Characters & Space Program
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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. -
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. -
Dancing Into the Chthulucene: Sensuous Ecological Activism In
Dancing into the Chthulucene: Sensuous Ecological Activism in the 21st Century Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kelly Perl Klein Graduate Program in Dance Studies The Ohio State University 2019 Dissertation Dr. Harmony Bench, Advisor Dr. Ann Cooper Albright Dr. Hannah Kosstrin Dr. Mytheli Sreenivas Copyrighted by Kelly Perl Klein 2019 2 Abstract This dissertation centers sensuous movement-based performance and practice as particularly powerful modes of activism toward sustainability and multi-species justice in the early decades of the 21st century. Proposing a model of “sensuous ecological activism,” the author elucidates the sensual components of feminist philosopher and biologist Donna Haraway’s (2016) concept of the Chthulucene, articulating how sensuous movement performance and practice interpellate Chthonic subjectivities. The dissertation explores the possibilities and limits of performances of vulnerability, experiences of interconnection, practices of sensitization, and embodied practices of radical inclusion as forms of activism in the context of contemporary neoliberal capitalism and competitive individualism. Two theatrical dance works and two communities of practice from India and the US are considered in relationship to neoliberal shifts in global economic policy that began in the late 1970s. The author analyzes the dance work The Dammed (2013) by the Darpana Academy for Performing Arts in Ahmedabad, -
Today's Leading Exponent of (The) Legacy
... today’s leading exponent of (the) legacy. Backstage 2007 THE DANCER OF THE FUTURE will be one whose body and soul have grown so harmoniously together that the natural language of that soul will have become the movement of the human body. The dancer will not belong to a nation but to all humanity. She will not dance in the form of nymph, nor fairy, nor coquette, but in the form of woman in her greatest and purest expression. From all parts of her body shall shine radiant intelligence, bringing to the world the message of the aspirations of thousands of women. She shall dance the freedom of women – with the highest intelligence in the freest body. What speaks to me is that Isadora Duncan was inspired foremost by a passion for life, for living soulfully in the moment. ISADORA DUNCAN LORI BELILOVE Table of Contents History, Vision, and Overview 6 The Three Wings of the Isadora Duncan Dance Foundation I. The Performing Company 8 II. The School 12 ISADORA DUNCAN DANCE FOUNDATION is a 501(C)(3) non-profit organization III. The Historical Archive 16 recognized by the New York State Charities Bureau. Who Was Isadora Duncan? 18 141 West 26th Street, 3rd Floor New York, NY 10001-6800 Who is Lori Belilove? 26 212-691-5040 www.isadoraduncan.org An Interview 28 © All rights reserved No part of this publication may be reproduced without the written permission of the Isadora Duncan Dance Foundation. Conceived by James Richard Belilove. Prepared and compiled by Chantal D’Aulnis. Interviews with Lori Belilove based on published articles in Smithsonian, Dance Magazine, The New Yorker, Dance Teacher Now, Dancer Magazine, Brazil Associated Press, and Dance Australia. -
“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 -
'Standardized Chapel Library Project' Lists
Standardized Library Resources: Baha’i Print Media: 1) The Hidden Words by Baha’u’llah (ISBN-10: 193184707X; ISBN-13: 978-1931847070) Baha’i Publishing (November 2002) A slim book of short verses, originally written in Arabic and Persian, which reflect the “inner essence” of the religious teachings of all the Prophets of God. 2) Gleanings from the Writings of Baha’u’llah by Baha’u’llah (ISBN-10: 1931847223; ISBN-13: 978-1931847223) Baha’i Publishing (December 2005) Selected passages representing important themes in Baha’u’llah’s writings, such as spiritual evolution, justice, peace, harmony between races and peoples of the world, and the transformation of the individual and society. 3) Some Answered Questions by Abdul-Baham, Laura Clifford Barney and Leslie A. Loveless (ISBN-10: 0877431906; ISBN-13 978-0877431909) Baha’i Publishing, (June 1984) A popular collection of informal “table talks” which address a wide range of spiritual, philosophical, and social questions. 4) The Kitab-i-Iqan Book of Certitude by Baha’u’llah (ISBN-10: 1931847088; ISBN-13: 978:1931847087) Baha’i Publishing (May 2003) Baha’u’llah explains the underlying unity of the world’s religions and the revelations humankind have received from the Prophets of God. 5) God Speaks Again by Kenneth E. Bowers (ISBN-10: 1931847126; ISBN-13: 978- 1931847124) Baha’i Publishing (March 2004) Chronicles the struggles of Baha’u’llah, his voluminous teachings and Baha’u’llah’s legacy which include his teachings for the Baha’i faith. 6) God Passes By by Shoghi Effendi (ISBN-10: 0877430209; ISBN-13: 978-0877430209) Baha’i Publishing (June 1974) A history of the first 100 years of the Baha’i faith, 1844-1944 written by its appointed guardian. -
(BOP) Standardized Chapel Library Project Book List
Description of document: Federal Bureau of Prisons (BOP) Standardized Chapel Library Project book list Released date: October 2007 Posted date: 18_october-2007 Title of Document Standardized Library Resources, Standard Library, Standard Library Resources, Standard Library Project Source of document: Federal Bureau of Prisons 320 First St., NW Washington, DC 20534 202-307-3198. BOP's FOIA Service Center (FSC): (202) 616-7750 Notes: This list was designated as the only source for religious books permitted into prison libraries. All materials in federal prison libraries would be reviewed and if it wasn't on the agency-designated approved list, it would be tossed. The Bureau of Prisons has responded to heavy criticism and has pulled back somewhat on this practice. (17-Oct-2007) The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. Standardized Library Resources: Buddhism Print Media: I) Buddhist Religions: A Historical Introduction, by Richard H. Robinson, Willard L. Johnson, Thanissaro Bhikkhu, Wadsworth Publishing, ISBN: 0534558585,2004 (5 th ed.) An introductory book to Buddhism that covers the teachings and practices ofa wide range ofschools and traditions. -
City of Manchester Municipal Code
THE MANCHESTER MUNICIPAL CODE Prepared by the MUNICIPAL TECHNICAL ADVISORY SERVICE INSTITUTE FOR PUBLIC SERVICE THE UNIVERSITY OF TENNESSEE in cooperation with the TENNESSEE MUNICIPAL LEAGUE November 1998 Change 20 May 7, 2019 CITY OF MANCHESTER, TENNESSEE MAYOR Lonnie J. Norman VICE MAYOR Bill Nickels ALDERMEN Bob Bellamy Chris Elam Ryan P. French Marilyn Howard Mark Messick FINANCE DIRECTOR Bridget Anderson ii PREFACE The Manchester Municipal Code contains the codification and revision of the ordinances of the City of Manchester, Tennessee. By referring to the historical citation appearing at the end of each section, the user can determine the origin of each particular section. The absence of a historical citation means that the section was added by the codifier. The word "modified" in the historical citation indicates significant modification of the original ordinance. The code is arranged into titles, chapters, and sections. Related matter is kept together, so far as possible, within the same title. Each section number is complete within itself, containing the title number, the chapter number, and the section of the chapter of which it is a part. Specifically, the first digit, followed by a hyphen, identifies the title number. The second digit identifies the chapter number, and the last two digits identify the section number. For example, title 2, chapter 1, section 6, is designated as section 2-106. By utilizing the table of contents and the analysis preceding each title and chapter of the code, together with the cross references and explanations included as footnotes, the user should locate all the provisions in the code relating to any question that might arise. -
Jesse Manno Cv 2011 Music Skills/Specifications
JESSE MANNO CV 2011 1 MUSIC SKILLS/SPECIFICATIONS: -Versatile collaborator, composer and improviser with well honed “one man band” skills. -Audio Producer, recording, mixing and live sound Engineer/designer. -Multi-lingual vocalist with 3.5 octave range, multiple styles. Instruments played: Lutes (laouto, bouzouki, bağlama, divan sazı, cura, oud, 6 and 12 string guitar), Percussion (drum set, doumbek, riqq, tabla baladi, davul, djembe, djun djuns, conga), flutes, accordion, piano, electronics, laptop, field recordings, and objects not typically used for musical purposes. Recording Studio: 500 sf, iso room, Logic Pro, Steinway 1919 grand piano, 24 ch. digital mixer, MOTU firewire interface, Grace and API pre-amps, Korg and Kurzweil synths. AKG, Røde and Chameleon mics. Foriegn languages: French (fluent with faults), Turkish (basic), Indonesian, Spanish, Italian (limited). COMMISSIONED SCORES/EVENTS for dance/theatre/film (partial list): Utopia Parkway 70 min. multimedia homage to visual artist Joseph Cornell directed by dance improvisation artists/choreographers Chris Aiken and Angie Hauser, with co-musician Ty Burhoe, premeired at Dance Center Columbia College, Chicago, IL, 2011. Come To Your Senses Closing event for the 16th annual Los Angeles Art Show, with aerial dance artists The Stebens Twins, Turning The Wheel, Timothy Yarger Fine Art. Cooper Design Space, L.A., 2011. Come, and Back Again Music director, arranger, performer, 12 min. dance theater piece exploring the work of Patti Smith. Choreographed and directed by David Dorfman, Bates Dance Festival, Maine, 2011. I, Disappear 12 min. modern dance work for laptop, Turkish Saz, and vocals, choreographed by Michael Foley. Commissioned by Bates Dance Festival, Bates College, Maine, 2010. -
Social Media, Video Footage, and the Law
Social Media, Video Footage, and the Law: What performing arts managers need to know Ticketing Software Satisfaction Survey March 2010 Technology in the Arts | www.technologyinthearts.org Technology in the Arts explores the intersection of arts management and technology to spark dialogue around the role of technology in our planning and programming, share best practices, and provide training in the use of online tools. Our services include consulting, professional development training, webinars, an online resource directory, monthly podcasts, and a discussion-based blog. Center for Arts Management and Technology | camt.artsnet.org Technology in the Arts is a series of services from the Center for Arts Management and Technology (CAMT), an applied research center at Carnegie Mellon University exploring ways in which arts managers can employ online technologies to more effectively meet their organizational goals and engage audiences. 2010 This work is licensed under the Creative Commons Attribution-No Derivative Works 3.0 United States License by Carnegie Mellon University’s Center for Arts Management Technology. Thanks! CAMT would like to give special thanks to Amelia Northrup, David Dombrosky, Corwin Christie, and David Gurwin for their efforts in preparing this report. Cover photo credits: Andreas Praefcke Galeno on Wikimedia Commons Bryan Ochalla Spwilliams13 on Wikimedia Commons 2 Social Media, Video Footage, and the Law Contents Foreword..................................................4 More Technology, More Problems...........5 Video -
Vlijtiujti Table of Contents
MU VliJTiUJTi Table of Contents Ordering Information 2 Blues * Jazz * R&B * Divas 30 Ladyslipper Online! 3 Choral * Acappella 31 Order Blank 4 BabySlipper Music 31 Turning 30: Ladyslipper & Women's Music 5 Comedy 32 New Additions: All Genres & Categories 6 Classical 32 Hot Wire Back Issues 12 Ho * Ho * Holiday Music 33 "Women's Music" * Feminist Music 13 Gift Certificates * Cards 34 Compilations for Cool Causes 18 Calendars * Books 35 Drumming * Percussion 19 DVD's * Videos 35 Women's Spirituality * New Age 20 Songbooks 36 African Heritage 24 $6.99 CD's 37 World Music 25 $5.99 CD's 37 Native American 26 $4.99 CD's 38 Singer-Songwriter * Folk 27 Grab-Bags 38 Country * Bluegrass 29 $2.99 Cassettes 39 Artist Index 39 Dedication This publication is lovingly dedicated to Kay Gardner 1941-2002 Ordering info CONTACT INFO: BACK-ORDERS AND ALTERNATIVES: If we are U.S. POSTAGE & HANDLING RATES: MAIL: Ladyslipper, PO Box 3124, Durham NC 27715 temporarily out of stock on a title, we will automatical ORDER LINE: 800-634-6044 Mon-Fri 10-5 Eastern ly back-order it unless you include alternatives STANDARD: $2.95 first item, $1.00 each additional INFO: 919-383-8773 Mon-Fri 10-5 Eastern Time (should be same-priced titles). Listing alternatives item. FAX: 919-393-3525 will give you faster service. If we back-order for you, EMAIL: [email protected] you may contact us at any time to cancel or to EXPEDITED: $4.95 first item, $2.00 each additional WEB: www.ladyslipper.org instead choose a substitute, credit or refund. -
Music Composition-Recording
JESSE MANNO www.JesseManno.com CV 1 2016 MUSIC SKILLS/SPECIFICATIONS: -Versatile composer, improviser, dance accompanist, teacher. Well honed “one man band” skills. -Audio producer, recording, mixing and live sound engineer, sound designer. -Multi-lingual vocalist with 3.5 octave range, multiple styles incl. beat box and overtone singing. Instruments played: Lutes (laouto, bouzouki, bağlama, divan sazı, cura, oud, 6 and 12 string guitar), Percussion (drum set, doumbek, riqq, davul, djembe, djun djuns, conga, other), piano, middle eastern flutes, accordion, electronics, laptop, field recordings, and many objects not typically used for musical purposes. Project Studio: 550 sf, with iso room, Mac, Logic Pro, 1919 Steinway 6’ grand piano, 24 ch. digital mixer, MOTU interface, Grace and API pre-amps, Korg and Kurzweil synths, AKG, Røde and Chameleon mics. Foriegn languages: French (competent); Turkish (basic); Indonesian, Spanish, Italian, German (limited). INSTITUTIONAL EMPLOYMENT/TEACHING EXPERIENCE: University of Colorado, Boulder Dept. of Theatre and Dance 50% appointment 1991-Present Senior Instructor (Currently Dnce 3014/5014 Rhythmic Analysis and Dnce 3024/5024 Musical Resources, previously Dnce 5064 Graduate Music Seminar), Music Director (hiring, training, purchasing, maintenance, budget management), modern and african dance accompanist (8-10 hrs/wk), Committee service: merit review, faculty search, program fee, ACDA conference, MFAs and BFAs. Associate hourly accompanist from 1984-1991. Bates Dance Festival Bates College, Lewiston,