Relevant bibliographies by topics / Dance company

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Dance company'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Dance company"

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Franko, Mark. "Approaches to Dance (1): Influences." Dance Research 28, no. 1 (May 2010): 1–5. http://dx.doi.org/10.3366/drs.2010.0001.

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This is an autobiographical account of the intellectual and artistic influences on the work of Mark Franko. It touches on his professional dance career with the Paul Sanasardo Dance Company and his choreographic career with his own company NovAntiqua, his graduate education at Columbia University, and the development of an interdisciplinary approach to theory and practice that blends the activities of the dance scholar with those of the dancer-choreographer.
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BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform." Journal of the Society for American Music 10, no. 4 (October 27, 2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.

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AbstractThe automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar Day”) and the Ford English School. The Music Department's activities offer an opportunity to explore how industry sought to shape music and dance through Americanization efforts and leisure reform as Detroit rapidly urbanized during the first decades of the twentieth century. Supporters of Ford's revival viewed the restrained musical accompaniment and dance movements as an antidote to jazz music and dances, but more importantly, music and dance served as an object lesson in the physical discipline necessary for assembly line labor. Ford's dance education campaign reveals the degree to which industry was once entwined with leisure reform in southeast Michigan.
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Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (December 1, 2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.

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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.
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Thompson, Jayne. "Moving Memory Dance Theatre Company." Performance Research 24, no. 3 (April 3, 2019): 115–21. http://dx.doi.org/10.1080/13528165.2019.1583983.

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Pritchard, Jane. "Archives of the Dance: The Rambert Dance Company Archive." Dance Research: The Journal of the Society for Dance Research 6, no. 1 (1988): 59. http://dx.doi.org/10.2307/1290748.

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Leich, Debra L. "Dance for Social Chance Full House Children's Dance Company." Journal of Physical Education, Recreation & Dance 65, no. 5 (May 1994): 39–43. http://dx.doi.org/10.1080/07303084.1994.10606916.

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Aldor, Gaby. "The Borders of Contemporary Israeli Dance: “Invisible Unless in Final Pain”." Dance Research Journal 35, no. 1 (2003): 81–97. http://dx.doi.org/10.1017/s0149767700008780.

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When Vertigo, an Israeli dance company, performed in collaboration with the English Ricochet dancers, there was one dance on the stage—one choreography—but the audience saw two different modes of movement. The English dancers were learned, elegant, arms and feet drawing long lines in space, the feet articulate. The Israelis danced with a powerful thrust, extremities loose, with total commitment and daring, their movements leaving in space traces of explosions too fast to recollect rather than spirals of continuity. How did this mode of movement develop? What is “Israeli” about Israeli dance?In this essay I offer a brief history of concert dance in Israel, then a largely descriptive account of choreographic and motional themes that distinguish contemporary Israeli dance. My descriptions of works by contemporary Israeli choreographers Jasmine Goder, Ronit Ziv, Anat Danielli, Shlomi Bitton, and Noa Dar are drawn mostly from observation of performances held during yearly Curtain Up festivals at the Suzanne Dellal Center for Dance and Theater in Tel Aviv. I also discuss works by Inbal Pinto, Rami Be'er, Nir Ben-Gal and Liât Dror, and finally, Ohad Naharin, artistic director and choreographer of the Batsheva Dance Company.
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Lana, Iris. "The Batsheva Dance Company Archive Project." Dance Research 38, no. 2 (November 2020): 168–86. http://dx.doi.org/10.3366/drs.2020.0306.

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The article discusses the Batsheva Dance Company Archive Project, conducted by a team I headed in the years 2012–2015. 1 The analysis of this project will assist in understanding both its significance as an archival act of documenting the past, and its influence on the company's present and on Israeli dance. The method of analysis will include a description of the different practices involved in constructing a dance archive; a contextual discussion of archival practices; and a theoretical discussion, principally in the context of changes in current archiving practices and developments in critical thinking about dance as a discipline. The description of the course of events in this article mainly relies on my personal experience and involvement as director of the Batsheva Dance Company Archive Project. The different proceedings, goals, considerations and decisions were documented in monthly reports and in the project's concluding document, and so assisted in tracing the chronicle and details of events. 2
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Mohr, Hope, Larry Arrington, Gerald Casel, Gregory Dawson, Peiling Kao, Xandra Ibarra, and Margo Moritz. "Choreographic Transmission in an Expanded Field: Reflections on “Ten Artists Respond to Trisha Brown’s Locus”." TDR/The Drama Review 62, no. 2 (June 2018): 143–50. http://dx.doi.org/10.1162/dram_a_00754.

