Sentences with phrase «dance project as»

Not exact matches

As Amazon dances through courtship rituals with the 20 cities hoping to host its second headquarters, the company is also charging ahead on a slate of other real estate projects.

Details about the format are being kept under wraps, but the hourlong project is described as a «fresh take» on the dance competition genre.

They aren't the sum total of our homeschooling, which tends to include a lot of independent reading, independent art projects, sewing and knitting, violin - playing and choral singing, folk - dancing, household responsibilities which I count as elective home - economics credit, and, currently, the launching of an Etsy business to sell some of her hand - knit goods, which experience I can fold into her required economics half - credit.

The Auburn basketball team that hasn't been to the NIT since 2009 or the NCAA Tournament since 2003 is currently projected by ESPN bracketologist Joe Lunardi as a No. 4 seed in the Big Dance.

Through activities such as science projects, dance, sports training, academic enrichment, arts and crafts, these students experienced an educational atmosphere that was both fun and stimulating.»

The unfinished Untitled Eliot Spitzer Project, directed by Oscar - winner Alex Gibney, felt like a comeback — and an onscreen wake, as Spitzer's antagonists Joe Bruno, Ken Langone, and Roger Stone danced on Spitzer's grave, even as Client 9 struggled to raise himself from the dead.

Both Alaluf and Brubert recommend projects like Dance Your Ph.D. as an exercise in effective science communication.

«With a long, intricate dance around the Saturn system, Cassini aims to study the Saturn system from as many angles as possible,» said Linda Spilker, Cassini project scientist based at NASA's Jet Propulsion Laboratory in Pasadena, Calif. «Beyond showing us the beauty of the Ringed Planet, data like these also improve our understanding of the history of the faint rings around Saturn and the way disks around planets form — clues to how our own solar system formed around the sun.»

Due to the unusual stress on their joints as they dance, many ballerinas need hip replacement surgery in their early teens, says Thalmann, who described the ongoing modeling project here today at the annual meeting of AAAS, which publishes Science.

Yewande is a recipient of the Artist as Catalyst grant from the Mid Atlantic Arts Council, where she designed a dance theater project that involved the local New Jersey community.

This could be even as simple as baking a cake, taking the dog for a walk, writing poetry, dancing, writing another chapter of your novel or finishing a special project.

Some years ago we performed it on stage as a crossover project, a mix of modern dance, hip hop, breakdance and ballet.

The following year, Garofalo appeared in no less than five films, with a supporting part in the ensemble piece 200 Cigarettes, a starring role as an unconventional action heroine called the Bowler in Mystery Men (which also featured Stiller), and prominent turns in Kevin Smith's eagerly awaited Dogma, Hampton Fancher's psychological thriller The Minus Man, and the satirical comedy Can't Stop Dancing, in which she acted alongside fellow comedienne Margaret Cho.In 2001, Garofolo took on the role of Catherine Connolly in The Laramie Project, HBO's docudrama chronicling the aftermath of the death of Matthew Shepard, and filmmaker David Wain's comedy Wet Hot American Summer.

She was a dancer and choreographer in her college dance theater and later worked as a background actor in over seventy films and TV projects.

Sensitive, kind and sharp as a katana, Nick dreamed up an unlikely passion project in Cuban Fury, a workplace / sports comedy orbiting around the world of salsa dancing.

Although Chazelle should get the lion's share of the credit as to why the film works, that shouldn't take away from the phenomenal performances, not only in acting, but also in singing, dancing, and playing instruments, to Crazy Stupid Love and Gangster Squad cast - mates Emma Stone and Ryan Gosling, who took over the roles from the originally pitched Emma Watson (who was iffy on the project before ultimately being unavailable) and Whiplash star Miles Teller (who, reportedly, lost the gig trying to stall for a bigger paycheck).

Before delving into this project, Wolfe was already an award - winning music video director whose credits included The Shoes» «Time to Dance,» featuring a murderous Jake Gyllenhaal, as well as the intensely cinematic video for Paolo Nutini's «Iron Sky,» in which there are a number of aesthetic similarities to Catch Me Daddy.

However, the school curriculum goes beyond multicultural songs and dances; it is based on Educating for Global Competence: Preparing Our Youth to Engage the World (PDF), a text based on interdisciplinary - instruction research from Harvard University's Project Zero and pedagogical work by global - education institutions such as the International Baccalaureate, the Asia Society, Oxfam, and Facing History and Ourselves.

Only after everyone has a chance to offer opinions and observations do the teachers whose students performed the dance — two women who run an after - school neighborhood outreach program sponsored by the Boston Ballet — reveal that the dance is a blending of hip - hop and Bhangra, an Indian dance form, assigned as a choreography project to enhance self - confidence and to give the girls a chance to work on creativity within boundaries.

A growing body of research describes such efforts as student voice initiatives (Fielding, 2001; Mitra, 2008), projects that are categorically different from traditional student leadership roles in school, such as planning dances and holding pep rallies.

For students experiencing difficulty with organizing and memorizing information, teachers may use: (1) mnemonic devices such as the acronym HOMES, which stands for the names of the Great Lakes; (2) riddles, poems, and songs for remembering important people, places, and events; (3) check lists and calendars for organizing and completing assignments; (4) color coding for organizing and accessing materials and assignments (for example, different colored notebooks or dividers for different assignments and subjects); and (5) multisensory assignments and activities for remembering more fully an experience or more thoroughly grasping a concept from a concrete example (for example, construction projects, three - dimensional maps, textured artifacts, period music, dance, and dress, regional dialects and languages, and samples of various cuisines).

Even in these conditions, a sense of tightness and responsiveness defines Project 8: The body feels rigid and flex - free, the suspension is tautly controlled as it compresses and rebounds, and the steering snaps immediately to attention with a weighting that's meaty enough to feed back substance, if light enough to dance off the excess pounds.

Marc qualified from Edinburgh University and has since worked in small animal, mixed, and emergency practice, as well as volunteering oversees for animal rescue projects including vaccinating dogs against rabies in Mumbai, rescuing dancing bears in Ukraine, saving cats and dogs in post-tsunami Thailand, neutering pets in the Amazon, and operating on moonbears in Chengdu, China.

The Zagreb Tourist Board organized an event, «Dance Evenings,» at Zrinjevac Park, as part of the «Zagreb Time Machine» project, which began on Friday, July 1.

Bernard worked as a level designer on several other Ubisoft projects including Just Dance and Just Dance 2.

Whilst it may not have the variation and extra modes present in titles such as Project Diva f, it has an engaging story mode, a mother lode of unlockable bonuses and plenty of customisation options to keep you coming back for one more dance.

Through the last five years I have been part of teams and projects that explored a wide range of the new interfaces for games, such as Wii Remotes, Balance Board, Dance Pad, Move Controllers, Kinect, Buzz buttons and...

BOOKSHELF In addition to the forthcoming Alma Thomas volume, curator Lauren Haynes has authored and contributed to several of exhibition catalogs including «Speaking of People: Ebony, Jet and Contemporary Art» and «Stanley Whitney: Dance the Orange,» as well as «The Bearden Project» and «Fore.»

Underpinning the project is the idea of fragility as strength; Fragile is also the name of Tillmans's band, with whom he made a self - directed visual album in 2016 to accompany their EP That's Desire / Here We Are that features the transgender model Hari Nef and others dancing to its soundtrack against colored backgrounds.

Since then the company has enjoyed continued success, winning commissions and residencies at prestigious performance venues such as The Joyce Theater, New York Live Arts, The Kitchen, Dance Theater Workshop, Danspace Project Joyce SoHo, The Guggenheim Museum's Works & Process program and Baryshnikov Arts Center.

She is currently working on the Jimmie Durham retrospective, Jimmie Durham: At the Center of the World, slated to open at the Hammer in January 2017, as well as Hammer Projects with Marwa Arsanios, Simon Denny, and Kevin Beasley, and dance performances with Ei Arakawa and the Venice - based dance collective Lightning Shadow for In Real Life: 100 Days of Film and Performance.

Previous projects also include the site specific street performance Cut / Cute by Joel Andrianomearisoa, which premiered in Johannesburg as part of SA Fashion Week, and Nelisiwe Xaba and Mocke van Veuren's performance Uncles and Angels, which was presented at Goodman Gallery Projects as part of the Dance Uprojects also include the site specific street performance Cut / Cute by Joel Andrianomearisoa, which premiered in Johannesburg as part of SA Fashion Week, and Nelisiwe Xaba and Mocke van Veuren's performance Uncles and Angels, which was presented at Goodman Gallery Projects as part of the Dance UProjects as part of the Dance Umbrella.

We have organized Hammer Projects with Maria Hassabi and Kelly Nipper that focused on dance and the Made in L.A. biennials have consistently highlighted performance projects such as the inclusion of Jmy James Kidd / Pieter Studio, Emily Mast, KCHUNG, and Brennan Gerard & Ryan Kelly in 2014, and in 2016 Rafa Esparza, Wadada Leo Smith, Lauren Davis Fisher, and AdamProjects with Maria Hassabi and Kelly Nipper that focused on dance and the Made in L.A. biennials have consistently highlighted performance projects such as the inclusion of Jmy James Kidd / Pieter Studio, Emily Mast, KCHUNG, and Brennan Gerard & Ryan Kelly in 2014, and in 2016 Rafa Esparza, Wadada Leo Smith, Lauren Davis Fisher, and Adamprojects such as the inclusion of Jmy James Kidd / Pieter Studio, Emily Mast, KCHUNG, and Brennan Gerard & Ryan Kelly in 2014, and in 2016 Rafa Esparza, Wadada Leo Smith, Lauren Davis Fisher, and Adam Linder.

Their work has been shown in New York at The Kitchen, Art in General, Park Avenue Armory, Volta Art Fair, Burning Bridges, Prelude 08 Festival, Whitney Museum of American Art, EFA Project Space, Chez Bushwick, Dixon Place, Dance New Amsterdam, and Works & Process at the Guggenheim Museum, as well as at Carpe Diem Arte e Pesquisa (Lisbon), Maastricht Toneelstad Festival (Netherlands), La Générale and il faut brûler pour briller (Paris), Renaissance Society (Chicago), Studio 303 (Montréal), Greenwich Music Festival, Jacob's Pillow, and the Mount Tremper Arts Festival.

