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A Sheffield Hallam University Thesis
How do I look? Viewing, embodiment, performance, showgirls, and art practice. CARR, Alison J. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19426/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/19426/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. How Do I Look? Viewing, Embodiment, Performance, Showgirls, & Art Practice Alison Jane Carr A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy ProQuest Number: 10694307 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694307 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Declaration I, Alison J Carr, declare that the enclosed submission for the degree of Doctor of Philosophy, and consisting of a written thesis and a DVD booklet, meets the regulations stated in the handbook for the mode of submission selected and approved by the Research Degrees Sub-Committee of Sheffield Hallam University. -
Music of Ghana and Tanzania
MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups. -
Hip Hop America Pdf, Epub, Ebook
HIP HOP AMERICA PDF, EPUB, EBOOK Nelson George | 256 pages | 31 May 2005 | Penguin Putnam Inc | 9780143035152 | English | New York, NY, United States Hip HOP America PDF Book Kool Herc -- lay the foundation of the hip-hop movement. Stylistically, southern rap relies on exuberant production and direct lyrics typically about the southern lifestyle, trends, attitudes. Hill's brilliant songwriting flourished from song to song, whether she was grappling with spirituality "Final Hour," "Forgive Them, Father" or stroking sexuality without exploiting it "Nothing Even Matters". According to a TIME magazine article, Wrangler was set to launch a collection called "Wrapid Transit," and Van Doren Rubber was putting out a special version of its Vans wrestling shoe designed especially for breaking [source: Koepp ]. Another key element that's helping spread the hip-hop word is the Internet. Late Edition East Coast. Most hip-hop historians speak of four elements of hip-hop: tagging graffiti , b-boying break dancing , emceeing MCing and rapping. Taking Hip-Hop Seriously. Related Content " ". Regardless, the Bay Area has enjoyed a measurable amount of success with their brainchild. And then, in the mid to late s, there was a resurgence in the popularity of breaking in the United States, and it has stayed within sight ever since. Depending on how old you are, when someone says "hip-hop dance," you could picture the boogaloo, locking, popping, freestyle, uprocking, floor- or downrocking, grinding, the running man, gangsta walking, krumping, the Harlem shake or chicken noodle soup. Another thing to clear up is this: If you think hip-hop and rap are synonymous, you're a little off the mark. -
Europeanfolkdanc006971mbp.Pdf
CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Arm Aitor MI 48106-1346 USA 313/761-4700 800/521-0600 V,: "he dreamed of dancing with the blue faced people ..." (Hosteen Klah in Paris 1990: 178; photograph by Edward S. Curtis, courtesy of Beautyway). THE YÉ’II BICHEII DANCING OF NIGHTWAY: AN EXAMINATION OF THE ROLE OF DANCE IN A NAVAJO HEALING CEREMONY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sandra Toni Francis, R.N., B.A., M. -
Journal of Undergraduate Research and Creative Activity VOLUME ONE
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln UReCA: The NCHC Journal of Undergraduate Research & Creative Activity National Collegiate Honors Council 2016 Journal of Undergraduate Research and Creative Activity VOLUME ONE Follow this and additional works at: https://digitalcommons.unl.edu/ureca Part of the Educational Methods Commons, Gifted Education Commons, and the Higher Education Commons "Journal of Undergraduate Research and Creative Activity VOLUME ONE" (2016). UReCA: The NCHC Journal of Undergraduate Research & Creative Activity. 64. https://digitalcommons.unl.edu/ureca/64 This Article is brought to you for free and open access by the National Collegiate Honors Council at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in UReCA: The NCHC Journal of Undergraduate Research & Creative Activity by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Journal of Undergraduate Research and Creative Activity VOLUME ONE Sponsored by the National Collegiate Honors Council Journal of Undergraduate Research and Creative Activity, Vol. I Journal of Undergraduate Research and Creative Activity Volume One HONORS PROGRAM INDUCTION ........................................................................................................ 3 CAGE'S DUNGEON ................................................................................................................................. 18 EACH AND EVERY MINUTE ............................................................................................................... -
Tops Off to Dancing: an Exotic Form of Nightlife
