Diversity In The Arts: The Past, Present, and Future of African American and Latino Museums, Dance Companies, and Theater Companies

The DeVos Institute of Arts Management at the University of Maryland has worked since its founding at the John F. Kennedy Center for the Performing Arts in 2001 to address one aspect of America's racial divide: the disparity between arts organizations of color and mainstream arts organizations. Through this work, the DeVos Institute staff has developed a deep and abiding respect for the artistry, passion, and dedication of the artists of color who have created their own organizations. Our hope is that this project will initiate action to ensure that the diverse and glorious quilt that is the American arts ecology will be maintained for future generations.This study was commissioned by the University of Maryland, College Park. It is a component of a broader look at diverse arts organizations that also included three symposia on this vital topic. While the DeVos Institute of Arts Management is grateful to the University, especially its President, Wallace Loh, all errors are those of the authors

The integration of dance as a dramatic element in broadway musical theatre

This study traces the development and growth of dance on the Broadway stage and the parallel growth of the effectiveness of choreography in enhancing the musical Theatre libretto. The study surveys the origins and early evolution of stage dance in the United States from 1775 to the introduction of ballet choreography in 1922. It concludes with an examination of Selected scripts which use choreography to dramatize the musical Theatre libretto, 1922 to 1990

Claiming their space: virtuosity in British jazz dance

A discussion of the jazz dancing that took place in British clubs in the 1970s and 1980s

The Power of a Cultural Campus: Lincoln Center's Economic Impact on New York City

Lincoln Center, the cultural heart of New York City for over half a century, is also an important economic force, according to a new report released today. Lincoln Center's 11 resident cultural organizations and its three long-term licensees hosted 4.5 million people in the 2015 fiscal year, and the cultural campus contributed $2.4 billion in economic impact in New York City. In addition, New Yorkers benefited from access to free performances: 33$2.4 billion impact consists of direct spending by Lincoln Center of $785.4 million and indirect spending of$1.4 billion. Lincoln Center tourists--audience members from out of town who said that Lincoln Center was a very important reason for their trip to New York City--spent $669.8 million, having an impact of$1 billion. This economic activity created nearly 16,000 jobs in the city. Some highlights from the report: Lincoln Center contributed $2.4 billion to New York City's economy in the 2014-2015 season. Lincoln Center organizations spent$785.4 million in New York City during that period, having an economic impact of $1.4 billion.$113.5 million in New York City taxes were collected. Lincoln Center tourists--audience members from out of town who said that Lincoln Center was a very important reason for their trip to New York City--spent $669.8 million, having an impact of$1 billion. 15,802 New York City jobs were created by this economic activity. 71% of Lincoln Center expenditures were on program-related labor and expenses. 44% of all attendees took advantage of Lincoln Center free events, programs, and admissions. Nearly 1.5 million people attended a free performance, and another half million visited the New York Public Library for the Performing Arts, to attend free events

Diasporic experience and the archival process: reflections upon the initial phase of the Black Dance Archives project (UK)

State of Trust has been funded to archive ‘collections from eminent individuals and organisations from the British Black dance sector’ (http://blackdancearchives.co.uk/). The Black Dance Archive may be considered as a ‘contingent, dynamic and transformative site’ (Heathfield 2012, 238) whose presence facilitates an historical ‘re-remembering’ (Bindas 2010). It stands as the site of negotiation between ‘Black British’ dance artists and the ‘archontic principle’ (Derrida, 1995) through which the archive retains the traces of a power that consigns documents to their place within a (dominant) signifying system.   Through a diaologic, reflective and trans-disciplinary process, we consider the role of the performance archive within the context of decolonisation. For those artists whose work is included, the transition of artefacts from private to public space marks a legitimization that nevertheless is fraught with the risk of appropriation. The archival process repeats previous tensions between hegemonic dance discourses and the artists’ aims to respond authentically to their lived diasporic experiences. The archive also marks a coming to terms with, even a mourning of, a past that for many of the artists was already shaped by a sense of loss. If, ‘the theory of psychoanalysis… becomes a theory of the archive and not only a theory of memory’ (Derrida 1995, p.18 ), can this archive be conceptualised and experienced in ways that allow for recognition of the lived trauma of diasporic experience while also celebrating how such experiences engendered new danced identities?

Billy Elliot The Musical: visual representations of working-class masculinity and the all-singing, all-dancing bo[d]y

According to Cynthia Weber, ‘[d]ance is commonly thought of as liberating, transformative, empowering, transgressive, and even as dangerous’. Yet ballet as a masculine activity still remains a suspect phenomenon. This paper will challenge this claim in relation to Billy Elliot the Musical and its critical reception. The transformation of the visual representation of the human body on stage (from an ephemeral existence to a timeless work of art) will be discussed and analysed vis-a-vis the text and sub-texts of Stephen Daldry’s direction and Peter Darling’s choreography. The dynamics of working-class masculinity will be contextualised within the framework of the family, the older female, the community, the self and the act of dancing itself

Expressions, Summer 2017

College of Humanities and the Arts Newslette

Dance Theatre \u2784 (1984)

Music: Various Choreographers: Various Artistic Director: Janet Van Swoll Costumes: Susan Lee Olsen Academic Year: 1984-1985https://scholarworks.sjsu.edu/productions_1980s/1042/thumbnail.jp

BU Symphony Orchestra and Symphonic Chorus at Symphony Hall, November 24, 2008

This is the concert program of the BU Symphony Orchestra and Symphonic Chorus performance on Monday, November 24, 2008 at 8:00 p.m., at Symphony Hall, 301 Huntington Avenue, Boston, Massachusetts. Works performed were Fearful Symmetries by John Adams and Daphnis et Chloë by Maurice Ravel. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund