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| juan soto dancing: Dance Spreads Its Wings Ruth Eshel, 2021-10-25 Why did dance and dancing became important to the construction of a new, modern, Jewish/Israeli cultural identity in the newly formed nation of Israel? There were questions that covered almost all spheres of daily life, including “What do we dance?” because Hebrew or Eretz-Israeli dance had to be created out of none. How and why did dance develop in such a way? Dance Spreads Its Wings is the first and only book that looks at the whole picture of concert dance in Israel studying the growth of Israeli concert dance for 90 years—starting from 1920, when there was no concert dance to speak of during the Yishuv (pre-Israel Jewish settlements) period, until 2010, when concert dance in Israel had grown to become one of the country’s most prominent, original, artistic fields and globally recognized. What drives the book is the impulse to create and the need to dance in the midst of constant political change. It is the story of artists trying to be true to their art while also responding to the political, social, religious, and ethnic complexities of a Jewish state in the Middle East. |
| juan soto dancing: Dancing the New World Paul A. Scolieri, 2013-05-01 Winner, Oscar G. Brockett Book Prize in Dance Research, 2014 Honorable Mention, Sally Banes Publication Prize, American Society for Theatre Research, 2014 de la Torre Bueno® Special Citation, Society of Dance History Scholars, 2013 From Christopher Columbus to “first anthropologist” Friar Bernardino de Sahagún, fifteenth- and sixteenth-century explorers, conquistadors, clerics, scientists, and travelers wrote about the “Indian” dances they encountered throughout the New World. This was especially true of Spanish missionaries who intensively studied and documented native dances in an attempt to identify and eradicate the “idolatrous” behaviors of the Aztec, the largest indigenous empire in Mesoamerica at the time of its European discovery. Dancing the New World traces the transformation of the Aztec empire into a Spanish colony through written and visual representations of dance in colonial discourse—the vast constellation of chronicles, histories, letters, and travel books by Europeans in and about the New World. Scolieri analyzes how the chroniclers used the Indian dancing body to represent their own experiences of wonder and terror in the New World, as well as to justify, lament, and/or deny their role in its political, spiritual, and physical conquest. He also reveals that Spaniards and Aztecs shared an understanding that dance played an important role in the formation, maintenance, and representation of imperial power, and describes how Spaniards compelled Indians to perform dances that dramatized their own conquest, thereby transforming them into colonial subjects. Scolieri’s pathfinding analysis of the vast colonial “dance archive” conclusively demonstrates that dance played a crucial role in one of the defining moments in modern history—the European colonization of the Americas. |
| juan soto dancing: Musical Voices of Early Modern Women Thomasin LaMay, 2017-05-15 Recent scholarship has offered a veritable landslide of studies about early modern women, illuminating them as writers, thinkers, midwives, mothers, in convents, at home, and as rulers. Musical Voices of Early Modern Women adds to the mix of early modern studies a volume that correlates women's musical endeavors to their lives, addressing early modern women's musical activities across a broad spectrum of cultural events and settings. The volume takes as its premise the notion that while women may have been squeezed to participate in music through narrower doors than their male peers, they nevertheless did so with enthusiasm, diligence, and success. They were there in many ways, but as women's lives were fundamentally different and more private than men's were, their strategies, tools, and appearances were sometimes also different and thus often unstudied in an historical discipline that primarily evaluated men's productivity. Given that, many of these stories will not necessarily embrace a standard musical repertoire, even as they seek to expand canonical borders. The contributors to this collection explore the possibility of a larger musical culture which included women as well as men, by examining early modern women in many-headed ways through the lens of musical production. They look at how women composed, assuming that compositional gender strategies may have been used differently when applied through her vision; how women were composed, or represented and interpreted through music in a larger cultural context, and how her presence in that dialog situated her in social space. Contributors also trace how women found music as a means for communicating, for establishing intellectual power, for generating musical tastes, and for enhancing the quality of their lives. Some women performed publicly, and thus some articles examine how this impacted on their lives and families. Other contributors inquire about the economics of music and women, and how in different situations some women may have been financially empowered or even in control of their own money-making. This collection offers a glimpse at women from home, stage, work, and convent, from many classes and from culturally diverse countries - including France, Spain, Italy, England, Austria, Russia, and Mexico - and imagines a musical history centered in the realities of those lives. |
