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U.S. Facing Battle Over Castro Issue
Weather Distribution Temperature at 7 a.m., » Today degrees. Fair today, tonight FED BANK mad tomorrow. Temperature io »'«today;, low tonight 21. High 18,900 tomorrow In »'«. Thursday continued fair not M wld. See m>HDArTniiovcnrnDAY-trr. an / weather, page 7. _ ; y Dial SH I-0010 Issued dlllr, Uond«r tCf 7rU»r. i»ogna CI111 Po»t««i RED BANK, N. J., TUESDAY, JANUARY 23, 1962 7c PER COPY PAGE ONE VOL. 84, NO. 146 Paid It Red But aol tt Addition!! Maillni OKIcei. Compromise Agreement Decision Due U.S. Facing Battle On H&M Plan TRENTON (AP) - The year- location would be on the site ol long battle between New York the present H&M terminal. and New Jersey over purchase ol Hughes said (he world trade Over Castro Issue the Hudson & Manhattan- Rail- center would now cost much less road and construction of a world than originally planned, reducing rade center appeared near set- the imbalance in benefits to the lement today. two states. The projects, to be carried out Fund Increase Accord by the Port of New York Author- The amount of money the Port ity, could run close to half a bil- Authority would put into the H&M ion dollars. would be substantially increased Gov. Richard J. Hughes said over the original $85 million. Formula he would present a compromise Hughes said the compromise agreement to New Jersey legis- plan does not include a rail line lators Thursday. The plan, he to Newark Airport, as proposed said, has "substantial agree- (See DECISION, Page 2) Sought ment" among New York officials, The New Jersey governor PUNTA DEL ESTE, Uru- would not spell out details of the guay (AP) — The United ITALIAN POLICEMEN guard wreckage of Communist new plan during a news confer- Building States fought an uphill bat- Bulgarian jat fighter carrying an aerial reconnaistanco ence yesterday. -
Darkemu-Program.Pdf
1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers. -
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. -
2008, WDA Global Summit
World Dance Alliance Global Summit 13 – 18 July 2008 Brisbane, Australia Australian Guidebook A4:Aust Guide book 3 5/6/08 17:00 Page 1 THE MARIINSKY BALLET AND HARLEQUIN DANCE FLOORS “From the Eighteenth century When we come to choosing a floor St. Petersburg and the Mariinsky for our dancers, we dare not Ballet have become synonymous compromise: we insist on with the highest standards in Harlequin Studio. Harlequin - classical ballet. Generations of our a dependable company which famous dancers have revealed the shares the high standards of the glory of Russian choreographic art Mariinsky.” to a delighted world. And this proud tradition continues into the Twenty-First century. Call us now for information & sample Harlequin Australasia Pty Ltd P.O.Box 1028, 36A Langston Place, Epping, NSW 1710, Australia Tel: +61 (02) 9869 4566 Fax: +61 (02) 9869 4547 Email: [email protected] THE WORLD DANCES ON HARLEQUIN FLOORS® SYDNEY LONDON LUXEMBOURG LOS ANGELES PHILADELPHIA FORT WORTH Ausdance Queensland and the World Dance Alliance Asia-Pacific in partnership with QUT Creative Industries, QPAC and Ausdance National and in association with the Brisbane Festival 2008 present World Dance Alliance Global Summit Dance Dialogues: Conversations across cultures, artforms and practices Brisbane 13 – 18 July 2008 A Message from the Minister On behalf of our Government I extend a warm Queensland welcome to all our local, national and international participants and guests gathered in Brisbane for the 2008 World Dance Alliance Global Summit. This is a seminal event on Queensland’s cultural calendar. Our Government acknowledges the value that dance, the most physical of the creative forms, plays in communicating humanity’s concerns. -
21, 1962 #Ry Thur»Ttt»Y 82 P———10 C—To Ice of the Peopi Rep
THE WESTFIELD LEADER THB UUDDTO AND MOST WDHU.Y fBOULATBD WIMttY HBWIPAPIl W 0WOJI OOO1TTT I'UblJshtHl SNTY-SECOND YEAB^-No. 26 WESTFIELD, NEW JERSKY, WEDNESDAY, FEBRUARY 21, 1962 #ry Thur»ttt»y 82 P———10 C—to Ice of the PeopI Rep. Dwyer Enters Newsletters By Young Journalist [Democracy At Work Bid for Primary, Coe Gets Fourth Term Offer Eye Views Of Europe, Asia With this issue, the "Leader" For more than a year, she School In Town Meetings begins a series of ten articles by served as press secretary at the COP Congresswoman a young Westfield free-lance jour- Iranian Embassy in Washington {Two thorny problems for which proposed solutions have met with Pledges to Press nalist, Winifred. Baumer, who will where she was editor of the Em- ance from the citizens were faced headon Saturday morning in write from Paris, Vienna, Yugo- bassy's bi-monthly magazine, "Thc Party Interests slavia. Turkey and Iran. Iran Review." Early last Novem- Post uncil Chambers at separate public hearings. Miss Baumer, daughter of Mr.ber, she began her present tour [The purpose of the meetings—to present council's plan in detail Union County Congresswoman and Mrs. William H. Baumer of of Europe and the Near East. leloeation of the Town Yard—to present the Board of Education's Florence P. Dwyer, considered one 601 St. Marks avenue, writes from Her initial article "Letter from Dr. Rhoda Is Elected 1st for an expanded play area for McKinley School pupils and to of the strongest vote-getters among experiences unusual in one barely Europe" follows: e tenor of the feelings on both from those most affected, the House Republicans, today an- into her twenties. -
