Dancing Fulbrighters 60 Years of Dance Exchanges on the New Zealand Fulbright Programme
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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. -
Sidetrekked; Issue #59; September, 2018
September 2018 SideTrekked - A publication of Science Fiction London - Issue #59 SideTrekked is the official journal of Science Fiction London ISSN 0715-3007 ISSN Canada Library and Archives Canada 395 Wellington Street Ottawa, Ontario K1A 0N4 All regular, public meetings are held at the Central Branch of the London Public Library 251 Dundas Street London, Ontario N6A 6H9 www.sflondon.ca www.facebook.com/ScienceFictionLondon [email protected] The front cover image was created by Andrey Kiselev and was obtained via www.123rf.com . The back cover image was created by 'algolonline' and was also obtained via www.123rf.com. This edition was edited by Stephanie Hanna and Mark Ambrogio. Club Executive Mark C. Ambrogio, president Stephanie Hanna, vice-president Terry Brown, secretary & library liaison Reinhardt Christiansen, webmaster Doug McKay, treasurer page 3 Domain Names and Why They Matter Editors' Note: Recently, Science Fiction London renewed its domain name. We thought folks might be interested to know the history of the club's domain name, why we have a domain name, and some information on domain names in general. Thanks to Reinhardt (our webmaster) for putting together this article! A domain name is essentially a string of letters that tells someone where to go to find a given website. It is not an actual address in the same way 251 Dundas Street, London, Ontario is, but it is a unique identifier that can be looked up by your computer to determine the actual address. Just as we typically say "the Library" to refer to the London Public Library, Central Branch, http://sflondon.ca is a short, human-friendly way to refer to the Science Fiction London website. -
Feminist Scholarship Review: Women in Theater and Dance
Trinity College Trinity College Digital Repository Feminist Scholarship Review Women and Gender Resource Action Center Spring 1998 Feminist Scholarship Review: Women in Theater and Dance Katharine Power Trinity College Joshua Karter Trinity College Patricia Bunker Trinity College Susan Erickson Trinity College Marjorie Smith Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/femreview Part of the Feminist, Gender, and Sexuality Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Power, Katharine; Karter, Joshua; Bunker, Patricia; Erickson, Susan; and Smith, Marjorie, "Feminist Scholarship Review: Women in Theater and Dance" (1998). Feminist Scholarship Review. 10. https://digitalrepository.trincoll.edu/femreview/10 Peminist Scfiofarsliip CR§view Women in rrlieater ana(])ance Hartford, CT, Spring 1998 Peminist ScfioCarsfiip CJ?.§view Creator: Deborah Rose O'Neal Visiting Lecturer in the Writing Center Trinity College, Hartford, Connecticut Editor: Kimberly Niadna Class of2000 Contributers: Katharine Power, Senior Lecturer ofTheater and Dance Joshua Kaner, Associate Professor of Theater and Dance Patricia Bunker, Reference Librarian Susan Erickson, Assistant to the Music and Media Services Librarian Marjorie Smith, Class of2000 Peminist Scfzo{a:rsnip 9.?eview is a project of the Trinity College Women's Center. For more information, call 1-860-297-2408 rr'a6fe of Contents Le.t ter Prom. the Editor . .. .. .... .. .... ....... pg. 1 Women Performing Women: The Body as Text ••.•....••..••••• 2 by Katharine Powe.r Only Trying to Move One Step Forward • •.•••.• • • ••• .• .• • ••• 5 by Marjorie Smith Approaches to the Gender Gap in Russian Theater .••••••••• 8 by Joshua Karter A Bibliography on Women in Theater and Dance ••••••••.••• 12 by Patricia Bunker Women in Dance: A Selected Videography .••• .•... -
Towards Fatele Theology: a Contextual Theological Response in Addressing Threats of Global Warming in Tuvalu