| juan soto dancing: Buzz Saw Jesse Dougherty, 2021-04-06 The remarkable story of the 2019 World Series champion Washington Nationals told by the Washington Post writer who followed the team most closely. By May 2019, the Washington Nationals—owners of baseball’s oldest roster—had one of the worst records in the majors and just a 1.5 percent chance of winning the World Series. Yet by blending an old-school brand of baseball with modern analytics, they managed to sneak into the playoffs and put together the most unlikely postseason run in baseball history. Not only did they beat the Houston Astros, the team with the best regular-season record, to claim the franchise’s first championship—they won all four games in Houston, making them the first club to ever win four road games in a World Series. “You have a great year, and you can run into a buzz saw,” Nationals pitcher Stephen Strasburg told Washington Post beat writer Jesse Dougherty after the team advanced to the World Series. “Maybe this year we’re the buzz saw.” Dougherty followed the Nationals more closely than any other writer in America, and in Buzz Saw he recounts the dramatic year in vivid detail, taking readers inside the dugout, the clubhouse, the front office, and ultimately the championship parade. Yet he does something more than provide a riveting retelling of the season: he makes the case that while there is indisputable value to Moneyball-style metrics, baseball isn’t just a numbers game. Intangibles like team chemistry, veteran experience, and childlike joy are equally essential to winning. Certainly, no team seemed to have more fun than the Nationals, who adopted the kids’ song “Baby Shark” as their anthem and regularly broke into dugout dance parties. Buzz Saw is just as lively and rollicking—a fitting tribute to one of the most exciting, inspiring teams to ever take the field. |
| juan soto dancing: American Square Dance , 1990 |
| juan soto dancing: Last Dance in Havana Eugene Robinson, 2004 As interest in all things Cuban grows, Robinson's book casts a spellbinding look at the hidden, but thriving, culture of defiance of Castro's dying regime. of photos. |
| juan soto dancing: The Body, the Dance and the Text Brynn Wein Shiovitz, 2019-02-07 This collection of new essays explores the many ways in which writing relates to corporeality and how the two work together to create, resist or mark the body of the Other. Contributors draw on varied backgrounds to examine different movement practices. They focus on movement as a meaning-making process, including the choreographic act of writing. The challenges faced by marginalized bodies are discussed, along with the ability of a body to question, contest and re-write historical narratives. |
| juan soto dancing: Lawman John Boessenecker, 1998 Harry Morse - gunfighter, manhunter, sleuth - was among the West's most famous lawmen. Elected sheriff of Alameda County, California, in 1864, he went on to become San Francisco's foremost private detective. His career spanned five decades. In this biography, John Boessenecker brings Morse's now-forgotten story to light, chronicling not only the lawman's remarkable adventures but also the turbulent times in which he lived. Armed only with raw courage and a Colt revolver, Morse squared off against a small army of desperadoes and beat them at their own game. He shot to death the notorious bandidos Narato Ponce and Juan Soto, outgunned the vicious Narciso Bojorques, and pursued the Tiburcio Vasquez gang for two months in one of the West's longest and most tenacious manhunts. Later, Morse captured Black Bart, America's greatest stagecoach robber. Fortunately, Harry Morse loved to tell of his feats. Drawing on Morse's diaries, memoirs, and correspondence, Boessenecker weaves the lawman's colorful accounts into his narrative. Rare photographs of outlaws and lawmen and of the sites of Morse's exploits further enliven the story. A significant contribution to both western history and the history of law enforcement, Lawman is also an in-depth treatment of Hispanic crime and its causes, immigration, racial prejudice, and police brutality - issues with which California, and the nation, still grapple today. |
| juan soto dancing: Dancing Across Borders Norma E. Cantú, Olga Nájera-Ramírez, Brenda M. Romero, 2009 One of the first anthologies to focus on Mexican dance practices on both sides of the border |
| juan soto dancing: Bibliographic Guide to Dance New York Public Library. Dance Collection, 1997 |
