File Name: dance human rights and social justice dignity in motion .zip
- Dance, human rights, and social justice : dignity in motion
- Dance, Human Rights, and Social Justice: Dignity in Motion
- Dance, human rights, and social justice : dignity in motion
The Human Rights Studies Program introduces Barnard undergraduates to the basic normative, theoretical and empirical knowledge and skills necessary to contribute cogently to public debates and policy initiatives related to social justice in the modern world. This mission reflects the proliferation of human rights concerns and the associated growth of public and private human rights institutions over the past half century, but more importantly the daunting theoretical and practical challenges that still remain. Human Rights Studies at Barnard is an interdisciplinary program, a joint major that combines the study of human rights with a complementary disciplinary, regional or other expertise at the choice of each student. In the case of undergraduate women majoring in human rights, these four broad goals would require students to possess the following knowledge and skills.
Dance, human rights, and social justice : dignity in motion
Elizabeth Aldrich born February 26, is an American dance historian, choreographer, writer, lecturer, consultant, administrator, curator, and archivist. Aldrich, an astrophysicist, and Donna J. Olsen Aldrich, a public school music teacher. Soon after, encouraged by her mother, she added music lessons to her dance training as she began taking instruction on the cello from Mary Lewis in Wrightswood, California. When her family moved again, to Maine, she continued her studies in dance, music, and acrobatics, in which she won the state floor exercise championship in After graduation from high school in Windham, Maine, she attended Ohio University in Athens , where she studied modern dance and dance history, and the New England Conservatory of Music in Boston , where she studied cello as well as ballet and early dance of the Renaissance and Baroque periods.
She earned a bachelor of music degree from the conservatory in and a master's degree in Thereafter, she moved to New York City and continued her dance training at the Melissa Hayden Studio and at the New School , where she studied modern dance with Julie Sander and ballet with Saturo Shimasaki. Aldrich has had a remarkable succession of related careers as a performer, choreographer, workshop leader and lecturer, project manager and administrator, consultant, and curator and archivist of dance materials.
As a professional musician, Aldrich first joined the New England Consort of Viols as a player of the viola da gamba, a bowed, fretted, and stringed instrument similar to the cello that was popular during the Renaissance and Baroque periods. She was also a member of the Court Dance Company of New York, a professional company specializing in period dance, and was co-artistic director as well as a performer. The company also toured abroad, giving performances in England, Switzerland, and Chile.
In , she created a program of marches, reels, quadrilles, and waltzes for the centennial celebration of the Great Hall in the Jefferson Building of the Library of Congress in Washington. The program also included a reinterpretation of Loie Fuller's famous Butterfly Dance, a solo performed by Jody Sperling. Aldrich is known particularly for her film choreography, as she has specialized in creating large-scale ballroom scenes from the s through the s as well as social dances from the s through the s.
As a presenter, Aldrich has conducted workshops and given lectures and speeches for numerous scholarly organizations in North America, South America, Europe, and Asia. The topics of her presentations have been wide-ranging: from Renaissance and Baroque court dance to social dances of the nineteenth century; from etiquette in the court of Louis XIV to ragtime dances in American ballrooms and nightclubs; from table manners in the nineteenth century to Balanchine's Broadway shows of the twentieth; from the costumes of Mozart's world to dance in Hollywood films, from the Viennese waltz to jitterbug.
Aldrich's administrative career began in with a job as assistant to arts consultant George Alan Smith. A founding member and a co-artistic director of the Historic Dance Foundation , she was also one of the founders of the International Early Dance Institute at Goucher College in Towson, Maryland, and was an active participant for several years During this time, she also served as president of the Society of Dance History Scholars and as managing director of the World Dance Alliance's first General Assembly of the Americas In , Aldrich was hired by the New York branch of Oxford University Press as managing editor of the International Encyclopedia of Dance, a reference project that had failed during development at two other academic publishers.
Working with founding editor Selma Jeanne Cohen , the editorial board George Dorris, Nancy Goldner, Beate Gordon , Nancy Reynolds , David Vaughan, Suzanne Youngerman , and the staff of Oxford's Scholarly and Professional Reference Department, she was a major force in rescuing the project and bringing it to a successful conclusion with publication of a six-volume set in Thereafter, she worked as a freelance editor on several Oxford reference projects and as contributing editor for dance on The Grove Dictionary of American Music, second edition, edited by Charles Hiroshi Garrett.
After publication of Oxford's dance encyclopedia, Aldrich continued her administrative work as chair of the editorial board of the Society of Dance History Scholars She then found her next managerial job as executive director of Dance Heritage Coalition, a national alliance of institutions holding significant collections documenting the history of dance, headquartered in Washington, D.
As writer or editor, she also was responsible for a number of publications issued by the coalition. Aldrich has served as consultant for a number of arts organizations. She has been a member of the Advisory Board of Early Music America ; a core consultant for the eight-part series "Dancing," produced by the Public Broadcasting System ; a member of the Board of Visitors for the New England Conservatory of Music ; and a panelist for the National Endowment for the Arts and the National Endowment for the Humanities For the George Balanchine Foundation, she was one of a group of principal researchers for the Popular Balanchine project, devoted to documenting Mr.