Towards Fatele Theology: A Contextual Theological Response in Addressing Threats of Global Warming in Tuvalu A Thesis Submitted to the Faculty of Theology In Partial Fulfillment of the Requirements For The Degree of Master of Theology By Maina Talia Advisor: Prof, Dr. M.P. Joseph Tainan Theological College and Seminary Tainan, Taiwan May 2009 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 2009 Maina Talia ALL RIGHTS RESERVED ! ! ! ! ! ! This thesis is dedicated to the followings: My parents Talia Maina Salasopa and the late Lise Moeafu Talia, OBE. Mum, your fatele’s will remains as living text for the Tuvaluan generations in their search for the presence of the Divine. And my grandma Silaati Telito, in celebrating her 90th Birthday. ! ! i ACKNOWLEDGEMENT “So you also, when you have done everything you were told to do, should say, ‘We are unworthy servants; we have only done our duty.” (Luke 17:10) The completion of this thesis is not an individual achievement. Without the help of many, it would never have come to a final form. Because I was not endorsed by the Ekalesia Kelisiano Tuvalu, it remains dear to me. Rev. Samuelu Tialavea Sr the General Secretary of the Congregational Christian Church in American Samoa (CCCAS) offered his church’s sponsorship. I owe a big fa’afetai tele to the CCCAS and the Council for World Mission for granting me a scholarship. Fakafetai lasi kii to my thesis advisor Prof, Dr. M.P. Joseph great theologian, who helped me through the process of writing, especially giving his time for discussion. His constructive advice and words of encouragement contributed in many ways to the formation of fatele theology. -
Oloftha Vol Xxxn No
Georgia College Knowledge Box Colonnade Special Collections 1-19-1957 Colonnade January 19, 1957 Colonnade Follow this and additional works at: https://kb.gcsu.edu/colonnade Part of the Higher Education Commons, and the Mass Communication Commons Recommended Citation Colonnade, "Colonnade January 19, 1957" (1957). Colonnade. 499. https://kb.gcsu.edu/colonnade/499 This Book is brought to you for free and open access by the Special Collections at Knowledge Box. It has been accepted for inclusion in Colonnade by an authorized administrator of Knowledge Box. I?^**;?^:^;^?';:: •jy;/'-' immi 3I- 'r./';. I'... 1 1 / .. olofTha Vol XXXn No. 6 Qeorgia State CoUege for WomeiiiMilledgeville, Gepzj^d iSaturday, January 19,1957 Prdqram Presented l y 'Hamjef To Be Presented Jean Erdman, Dancer In Russell On Jan. 2 6 WUS WEEK TO BE HELD By Mary Jo Claxton By Alice Lavender Dean Donald MacMahon's Lec- Saturday Soiree will present ture Committee has brought an- "Hamlet", a movie with Lawrence other outstanding artist to the Olivier and Jean Simmons,' on Jan- campus for two days. On Tuesday, uary 26. / DURING MONTH OF FEB. January 15th at 8:00 p.m. in Rus- This motion picture, winner of sell Auditorium, Miss Jean Erd- 5 academy awards, is Shake- man presented a delightful pro- speare's immortal classic. LETTER RECEIVED gram of dances which she has The tragedy of Hamlet, a man of choreographed. The dances on the thought who failed as a man of FROM GREEK BOY program were: Salutation, Mozart; action, is magnificently brought to Passage, Janowitz; Ophelia, Cage; the screen in a widely acclaimed Each year a portion of the Creature on a Journey, Harrison; performance by one of the world's money given to the World Univer- Medusa, Horst;' Pierrot, the Moon- great actors. -
PRIMITIVE MUSIC of the WORLD Selected and Edited by Henry Cowell
ETHNIC FOLKWAYS LIBRARY Album # FE 4581 ©1962 by Folkways Records & Service Corp., 121 W. 47th St. NYC USA PRIMITIVE MUSIC OF THE WORLD Selected and Edited by Henry Cowell by Henry Cowell Usually, however, there are two, three, four or five different tones used in primitive melodies. Some peoples in different parts of the world live These tones seem to be built up in relation to under more primitive conditions than others, one another in two different ways; the most and in many cases their arts are beginning common is that the tones should be very close points. In the field of the art of sound there is together - a 1/2 step or closer, never more than a whole step. This means that the singer great variety to be found; no two people I s music is alike, and in some cases there is much com tenses or relaxes the vocal cords as little as plexity. In no case is it easy for an outsider to possible; instruments imitate the voice. The imitate, even when it seems very simple. other method of relationship seems to be de rived from instruments, and is the result of While all music may have had outside influence over-blowing on pipes, flutes, etc. From this at one time, we think of music as being primi is de.rived wide leaps, the octave, the fifth tive if no outside influence can be traced, or in and the fourth. These two ways are sometimes some cases where there is some influence from combined (as in cut #2 of flutes from New other primitive sources. -