| juan soto dancing: Fight to the Finish The Washington Post, 2019-11-02 The Washington Nationals entered the 2019 season with high hopes but an uncertain identity under second-year manager Dave Martinez. Gone was Bryce Harper. Still around were dominant starting pitchers in Max Scherzer and Stephen Strasburg star third baseman Anthony Rendon talented young outfielders Juan Soto and Victor Robles – and the specter of past playoff disappointments. A slow start dragged down by bullpen collapses saw the team 12 games below .500 and 10 games out of first place entering Memorial Day weekend. And then began a turnaround for the ages. Behind bedrock pitching from Strasburg and offseason acquisition Patrick Corbin clutching hitting from Howie Kendrick and midseason signing Gerardo Parra the Nationals played the final 112 games of the regular season as well as any team in baseball to capture a wild-card berth. Along the way they discovered the camaraderie and joy that would propel them to a wild-card victory over Milwaukee an upset of the Los Angeles Dodgers in the division round a sweep of the St. Louis Cardinals in the National League Championship Series and finally a World Series victory over the Houston Astros. In Fight to the Finish relive the Nationals' run through the images and words of The Washington Post photographers and reporters who followed the team every step of the way. |
| juan soto dancing: Dance and Its Music in America, 1528-1789 Kate Van Winkle Keller, 2007 Spanish exploration and settlement -- French exploration and settlement -- The English plantation colonies in the South -- The tobacco colonies -- New England -- The Middle Atlantic colonies. |
| juan soto dancing: The Art of Grace: On Moving Well Through Life Sarah L. Kaufman, 2015-11-02 Sarah Kaufman offers an old-fashioned cure for a modern-day ailment. The remedy for our culture of coarseness is grace…This is an elegant, compelling, and, yes, graceful book. —Daniel H. Pink, author of Drive In this joyful exploration of grace’s many forms, Pulitzer Prize–winning critic Sarah L. Kaufman celebrates a too-often-forgotten philosophy of living that promotes human connection and fulfillment. Drawing on the arts, sports, the humanities, and everyday life—as well as the latest findings in neuroscience and health research—Kaufman illuminates how our bodies and our brains are designed for grace. She promotes a holistic appreciation and practice of grace, as the joining of body, mind, and spirit, and as a way to nurture ourselves and others. |
| juan soto dancing: Bandido John Boessenecker, 2012-10-11 Tiburcio Vasquez is, next to Joaquin Murrieta, America's most infamous Hispanic bandit. After he was hanged as a murderer in 1875, the Chicago Tribune called him the most noted desperado of modern times. Yet questions about him still linger. Why did he become a bandido? Why did so many Hispanics protect him and his band? Was he a common thief and heartless killer who got what he deserved, or was he a Mexican American Robin Hood who suffered at the hands of a racist government? In this engrossing biography, John Boessenecker provides definitive answers. Bandido pulls back the curtain on a life story shrouded in myth — a myth created by Vasquez himself and abetted by writers who saw a tale ripe for embellishment. Boessenecker traces his subject's life from his childhood in the seaside adobe village of Monterey, to his years as a young outlaw engaged in horse rustling and robbery. Two terms in San Quentin failed to tame Vasquez, and he instigated four bloody prison breaks that left twenty convicts dead. After his final release from prison, he led bandit raids throughout Central and Southern California. His dalliances with women were legion, and the last one led to his capture in the Hollywood Hills and his death on the gallows at the age of thirty-nine. From dusty court records, forgotten memoirs, and moldering newspaper archives, Boessenecker draws a story of violence, banditry, and retribution on the early California frontier that is as accurate as it is colorful. Enhanced by numerous photographs — many published here for the first time — Bandido also addresses important issues of racism and social justice that remain relevant to this day. |
| juan soto dancing: The Wild West Frederick Nolan, 2003-08-01 On 14 May 1804, one Captain Meriwether Lewis and his companion William Clark led a thirty-three-man expedition to the new lands of Louisiana. 8,000 miles and two years later, after rafting up the Missouri and crossing the Rocky Mountains, they reached the far side of the world, the Pacific Ocean. Fredrick Nolan explores the first US settlers of the American West, including the remarkable stories of unsung heroes and heroines, the bloody battles between settlers and the native American inhabitants, the crimes committed by corrupt Sheriffs, and the occasions when citizens had to take the law into their own hands. This is the story of the men and women who answered the call of the West. |
| juan soto dancing: Dance World John A. Willis, 1979 |
| juan soto dancing: Dance and Dancers , 1992 |
| juan soto dancing: Musical Performance in the Diaspora Tina K Ramnarine, 2013-10-18 This book illustrates how ethnographic investigation of musical performances might contribute to the analysis of diaspora. It embraces diverse examples such as 'mourning and cultures of survival' amongst Aboriginal and Jewish communities in Australia, remembering a Kazakh 'homeland' in Western Mongolia, celebrating Diwali in New Zealand and the circulation of musical performances in Mozambique, Portugal and the UK. Some of the topics discussed in Musical Performance in the Diaspora include: the expression and shaping of diasporic and postcolonial identities through performance musical memory in diasporic contexts the geographies of performance the politics of 'new' forms of diasporic music-making. This book presents a rich array of theoretical approaches and wide ranging ethnographic case studies to reconsider and challenge discourses that have favoured uncritical notions of diasporic 'hybridity' and to broaden current analyses of performance in the diaspora. |
| juan soto dancing: Thomas Middleton: The Collected Works Thomas Middleton, 2010-03-25 Thomas Middleton is one of the few playwrights in English whose range and brilliance comes close to Shakespeare's. This handsome edition makes all Middleton's work accessible in a single volume, for the first time. It will generate excitement and controversy among all readers of Shakespeare and the English classics. |
| juan soto dancing: José Limón José Limón, 2001-09-27 A captivating illustrated autobiography of the early years of a major American choreographer. |
| juan soto dancing: John Willis' Dance World John A. Willis, 1978 |
| juan soto dancing: The Sheriff of Tombstone Todhunter Ballard, 1977 John Savage, who carved a prosperous cattle ranch out of the harsh Arizona landscape, hadn't asked to become sheriff. But the price of law and order in a place like Tombstone came high, and Savage was fast turning into a one-man judge, juror, and executioner whose ways were as brutal as those of the desperadoes he hunted down, and his iron-fisted justice earned him more than a few enemies. |
| juan soto dancing: De Soto and His Men in the Land of Florida Grace Elizabeth King, 1898 |
| juan soto dancing: G.K. Hall Bibliographic Guide to Dance New York Public Library. Dance Division, 1999 |
| juan soto dancing: Catalog of Copyright Entries Library of Congress. Copyright Office, 1964 |
| juan soto dancing: The Tropic of Baseball Rob Ruck, 1999-01-01 Looks at the history of baseball in the Dominican Republic and looks at the most prominent Dominicans to reach the Major Leagues |
| juan soto dancing: Raised to Rule Martha K. Hoffman, 2011-06-15 At the center of their world -- pt. 1. Childhood -- Mastering the court -- Teachers and formal instruction -- Defenders of the faith -- pt. 2. Transitions to adulthood -- Courtship and marriage -- The problem of the infantes -- El príncipe instruido--The function of royalty. |
| juan soto dancing: Dancing Times , 1998 |
| juan soto dancing: New York Magazine , 1990-11-05 New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea. |
| juan soto dancing: Silent Dancing Judith Ortiz Cofer, 1991-01-01 Silent Dancing is a personal narrative made up of Judith Ortiz CoferÍs recollections of the bilingual-bicultural childhood which forged her personality as a writer and artist. The daughter of a Navy man, Ortiz Cofer was born in Puerto Rico and spent her childhood shuttling between the small island of her birth and New Jersey. In fluid, clear, incisive prose, as well as in the poems she includes to highlight the major themes, Ortiz Cofer has added an important chapter to autobiography, Hispanic American Creativity and womenÍs literature. Silent Dancing has been awarded the 1991 PEN/Martha Albrand Special Citation for Nonfiction and has been selected for The New York Public LibraryÍs 1991 Best Books for the Teen Age. |
| juan soto dancing: The South American Handbook , 1993 |
| juan soto dancing: Dance Index , 1944 |
| juan soto dancing: The Oxford Handbook of Social Justice in Music Education Cathy Benedict, Patrick Schmidt, Gary Spruce, Paul Woodford, 2015-10-30 Music education has historically had a tense relationship with social justice. One the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the other hand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. The Oxford Handbook of Social Justice in Music Education provides a comprehensive overview and scholarly analyses of the major themes and issues relating to social justice in musical and educational practice worldwide. The first section of the handbook conceptualizes social justice while framing its pursuit within broader contexts and concerns. Authors in the succeeding sections of the handbook fill out what social justice entails for music teaching and learning in the home, school, university, and wider community as they grapple with cycles of injustice that might be perpetuated by music pedagogy. The concluding section of the handbook offers specific practical examples of social justice in action through a variety of educational and social projects and pedagogical practices that will inspire and guide those wishing to confront and attempt to ameliorate musical or other inequity and injustice. Consisting of 42 chapters by authors from across the globe, the handbook will be of interest to anyone who wishes to better understand what social justice is and why its pursuit in and through music education matters. |
| juan soto dancing: Ferdinand de Soto John Stevens Cabot Abbott, 1873 |
| juan soto dancing: Piano and Radio Magazine , 1915 |
| juan soto dancing: What Do I Read Next? Rafaela Castro, 1997 Surveys works for children and adults. |
| juan soto dancing: The Spanish Cavalier Or De Soto the Discoverer John Stevens C. Abbott, 1880 |
| juan soto dancing: Inhabiting the Impossible Susan Homar, nibia pastrana santiago, 2023-12-14 This first-of-its-kind book brings together writing by artists and scholars to survey the lively field of Puerto Rican experimental dance across four decades. Originally published as Habitar lo Imposible, the translation in English features essays, artist statements, and interviews plus more than 100 photos of productions, programs, posters, and scores. Throughout, Inhabiting the Impossible provides fresh, invaluable perspectives on experimentation in dance as a sustained practice that has from the start deeply engaged issues of race, gender, sexuality, and politics. The book is also enhanced by a bibliographic section with detailed resources for further study. |
| juan soto dancing: Dance World: 1975 Volume 10 John Willis, 1976 |
| juan soto dancing: Mesoamerican Voices Matthew Restall, Lisa Sousa, Kevin Terraciano, 2005-11-07 Mesoamerican Voices, first published in 2006, presents a collection of indigenous-language writings from the colonial period, translated into English. The texts were written from the sixteenth through the eighteenth centuries by Nahuas from central Mexico, Mixtecs from Oaxaca, Maya from Yucatan, and other groups from Mexico and Guatemala. The volume gives college teachers and students access to important new sources for the history of Latin America and Native Americans. It is the first collection to present the translated writings of so many native groups and to address such a variety of topics, including conquest, government, land, household, society, gender, religion, writing, law, crime, and morality. |
Juan. - YouTube
What's up y'all ? I am Director Juan, the creator of the Robber series and many more. I used to work at LuTuTu. Me and Luca have made many amazing videos together in the past.
Juan - Wikipedia
Juan is a given name, the Spanish and Manx versions of John. [2] The name is of Hebrew origin and has the meaning "God has been gracious." It is very common in Spain and in other …
Juan - Meaning of Juan, What does Juan mean?
Meaning of Juan - What does Juan mean? Read the name meaning, origin, pronunciation, and popularity of the baby name Juan for boys.
Juan first name popularity, history and meaning - Name Census
Juan is the Spanish variant of Johannes, which emerged in the Iberian Peninsula during the early Middle Ages. The name was introduced to the region by Christian missionaries and became …
Juan - Name Meaning and Origin - namingquest.com
Juan is a Male name of Spanish origin meaning "God is gracious". Discover the full meaning, history, and significance of the name Juan.
Juan - Name Meaning, Origin & Popularity - FamilyEducation
May 24, 2023 · What does Juan mean and stand for? The name Juan is of Hebrew origin and means "gift from God." It is the Spanish version of John and has been in use since the Middle …
What does juan mean? - Definitions.net
According to the U.S. Census Bureau, Juan is ranked #4808 in terms of the most common surnames in America. The Juan surname appeared 7,350 times in the 2010 census and if you …
Juan - Baby Name Meaning, Origin, and Popularity
Jun 8, 2025 · The name Juan is a boy's name of Spanish origin meaning "the Lord is gracious". Juan, the Spanish version of John, is ubiquitous in the Spanish-speaking world, and is familiar …
Juan - Etymology, Origin & Meaning of the Name - Etymonline
masc. proper name, Spanish form of John.
Juan - Wiktionary, the free dictionary
Jun 8, 2025 · Borrowed from Spanish Juan. As a common noun, either above or as a shortening of Juan dela Cruz.
Juan. - YouTube
What's up y'all ? I am Director Juan, the creator of the Robber series and many more. I used to work at …
Juan - Wikipedia
Juan is a given name, the Spanish and Manx versions of John. [2] The name is of Hebrew origin and has …
Juan - Meaning of Juan, What does J…
Meaning of Juan - What does Juan mean? Read the name meaning, origin, pronunciation, and …
Juan first name popularity, history a…
Juan is the Spanish variant of Johannes, which emerged in the Iberian Peninsula during the …
Juan - Name Meaning and Origi…
Juan is a Male name of Spanish origin meaning "God is gracious". Discover the full meaning, history, …