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects 2010 Tops Off ot Dancing: An Exotic Form of Nightlife Jessica Sanspree Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Sanspree, Jessica, "Tops Off ot Dancing: An Exotic Form of Nightlife" (2010). Honors College Capstone Experience/Thesis Projects. Paper 241. http://digitalcommons.wku.edu/stu_hon_theses/241 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. Copyright by Jessica Sanspree 2010 i ABSTRACT This ethnographic research investigates the culture of exotic dancing in two exotic dance clubs in Bowling Green, Kentucky. By conducting interviews with a former exotic dancer and completing ethnographic observations in the field of an exotic dance club, I explore how exotic dancers in Bowling Green create and perform sexuality as a method of making money. I examine the rules and UHJXODWLRQVVXFKDV³'DQFHU¶VeWLTXHWWH´ established and enforced by dancers in order to enforce social order. Furthermore, I DVVHVVP\LQIRUPDQW¶VSHUFHSWLRQRILGHQWLW\UHJDUGLQJKHUUROHDVDQH[RWLFGDQFHU including her reaction to the negative stigmas that continuously surround her culture. Keywords: e[RWLFGDQFLQJVH[ZRUNVH[XDOLW\GDQFHU¶VHWLTXHWWHQDUUDWLYHUHVLVWDQFH identity. ii Dedicated to my mother iii ACKNOWLEDGMENTS This project would not have been possible without the help, knowledge, and support of many people. First and foremost I would like to thank my advisor Dr. -
Adult Entertainer Advisory Committee Report to the Legislature
Adult Entertainer Advisory Committee Report to the Legislature November 2020 Table of Contents Executive summary ..................................................................................... 1 Introduction .................................................................................................. 2 Engrossed Substitute House Bill 1756 ........................................................................................ 2 Advisory committee ..................................................................................... 4 Adult entertainer representatives ................................................................................................ 4 Adult entertainer establishment representatives ......................................................................... 4 Committee meetings .................................................................................... 5 Report format ............................................................................................... 6 Committee recommendations to the legislature ....................................... 7 Alcohol service in adult entertainment establishments ................................................................ 7 Mandatory training for adult entertainment establishment employees ........................................ 10 Eliminating “back rent” charged to adult entertainers by adult entertainment establishments .... 12 Minimum security staffing requirements at adult entertainment establishments ......................... 15 Additional -
A Contemporary Cairo Raqs Sharqi Ethnography a Dissertation
UNIVERSITY OF CALIFORNIA RIVERSIDE Core Connections: A Contemporary Cairo Raqs Sharqi Ethnography A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Christine M. Şahin September 2018 Dissertation Committee: Dr. Jacqueline Shea Murphy, Chairperson Dr. Sherine Hafez Dr. Anthea Kraut Copyright by Christine M. Şahin 2018 The Dissertation of Christine M. Şahin is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS Greatest thanks to God. Thank you for, and God bless, the beautiful dancing, stories, and people not only within these pages but throughout the vibrantly remarkable and resilient city of Cairo, Egypt. This dissertation has been a great collaborative effort, and there are many I wish to thank. Starting in Cairo, I owe deepest gratitude to the dancers, workers and staff, audiences, and management throughout the raqs sharqi dance industry. Additional gratitude goes to those that directly helped me as research collaborators in this project, and the transportation drivers (Mohamed and Ahmed, among many others) that made the links between my site-specific chapters so rich and insightful. Thank you Karim for being a key research partner and translator for this project, for your patience, kindness, support, and comradeship throughout my fieldwork. Thank you to Shahrzad, Vanessa, Sara Farouk Ahmed, Zara, Ramy, Khaled, Eman Zaki, Samia, Ali, Wael, Heba, and Nashwa for your generosity, assistance, and wealth of wisdom. Greatest gratitude to Sayyad Henkesh for keeping the history of music and dance on Mohamed Ali street alive and for your generosity in sharing your wealth of knowledge. Particular dancers and musicians I’d like to thank are Suzy, Julia, Amina, Randa Kamel, Camelia, Azizia and her husband Ahmed, Raqia Hassan, Farida Fahmy, Sahar Samara, Amie Sultan, Yossry el Hefni, Bossy, Mona, Donya, Aicha Babacar, Hussien Mansour, Luna, Kawakeb, Hamada, Tamra Henna, Tito Seif, Soraya, Shams, and Farah Nasri and her crew: Ahmed, Wael, Mahdy, and Salah. -
Hales, S., Riach, K. and Tyler, M. (2019) Close Encounters: Intimate Service Interactions in Lap Dancing Work As a Nexus of ‘Self-Others- Things’
Hales, S., Riach, K. and Tyler, M. (2019) Close Encounters: Intimate service interactions in lap dancing work as a nexus of ‘self-others- things’. Organization Studies, (doi:10.1177/0170840619830127) There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/188871/ Deposited on: 27 August 2019 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Close encounters: Intimate service interactions in lap dancing work as a nexus of ‘self-others-things’ Abstract Drawing on ethnographic research on lap dancing work, this paper focuses on how the subjectivities, interactions and settings that constitute the lap dancing industry come into being through three interrelated processes of encoding, embodying and embedding. In considering how these processes combine to ‘enact’ the industry, the paper draws on Merleau Ponty’s (2002) understanding of the world as a dynamic nexus of ‘self-others-things’. Focusing on how this nexus shapes lived experiences of intimate service interactions, the analysis considers how dancers continually negotiate customers’ expectations of the service encounter given the ways in which these are: (i) encoded in depictions of lap dancing work in marketing and advertising materials on club websites, (ii) embodied by lap dancers through their interactions with customers, and (iii) embedded within the materiality of lap dancing clubs. The paper shows how intimate service encounters can be understood as the outcome of a nexus of ‘self-others-things’ through which particular organizational subjectivities and settings are brought into being through these three interrelated processes. -
Dallas Bachata Festival 2021 Event Schedule
2021 Dallas Bachata Festival Workshop Schedule Thursday Workshops TIME GRAND BALLROOM 1&2 GRAND BALLROOM 4 GALLERIA BALLROOM 1 ATRIUM Juho So 9:00 - 9:45pm Kizomba Workshop All Levels Luis Loredo 9:45 - 10:30pm Bachata Workshop All Levels Friday Workshops TIME GRAND BALLROOM 1&2 GRAND BALLROOM 4 GALLERIA BALLROOM 1 ATRIUM Jeffery Michael & Marina Gee 10:00 - 11:00am Transform your Bachata Sensual Technique and Movement - Broken down 11:00 - 11:50am 3hr Bachata Sensual Master Series Open Level 12:00 - 12:50pm Perfect for all Level Dancers Dakhóta & Edwin Favian Bustos Jules Bertrand Jose @im_fat_lets_party_ 1:00 - 1:50pm Bachata Timing Mastery KiZomba fusión - play with partner work Intro to Zouk 2hr BootCamp Youtube Salsa Partner Work All Levels Intermediate Level Learn your Basics Int/Adv Jay Styles Camilo & Cindy - Dallas All Level Juho So 2:00 - 2:50pm Bachata Partner Work Salsa Cabaret 1pm - 3pm Fancy Foot Tricks Part 1 All Levels Intermediate Level Fall in Love with Zouk Intermediate Level John & Shiloh Fito Burgoa Benga DaBeatz Dakhóta & Edwin 3:00 - 3:50pm Sensual/Urban Bachata - movements/flow & musicality Salsa On2 Partner Work Intro to Kizomba 2hr BootCamp Merengue Con Mambo y Swing Intermediate Level Intermediate Level Learn your Basics All Levels Jonathan Godinez & Jennifer Isabel Elias Travers & Hannah Miller-Jones All Level Shika Jay 4:00 - 4:50pm Traditional Swag with #Jsquared (Footwork) Zouk Isolations - For Zouk & Bachata Dancers 3pm - 5pm Urban Kiz Musicality Intermediate Level All Levels Experience Kizomba for the first time! Advance Level Arturo Garcia & Ashton Laney 2 Amazing Challenge Start @ 5:30pm - 7:30PM Carlos & Tanya 5:00 - 5:50pm Elegant flow, Bachata technique. -
Profitable Exploits: Lap Dancing in the UK
Profitable Exploits: Lap Dancing in the UK For Glasgow City Council Julie Bindel Child and Woman Abuse Studies Unit, London Metropolitan University August 2004 The report can be accessed on Glasgow City Council’s website:- http://www.glasgow.gov.uk/en/YourCouncil/PolicyPlanning_Strategy/ Corporate/Equalities/Women/Prostitution.htm Child and Woman Abuse Studies Unit London Metropolitan University 1 1. Foreward by Depute Leader 4 2. Executive Summary 5 3. Introduction 12 What is Lap Dancing? 13 Origins and Growth of Lap Dancing 14 Normalisation and Influence on Popular Culture 14 Why the Concern? 15 Notation 15 4. Aims and Methodology 16 Methods 16 Literature Review 16 Desk-based Research 17 Visits to Clubs 17 Staff 18 Club Owners 18 Interview with Dancers 18 Interviews with Customers 19 Members of the Public 19 Semi-structured Interviews 19 Table 1: Data Collection 20 Pro Formas 20 Undertaking research in sensitive areas: ethical considerations 20 Ensuring the Research was Ethical 22 Limitations 22 5. What We Know About Lap Dancing 23 History 23 Numbers 23 Locations 24 Previous Research 25 Dancers’ Perspectives 25 Public Opinion on Local Impact 26 Customers 26 Child and Woman Abuse Studies Unit London Metropolitan University 2 Legal/Licensing 27 6. Legal Context 28 Licensing 28 Breaching Licensing Regulations and Club Rules 30 Table 2: Licensing Conditions 30 Tribunals 33 Police Investigations 33 7. Lap Dance Clubs in Glasgow and London 35 Description of Clubs 35 Organisation and Management 36 General Observations 36 Security and Club Rules 36 VIP and Private Rooms 37 Working Conditions 39 Terms of Employment 40 Unionisation 41 Coercion 43 Views and Perspectives 44 Clubs Owners/Managers and Staff 44 Dancers 44 Customers 46 Corporate Membership 48 Journalists 48 A Front for Prostitution 49 8.