Royal Academy of Dance Welcomes a New Era Under the Leadership of a New Australian National Director - Rebecca Taylor
PRESS RELEASE ROYAL ACADEMY OF DANCE WELCOMES A NEW ERA UNDER THE LEADERSHIP OF A NEW AUSTRALIAN NATIONAL DIRECTOR - REBECCA TAYLOR • Rebecca Taylor joins the RAD following 12 years at the Sydney Opera House • New National Director takes the reins on the eve of the RAD’s Centenary • Rebecca Taylor pledges to lead RAD Australia to achieve its goals as one of Australia’s pre-eminent dance organisations • Rebecca Taylor announces three prestigious awards for Australian RAD members The Royal Academy of Dance (RAD) has welcomed a new National Director to lead its operations in Australia on the eve of a new era for the Academy. Rebecca Taylor succeeds Bronwyn Watkins, the longest serving National Director (29 years) of the RAD in Australia, which is the largest RAD national office outside London. Rebecca Taylor joins the RAD following 12 years in a variety of roles at the Sydney Opera House and before that as a professional dancer. Her leadership qualities and strategic background have made her a key recruitment for the Academy as it prepares to celebrate 100 years globally in 2020. RAD Chief Executive Luke Rittner said: “Rebecca Taylor was an outstanding candidate for the post of National Director of the Royal Academy of Dance in Australia, and she takes on the leadership of the Academy at a key moment in our history as we approach our centenary in 2020. Rebecca has a passion for dance and brings with her a wealth of experience and expertise gained during a highly successful career, both as a professional dancer and in senior posts in arts administration. -
Study Dance at the Western Australian Academy of Performing Arts
DANCE CLASSICAL BALLET WAAPA’s Dance programs are intensive, with students CUA51520 - DIPLOMA OF PROFESSIONAL averaging 35-40 contact hours per week. Daily DANCE (ELITE PERFORMANCE) tuition from our professional teaching staff focuses on Duration: 1 year, full-time building technical excellence, while three performance seasons per year give students the opportunity to refine their skills by working with visiting national and This nationally recognised qualification is the first year international choreographers. of the vocational dance program which leads into the Advanced Diploma of Professional Dance (Elite Repertoire includes works by: Nils Christe, Nacho Duato, Performance). It is a classical technique and Rafael Bonachela, Leigh Warren, Sasha Janes, Lauren performance focused course, providing intense Langlois, Claudia Alessi, Helder Seabra, Niv Marinberg, technical and practical experience through classes Richard Cilli, Scott Elstermann and Raewyn Hill. In 2020, and performance opportunities. we plan to continue our collaborative partnership • Students develop technical and creative skills in and exchange with the Pina Bausch Foundation, discipline areas of ballet, pointe, pas de deux, Wuppertal. repertoire, solos and performance. Our international exchange program offers • Additional studies include contemporary, opportunities to study in Taiwan, Hong Kong or New choreography, dance history, music for dance, yoga, York State and students also regularly participate in character dance, anatomy and nutrition. international tours to -
2.5: a Journey Towards Adolescence and an Aboriginal Dance Method
2.5: A Journey towards Adolescence and an Aboriginal Dance Method Michael Leslie A thesis in fulfillment of the requirements for the degree of Master of Fine Arts University of New South Wales Art and Design December 2016 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Leslie First name: Michael Other name/s: Abbreviation for degree as given in the University calendar: Master of Fine Arts School: Paddington Campus Faculty: Art & Design Title: 2.5: A Journey towards Adolescence and an Aboriginal Dance Method Abstract 350 words maximum: (PLEASE TYPE) This project records my history as an Aboriginal dancer who trainedboth in Australia and the USA. The end result of this history is a new Aboriginal Dance Method, which seeks a synthesis with African American dance, and other contemporary dance fonns. In describing This new fonn, is informed by Gamilaraay Language, culture, mammals, birds, reptiles, qualities, elements, moving, parts ofthe body, material culture, water, doing, places, times,and questions. The dance sequence will include contemporary techno music and theatreto synthesise and to explore this new dance typology via the use of 100 steps drawn fromthe Gamilaraay language. These 100 steps are the core creation ofthis Masters. Is it possible to synthesise into another essentially "Aboriginal Dance Method" modern European ballet, physical theatre,African American dance and both ancient and modernAboriginal dance types? The urban Aborigine is oftendivorced, like myself, fromtraditional initiation ceremony and hence cultural Rights of Passage. Loss ofritual and ceremony coupled with racism and no safeplace to exist in society, has generated a mark milestone of institutionalism or goal time as a mark of being a man. -
