Martha Graham at the Library
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Planning for Interactive Read-Aloud: Text Sets Across the Year—Grade Five BIOGRAPHY RELATIONSHIPS WITH OTHERS PIONEER LIFE NOVEL—HISTORICAL FICTION POETRY # Abe Lincoln Remembers # Nobiah’s Well (Guthrre) # Red Flower Goes West (Turner) # The Bronze Bow (Speare) # Been to Yesterday (Hopkins) (Turner) # The Orphan Boy (Mollel) # Cassie’s Journey (Harvey) # Extra Innings (Hopkins) # Thomas Jefferson (Giblin) # Nadia’s Hands (English) # My Prairie Year (Harvey) # Bronx Masquerade (Grimes) # The Amazing Life of Benjamin # Smoky Night (Bunting) # What You Know First Franklin (Giblin) # The Bat Boy and His Violin (MacLachlan) # Ella Fitzgerald: The Tale of a (Curtis) # Sod Houses on the Great Plains Vocal Virtuoso (Pinkney) (Rounds) # # EPTEMBER Duke Ellington: The Piano Prairie Primer A to Z (Stutson) /S Prince and His Orchestra # Josepha: A Prairie Boy’s Story (Pinkney) UGUST (McGugan) A # Snowflake Bentley (Briggs) # The Story of Ruby Bridges (Coles) # Game Day (Root) # Mandela: From the Life of the South Africa Statesman (Cooper) MEMORABLE LANGUAGE INFORMATIONAL REVOLUTIONARY WAR ECOLOGY/NATURE NOVEL—REALISTIC FICTION # Going Back Home: An Artist # The Top of the World (Jenkins) # Redcoats and Petticoats # Cave (Siebert) # Flying Solo (Fletcher) Returns to the South (Igus) # The Snake Scientist (Kilpatrick) # Sugaring Time (Lasky) # # The Wagon (Johnston) (Montgomery) Katie’s Trunk (Turner) # Three Days on a River in a Red POETRY # Now Let Me Fly (Johnson) # A Desert Scrapbook Dawn to # Shh! We’re Writing the Canoe (Williams) # Ordinary -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry
9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry. No.1 - September 5, 2011 Dear Lori: I am grateful to Ryoko Kudo, Maxine Steinman and our MSU dancers for opening the doors to the studio in Life Hall last week and welcoming me to sit in on three sessions of the setting of excerpts from There is a Time (1956) by Jose Limon. They worked on “Opening Circle,” “Plant and Reap,” “Mourn,” “Laugh and Dance,” and “Hate & War.” Reviewing and editing my on-site notes, I recalled a helpful observation by Doris Humphrey in The Art of Making Dances with regard to this work. She writes, “There is a Time states its thematic material in the opening section and builds all the rest of its many parts on variations of the same movements. Unfortunately, this escapes most people; what they see is a suite form, contrasted ideas of dramatic or lyric significance. This is because the eye is not sufficiently trained to remember movement themes, and will usually miss them completely.” Indeed, the fact that the original title of There is a Time was Variations on a Theme came through powerfully during these sessions. Ryoko’s precisely-planned and at the same time intuitively- executed method was the embodiment of Limon’s preliminary concept notes for the dance, when he said that “the community…form[s] a very close circle which pulsates symbolizing an ovum or womb in travail…[T]he large circle…symbolize[s] time – the great continuity – eternal, unbroken…without hurry and without end.” I was also mindful of a point that Carla Maxwell made in an interview with The New York Times ten years ago about classic modern dance: “What's indispensable is a consistent point of view that relates to the times,'' she said. -
16- PR-Marthagraham
! FOR IMMEDIATE RELEASE September 28, 2016 Media Contact: Dance Affiliates Anne-Marie Mulgrew, Director of Education & Special Projects 215-636-9000 ext. 110, [email protected] Carrie Hartman Grimm & Grove Communications [email protected] Editors: Images are available upon request. The legendary Martha Graham Dance Company makes a rare Philadelphia appearance with four Graham’s classics including Appalachian Spring November 3-6 (Philadelphia, PA) One of America’s most celebrated and visionary dance troupes, the Martha Graham Dance Company (MGDC), returns to Philadelphia after a decade on the NextMove Dance Series, November 3-6 in six performances at the Prince Theater, 1412 Chestnut Street. Named by Time Magazine as the “Dancer of the Century,” founder/choreographer Martha Graham has left a deep and lasting impact on American art and culture through her repertoire of 181 works. The program includes Graham’s masterworks Appalachian Spring, Errand into the Maze, Dark Meadow Suite and a re- imaging of Graham’s poignant solo Lamentation in Lamentation Variations by contemporary choreographers. Performances take place Thursday, November 3 at 7:30pm; Friday, November 4 at 8:00pm; Saturday, November 5 at 2:00pm and 8:00 pm; and Sunday, November 6 at 2:30pm and 7:30pm. Tickets cost $20-$60 and can be purchased in person at the Prince Theater box office, by phone 215-422-4580 or online http://princetheater.org/next-move. Opening the program is Dark Meadow Suite (2016), set to Mexican composer Carlos Chavez’s music. Artistic Director Janet Eilber rearranged highlights from one of Graham’s most psychological, controversial, and abstract works. -
1 Engaging Minds, Informing Practice Tutors and Presenters Alice White, MA, BA (Hons) Embracing Social Media Alice Graduated
Engaging Minds, Informing Practice Tutors and Presenters Alice White, MA, BA (Hons) Embracing Social Media Alice graduated from Trinity Laban Conservatoire of Music and Dance in 2015 with a First Class Honours degree in Contemporary Dance, and went on to gain an MA in Dance Performance at the University of Chichester. Currently the Lead Press and Communications Officer at the Royal Academy of Dance, Alice has previously worked in marketing and communications at organisations such as Trinity Laban and The Place, gaining an in depth and confident understanding of social media strategy. Amelia Wilkinson, MSc Physiotherapy (pre-reg), MSc Dance Science, BA (Hons) Sociology, APPI certified Pilates Instructor Enhancing Silver Swans® Provision Amelia originally trained as a dancer at The Royal Ballet School and is now a dance science educator, physiotherapist and Pilates instructor. Her expertise in health and wellbeing is informed by both her dance for health and physiotherapy research. Most recently she examined community dwelling stroke survivors’ perceptions of upper limb dysfunction and its impact on quality of life. She currently works as a Health and Performance Enhancement Tutor across two Centre for Advanced Training programmes and delivers dance science CPD courses across the UK and internationally for the RAD. Caroline Palmer, ARAD (Dip. PDTC) Analysing Discovering Repertoire Choreographic Style with Benesh Notation Caroline trained in classical ballet in London with Andrew Hardie and Maria Fay. She danced professionally for 10 years mainly with the Deutsche Opera in Dusseldorf. In 1979 Caroline retrained as a teacher at the Royal Academy of Dance and subsequently taught on the degree course at Laban, London. -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
Rudolf Laban in the 21St Century: a Brazilian Perspective
DOCTORAL THESIS Rudolf Laban in the 21st Century: A Brazilian Perspective Scialom, Melina Award date: 2015 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 Rudolf Laban in the 21st Century: A Brazilian Perspective By Melina Scialom BA, MRes Thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2015 Abstract This thesis is a practitioner’s perspective on the field of movement studies initiated by the European artist-researcher Rudolf Laban (1879-1958) and its particular context in Brazil. Not only does it examine the field of knowledge that Laban proposed alongside his collaborators, but it considers the voices of Laban practitioners in Brazil as evidence of the contemporary practices developed in the field. As a modernist artist and researcher Rudolf Laban initiated a heritage of movement studies focussed on investigating the artistic expression of human beings, which still reverberates in the work of artists and scholars around the world. -
BTC Catalog 172.Pdf
Between the Covers Rare Books, Inc. ~ Catalog 172 ~ First Books & Before 112 Nicholson Rd., Gloucester City NJ 08030 ~ (856) 456-8008 ~ [email protected] Terms of Sale: Images are not to scale. All books are returnable within ten days if returned in the same condition as sent. Books may be reserved by telephone, fax, or email. All items subject to prior sale. Payment should accompany order if you are unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. Institutions will be billed to meet their requirements. We accept checks, VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PayPal. Gift certificates available. Domestic orders from this catalog will be shipped gratis via UPS Ground or USPS Priority Mail; expedited and overseas orders will be sent at cost. All items insured. NJ residents please add 7% sales tax. Member ABAA, ILAB. Artwork by Tom Bloom. © 2011 Between the Covers Rare Books, Inc. www.betweenthecovers.com After 171 catalogs, we’ve finally gotten around to a staple of the same). This is not one of them, nor does it pretend to be. bookselling industry, the “First Books” catalog. But we decided to give Rather, it is an assemblage of current inventory with an eye toward it a new twist... examining the question, “Where does an author’s career begin?” In the The collecting sub-genre of authors’ first books, a time-honored following pages we have tried to juxtapose first books with more obscure tradition, is complicated by taxonomic problems – what constitutes an (and usually very inexpensive), pre-first book material. -
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. -
Classy City: Residential Realms of the Bay Region