Wellington Jazz Among the Discourses
1 OUTSIDE IN: WELLINGTON JAZZ AMONG THE DISCOURSES BY NICHOLAS PETER TIPPING A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2016 2 Contents Contents ..................................................................................................................................... 2 List of Figures ............................................................................................................................. 5 Abstract ...................................................................................................................................... 6 Acknowledgements .................................................................................................................... 8 Introduction: Conundrums, questions, contexts ..................................................................... 9 Sounds like home: New Zealand Music ............................................................................... 15 ‘Jazz’ and ‘jazz’...................................................................................................................... 17 Performer as Researcher ...................................................................................................... 20 Discourses ............................................................................................................................ 29 Conundrums ........................................................................................................................ -
News from the Jerome Robbins Foundation Vol
NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 6, NO. 1 (2019) The Jerome Robbins Dance Division: 75 Years of Innovation and Advocacy for Dance by Arlene Yu, Collections Manager, Jerome Robbins Dance Division Scenario for Salvatore Taglioni's Atlanta ed Ippomene in Balli di Salvatore Taglioni, 1814–65. Isadora Duncan, 1915–18. Photo by Arnold Genthe. Black Fiddler: Prejudice and the Negro, aired on ABC-TV on August 7, 1969. New York Public Library for the Performing Arts, Jerome Robbins Dance Division, “backstage.” With this issue, we celebrate the 75th anniversary of the Jerome Robbins History Dance Division of the New York Public Library for the Performing Arts. In 1944, an enterprising young librarian at The New York Public Library named One of New York City’s great cultural treasures, it is the largest and Genevieve Oswald was asked to manage a small collection of dance materials most diverse dance archive in the world. It offers the public free access in the Music Division. By 1947, her title had officially changed to Curator and the to dance history through its letters, manuscripts, books, periodicals, Jerome Robbins Dance Division, known simply as the Dance Collection for many prints, photographs, videos, films, oral history recordings, programs and years, has since grown to include tens of thousands of books; tens of thousands clippings. It offers a wide variety of programs and exhibitions through- of reels of moving image materials, original performance documentations, audio, out the year. Additionally, through its Dance Education Coordinator, it and oral histories; hundreds of thousands of loose photographs and negatives; reaches many in public and private schools and the branch libraries. -
National Endowment for the Arts Annual Report 1989
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, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
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H. P.: A Lost Dance of the Americas Lynn Garafola I n the history of American ballet, the years from 1917, when the Ballets Russes paid its last visit to the United States, to 1933, when the Ballet Russe de Monte Carlo paid its first and the chore- ographer George Balanchine landed in New York, are usually viewed as an artistic void. To be sure, scholars have found an occasional bright spot — Americana ballets such as Adolph Bolm s Krazy Kat (1922) and Ruth Page's The Flapper and the Quarterbach (1926); works of high European modernism such as Elizaveta Anderson-Ivantzova's Les Noces (1929) and Leonide Massine's Le Sacre du Printemps (1930). Still, compared to the research on early American modern dance, the paucity of writing about ballet during these years is striking. In part, this can be explained by the staying power of traditional narratives of American ballet history — above all, the