Gender Inequity in Achievement and Acknowledgment in Australian Contemporary Dance
Edith Cowan University Research Online Theses : Honours Theses 2009 Architects of the identity of dance: Gender inequity in achievement and acknowledgment in Australian contemporary dance Quindell Orton Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Dance Commons, and the Gender and Sexuality Commons Recommended Citation Orton, Q. (2009). Architects of the identity of dance: Gender inequity in achievement and acknowledgment in Australian contemporary dance. https://ro.ecu.edu.au/theses_hons/1331 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1331 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
2000 Dance Graduation Performance of Human Terrain Program Introduction
2000 Dance Graduation Performance Of Human Terrain Program Introduction In a world of multi-media and virtual reality, with its exciting potential for unimagined worlds to be developed, it is not Blood on the Moon accidental that the title of our 2000 Graduation Season is by Harold Collins MBE Of Human Terrain. Despite the advances of technology and the amazing differences it make to our lives, now more than ever, live human interaction and the achievements of the human body and spirit are being celebrated - as we INTERVAL have recently done in the Sydney Olympics, albeit for most 30 minutes of us via our television screens. Video in foyer Tonight you will see both digital and live dance. In the foyer Choreographers : John Utans I Lisa Wilson you can enjoy a continuous screening of solos danced by all Performed by AD1, AD2, BA1 /2/3 Performance our performance students, choreographed by John Utans Students and Lisa Wilson. Inside the theatre you will experience live performances by these same students. Unlike our first season Dance Bytes, which was an eclectic array of short pieces, the graduation season this year presents two Of Human Terrain substantial works by two experienced and acclaimed by Leigh Warren Australian choreographers. The first, in a classical style, is choreographed by Harold Collins, whose legacy to dance in Queensland is not to be underestimated. Most people understand the stringent requirements of classical ballet even if they do not attend it My thanks to the many talented artists and teachers who have regularly- the difficulty of standing 'en pointe', of maintaining worked with us throughout the year to train these graduates. -
Ausdance Queensland Inc. Annual Report 2017
AUSTRALIAN DANCE COUNCIL – AUSDANCE (QLD) INC Ausdance Queensland Inc. Annual Report 2017 Australian Dance Council Ausdance (Qld) Inc. 420 Brunswick Street Fortitude Valley Qld 40066 [email protected] www.ausdanceqld.org.au ABN 46 089 780 388 1 AUSTRALIAN DANCE COUNCIL – AUSDANCE (QLD) INC CONTENTS ABOUT AUSDANCE QUEENSLAND pg 3 FROM THE CHAIR/PRESIDENT pg 4 EXECUTIVE DIRECTORS REPORT pg 6 AUSDANCE EDUCATORS QUEENSLAND pg 9 THANK YOU pg 11 ATTACHMENT – AUDITED FINANICAL REPORT YEAR END 2017 2 AUSTRALIAN DANCE COUNCIL – AUSDANCE (QLD) INC ABOUT AUSDANCE QUEENSLAND Mission Ausdance Queensland supports, informs and connects dance professionals, and inspires participation that enriches communities with dance. Vision The Queensland dance sector develops and thrives within an environment where artists can explore, excel and enjoy sustainable careers; communities can see and participate in dance; and where dance is Background The association was established in 1992 and provides professional advocacy and industry development for Queensland dance through strong local, regional, national and international networks. We work to bring recognition to the many roles that dance plays in the cultural life of Queensland and to maximise opportunities for practitioners. Our services and programs address the needs of dance artists at any stage of their careers, community dance practitioners, educators and the broader community in relation to dance. We are the state dance industry's primary advocate and advisory representative in regards to government policy, sector planning and industry initiatives. Ausdance Queensland is supported by the Queensland Government through Arts Queensland, part of the Department of Premier and Cabinet with four year organization funding for 2017 – 2019. -
The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality.