National Endowment for the Arts Annual Report 1991
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Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO
Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO 7 -9 July 2017 Tokyo, Japan Center for Glocal Studies (CGS), Seijo University and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Proceedings of the International Symposium on Glocal Perspectives on Intangible Cultural Heritage: Local Communities, Researchers, States and UNESCO 7 -9 July 2017 Tokyo, Japan Center for Glocal Studies (CGS), Seijo University and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Published by Center for Glocal Studies, Seijo University (CGS) Seijo 6-1-20, Setagaya-ku, Tokyo 157-8511, Japan E-mail: [email protected] website: http://www.seijo.ac.jp/research/glocal-center/ and International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) c/o Sakai City Museum, 2 Cho Mozusekiun-cho, Sakai-ku, Sakai City, Osaka 590-0802 Japan E-mail: [email protected] website: http://www.irci.jp © Center for Glocal Studies, Seijo University (CGS) © International Research Centre for Intangible Cultural Heritage in the Asia-Pacifi c Region (IRCI) Published on 30 November, 2017 Contents Foreword Wataru IWAMOTO and Tomiyuki UESUGI ………………………………………………………ⅳ Welcome Remarks Junichi TOBE …………………………………………………………………………………… 3 Opening Remarks 1.Tomiyuki UESUGI ……………………………………………………………………………… 4 2 .Wataru IWAMOTO………………………………………………………………………………… 6 3.Tim CURTIS ……………………………………………………………………………………… -
State of NYC Dance & Workforce Demographics 2016
PAGE 2 ACCESSIBILITY This document has been designed with a number of features to optimize accessibility for low vision scenarios and electronic screen readers: √ Digital Version: Alt text metadata has been added to describe all charts and images √ Digital Version: Alt text has also been duplicated as actual text captions for screen readers that do not read metadata and instead read what is visually seen on the screen (Note: This will result in redundancy for those using advanced screen readers, which read both.) √ Digital Version: The layout has been designed continuously and free of complex layouts in order to maintain a simple and consistent body flow for screen readers √ Digital Version: Page numbers are tagged to be ignored by screen readers so as to not interrupt information flow (and at the top of the page for other screen readers) √ Headlines and body introductions are set at 18 points, which is considered large print by the American Printing House for the Blind (APH) √ Body text is set at 14 points, which is considered enlarged by the APH √ Fine print and labels are set in heavier weights to increase readability √ High contrast has been maintained by using black, white, and APH-approved purple, blue, brown, and tan (for charts) √ Ample white space has been applied (to page margins and line spacing) to make pages more readable by providing contrast to the print and creating luminance around the text PAGE 3 TABLE OF CONTENTS 4 Acknowledgments 6 Testimony 8 Introduction 11 Study Sample & Methodology 14 Report Highlights 20 Snapshots & Trends Economics (Revenue, Expenses, Operating Margins) Dance maker Activity (Events, Attendance) Workforce 41 Workforce Demographics Geographies of the Dance Workforce Heritage, Ethnicity & Race Disability Age Gender LGBT Select Cross Tabulations 60 Call for Recommendations 67 Appendices DataArts Workforce Demographics Survey DataArts Blank Cultural Data Profile PAGE 4 ACKNOWLEDGMENTS Advisors Jody Gottfried Arnhold; Jonah Bokaer; Camille A. -
Program Notes by MARTIN BOOKSPAN
LIVE FROM LINCOLN CENTER March 24, 1999 8-10 PM New York City Opera: Lizzie Borden Program Notes by MARTIN BOOKSPAN "Lizzie Borden"- Music by Jack Beeson; libretto by Kenward Elmslie; based on a scenario by Richard Plant. World premiere given at New York City Opera, March 25, 1965. "Lizzie Borden took an ax, and gave her father forty whacks." This childhood rhyme may have passed from currency in the waning years of the twentieth century, but the event it memorialized was very much alive in the waning years of the nineteenth. Along with the likes of Paul Bunyan and Johnny Appleseed, Lizzie Borden of Fall River, Massachusetts, assumed legendary status in the American popular imagination. In some respects the situation seems to be a remarkable parallel to one with which we are all familiar, the O.J. Simpson affair. These are the facts: on August 4, 1892, the citizens of Fall River were shaken by the brutal murder of two of its most solid citizens, Andrew Borden and his wife, Abbie Gray Borden. The finger of suspicion soon pointed to Andrew Borden's thirty-three-year-old daughter, Elizabeth, known as Lizzie, an apparently demure and reserved gentlewoman. She testified at an inquest, but thereafter refused comment, even declining to testify in her own defense at the trial that ensued. The evidence arrayed against her seemed confused and even conflicting, and many in the community could not bring themselves to believe that she was guilty. Weak testimony in her favor was offered by her sister, Emma; in the final summation, these were the words of her chief defense attorney: "To find her guilty, you must believe she is a fiend. -
J Ohn F. a Ndrews
J OHN F . A NDREWS OBE JOHN F. ANDREWS is an editor, educator, and cultural leader with wide experience as a writer, lecturer, consultant, and event producer. From 1974 to 1984 he enjoyed a decade as Director of Academic Programs at the FOLGER SHAKESPEARE LIBRARY. In that capacity he redesigned and augmented the scope and appeal of SHAKESPEARE QUARTERLY, supervised the Library’s book-publishing operation, and orchestrated a period of dynamic growth in the FOLGER INSTITUTE, a center for advanced studies in the Renaissance whose outreach he extended and whose consortium grew under his guidance from five co-sponsoring universities to twenty-two, with Duke, Georgetown, Johns Hopkins, North Carolina, North Carolina State, Penn, Penn State, Princeton, Rutgers, Virginia, and Yale among the additions. During his time at the Folger, Mr. Andrews also raised more than four million dollars in grant funds and helped organize and promote the library’s multifaceted eight- city touring exhibition, SHAKESPEARE: THE GLOBE AND THE WORLD, which opened in San Francisco in October 1979 and proceeded to popular engagements in Kansas City, Pittsburgh, Dallas, Atlanta, New York, Los Angeles, and Washington. Between 1979 and 1985 Mr. Andrews chaired America’s National Advisory Panel for THE SHAKESPEARE PLAYS, the BBC/TIME-LIFE TELEVISION canon. He then became one of the creative principals for THE SHAKESPEARE HOUR, a fifteen-week, five-play PBS recasting of the original series, with brief documentary segments in each installment to illuminate key themes; these one-hour programs aired in the spring of 1986 with Walter Matthau as host and Morgan Bank and NEH as primary sponsors. -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
National Endowment for the Arts Annual Report 1990
National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report 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 for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................ -
The Concept of Self and the Other
Tel Aviv University The Yolanda and David Katz Faculty of the Arts Department of Theatre Studies The Realm of the Other: Jesters, Gods, and Aliens in Shadowplay Thesis Submitted for the Degree of “Doctor of Philosophy” by Chu Fa Ching Ebert Submitted to the Senate of Tel Aviv University April 2004 This thesis was supervised by Prof. Jacob Raz TABLE OF CONTENTS TABLE OF ILLUSTRATIONS................................................................................................vi INTRODUCTION...................................................................................................................... 1 ACKNOWLEDGEMENTS ....................................................................................................... 7 I. THE CONCEPT OF SELF AND THE OTHER.................................................................... 10 Introduction ............................................................................................................................ 11 The Multiple Self .................................................................................................................... 12 Reversal Theory...................................................................................................................... 13 Contextual Theory ................................................................................................................. 14 Self in Cross‐Cultural Perspective ‐ The Concept of Jen................................................... 17 Self .......................................................................................................................................... -
Catalina Parra
LUDLOW 38 Curatorial Residencies 38 Ludlow Street · New York 10002 · ☎ +1 212 228 6848 · [email protected] CATALINA PARRA May 22 – June 26, 2011 Reception for the artist: Sunday May 22, 1-6pm MINI/Goethe-Institut Curatorial Residencies Ludlow 38 is pleased to announce a solo show by Catalina Parra. For this exhibition Parra has selected works made between 1969 and today, stemming from extended periods in Germany, Chile, Canada and the United States. The exhibition opens with a series of crayon drawings executed by Parra at the beginning of her career near Lake Constance, Germany. Also presented are early collages and photographs including material that led to Parra’s contribution for Manuscritos (1975), the fi rst publication of art criticism after the Chilenean military coup of 1973. Relying on a variety of media including drawing, collage and fi lm, Parra has demonstrated an extraordinary sensibility towards the socio-political affairs that take place around us. As artist Coco Fusco outlined in a 1991 essay that was published in the catalogue for Parra’s solo show at the Intar Gallery, Parra “concentrates on the process of coming to terms with information that connotes something different than what it denotes.” With an aesthetic awareness that draws parallels to the work of Hannah Höch and John Heartfi eld, the artist repeatedly begins her constructions from newspaper advertisements to create hand-sewn collages and mixed media works. Her newspaper collages are executed in series form, each series containing multiple variations. The exhibition at Ludlow 38 features pieces from a number of these series including Coming your way (Banff, 1994), The Human touch (1989) and Here, there, everywhere (1992). -
Board of Trustees the City University of New York
BOARD OF TRUSTEES THE CITY UNIVERSITY OF NEW YORK BOARD COMMITTEE ON FACULTY, AGENDA STAFF AND ADMINISTRATION JUNE 7, 2017 I. ACTION ITEMS A. Approval of the Minutes of April 3, 2017 B. POLICY CALENDAR 1. Amendments to the Guidelines for Presidential Searches (I-B-1) 2. Amendments to the Charter for the Governance of Hunter College (I-B-2) 3. Amendment to the Governance Plan of Lehman College (I-B-3) 4. Naming of the Hannelore S. and Robert M. Bloch Commons at Hunter College (I-B-4) 5. Naming of the Elizabeth Hemmerdinger Screening Center at Hunter College (I-B-5) 6. Naming of the Dina Axelrad Perry Pool at Queens College (I-B-6) C. CHANCELLOR’S UNIVERSITY REPORT 1. Appointment of Anne Lopes as Interim Provost and Senior Vice President of Academic Affairs at John Jay College of Criminal Justice (I-C-1) 2. Appointment of Reza Fakhari as Vice President for Workforce Development and Strategic Community Partnerships at Kingsborough Community College (I-C-2) 3. Appointment of Nireata Seals as Interim Vice President for Student Affairs at LaGuardia Community College (I-C-3) 4. Appointment of Gregory Mosher as Professor of Theatre at Hunter College with Waiver of §6.2.b. of the Bylaws (I-C-4) 5. Appointment of Carla Shedd as Associate Professor of Urban Education at the CUNY Graduate School and University Center with Waiver of §6.2.b. of the Bylaws (I-C-5) 6. Appointment of Jacqueline Clark as Vice President for Finance and Administration at Medgar Evers College (I-C-6) II. -
The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music. -
Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date. -
Native American Poets and the Voices of History in the Present Tense
The Spirits Still Among Us: Native American Poets and the Voices of History in the Present Tense Sydney Hunt Coffin Edison/Fareira High School Overview Introduction Rationale Objectives Strategies Classroom Activites/Lesson Plans Annotated Bibliography/Resources Appendices/Standards Endnotes What is life? It is the flash of a firefly in the night. It is the breath of a buffalo in the wintertime. It is the little shadow that runs across the grass and loses itself in the sunset.1 Overview So spoke Crowfoot, orator of the Blackfoot Confederacy in 1890, above, on his deathbed. Even while this was not identified as poetry at the time, much of the wisdom of this Native American speaker comes across to readers poetically. Similarly, much of the poetry of Native American poets can be read simply as wisdom. Though there was a significant number of tribes, and a tremendous number of people at the time of the European invasion, each tribal language displays simultaneously a distinct identity as well as a variety of individual voices. However, the published poetry from native authors across the vast spectrum of tribal affiliations between the beginning and end of the 20th century reveal three unifying themes: (1) respecting a common reverence for the land from which each tribe came, through ceremonial poetry and songs; (2) respecting past traditions, including rituals, truths, and the words of one’s elders; and (3) expressing political criticism, even activism. Editor Kenneth Rosen writes “There may seem to be a great deal of distance between the Navajo Blessing Way chants and a contemporary poem about the confrontations at Wounded Knee, but it’s really not that far to go”.2 In fact, this curriculum unit around Native American poetry endeavors to keep pace with the ongoing experiences of native people, whose words continue to speak to the land, its mysteries, and its voice.