idea that ballet in the United States derives almost wholly from Balanchine. However, the neglect also stems from the fact that many works of these years opened outside New York, were produced by musical organizations, received only a handful of performances, and were choreographed by women.1 Although all performance is ephemeral, these ballets seem to be unusually so. This was certainly the case of H. P. (Horse Power), an all-but-forgotten ballet with music by Carlos Chavez (fig. 1), designs by Diego Rivera, and choreography by Catherine Littlefield (fig. 2), which opened in Philadelphia in 1932. H. P. shares any number of characteristics with other ballets of this pre-Ballet Russe de Monte Carlo, pre-Balanchine period: the subject matter was American, the composer a modernist, and the choreographer a dancer at an early stage of her choreographic career. -
International Exchange in Dance Annual of Contemporary Dance Double Issue 3.50 1963 • 1964
7 INTERNATIONAL EXCHANGE IN DANCE ANNUAL OF CONTEMPORARY DANCE DOUBLE ISSUE 3.50 1963 • 1964 • • WW * Copyright 1963 by Impulse Publications, Inc. l^yyKA' \s<s y Inde x S. I. Hayakawa THE UNACKNOWLEDGED LEGISLATORS 5 Rhoda Kellogg THE BIOLOGY OF ESTHETICS 9 Adele Wenig "IMPORTS AND EXPORTS" —1700-1940 16 Walter Sorell SOL THE MAGNIFICENT 29 Arthur Todd DANCE AS UNITED STATES CULTURAL AMBASSADOR 33 Walter Sorell A FAREWELL AND WELCOME 44 RECENT "EXPORTS" 46 as told to Rhoda Slanger Jean Erdman Meg Gordeau Paul Taylor as told to Joanna Gewertz Merce Cunningham Ann Halprin Jerry Mander THE UNKNOWN GUEST 56 Isadora Bennett SECOND THOUGHTS 63 Letter from Thomas R. Skelton STAGING ETHNIC DANCE 64 Thomas R. Skelton BALLET FOLKLORICO 71 Antonio Truyol NOTES FROM THE ARGENTINE 73 Ester Timbancaya DANCE IN THE PHILIPPINES^ 76 Joanna Gewertz THE BACCHAE 80 Ann Hutchinson NOTATION — A Means of International Communication 82 in Movement and Dance QLA Margaret Erlanger DANCE JOURNEYS 84 SPONSORSHIP AND SUPPORT 88 t> Editor: Marian Van Tuyl Editorial Board: Doris Dennison, Eleanor Lauer, Dorothy Harroun, Ann Glashagel, Joanna Gewertz; Elizabeth Harris Greenbie, Rhoda Kellogg, David Lauer, Bernice Peterson, Judy Foster, Adele Wenig, Rhoda Slanger, Ann Halprin, Dorrill Shadwell, Rebecca Fuller. Production Supervision: Lilly Weil Jaffe ACKNOWLEDGMENTS: Cover design by David Lauer Photographs by courtesy of: San Francisco Chronicle 15 Harvard Theatre Collection 18, 19, 22, 23 Dance Collection: New York Public Library 21, 25, 26 Hurok Attractions, New York 29, 30, 31 Studio Roger Bedard, Quebec 31 Fay Foto Service, Inc., Boston 32 U.S. Information Service, Press Section, Photo Laboratory, Saigon, Vietnam 33 U.S. -
Choreography#5 : Performance Ed
de - archiving movement research : choreography#5 : performance ed. by Rose Breuss and Claudia Jeschke in cooperation with IDA research lab Francesca Falcone REFORMING DANCE JIA RUSKAJA AND THE ACCADEMIA NAZIONALE DI DANZA Rose Breuss AS IF THERE WERE A NEGATIVE IN THE ARCHIVE TEXTURES OF DOCUMENTATION: A CHOREOGRAPHIC SCORE ON GERTUD BODENEGGER ISBN 978-3-940388- 73-5 © Rose Breuss, Claudia Jeschke, epodium (München) Website: www.epodium.de EMail: [email protected] Alle Rechte vorbehalten/All rights reserved Covergestaltung: Drahtzieher Design & Kommunikaon, Wien Satz: Johannes Novohradsky epodium ist eine eingetragene Marke ISBN 9783940388735 Germany 2019 Reihe dearchiving movement Herausgeber: Rose Breuss, Claudia Jeschke Bibliografische Informaonen Der Deutschen Naonalbibliothek. Die Deutsche Naonalbibliothek verzeichnet diese Publikaon in der Deutschen Naonalbibliografie; detaillierte bibliografische Daten sind im Internet über hp://dnb.ddb.de abruar. Rose Breuss As If There Were a Negative in the Archive Textures of Documentation: A Choreographic Score on Gertrud Bodenwieser Linz, 2018 Choreography and historiography no longer uses the document as “inactive matter through which it attempts to reconstruct what humans have said or done, what is past and of what only a trace remains. It looks for determinations of units, quantities, series, relations in the textures of documentation as such.” 1 The following score applies this concept of documen- tation as a tool for dance specific praxeology, i.e. for artistic exploration and dancers´ agencies. 1 Foucault, Michel: Archäologie des Wissens, Frankfurt am Main 2015, Suhrkamp Verlag, 14. Table of Content P r e l i m i n a r y R e m a r k s / K e y 0: 0.1.