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DFA Annual Report 2017-18
February offered a challenging month due to water shortage, resulting in the schools closing early, in turn challenging the attendance of students, teaching in very hot classrooms and having to bring in litres of water to avoid dehydration. The students in Hlengisa had a great start with lots of beginners joining classes, enjoying every moment in class and also many showing lots of potential. Some of the Senior students have not been able to attend classes due to moving on to high schools in different areas and public transport being a challenge. Many of these students are also attending extra academic classes after school. The Cradle of Creativity, 19th ASSITEJ World Congress and International Theatre Festival for Children and Young People gave the opportunity for our students to be part of the closing ceremony at Artscape Theatre. Dancing with Basebone, a celebration with Basebone, a mobile entertainment company that provides value added services within the telecom industry across 4 continents and present in Africa, Europe and the UK, their celebration of 10 Years of Growth Delivering Mobile Entertainment. Like Basebone we believe that Entertainment Drives Change and play an important role in individual and social development. March was an especially exciting time for the students from the Rural Outreach programme in Barrydale. They were invited to work with Storytown Productions, showcasing some of the seniors, for a documentary called: Therefore, as part of their social responsibility, this year, Basebone is supporting Dance for All, to provide Behind the Rainbow with the storyline portraying how students overcome their difficulties in life through ballet children in historically disadvantaged communities, through the medium of dance, with new opportunities of and dancing with the final result of the documentary aired on SABC 2 during August. -
Speech Sounds Vowels HOPE
This is the Cochlear™ promise to you. As the global leader in hearing solutions, Cochlear is dedicated to bringing the gift of sound to people all over the world. With our hearing solutions, Cochlear has reconnected over 250,000 cochlear implant and Baha® users to their families, friends and communities in more than 100 countries. Along with the industry’s largest investment in research and development, we continue to partner with leading international Speech Sounds:Vowels researchers and hearing professionals, ensuring that we are at the forefront in the science of hearing. A Guide for Parents and Professionals For the person with hearing loss receiving any one of the Cochlear hearing solutions, our commitment is that for the rest of your life in English and Spanish we will be here to support you Hear now. And always Ideas compiled by CASTLE staff, Department of Otolaryngology As your partner in hearing for life, Cochlear believes it is important that you understand University of North Carolina — Chapel Hill not only the benefits, but also the potential risks associated with any cochlear implant. You should talk to your hearing healthcare provider about who is a candidate for cochlear implantation. Before any cochlear implant surgery, it is important to talk to your doctor about CDC guidelines for pre-surgical vaccinations. Cochlear implants are contraindicated for patients with lesions of the auditory nerve, active ear infections or active disease of the middle ear. Cochlear implantation is a surgical procedure, and carries with it the risks typical for surgery. You may lose residual hearing in the implanted ear. -
Ö 10 - 1 Royal Empress Tango English Couple I A- 5