Classy City: Residential Realms of the Bay Region Richard Walker Department of Geography University of California Berkeley 94720 USA On-line version Revised 2002 Previous published version: Landscape and city life: four ecologies of residence in the San Francisco Bay Area. Ecumene . 2(1), 1995, pp. 33-64. (Includes photos & maps) ANYONE MAY DOWNLOAD AND USE THIS PAPER WITH THE USUAL COURTESY OF CITATION. COPYRIGHT 2004. The residential areas occupy the largest swath of the built-up portion of cities, and therefore catch the eye of the beholder above all else. Houses, houses, everywhere. Big houses, little houses, apartment houses; sterile new tract houses, picturesque Victorian houses, snug little stucco homes; gargantuan manor houses, houses tucked into leafy hillsides, and clusters of town houses. Such residential zones establish the basic tone of urban life in the metropolis. By looking at residential landscapes around the city, one can begin to capture the character of the place and its people. We can mark out five residential landscapes in the Bay Area. The oldest is the 19th century Victorian townhouse realm. The most extensive is the vast domain of single-family homes in the suburbia of the 20th century. The grandest is the carefully hidden ostentation of the rich in their estates and manor houses. The most telling for the cultural tone of the region is a middle class suburbia of a peculiar sort: the ecotopian middle landscape. The most vital, yet neglected, realms are the hotel and apartment districts, where life spills out on the streets. More than just an assemblage of buildings and styles, the character of these urban realms reflects the occupants and their class origins, the economics and organization of home- building, and larger social purposes and planning. -
Files Events/Artists
Files events/artists ____________________________________________________________________________________________ tuesday 16 > sunday 21 april 3 pm > 9 pm Garage Pincio tuesday 16 april 6 pm opening Marcel Türkowsky/Elise Florenty (D/F) We, the frozen storm audio-visual installation production Xing/Live Arts Week with the collaboration of Bologna Sotterranea/Associazione Amici delle Vie d'Acqua e dei Sotterranei di Bologna We, the frozen storm is the title of the new and site-specific installation conceived for the evocative spaces of the tunnels of the Pincio shelter, under the Montagnola Park. The title is inspired by Bildbeschreibung (Explosion of memory/description of an image) by Heiner Muller. " What could be the travel from the self to the other? Imagine to face portraits of characters that carry multidentity-stories: from the old to the new world, from the factual to the fictional, from the undead past to the speculative future. A delirium embracing the cosmic world. This travel will be colorful, hypnotic, engaging, pushing the spectator into unconscious meandering and disorientation." For their first exhibition in Italy, Florenty and Türkowsky have composed a work made up of video projections, sounds, glows and shadows, marking an important first step in the research currently underway after the great project Through Somnambular Laws (2011) toward a new series of works. Elise Florenty & Marcel Türkowsky. Since the beginning of their collaboration in 2005 Elise Florenty - with a background in visual arts and film - and Marcel Türkowsky - with a background in philosophy, ethnomusicology and, later, visual art – have shared their passion for the power of language through songs, writing and instructions. -
Hart Crane's Neo-Symbolist Poetics" (2006)
CORE Metadata, citation and similar papers at core.ac.uk Provided by Scholar Commons | University of South Florida Research University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2006 "Mingling Incantations": Hart Crane's Neo- Symbolist Poetics Christopher A. Tidwell University of South Florida Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Tidwell, Christopher A., ""Mingling Incantations": Hart Crane's Neo-Symbolist Poetics" (2006). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/2727 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. "Mingling Incantations": Hart Crane's Neo-Symbolist Poetics by Christopher A. Tidwell A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Richard Dietrich, Ph.D. John Hatcher, Ph.D. Roberta Tucker, Ph.D. Date of Approval: March 31, 2006 Keywords: french symbolism, symbolist poetry, modern poetry, influence, metaphor © Copyright 2006 , Christopher A. Tidwell Table of Contents Abstract ii Introduction: The Symbolist Aesthetic 1 Chapter One: Hart Crane and His Literary Critics 29 Chapter Two: T. S. Eliot, Hart Crane, and Literary Influence 110 Chapter Three: Baudelaire, Rimbaud, Crane 133 Chapter Four: Mallarmé and Crane’s Neo-Symbolist Poetics 148 Works Cited 164 Bibliography 177 About the Author End Page i “Mingling Incantations”: Hart Crane’s Neo-Symbolist Poetics Christopher A.