Their work has been presented at MOMA PS1 as part of Greater NY, The Chocolate Factory, New York Live Arts, Danspace Project, the Vail International Dance Festival, REDCAT, ICA Boston and Summer Stages Dance, the Walker Art Center, the Museum of Contemporary Art Chicago, On the Boards, and the O Miami Poetry Festival.

After dancing as a member of the Merce Cunningham Dance Company from 1984 to 1993, and the White Oak Dance Project from 1994 to 1996, Patricia Lent teaches, stages, and conducts workshops at the Merce Cunningham Trust, where she is a Trustee and Director of Licensing.

In the final work, films of five different dances are projected simultaneously on freestanding walls, allowing visitors to reflect upon their own movement as they traverse the exhibition space.

Haynes has authored and co-authored several catalogues such as Alma Thomas, The Bearden Project, Speaking of People: Ebony, Jet and Contemporary Art, and Stanley Whitney: Dance the Orange.

Their work has been presented at MOMA PS1 as part of Greater New York, The Chocolate Factory, New York Live Arts, Danspace Project, the Vail International Dance Festival, REDCAT, ICA Boston, and the O Miami Poetry Festival.

Rethorst's work has been presented by The Museum of Modern Art, The Kitchen, Dance Theater Workshop, Danspace Project at St. Mark's Church, and the Whitney Museum Of American Art, as well as at various dance theaters, universities, and festivals throughout the United StDance Theater Workshop, Danspace Project at St. Mark's Church, and the Whitney Museum Of American Art, as well as at various dance theaters, universities, and festivals throughout the United Stdance theaters, universities, and festivals throughout the United States.

As a dancer she has also appeared with DV8, Jeremy James and Dancers, Martha Clarke, Arthur Pita and Mark Baldwin Dance Company, and has worked on various film and photographic projects.

The cutting edge dance project dives deep into identity politics, following Yamamoto's own journey as a queer Japanese immigrant to the United States.

Recent projects include INSIDE VOICE: a sound art program at Threewalls and Home Channels at [Open House] as part of Platforms: 10 years of Chances Dances.

Formerly, Cassie was the Project Cataloger for the Merce Cunningham Dance Audio Collection and she started her career at NYPL in 2009 as the Oral History Archive Assistant.

As a UK Associate at Delfina Foundation, Moran will consider ways of translating his current project On the Habit of Being Oneself, which explores the surrender of intention and choice - making in dance, to the gallery context.

Her latest curatorial projects include We Dance, We Smoke, We Kiss, Fahrenheit, Los Angeles, 2016, Cool Memories, Occidental Temporary, Paris, 2016, Like the Desert Miss the Real, Galerie Steinek as part of Curated - by, Vienna, 2015, Dirty Linen, DESTE Foundation at the Benaki Museum, Athens, 2015, Shit and Die, Palazzo Cavour as part of Artissima collateral program, Turin, 2014.

The backdrops in Contemporary Business seem carefully chosen to reflect upon Shanghai's and China's complicated past, its rapid present transformations, and its undecided future, as the merry band of outsiders groove in front of a massive, drab communist style housing project, dance on the Bund along Shanghai's Huangpu River, a vibrant promenade lined with handsome Neo-Classical, Beaux - Arts and Art - Deco buildings (former banks and financial houses from the 19th and early 20th centuries) that are beautiful relics of Shanghai's colonial past and emblems of the city's cosmopolitan present.

The exhibition Merce Cunningham: Common Time, currently on view at the MCA, showcases Cunningham's multidisciplinary projects and explores, as Cunningham described, the «underlying principle that music and dance and art could be separate entities independent and interdependent, sharing a common time.»

With the ground - breaking performance ensemble at its core, ongoing initiatives like the Summer Leadership Institute (SLI), BOLD (Builders, Organizers & Leaders through Dance) and the developing Choreographic Center, UBW continues to affect the overall ecology of the arts by promoting artistic legacies; projecting the voices of the under - heard and people of color; bringing attention to and addressing issues of equity in the dance field and throughout the United States; and by providing platforms and serving as a conduit for culturally and socially relevant experimental art maDance) and the developing Choreographic Center, UBW continues to affect the overall ecology of the arts by promoting artistic legacies; projecting the voices of the under - heard and people of color; bringing attention to and addressing issues of equity in the dance field and throughout the United States; and by providing platforms and serving as a conduit for culturally and socially relevant experimental art madance field and throughout the United States; and by providing platforms and serving as a conduit for culturally and socially relevant experimental art makers.

As a project that emerged from Buenfeld's curatorial residency with AIT last year, and her ongoing research, «At the still point of the turning world...» is a selection of works that proposes questions about sculptural and dynamic form with a particular focus on dance and ceramics - two craft traditions with a strong historical and contemporary presence in Japan.