MVFD Listing by OLD Number CD Track Dance Name Nationality Type Inst Old # 9 - 20 Canadian Breakdown USA Contra A- 3 9 - 19 Petronella USA Contra I A- 3 ö 10 - 1 Royal Empress Tango English Couple I A- 5 9 - 21 Tango Waltz, The English Couple A- 5 10 - 2 Camptown Races USA Square I A- 8 10 - 3 Old Joe Clark USA Square A- 8 10 - 3 Old Joe Clark USA Contra A- 8 10 - 4 Bonfire (Fisher's Hornpipe) Irish Couple I A- 9 10 - 5 Come Up the Backstairs (Sacketts USA Contra I A- 9 10 - 4 Fisher's Hornpipe USA Contra I A- 9 10 - 5 Sacketts's Harbour (Come Up the USA Contra I A- 9 ö 81 - 17 Aird Of Coigah (Reel of Mey) Scottish Set 4 Couple I A-10 81 - 18 Cauld Kail in Aberdeen Scottish Set 4 Couple I A-10 81 - 15 Gates of Edinburgh (8x32 Reel) S Scottish Set 4 Couple A-10 81 - 13 Hooper's Jig (8x32 Jig) SKIPS Scottish Jig A-10 81 - 16 Jessie's Hornpipe (8x32 Reel) Scottish Contra I A-10 81 - 19 Kingussie Flower (8x40 Reel) Scottish Reel A-10 81 - 14 Macphersons of Edinburgh, The ( Scottish Set 4 Couple A-10 81 - 12 Mairi's Wedding (8x40 Reel) Scottish Set 4 Couple I A-10 81 - 19 Red House Reel (Kingussie Flow Scottish Set 4 Couple I A-10 ö 81 - 17 Reel of Hey, The (8x48 Reel) Scottish Set 4 Couple I A-10 81 - 19 White Heather Jig (Kingussie Flo Scottish Set 4 Couple I A-10 10 - 7 Geudman Of Ballangigh English Contra I A-11 10 - 6 Larusse English Square I A-11 10 - 8 Yorkshire Square Eight English Square I A-11 10 - 12 Dargason English Set 4 Couple I A-12 10 - 9 Little Man in a Fix Danish Set 2 Couple I A-12 Saturday, July 29, 2000 Page 1 of 96 MVFD -
Hip Hop Dance: Performance, Style, and Competition
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations. -
Cahiers Balkaniques, 33
Cahiers balkaniques 33 | 2004 Turquie, Grèce : un passé commun, des nouvelles perspectives Édition électronique URL : https://journals.openedition.org/ceb/3053 DOI : 10.4000/ceb.3053 ISSN : 2261-4184 Éditeur INALCO Édition imprimée Date de publication : 1 janvier 2004 ISSN : 0290-7402 Référence électronique Cahiers balkaniques, 33 | 2004, « Turquie, Grèce : un passé commun, des nouvelles perspectives » [En ligne], mis en ligne le 24 juillet 2012, consulté le 06 juillet 2021. URL : https://journals.openedition.org/ ceb/3053 ; DOI : https://doi.org/10.4000/ceb.3053 Ce document a été généré automatiquement le 6 juillet 2021. Cahiers balkaniques est mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale 4.0 International. 1 Sans être naïfs sur les questions aussi importantes que le contentieux en mer Égée, le problème chypriote, la question des minorités, la confrontation des nationalismes, l’instrumentalisation de l'histoire, l’utilisation des différends comme outil politique interne, avec ce numéro spécial « Turquie et Grèce : un passé commun, des nouvelles perspectives », nous avons voulu délibérément mettre l’accent sur la complémentarité et la communauté culturelle entre Grecs et Turcs, bien plus encore que Grèce et Turquie, qui sont au contact depuis presque un millénaire. Aux Langues O’, langue et culture turques sont parmi les enseignements fondateurs de l’institution, et le grec moderne a eu très tôt une place de choix, puisque c’est dès 1800 qu’Ansse de Villoison inaugurait son enseignement. Entre le turc, le grec et l’INALCO, c'est déjà une vieille histoire, naturellement et plus que jamais porteuse d’avenir. -
The Motor Coordination Reasoning in Acting Dancer's Performance
Review Article J Phy Fit Treatment & Sports Volume 2 Issue 4 - March 2018 Copyright © All rights are reserved by Cláudia Tarragô Candotti DOI: 10.19080/JPFMTS.2018.02.555593 The Motor Coordination Reasoning in Acting Dancer’s Performance Improvement and Injury Prevention Kaanda Nabilla Souza Gontijo1, Carla Itatiana Bastos de Brito2, Cláudia Tarragô Candotti3* and Adriane Vieira4 1Graduate Program in Human Movement Sciences, Federal University of Rio Grande do Sul, Brazil 2Department of Physiotherapy, IPA Methodist University Center, Brazil 3Ph.D. Professor of the Graduate Program in Human Movement Sciences, Federal University of Rio Grande do Sul, Brazil 4School of Physical Education, Federal University of Rio Grande do Sul, Brazil Submission: March 16, 2018; Published: March 27, 2018 *Corresponding author: Cláudia Tarragô Candotti, Ph.D. Professor of the Graduate Program in Human Movement Sciences, Federal University of Rio Grande do Sul, Brazil; Tel: ; Fax: +55 (51) 3308-5843; Email: Abstract Many injuries that affect classical dancers are caused by compensations made to overcome anatomical limitations, which cause a proper coordination loss between the body segments. This lesions appearance, ultimately, results in people giving up on the practice even after different types of rehabilitation conventional treatments application. Given this reality, we argue for a physical therapy line focused on posture and movement re-education, based on Motor Coordination (MC), as described by Piret and Béziers, since we consider it has great potential not only to improve the dancers’ performance, but to prevent and treat injuries. So our goal in this article is to express our opinion on how MC principles can contribute to the classical ballet teaching-learning-training process and to the dancer’s preventive treatments and rehabilitation with regard to their lower limbs arrangement. -
Stockton Index by Instructor
LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56, 57 Boozdigoots Armenia Ajoian, F. 57 Gemrigin Baduh Armenia Ajoian, F. 56 Golden Bracelet Armenia Ajoian, F. 56, 57 Halay Armenia Ajoian, F. 55 Halay Havasi Armenia Ajoian, F. 56 Lorkay Lorkay Armenia Ajoian, F. 56, 57 Medax Tashginag Armenia Ajoian, F. 57 Nor Imatsa (Yerzinga Tamzara) Armenia Ajoian, F. 57 Pompouri Armenia Ajoian, F. 55 Sotis Armenia Ajoian, F. 56 Tamzara Armenia Ajoian, F. 55 Three And One (Bar) Armenia Ajoian, F. 55 Sheleg Al Iri Israel Alpert, A. 18 Ve’shuv Itchem Israel Alpert, A. 18 Yaffo Israel Alpert, A. 18 Normali israel Alpert, A. 18 Or Chadash Israel Alpert, A. 18 Haleluyah Le’Gal Israel Alpert, A.` 18 Hayom Hazeh Israel Alpert, A.` 18 Heya Heya Israel Alpert, A.` 18 Hora Ha’bika Israel Alpert, A.` 18 Carbonero, El El Salvador Amaya, N. 68 Cortadoras, Las El Salvador Amaya, N. 68 Diablo Chingo, El Costa Rica Amaya, N. 68 Xuc, El El Salvador Amaya, N. 68 Yenka Spain Amaya, N. 68 Bereznianka Ukraine Arabagi, G. & I. 14 Bukovinskii Tanets Ukraine Arabagi, G. & I. 12 Dansul Tiganilor Basarabeni Moldova (Bessarabia; Rom) Arabagi, G. & I. 14 STOCKTON FOLK DANCE CAMP INDEX 1948-2019 PAGE 1 LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Hora din Giurgiuleşti Moldova (Moldavian) Arabagi, G. & I. 12 Hora Dragostei Moldova Arabagi, G. & I. 14 Horlitsya Ukraine Arabagi, G. & I. 14 Hutsulka Ukraine Arabagi, G. & I. 12 Joc Mare Ukraine (Moldavian) Arabagi, G. -
Alvin Ailey American Dance Theater
teacher resource guide schooltime performance series alvin ailey american dance theater Samantha Figgins and Jeroboam Bozeman Photo by Andrew Eccles TRG-ailey.indd 1 4/3/19 2:13 PM about the about alvin performance ailey Magnetic. Electrifying. Passionate. Beautiful. Soulful. Born on January 5, 1931, in Rogers, Texas, Alvin Ailey In 1969, Ailey established a school in New York City, These are just some of the words that audience members came from quite modest beginnings. His mother was Alvin Ailey American Dance Center, now called The and critics use to describe Alvin Ailey American Dance a teenager when she gave birth to him. When Alvin Ailey School. He also formed the Alvin Ailey Theater (AAADT), a uniquely American modern dance was young, his father left. Ailey grew up poor but steeped Repertory Ensemble, now Ailey II, in 1974. Both company known for its vibrant blend of modern, ballet in the arts. Church services and a local dance hall institutions supported Ailey’s pioneering work, and other dance styles. Audience members will be treated introduced him to music and the arts. When he was 12 promoting arts in education, particularly to to a wonderful experience that will touch their hearts and years old, he moved to Los Angeles, where he excelled benefit underserved communities. inspire a greater appreciation for dance and the arts. in school as an athlete and a natural at languages. In 1987, Alvin Ailey received the Samuel H. Scripps This storied dance company had humble beginnings but He was introduced to dance through performances of American Dance Festival Award, modern dance’s a grand vision from the very start. -
Dança Break: Aspectos Históricos, Fundamentos E Elementos Competitivos”
UNVERSIDADE DO VALE DO PARAÍBA FACULDADE DE EDUCAÇÃO E ARTES CURSO DE EDUCAÇÃO FÍSICA "DANÇA BREAK: ASPECTOS HISTÓRICOS, FUNDAMENTOS E ELEMENTOS COMPETITIVOS”. Marcelo Rodolfo Bento São José dos Campos/ SP 2015 UNVERSIDADE DO VALE DO PARAÍBA FACULDADE DE EDUCAÇÃO E ARTES CURSO DE EDUCAÇÃO FÍSICA TRABALHO DE CONCLUSÃO DE CURSO MARCELO RODOLFO BENTO Relatório final apresentado como parte das exigências da disciplina. Trabalho de Conclusão de Curso à Coordenação de TCC do curso de Educação Física da Faculdade de Educação e Artes da Universidade do Vale do Paraíba. Orientador: Profº. Me. Cláudio Alexandre Cunha São José dos Campos/SP 2015 Agradecimento Primeiramente agradeço à Deus, por me abençoar e iluminar minha mente e meu caminho, minha família por toda importância que ela tem em minha vida, minha mãe Fátima de Jesus Bento que me ensinou que devemos lutar por nossos sonhos, minha amada esposa, Fabiana Braga Moreira que sempre me incentivou a estudar e acompanhou toda minha luta e compartilhou comigo todos esses momentos de desafios, superações e conquistas ao longo desse processo. Professor Cláudio Alexandre Cunha que aceitou o desafio de ser meu orientador e parceiro. Há todos, que de alguma forma contribuíram e fizeram parte da construção do que sou como pessoa, estudante, pesquisador e profissional, meus sinceros agradecimentos e que Deus abençoe grandiosamente todos vocês. Dedicatória Dedico esse trabalho a meu filho, Davi Moreira Bento que foi um presente de Deus na minha e à todos os B. boys que por meio da dança, foram minha inspiração para a realização este estudo. Resumo A Dança Break, oriunda dos guetos norte americanos em meados de 1970, evoluiu muito desde sua criação e atualmente possui milhares de praticantes e campeonatos por todo o mundo. -
Tesis Completa
DEPARTAMENT DE PSICOLOGIA EVOLUTIVA I DE L’EDUCACIÓ OPTIMIZACIÓN EN PROCESOS COGNITIVOS Y SU REPERCUSIÓN EN EL APRENDIZAJE DE LA DANZA. Mª ISABEL MEGÍAS CUENCA UNIVERSITAT DE VALÈNCIA Servei de Publicacions 2009 Aquesta Tesi Doctoral va ser presentada a València el dia 28 de setembre de 2009 davant un tribunal format per: - Dra. María Vicenta Mestre Escrivá - Dra. Reyes Fiz Poveda - Dra. Ana María Flori López - Dr. José Lozano Rodríguez - Dr. José Manuel Tomás Miguel Va ser dirigida per: Dr. Ángel Latorre Latorre ©Copyright: Servei de Publicacions Mª Isabel Megías Cuenca Dipòsit legal: V-958-2011 I.S.B.N.: 978-84-370-7725-3 Edita: Universitat de València Servei de Publicacions C/ Arts Gràfiques, 13 baix 46010 València Spain Telèfon:(0034)963864115 Optimización en procesos cognitivos y su repercusión en el aprendizaje de la danza UNIVERSITAT DE VALÈNCIA FACULTAT DE PSICOLOGÍA DEPARTAMENT DE PSICOLOGÍA EVOLUTIVA I DE LA EDUCACIÓ OPTIMIZACIÓN EN PROCESOS COGNITIVOS Y SU REPERCUSIÓN EN EL APRENDIZAJE DE LA DANZA TESIS DOCTORAL PRESENTADA POR: Mª ISABEL MEGÍAS CUENCA DIRIGIDA POR: Dr. ANGEL LATORRE LATORRE VALENCIA, Febrero de 2009 1 Optimización en procesos cognitivos y su repercusión en el aprendizaje de la danza AGRADECIMIENTOS Después de una labor tan entregada, como ha sido la realización de esta tesis, además del orgullo por haber logrado una meta importante en mi vida, prevalece el sentimiento de agradecimiento a quienes me han acompañado en esta aventura, a veces incomprendida. En primer lugar, no cabe duda de que la primera persona que creyó en mi propuesta y dio forma a mis inquietudes, fue Ángel Latorre. -
NOSTALGIA, EMOTIONALITY, and ETHNO-REGIONALISM in PONTIC PARAKATHI SINGING by IOANNIS TSEKOURAS DISSERTATION Submitted in Parti
NOSTALGIA, EMOTIONALITY, AND ETHNO-REGIONALISM IN PONTIC PARAKATHI SINGING BY IOANNIS TSEKOURAS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Donna A. Buchanan, Chair Professor Emeritus Thomas Turino Professor Gabriel Solis Professor Maria Todorova ABSTRACT This dissertation explores the multilayered connections between music, emotionality, social and cultural belonging, collective memory, and identity discourse. The ethnographic case study for the examination of all these relations and aspects is the Pontic muhabeti or parakathi. Parakathi refers to a practice of socialization and music making that is designated insider Pontic Greek. It concerns primarily Pontic Greeks or Pontians, the descendants of the 1922 refugees from Black Sea Turkey (Gr. Pontos), and their identity discourse of ethno-regionalism. Parakathi references nightlong sessions of friendly socialization, social drinking, and dialogical participatory singing that take place informally in coffee houses, taverns, and households. Parakathi performances are reputed for their strong Pontic aesthetics, traditional character, rich and aesthetically refined repertoire, and intense emotionality. Singing in parakathi performances emerges spontaneously from verbal socialization and emotional saturation. Singing is described as a confessional expression of deeply personal feelings -
2018 OSAI Dance Supply List
2018 OSAI Dance Supply List All OSAI Students • Please refer to page 10 of the Student Handbook for a list of general items each OSAI student should bring. • Personal computers (including tablets) are NOT allowed at OSAI. For classes that require computers, OAI will provide them for you. We also suggest that you leave other valuable electronics at home. • For the donor thank-you note writing session (required as part of your scholarship): o STAMPS – You will need at least seven 50¢ or “Forever” stamps. Please note that some stationery will require additional postage if it does not use a standard-sized envelope. o STATIONERY or NOTE CARDS – Bring at least ten. No lined notebook paper, please! o ENVELOPES – Bring at least ten. Use envelopes that match your stationery, if possible. o RETURN ADDRESS LABELS (optional) – You will be asked to write your return address on the envelope. o TEMPLATE LETTER (recommended) – To ensure that you are prepared to complete your thank-you notes in the allotted time at Quartz Mountain, we highly recommend you begin drafting a template letter at home. Dance Students 1) Journal or notebook 2) Book: Technical Manual and Dictionary of Classical Ballet by Gail Grant Tennis ball (available on Amazon) – Please begin to familiarize yourself with the terminology. 3) Writing assignment – Please bring this with you to your first class session on June 9: • Name three dance companies with which you would like to dance. • Write 1-2 lines about two areas of your ballet technique you would like to strengthen during OSAI. • Write 1-2 lines about a dancer you admire in ballet, contemporary, musical theatre, jazz, or video.