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The Locus project commissioned 10 Bay Area artists from multiple disciplines to learn Trisha Brown’s Locus and respond by creating their own pieces. It was the first time that the Trisha Brown Dance Company (TBDC) had allowed one of Brown’s dances to be transmitted beyond the company for the explicit purpose of inspiring new works.
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TEMEL,Sernaz DEMİREL TEMEL, Tan. "Modern dance in Turkey with Geyvan McMillen “Yıldız Technical University Dance Program, Cemal Reşit Rey Dance Theater Company and Istanbul Dance Theater Company”." Journal for the Interdisciplinary Art and Education 2, no. 1 (2021): 75–103. http://dx.doi.org/10.29228/jiae.16.

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Dissertations / Theses on the topic "Dance company"

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Adair, Christy. "Dance, gender and ethnicity : a cultural history of Phoenix Dance Company, 1981-2001." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416838.

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Ballantyne, Tammy Marguerite. "Identity and transformation within the Playhouse Dance Company, 1993-1997." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002363.

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This thesis examines the principles and policies underlying the need for transformation within the Playhouse Dance Company (PDC) in Durban and the actualities of implementing these visions and procedures. It is proposed that artistic structures, ideals and processes cannot remain impervious to the climate of change. Alterations in the political arena demand radical permutations within arts councils and their concept of repertoire, educational programmes and training. Transformation is linked to the problem of identity and it is suggested that the company is in the midst of a journey towards "becoming" rather than "being". Chapter One comprises an overview of changing trends in the arts globally and the impact on South Mrican art forms and processes. There is also an examination of the past, the establishment of arts councils and the colonial heritage of the dance companies within these councils. The formative years of the NAP AC Dance Company and the strategies formulated by former artistic directors have, it is suggested, hampered the transformation process. Chapter Two focuses on the PDC's endeavours to transform between the years 1993 and 1997. Lack of funding, conservative public tastes and training processes are. all' issues confronting management, choreographers, educators and performers in attempting to provide a clear direction towards transformation. The company walk a tightrope as they struggle to balance the heritage of their artistic past while giving birth to a new heritage for the future. Chapter Three discusses two areas that reveal measurable attempts at transformation. Hawkins offers re-inventions of the classics which encourages innovation, and Siwela Sonke was conceived to draw on dance forms located in Kwazulu-Natal in the search for a South Mrican dance aesthetic. Chapter Four investigates whether transformative visions are becoming a reality and suggests how the company could extend the process further. This chapter concludes with .. ideas about the nature of culture and how this informs,the exercise of transformation. This thesis proposes that transformation within the PDC is occurring even though it has its shortcomings. The main thrust of the research is to investigate, identifY and document factors that are contributing to current dance trends in Durban.
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Riggs, Leyva Rachael. "Dance Literacy in the Studio: Partnering Movement Texts and Residual Texts." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420672347.

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Gortz, Ann-Christin. "Linguistic markers as evidence for cultural awareness : a critical examination of international critiques of a South African dance company." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6840.

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Thesis (MPhil (General Linguistics))--University of Stellenbosch, 2011.
Bibliography
ENGLISH ABSTRACT: Viewing cross-cultural dance performances on international tours or as part of international dance festivals has become common practice all over the world. For critique writers, choreographers/ dancers and the audience the accessibility of such a diverse variety of dance has both advantages and disadvantages. Cross-cultural differences in these performances challenge strategies of viewing and perception which may lead to aesthetic enrichment but these performances also risk being misunderstood. In dance critique writing, such a misunderstanding may result in a negative critique projecting, in a worst scenario, negative prejudices on the respective cultures. This thesis investigates how attitudes towards, and perceptions of, cultural differences are reflected in cross-cultural dance critiques, through the use of particular linguistic and stylistic devices. Analysis strategies deriving from Critical Discourse Analysis and Text Analysis are used to uncover the critique’s strategies to communicate their evaluation including ways of persuasion and power. I analyse six critiques from three countries on the performance Beautiful Me performed on international tours by the Vuyani Dance Theatre from South Africa. My initial hypothesis is that cultural differences may lead to negative critiques due to intercultural misunderstanding. Since viewing Performance Art is not only influenced by the critique writer’s cultural background but also by their perception attitude towards the performance, the analysis takes perception modes such as a theatre semiotic approach and a phenomenological approach into consideration. Interestingly, different perception modes seem to have a greater impact on the outcome of a critique than cross-cultural differences. This means that most negative evaluations must have their origin in the applied strategy of viewing and perceiving dance. The critic seems to interpret and embed the perceived features of the dance performance into specific cultural or socio-political contexts forming an individual, often complex evaluation.
AFRIKAANSE OPSOMMING: Om te kyk na kruiskulturele dansuitvoerings deur dansgeselskappe op internasionale toere of as deel van internasionale dansfeeste, het wêreldwyd algemene praktyk geword. Vir kritici, choreograwe/dansers en die gehoor hou die toeganklikheid van so ’n diverse verskeidenheid dans sowel voordele as nadele in. Kruiskulturele verskille in hierdie vertonings daag kyk- en waarneem-strategieë uit, wat tot estetiese verryking mag lei. Daar is egter ook ’n moontlikheid dat hierdie vertonings verkeerd geïnterpreteer mag word. Só ’n waninterpretasie in dansresensies mag lei tot negatiewe kritiek wat, in uiterste gevalle, negatiewe vooroordele oor die betrokke kulture projekteer. Hierdie tesis doen ondersoek na die wyse waarop houdings teenoor en persepsies van kultuurverskille in kruiskulturele dansresensies deur middel van spesifieke talige en stilistiese middele gereflekteer word. Analitiese strategieë uit die velde Kritiese Diskoersanalise en Teksanalise word gebruik om kritici se strategieë wat ’n oordeel kommunikeer, bloot te lê. Ek analiseer ses resensies uit drie lande wat handel oor die vertoning Beautiful Me wat deur die Suid-Afrikaanse dansgeselskap Vuyani Dance Theatre tydens internasionale toere opgevoer is. My aanvanklike hipotese is dat kultuurverskille aanleiding mag gee tot negatiewe kritiek vanweë interkulturele misverstande. Aangesien die beoordeling van Uitvoerende Kunste nie slegs deur die kritikus se kulturele agtergrond beïnvloed word nie, maar ook deur hul waarnemingshouding teenoor die vertoning, neem die analise waarnemingsmodusse soos ’n teater-semiotiek-benadering en ’n fenomenologiese benadering in ag. Interessant genoeg, lyk dit asof verskillende waarnemingsmodusse ’n groter impak het op die uitkoms van kritiek as kruiskulturele verskille. Dít beteken dat die meeste negatiewe oordele hul oorsprong moet hê in die toegepaste strategie van dans kyk en waarneem. Dit blyk dat die kritikus die waargenome eienskappe van die dansuitvoering interpreteer en inbed in spesifieke kulturele of sosio-politiese kontekste wat aanleiding gee tot die verskillende, dikwels komplekse maniere van beoordeling.
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Tsintziloni, Steriani. "Modernising contemporary dance and Greece in the mid-1990s : three case studies from SineQuaNon, Oktana Dancetheatre and Edafos Company." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/modernising-contemporary-dance-and-greece-in-the-mid-1990s(f9ab30a8-4e35-499a-9762-9048f34e4283).html.