Balanchine's work on Broadway shows and Hollywood films As consultant to the Music Division of the Library of Congress in , Aldrich was responsible for writing narratives and reconstructing steps and step sequences for accompanying video clips as part of "An American Ballroom Companion, ca. In Aldrich was once again employed by the Music Division of the Library of Congress, as she was named to the newly created position of Curator of Dance.
Among her first tasks was identifying, processing, and creating finding aids for twenty archival collections that had been acquired between and Thereafter, she acquired, processed, and created finding aids for more than thirty new archival collections of memorabilia, many of which supported the Martha Graham Collection. As a result, the library is now the primary location for the scholarly study of the biography of Graham and of the history of her works and her company.
Other acquisitions made by Aldrich ranged from the collection of stage and screen star Marge Champion to that of the New Dance Group , a revolutionary performing group active from the s to the s. Just before Aldrich retired from the library in , she was instrumental in the acquisition of the collection of American Ballet Theatre to the present day , a significant addition to the library's holdings on the performing arts in the United States. During her tenure at the library, Aldrich also wrote its first "Collection Overview for Dance," its first "Collection Policy Statement for Dance," and a comprehensive Guide to Special Collections in Dance , which describes every dance and dance-related special collection located in the library's Music Division, covering ballet, folk and traditional dance, musical theater dance, and social dance.
She was curator or co-curator of four important exhibitions mounted at the library and that were afterward displayed at the Dorothy Chandler Pavilion in Los Angeles.
Aldrich was also responsible for content and narrative for online presentations of library materials on the Ballets Russes de Sergei Diaghilev , on Bronislava Nijinska , and on Martha Graham. While undertaking all these tasks she also organized numerous displays of dance materials for colleges, universities, special guests, and congressional representatives.
Aldrich married Brian Russell Olson in December They reside most of the year in their home on the coast of Chile, some miles northwest of Santiago. She serves as a dance history and archival consultant to various Chilean organizations and institutions. From Wikipedia, the free encyclopedia. Retrieved 18 February The source of much biographical information given herein, used by permission of the subject.
Retrieved Archived from the original on Categories : Living people births Dance historians Dance writers American women choreographers American choreographers Film choreographers New England Conservatory alumni Librarians at the Library of Congress American women librarians American expatriates in Chile 21st-century American historians 21st-century American women writers American women historians. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file.
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Dance, Human Rights, and Social Justice: Dignity in Motion
Judith's essay on dance in traditional Jewish communities appear in the program for "Jews and Jewishness in the Dance World," international conference held at Arizona State University, October, See Pages Judith is featured as a Jewish dance expert in news article about the Mizinke Dance, a traditional wedding dance in Jewish Action magazine. Judith covered the International Dance Exposure Festival. Judith attended the Tel Aviv University conference about the company, a unique gallery exhibition about its new on-line archives, rehearsals and the Gala performance at the Tel Aviv Opera House. Spring
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Marion Kant teaches all subjects connected to body politics, the history and aesthetics of performance — theatre, opera, dance and ballet — German-Jewish relations, the ideology of Nazism and the history of anti-fascist exile. Her publications have addressed the evolution of German physical cultures and the emergence of nationalist ideologies. She has also written on German-Jewish assimilation, emigration and anti-fascist exile. Marion Kant is presently working on the relationship between German nationalism and movement concepts in the 19th and 20th centuries. Three Letters with Annotation and a Commentary. February March
Dance, human rights, and social justice : dignity in motion
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В этот момент где-то вдали раздался оглушительный колокольный звон. Она потянулась к Дэвиду, но он исчез, и ее руки сомкнулись в пустоте. Телефонный звонок окончательно прогнал сон. Сьюзан Флетчер вздохнула, села в кровати и потянулась к трубке. - Алло.
Молча обернулся, бросил взгляд на погруженную во тьму шифровалку и, нагнувшись приподнял тяжелую крышку люка. Она описала дугу и, когда он отпустил руку, с грохотом закрыла люк. Шифровалка снова превратилась в затихшую черную пещеру. Скорее всего Северная Дакота попал в ловушку. Стратмор опустился на колени и повернул тяжелый винтовой замок. Теперь крышку не поднять изнутри.
Проснувшись утром в своей постели, Беккер заканчивал день тем, что ломился в гостиничный номер незнакомого человека в Испании в поисках какого-то магического кольца. Суровый голос Стратмора вернул его к действительности. Вы должны найти это кольцо. Беккер глубоко вздохнул и перестал жаловаться на судьбу.
Но решил этого не делать. Сьюзан так и подумала. Старшие должностные лица АНБ имели право разбираться со своими кризисными ситуациями, не уведомляя об этом исполнительную власть страны.
Не обращая внимания на пролом в стене, он подошел к электронной двери. Створки с шипением разъехались в стороны. Он вошел. Сьюзан стояла перед ним, промокшая, взъерошенная, в его пиджаке, накинутом на плечи.
Партнер Танкадо - призрак.
Стратмор пришел вчера с самого утра, и с тех пор его лифт не сдвинулся с места. Не видно, чтобы он пользовался электронной картой у главного входа. Поэтому он определенно .
И прошептал чуть насмешливо: - Llamo un medico. Вызвать доктора.