P
ANNA SOKOLOW Choreography and Dance Studies A series of books edited by Robert P. Cohan, C.B.E. Volume 1 The Life and Times of Ellen von Frankenberg Karen Bell-Kanner Volume 2 Dooplé The Eternal Law of African Dance Alphonse Tiérou Volume 3 Elements of Performance A Guide for Performers in Dance, Theatre and Opera Pauline Koner Volume 4 Upward Panic The Autobiography of Eva Palmer-Sikelianos Edited by John P. Anton Volume 5 Modern Dance in Germany and the United States Crosscurrents and Influences Isa Partsch-Bergsohn Volume 6 Antonio de Triana and the Spanish Dance A Personal Recollection Rita Vega de Triana Volume 7 The Dance of Death Kurt Jooss and the Weimar Years Suzanne K. Walther Volume 8 Dance Words Compiled by Valerie Preston-Dunlop Volume 9 East Meets West in Dance: Voices in the Cross-Cultural Dialogue Edited by Ruth Solomon and John Solomon Please see the back of this book for other titles in the Choreography and Dance Studies series ANNA SOKOLOW THE REBELLIOUS SPIRIT Larry Warren ROUTLEDG Routledge E Taylor & Francis Group NEW YORK AND LONDON Copyright © 1998 OPA (Overseas Publishers Association) Amsterdam B.V. Published in Routledge Publishers. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any infor mation storage or retrieval system, without permission in writing from the pub lisher. Published by Routledge 711 Third Avenue, New York, NY 10017 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN British Library Cataloguing in Publication Data Warren, Larry Anna Sokolow: the rebellious spirit. -
Pentacle-40Th-Ann.-Gala-Program.Pdf
40 Table of Contents Welcome What is the landscape for emerging artists? Thoughts from the Founding Director Past & Current Pentacle Artists Tribute to Past Pentacle Staff Board of Directors- Celebration Committee- Staff Body Wisdom: Pentacle Celebrates Forty Years Tonight’s Program & Performers Event Sponsors & Donors Greetings Welcome Thank you for joining us tonight and celebrating this 40th Anniversary! In 1976 we opened our doors with a staff of four, providing what we called “cluster management” to four companies. Our mission was then and remains today to help artists do what they do best….create works of art. We have steadfastlyprovided day-to-day administration services as well as local and national innovative projects to individual artists, companies and the broader arts community. But we did not and could not do it alone. We have had the support of literally hundreds of arts administrators, presenters, publicists, funders, and individual supporters. So tonight is a celebration of Pentacle, yes, and also a celebration of our enormously eclectic community. We want to thank all of the artists who have donated their time and energies to present their work tonight, the Rubin Museum for providing such a beautiful space, and all of you for joining us and supporting Pentacle. Welcome and enjoy the festivities! Mara Greenberg Patty Bryan Director Board Chair Thoughts from the Founding Director What is the landscape for emerging dance artists? A question addressed forty years later. There are many kinds of dance companies—repertory troupes that celebrate the dances of a country or re- gion, exquisitely trained ensembles that spotlight a particular idiom or form—classical ballet or Flamenco or Bharatanatyam, among other classicisms, and avocational troupes of a hundred sorts that proudly share the dances, often traditional, of a hundred different cultures. -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
CMDE ARTISTIC STAFF Dance Company, and Following That She Choreographed for Shirley Ubell, Founder, Began Teach- Batsheva, Kibbutz Dance Company, and Lyric Theatre
Center for Modern Dance Education 50th Anniversary Gala Celebration! What Is Modern Dance? June 16, 2012 cmde50th.indd 1 6/11/12 11:08 AM ABOUT THE CENTER FOR MODERN DANCE EDUCATION Founded in 1962 by Shirley and Earl Ubell, the Center for Modern Dance Education (CMDE) is a non-profit organization whose mission is to promote modern dance and make it available to everyone; to nurture talent and instill confidence through quality teaching of modern dance and related art forms; and to serve as a resource for the professional dance community. CMDE’s principles of dance training include small classes, highly-qualified faculty, emphasis on the individual, and frequent chances to perform. CMDE believes that a dancer lives within every human being and seek to help every student