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

Lending Petri nets and contracts

Choreography-based approaches to service composition typically assume that, after a set of services has been found which correctly play the roles prescribed by the choreography, each service respects his role. Honest services are not protected against adversaries. We propose a model for contracts based on a extension of Petri nets, which allows services to protect themselves while still realizing the choreography. We relate this model with Propositional Contract Logic, by showing a translation of formulae into our Petri nets which preserves the logical notion of agreement, and allows for compositional verification

Distributed Enforcement of Service Choreographies

Modern service-oriented systems are often built by reusing, and composing together, existing services distributed over the Internet. Service choreography is a possible form of service composition whose goal is to specify the interactions among participant services from a global perspective. In this paper, we formalize a method for the distributed and automated enforcement of service choreographies, and prove its correctness with respect to the realization of the specified choreography. The formalized method is implemented as part of a model-based tool chain released to support the development of choreography-based systems within the EU CHOReOS project. We illustrate our method at work on a distributed social proximity network scenario.Comment: In Proceedings FOCLASA 2014, arXiv:1502.0315

The Study and Expression of Bharatanatyam Classical India Dance

Bharatanatyam is a classical Southern style of Indian dance originating from Tamil Nadu, and is now practiced all over the world. During my stay in India, I learned from Dr. Joshi, Nupur Bharatnattyam Nrityalaya. According to my teacher, this specific dance style is designed to accompany songs that honor and/or describe a God’s story. The dance can vary according to the song and its specific meaning or intent. In my Honors Capstone Project, I composed a fusion choreography using original Bharatnatyam movements performed to Eastern European Slavic Music (artist: Kitka). Every hand, eye, foot, and body movement has a meaning and was incorporated into this choreography. The choreography was then taught to the local dance troupe, Cold Fusion, and performed at Tundra Caravan’s showcase, featuring Suzanne DelVecchio. The performance of this choreography was well received and performed at many other local events. My Capstone Project helped lead the way for more Indian dance to be taught in Fairbanks, AK, as well as further expand my own knowledge

The Paths to Choreography Extraction

Choreographies are global descriptions of interactions among concurrent components, most notably used in the settings of verification (e.g., Multiparty Session Types) and synthesis of correct-by-construction software (Choreographic Programming). They require a top-down approach: programmers first write choreographies, and then use them to verify or synthesize their programs. However, most existing software does not come with choreographies yet, which prevents their application. To attack this problem, we propose a novel methodology (called choreography extraction) that, given a set of programs or protocol specifications, automatically constructs a choreography that describes their behavior. The key to our extraction is identifying a set of paths in a graph that represents the symbolic execution of the programs of interest. Our method improves on previous work in several directions: we can now deal with programs that are equipped with a state and internal computation capabilities; time complexity is dramatically better; we capture programs that are correct but not necessarily synchronizable, i.e., they work because they exploit asynchronous communication

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This essay addresses how Africanist choreography operates as a practice of cultural citizenship, focussing on the work of Thomas ‘Talawa’ Prestø as a leading figure in shaping the cultural sphere for choreography based on African and diaspora forms in Norway and internationally. Whereas cultural policy discourse tends to value Africanist choreography as a tool for social inclusion, this essay seeks to foreground the philosophical basis of Prestø’s work – with a focus on his piece I:Object (2018) and its enactment of ideas of Africana philosophy, heritage and polycentrism. However, rather than focussing exclusively on performance analysis, the essay also emphasises the political importance of the professional work that choreographers like Prestø undertake aside from choreographing – analysing the ways in which he has created a new discursive context for his own practice and the challenge to Eurocentric norms of reception this work enacts

Connectors meet Choreographies

We present Cho-Reo-graphies (CR), a new language model that unites two powerful programming paradigms for concurrent software based on communicating processes: Choreographic Programming and Exogenous Coordination. In CR, programmers specify the desired communications among processes using a choreography, and define how communications should be concretely animated by connectors given as constraint automata (e.g., synchronous barriers and asynchronous multi-casts). CR is the first choreography calculus where different communication semantics (determined by connectors) can be freely mixed; since connectors are user-defined, CR also supports many communication semantics that were previously unavailable for choreographies. We develop a static analysis that guarantees that a choreography in CR and its user-defined connectors are compatible, define a compiler from choreographies to a process calculus based on connectors, and prove that compatibility guarantees deadlock-freedom of the compiled process implementations