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The thesis constitutes an examination of contemporary dance in the 1990s in Greece as exemplified in the case of three dance companies - SineQuaNon, Oktana Dancetheatre and Edafos Company – major exponents of the bourgeoning dance scene of that time. The focus is on a particular historical moment, the year 1995, and on three choreographies – ProsOlotoixos [Tour de Force] by Apostolia Papadamaki (SineQuaNon), Daphnis and Chloe by Konstantinos Rigos (Oktana Dancetheatre) and Enos Leptou Sigy [One Moment of Silence] by Dimitris Papaioannou (Edafos Company) - as indications of the vitality of contemporary dance of the times which caused major changes in dance policy. The main hypothesis is that contemporary dance of the 1990s became a site where ideas of change and renewal, pertinent in social milieu became embodied, but at the same time, the companies proposed alternative notions of community, cosmopolitanism and gay identities. The three cases reveal the complex interplay between dance and its social, political and historical context, centering on processes of modernisation of the country and cultural discourses. The thesis explores the emergence of a new generation of artists who negotiated and captured aspects and tensions of the process of modernisation and connected their practices to new artistic identities in accordance with the changing context. The research has been influenced by recent efforts outside Greece to re-examine dance in its social, historical and economic context and to bring the body into historical and contemporary analyses of culture. This methodology highlights the web of power within which contemporary dance was involved, and following post-structuralist critique of history, examines dance history, not as a linear progressive development but through a re-negotiation of power balances between discourses, bodies and institutions.
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Büscher, Barbara. "Gegenseitige Durchdringung und Nicht-Behinderung: Über das Verhältnis zweier Performance-Systeme am Beispiel der Live Electronic Music in Produktionen der Merce Cunningham Dance Company." map - media archive performance ; 2012/3 (E-Journal, URL: http://www.perfomap.de), 2012. https://slub.qucosa.de/id/qucosa%3A4363.

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Die Zusammenarbeit von Merce Cunningham und John Cage beruhte auf dem grundlegenden Prinzip der getrennten Entwicklung und Erarbeitung von Klang/Musik und Tanz/Bewegung (Cunningham 1994). Für den getrennten Arbeitsprozess wurden nur Zeitklammern und die Dauer der Gesamtaufführung als gemeinsame Parameter festgelegt. Diese Trennung von Musik und Tanz bildet die notwendige Voraussetzung für die erweiterte Arbeit der Merce Cunningham Dance Company (MCDC) mit Cage und anderen Composer-Performern in den 1960er und 1970er Jahren, die die elektronischen Klänge live, in der Aufführung, generierten. Der Text untersucht das Verhältnis und die Schnittstellen der beiden Performance-Systeme.
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Martins, Giancarlo. "Uma nova geografia de ideias: diversidade de ações comunicativas para a dança." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4823.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
In the last ten years, actions developed in dance, live and in the media, left the focus in Rio-São Paulo. Spread through several places in the country had taken a new geography of ideas that understand dance as a communication process of the body, organized as a thought that questions power structures, artistic procedures and boundaries between languages. This masters essay selects, as investigation corpus, some of these experiences employed in the education, in the circuit (festivals, shows and meetings), and in the research and creation in dance that, as survival strategy, creates decentralized cultural polar regions. The intend is to demonstrate that these experiences have propose new communication actions to dance. They push punctual changes in the dance market and in the development of public politics of cultural motivation and reconfigure, not only the esthetic system in which they are in, but the whole cultural system, contributing, in this way, for the dance survival and your effective insertion in the social fabric. As methodology, it was used a data analysis in a systematic way, that being, understanding the articulations between the investigated elements, based in the evolution theories proposed by the evolutionist scientist Richard Dawkins (2000-2001), in the concept of body and media proposed by the researchers Helena Katz and Christine Greiner (2000, 2001, 2003 and 2005) and in the cultural and political studies such as the ones developed by Bauman (1999), Agamben (2002), Bhabha (1998) and Foucault (1979 and 1996). Both, the bibliographic research and the field investigation (interviews and case studies) show that the strategies have been developed to recommend new ways of understanding and event organization, information flow and company conception and educational projects in dance. Actions that exist in the relation body and environment, in a contaminator flow, co evolutional, and non-determinist.
Nos últimos dez anos, ações desenvolvidas no campo da dança, em contextos presenciais e na mídia, deixaram de se concentrar no eixo Rio-São Paulo. Espraiadas por diversas regiões do país, têm desenhado uma nova geografia de idéias que entende a dança como um processo comunicacional do corpo, organizado como um pensamento que questiona estruturas de poder, procedimentos artísticos e as fronteiras entre as linguagens. Esta Dissertação de Mestrado foca, como corpus de investigação algumas destas experiências empreendidas na área de educação, de circulação (festivais, mostras e encontros) e de pesquisa e criação em dança que, como estratégia de sobrevivência, criam pólos culturais descentralizados. O objetivo é demonstrar que essas experiências têm proposto novas ações comunicativas para a dança. Impulsionam transformações pontuais no mercado da dança e no desenvolvimento de políticas públicas de incentivo à cultura e reconfiguram não apenas o sistema estético em que estão inseridas, mas todo o sistema cultural contribuindo, dessa maneira, para a sobrevivência da dança e sua efetiva inserção no tecido social. Como metodologia, trabalhamos a análise dos dados de maneira sistêmica, ou seja, entendendo as articulações entre os elementos investigados, a partir das teorias evolutivas propostas pelo cientista evolucionista Richard Dawkins (2000, 2001), do conceito de corpomídia proposto pelas pesquisadoras Helena Katz e Christine Greiner (2000, 2001, 2003, 2005) e dos estudos culturais e políticos tais como os desenvolvidos por Bauman (1999), Agamben (2002), Bhabha (1998) e Foucault (1979, 1996). Tanto a pesquisa bibliográfica, quanto a investigação de campo (entrevistas e estudos de casos) evidenciaram que estratégias vêm sendo desenvolvida para propor novos modos de entendimento e organização de eventos, circulação de informação e concepção de companhias e projetos educativos em dança. Ações que se dão na relação corpo e ambiente, num fluxo contaminatório, coevolutivo e não determinista
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Tavares, Carlos Gonçalves. "Sobre a dança e outras mídias: um estudo sobre a intermidialidade nos trabalhos da Cia Ormeo (MG)." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/227.

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Os diálogos empreendidos pelas diversas formas de expressões artísticas caracterizam toda a história da humanidade. No século XX é evidente a influência dos meios de comunicação e aparatos técnicos nas pesquisas e criações artísticas. De diferentes modos e estilos, a dança, que também passou por mudanças significativas, tanto no âmbito artístico, quanto nos âmbitos pedagógicos e sociais, utiliza de toda a evolução das mídias em suas criações, desde aqueles que já pertenciam à dança, historicamente, como a iluminação e a música, até o uso mais recente de câmeras, projetores de imagens e outros meios tecnológicos. Desta forma esta dissertação buscou analisar as relações intermidiáticas entre a dança, a imagem, o teatro e a música nos espetáculos da Cia Ormeo, companhia de dança que residia em Cataguases (MG) e, que colocava em diálogo a dança contemporânea, o teatro, a música e os meios audiovisuais, por meio da projeção de imagens. A companhia foi dirigida por Daniela Guimarães e esteve em atividade entre 2003 e 2013, sendo um dos poucos grupos artísticos da cidade de Cataguases e região, que obteve uma trajetória artística através de recursos públicos de fomento à cultura. Foram escolhidos os trabalhos Barco (2006), Nha fala (2005) e Uma mulher vestida de sol (2007) para a análise, tendo como base teórica o conceito da intermidialidade, através de vários autores e principalmente de Irina Rajewsky. Os espetáculos da Cia Ormeo possuem características intermidiáticas, uma vez que diversos elementos artísticos se interconectam através da dança. Nota-se que a dança tem uma forte componente comunicativa que incorpora as características das outras artes e as recria cenicamente. Sendo assim, as coreografias e montagens da Cia Ormeo potencializam as características estéticas do teatro, por meio de suas representações; da música, por meio do tratamento diferenciado da voz e dos sons e do audiovisual, por meio do diálogo imagem-corpo.
The dialogues undertaken by the various forms of artistic expression characterize the entire history of humanity. In the twentieth century it is clear the influence of the media and technical devices in research and artistic creations. In different ways and styles, the dance, which has also undergone significant changes, both in the artistic context, and in the educational and social, uses the whole evolution of media in their creations, from those who already belonged to the dance, historically, as lighting and music, to the more recent use of cameras, image projectors and other technological means. Thus this dissertation investigates the intermedial relations between dance, image, theater and music in spectacles Cia Ormeo, dance company residing in Cataguases (MG) and that placed in the contemporary dance dialogue, theater, music and audiovisual media, by means of the image projection. The company was run by Daniela Guimarães and was active between 2003 and 2013, one of the few artistic groups from the city of Cataguases and region, which obtained an artistic trajectory through public resources to promote culture. The works analyzed were Barco (2006), Nha fala (2005) and Uma mulher vestida de sol (2007) for the analysis, the theoretical ground the concept of intermediality, by various authors and especially Irina Rajewsky. The Cia Ormeo’s gigs have intermedial characteristics, since many artistic elements are interconnected through dance. Note that the dance has a strong communicative component incorporating the features of the other arts and recreates scenically. Thus, the choreography and assemblies Cia Ormeo in enhancing the aesthetic characteristics of theater, through its representations; music, through the differential treatment of voice and sounds and audiovisual through the image-body dialogue.
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Büscher, Barbara. "Gegenseitige Durchdringung und Nicht-Behinderung." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-140675.

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Die Zusammenarbeit von Merce Cunningham und John Cage beruhte auf dem grundlegenden Prinzip der getrennten Entwicklung und Erarbeitung von Klang/Musik und Tanz/Bewegung (Cunningham 1994). Für den getrennten Arbeitsprozess wurden nur Zeitklammern und die Dauer der Gesamtaufführung als gemeinsame Parameter festgelegt. Diese Trennung von Musik und Tanz bildet die notwendige Voraussetzung für die erweiterte Arbeit der Merce Cunningham Dance Company (MCDC) mit Cage und anderen Composer-Performern in den 1960er und 1970er Jahren, die die elektronischen Klänge live, in der Aufführung, generierten. Der Text untersucht das Verhältnis und die Schnittstellen der beiden Performance-Systeme.
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Yang, Xiaokun. "Dance with your business partners : An empirical study about what factors influence the adoption of the ITapplications between the company and its global dealers from differentcountries, and among them which factor/factors are more importantthan others." Thesis, Mälardalen University, School of Sustainable Development of Society and Technology, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-9994.

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Date: June 2010Course: EIK 034 Master thesisAuthor: Xiaokun YangTutor: Ole LiljeforsTitle: Dance with your business partnersIntroduction: Through the web conference project of Volvo Construction Equipment(VolvoCE, www.volvoce.com), the author analyzed what factors influence theadoption of IT applications between the global company and its dealers in differentcountries, and among these factors which ones are more important than others.Research question: What factors influence the adoption of the IT applicationsbetween the company and its global dealers from different countries? Among themwhich factor/factors are more important than others?Methodology: The case study method was adopted in this master thesis, which wasbased on the web conference project of VolvoCE, thus much empirical data aboutthis project was collected and used. At the same time the author searched andsummarized some different literatures and articles and deduced the criticalliterature review part. At last, both the theoretical data and empirical data wereanalyzed to answer the research question.Conclusion: Based on the web conference project of VolvoCE, all those factors thatmentioned in the analysis part should be considered when implementing the ITapplications between company and its dealers or other business partners. Have agood understanding about all these factors can improve the success possibility of theIT projects between the global company and its business partners, and thus IT canworks as the dancing music for both the global company and its dealers in thebusiness world. At last among these factors the top business executives’ support andIT infrastructure are more critical than others.Key words: Web conference, Microsoft Live Meeting, dealer, VolvoCE, Wainhouse, ITsystem, Business partner, Inter organization, extended network, Internet ServiceProvicer (ISP).

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Books on the topic "Dance company"

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Rubidge, Sarah. Rambert Dance Company. [London: Rambert Dance Company], 1987.

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Csárdás Dance Company: A history. United States]: Lulu Publishing Services, 2015.

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Danse-cité: Traces contemporaines. Montréal: Heures bleues, 2009.

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Tradition and creativity in Japanese dance: Kikunokai. New York: Weatherhill, 2001.

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Mead, David. Dance company education and outreach: A critical analysis. Roehampton: University of Surrey Roehampton, 2003.

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Tiglao, Carmen de Jesus, and Thaisa Ysonde de Jesus Tiglao. Bayanihan vignettes. Edited by Bayanihan Philippine Dance Company. Manila: Bayanihan Folk Arts Foundation, 2007.

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Kerkhoven, Marianne Van. Anne Teresa De Keersmaeker. Brussels: Vlaams Theater Instituut, 2001.

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Kerkhoven, Marianne Van. Anne Teresa De Keersmaeker. Brussels: Vlaams Theater Instituut, 2001.

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Sorgeloos, Herman. Rosas album. Amsterdam: Theater Instituut Nederland, 1993.

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Sonntag, Frank. The Parsons Dance Company: 10th anniversary, 1987-1997 : retrospective. Edited by Parsons Dance Company. New York, N.Y.]: Parsons Dance Foundation, 1997.

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Book chapters on the topic "Dance company"

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Alexandre, Jane M. "“I Wanted to Be a Dance Company and Not a Social Project”: Sonia Destri." In Dance Leadership, 47–62. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57592-0_4.

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Dieter, Katie E. "Visualizing African diaspora dance through the African American Dance Company and visual art." In Fire Under My Feet, 66–92. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003150343-3.

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Jones, E. Jean Johnson. "The Choreographic Notebook: a Dynamic Documentation of the Choreographic Process of Kokuma Dance Theatre, an African-Caribbean Dance Company." In Dance in the Field, 100–110. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1057/9780230375291_8.

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Childs, C. "Embedding Work Based Learning Opportunities into an Undergraduate Curriculum Through Participation in a Touring Dance Company." In Enhancing Employability in Higher Education through Work Based Learning, 113–32. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75166-5_7.

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Cheesman, Sue. "Ten years of Touch Compass Dance Company’s integrated education programme under the spotlight." In The Routledge Handbook of Disability Arts, Culture, and Media, 114–24. 1st Edition. | New York: Routledge, 2019. | Series: Routledge international handbooks: Routledge, 2018. http://dx.doi.org/10.4324/9781351254687-9.

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Endres, Dominik, Enrico Chiovetto, and Martin A. Giese. "Bayesian Approaches for Learning of Primitive-Based Compact Representations of Complex Human Activities." In Dance Notations and Robot Motion, 117–37. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25739-6_6.

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Aylward, Ryan, and Joseph A. Paradiso. "2006: Sensemble: A Wireless, Compact, Multi-user Sensor System for Interactive Dance." In A NIME Reader, 235–51. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47214-0_16.

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Yang, Yang, Howard Leung, Lihua Yue, and Liqun Deng. "Automatically Constructing a Compact Concept Map of Dance Motion with Motion Captured Data." In Advances in Web-Based Learning – ICWL 2010, 329–38. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-17407-0_34.

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"Company." In Pina Bausch's Dance Theater, 86–163. transcript-Verlag, 2020. http://dx.doi.org/10.14361/9783839450550-003.

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"Rambert Dance Company Archive, London, UK." In Dance History, 146–64. Routledge, 2006. http://dx.doi.org/10.4324/9780203137369-16.

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Conference papers on the topic "Dance company"

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Rifaldi, Egi, and Juju Masunah. "The Company of Dance Costume Rental in Arga Studio Bandung, Indonesia." In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.049.

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Covey, D. "Teaching this elephant to dance [management programmes of BT company] (Abstract only)." In IET 2nd International Technology and Innovation Conference. IEE, 2006. http://dx.doi.org/10.1049/ic:20060219.

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Dalton, Sean, Henry Koon, Jennifer O’Malley, and Julianna Abel. "A Black Box Design Approach to Avian-Inspired SMA Coil Actuated Wearable Morphing Angel Wings." In ASME 2017 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/smasis2017-3943.

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Black box design is a constraint driven design approach that distills essential elements of a physical process into inputs and outputs. This paper details the black box design implementation and validation of shape memory alloy (SMA) coil actuators as active members in a Watt I six bar avian-inspired wearable morphing angel wing mechanism. SMA coil actuators leverage the unique characteristics of high energy density SMA wire by providing a compact structural platform for large actuation displacement applications. The moderate force and displacement performance of low spring index coil actuators paired with their virtually silent actuation performance made them an attractive actuator solution to an avian-inspired wearable morphing wing mechanism for the University of Minnesota Department of Theatre Arts and Dance production of ‘Marisol’. The wing design constraints (extended span of 7.5 ft, a closed span of 3 ft) required a tailorable actuator system with capacity to perform at particular target force and strain metrics cyclically. A low spring index parameter study was conducted to facilitate an accelerated phase of design prototyping. The parameter study featured six SMA coil actuator prototypes made with 0.012” diameter Dynalloy Flexinol® wire of varying spring indexes (C = 2.5–4.9). The coil actuators were manufactured through a CNC winding process, shape set in a furnace at 450 °C for 10 minutes, and water quenched for hardening. A series of thermomechanical actuation tests were conducted to experimentally characterize the low spring index actuation performances. The coil actuation characterizations demonstrated increased force and decreased actuator displacement corresponding to decreased spring indexes. Scaling these results aided an accelerated design of an actuator system. The actuator system consisted of four C = 3.05 coil actuators wound with 0.02” diameter SMA that were integrated into each Watt I mechanism. The characterization of the force-displacement profiles for low index SMA coil actuators provides an effective empirical design strategy for scaling actuator performance to mechanical systems requiring moderate force, moderate displacement actuators.
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Reports on the topic "Dance company"

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Wu, C., A. Chyzh, E. Kwan, R. Henderson, J. Gostic, D. Carter, T. Bredeweg, A. Couture, M. Jandel, and J. Ullmann. Compact fission counter for DANCE. Office of Scientific and Technical Information (OSTI), November 2010. http://dx.doi.org/10.2172/1018751.

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Bolton, Laura. The Economic Impact of COVID-19 in Colombia. Institute of Development Studies (IDS), February 2021. http://dx.doi.org/10.19088/k4d.2021.073.

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Available data provide a picture for the macro-economy of Colombia, agriculture, and infrastructure. Recent data on trends on public procurement were difficult to find within the scope of this rapid review. In 2020, macro-level employment figures show a large drop between February and April when COVID-19 lockdown measures were first introduced, followed by a gradual upward trend. In December 2020, the employment rate was 4.09 percentage points lower than the employment rate in December 2019. Macro-level figures from the National Administrative Department of Statistics (DANE) show that a higher percentage of men experienced job losses than women in November 2020. However, the evidence presented by the Universidad Nacional de Colombia based on the DANE great integrated house survey shows that a higher proportion of all jobs lost were lost by women in the second quarter. It may be that the imbalance shifted over time, but it is not possible to directly compare the data. Evidence suggests that women were disproportionately more burdened by home activities due to the closure of schools and childcare. There is also a suggestion that women who have lost out where jobs able to function during lockdowns with technology are more likely to be held by men. Literature also shows that women have lower levels of technology literacy. There is a lack of reliable data for understanding the economic impacts of COVID-19 for people living with disabilities. A report on the COVID-19 response and disability for the Latin America region recommends improving collaboration between policymakers and non-governmental organisations. Younger people experienced greater job losses. Data for November 2020 show 3.3 percent of the population aged under 25 lost their job compared to 1.8 percent of those employed between 24 and 54. Agriculture, livestock, and fishing increased by 2.8% in 2020 compared to 2019. And the sector as a whole grew 3.4% between the third and fourth quarters of 2020. In terms of sector differences, construction was harder hit by the initial mobility restrictions than agriculture. Construction contracted by 30.5% in the second quarter of 2020. It is making a relatively healthy recovery with reports that 84% of projects being reactivated following return to work. The President of the Colombian Chamber of Construction predicting an 8.4% growth in the construction of housing and other buildings in 2021.
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