develop that dancing self. CMDE is dedicated to bringing the joy of dance to everyone, including individuals with disabilities, youth at-risk, older adults, and people from disadvantaged circumstances. In our classes, both serious students and those who dance for fun, fitness, and relaxation can find exactly what they need. Center for Modern Dance Education 29th Annual Danceathon and 50th Anniversary Gala Celebration June 16th 2012 Fair Lawn Community Theatre 10-10 20th Street, Fair Lawn NJ Student Danceathon Performances at 12:00 PM and 2:00 PM Gala Concert and Reception at 6:00 PM Directed by Elissa Machlin-Lockwood Sound & Light Technicians: Bill Otten & Jackie Klein Class photos by Stacy Muir Lespinass Illustration by Marilyn “Mikki” Machlin This program is made possible by funding from the New Jersey State Council on the Arts / Department of State, a Partner Agency of the National Endowment for the Arts. -
“A True Original.” Jennifer Dunning, the New York Times
“A True Original.” Jennifer Dunning, The New York Times Contact Chris Elam / Misnomer Dance Theater 588 10th Street, Suite 4 Brooklyn, NY 11215 917-602-0478 [email protected] Video clips & Info. www.misnomer.org Founded in 1998 by choreographer Chris Elam, Misnomer Dance Theater is a six-person modern dance company that finds hope, humor, and absurdity in peoples’ efforts to relate to one another. Whether between adolescent sisters, estranged lovers, animalistic creatures, or abstract beings, Elam devises meaningful exchanges, sometimes producing poignant and awkward tenderness, at other moments resulting in fiercely dismal misunderstandings. Elam uses physical illusions as a tool to investigate personal and group transforma- tion: an arm sprouts out of an ear, a person becomes an ostrich, five dancers appear to share a single head. Assertive contact partnering in which dancers climb upon each other to form improbable human architectures serves to fuse performers into unusual entities. With commissions in Indonesia, Cuba, Brazil, Turkey, and Suriname, Elam approaches dance from the perspectives of an ethnographer as well as a choreographer. His study of traditional dances informs the technical and conceptual complexity of his modern-minded choreography. Drawing from his extensive training in both traditional Balinese and Modern Dance, Elam’s choreography integrates the angular, quick- action style of Balinese dance with his own broken-flow modern movement. The Village Voice’s Elizabeth Zimmer writes about his invented vocabulary, “Fusion -
Master Document National Register of Historic Places Nomination Form
Master Document National Register of Historic Places Nomination Form The Burgess-Osborne Memorial Auditorium 1701 Wabash Avenue Mattoon, Illinois Prepared by Stephen A. Thompson Intrepid Consulting Services, Inc. April 2018 Executive Summary The following document is the master National Register of Historic Places (NRHP) nomination form submitted in a draft configuration to the Illinois State Historic Preservation Officer on 04 August 2017 for the 1953 Burgess-Osborne Memorial Auditorium (the Burgess) located at 1701 Wabash Avenue, Mattoon, Illinois. This NRHP document addresses the social and architectural significance of the Burgess and is an expansion of the 2013 Coles County List of Significant Places document generated for local landmarking of the Burgess. A related social sub-context addressed in detail in Appendix A of Section 8 is the role the Burgess played in the regional 1950s and 1960s pop music culture, with emphasis on the teen dances/concerts held at the facility and the bands that played there. The research of the associated contexts and the preparation of the nomination form were undertaken by Stephen A. Thompson of Intrepid Consulting Services, Inc., Carolyn Cloyd and Joyce St. Michael, members of the Coles County Historic Preservation Advisory Council, assisted with research and preparation of the National Register documentation. The Coles County Historic Preservation Advisory Council is an historic preservation advisory body under the Coles County Regional Planning & Development Commission, which reports to the Coles County Board. After thorough research and evaluation it has been determined that the Burgess is eligible for listing on the NRHP in that it: 1. Is locally significant under NRHP Criterion A, “…events that have made a significant contribution to the broad patterns of our history.” 2.