Friday, December 30, 2011

The Time It Takes Voice Over Artists to Break In To The Industry

By [http://ezinearticles.com/?expert=Priscilla_Groves]Priscilla Groves
A question that often bears heavy on the mind of many new voice overs is, how long does it take to break into the industry. Most new voice overs are eager to get going and hit the studio to start recording their first professional jobs from the day they cut their demo. From years of experience working within the world of marketing and copy writing, I can say genuinely say that there is no definitive answer to this question.
During my time in the industry I've met some fresh new talent who managed to get work within days of getting themselves out there. Others have taken weeks. Some take months and some, years. For new voice overs, it can be really disheartening when they go through a big effort to sent out a tonne of emails in a self marketing campaign, only to have to sit and wait for the phone to ring. We estimate from past experience that, if you are not established in the industry, it could take anything up to a year to land your first job. We say this because it can be quite difficult for advertising agencies to try out a new voice. It's high risk and potentially very expensive, especially if the voice over doesn't work out. So more often than not, they need to get used to seeing or hearing you out there.
Thankfully, most voice overs get a job in far less than one year, but too many voice overs beat themselves up if the phone's not hopping. Just because the phone isn't hopping immediately, doesn't mean that you don't have great talent. And when you're starting out a large part has to do with lady luck, but because some times she can be a bit of a cow you can't count on her alone to help you out. Here's a check-list of things that are directly in your control. Look at other people's online profiles and be critical of how they are presenting themselves in comparison to how you're presenting yourself.
For example, have a listen to their demo's and decide if they're of a much higher standard than yours. Do they have clear and attractive profile picture which can be essential to attract employers attention by presenting the voice over in a personable way? Look at your voice description. Does it stand out? What about your acting biography, does it include irrelevant personal details? This space should be used to describe your voice and your professionalism. Have you made that extra effort to collect testimonials from people who can vouch for you and your potential? This can even be the person who cut your demo, or your acting teacher.
If you have a great demo and a good profile page you should really get something within a year. If not, you need to look at your demo and decide whether or not it's good enough. Also consider your own personal circumstances. For example, if you have a very niche accent or style of voice that could might affect the type of jobs you can contract. Just because you've been waiting for a couple of months without work doesn't mean you're flogging the dead donkey! Please keep your head up, stay positive and do your best to study the industry.
Priscilla G. http://www.piehole.co.uk/
Article Source: [http://EzineArticles.com/?The-Time-It-Takes-Voice-Over-Artists-to-Break-In-To-The-Industry&id=6481824] The Time It Takes Voice Over Artists to Break In To The Industry

Wednesday, December 28, 2011

Advice on Moving to LA

By [http://ezinearticles.com/?expert=Eugene_R_Johnson]Eugene R Johnson
So you're moving to the city of Angels! There are literally thousands of people moving to LA each month. To pursue one dream or another. Honestly, it can be hard to become noticed when there are thousands of people attempting to do the same thing you are. Here are a few tips to separate yourself from the crowd.
Networking events
Networking events won't be a life changing affair but they will get you out of the house and amongst your peers who have similar aspirations and if you're lucky, you may even make a valuable connection. It's best to simply attend with an open mind and the goal to form a mutual bond with other attendees, instead of going with the desire to see what you can get from the other person.
Follow LA Blogs
You'll be amazed at the amount of great bloggers Los Angeles has to offer! They will offer information, tips, and useful advice, and save months of mindless wandering of trying to understand out how to do the right thing. There are people out here that want you to succeed in LA. Search Google for what your passions are and find a blog to your liking. Once you find a blogger that suits your needs you'll be following an online mentor. That will give you great invaluable information.
Realistic Expectations
It's highly likely, you won't make it to super stardom your first year in LA, Agents will not be knocking down your door, and you will not be be in that corner office of your dream job. The first year in LA should be focused on adjusting yourself to the city, finding a place to live, and finding a stable source of income to support your yourself.
Clarity
What originally brought you to LA probably will not be the same thing you actually pursue once you get here. This definitely won't be a problem. I strongly believe that you must figure out what your passions are by trial and error. Many people come to LA wanting to explore multiple career paths including being an actor, producer, writer, or whatever. You must figure out what exactly it is you want to do and go get it with relentless persistence. Soon enough, you will be able to branch off and pursue other endeavors, but you must first focus and create a foundation that will last during your time in Los Angeles.
Eugene Johnson is a writer for [http://www.immovingtola.com]Moving to LA where he provides advice and tips about Los Angeles.
Article Source: [http://EzineArticles.com/?Advice-on-Moving-to-LA&id=6572137] Advice on Moving to LA

Monday, December 26, 2011

Magicians Patent Secrets: FREE Magic Patent for Readers Too

By [http://ezinearticles.com/?expert=Bill_J_Hall]Bill J Hall
For a magician, protecting your inventions is no easy task. In a small secret fellowship, magic tricks and inventions are created, improved upon, and similar thinking pops up too. In addition to those difficulties, the magician inventor faces some serious questions:
Will they even have the money to sue?
Is the magician really protected even if they patent their invention?
Is it worth patenting a creation only to share that with the patent office and others who may find it?
Most magicians choose not to patent their creative inventions. This would make sense since most of them are small time operators and not making riches off of these inventions. However, there are exceptions.
Some magicians, like Howard Thurston, decided to patent a good amount of his creative inventions. David Copperfield and Doug Henning, however, did not.
Mark Wilson (if you remember him from Magic Circus TV specials in the 1970's or Magic Land of Allakazam from the 1960's) did patent a few. Houdini has patents too, but not for magic - for toys!
Some states and situations make it more valuable and logical to seek a magic patent. For example, magic props that are technical in nature and require unique construction can be patented to avoid others from manufacturing and selling the exact same trick for less money or as a competitor when they didn't originate the idea.
For magic that involves secret knowledge only, the magic patent becomes more difficult to protect and use when it comes time to be tested in court. For these reasons, for the most part, magic tricks are not patented unless they are a magic set or game.
What is interesting to me are the really old patents from the 1800's. They take a lot of research to compile, but it is a fascinating look into the magic thinking back then. Of course, the other neat thing is the way they write and the fact that every person in every illustration has a mustache and some have hats. That still brings a chuckle as I explore these.
Probably my favorite magic patents include Howard Thurston's classic magic illusions and his thoughtful contributions to theater special effects. He even contributed a patent on ship construction meant to avoid what happened to the Titanic. He was moved by the disaster to create a solution to that type of situation on the seas!
Modern magicians patent their magic too. This is especially prevalent for higher priced items or items manufactured by larger companies where they market tricks to a broader audience. Magic patents make fascinating reading for magicians - both the older ones from a historical perspective, as well as the newer ones, from a practical perspective. For me, it's like opening a secret vault!
Magic has kept me fascinated for years and I have been doing magic since I was seven. Discovering magic patents is one more area of exploration that every magician should try. In fact, I offer you a FREE magic patent from the 1800's as a reader of this article! It's from 1890 and is a beheading illusion (magic reflects the times for sure in this case).
To get your free patent and read about my magic patent collection, please visit   rel=nofollow [http://www.magicpatentbook.com]www.magicpatentbook.com. Enjoy!
Bill Hall is a magician, published author, and a marketing professional. To get a free magic patent and learn more about Bill's magic patent collection, please visit [http://www.magicpatentbook.com]http://www.magicpatenbook.com
Article Source: [http://EzineArticles.com/?Magicians-Patent-Secrets:-FREE-Magic-Patent-for-Readers-Too&id=6565621] Magicians Patent Secrets: FREE Magic Patent for Readers Too

Saturday, December 24, 2011

All About Casting Calls

By [http://ezinearticles.com/?expert=Martin_Swan]Martin Swan
A cast, a word recorded since the early 17th century, is a group of individuals chosen to perform live or recorded performances. A typical cast may consist of actors, dancers, singers or models, based on their talents. Casting is one of the most preliminary processes carried out before production of a live or recorded performance can begin. For this purpose, calls are held.
Depending upon the nature of the role, casting calls may either go out to the general public or to professional actors. The selection procedure for most areas is similar, be it for Community Theater, stage, television or even film production.
After calls are made, individuals who turn up for roles need to be selected. Usually, the casting procedure consists of a set of auditions, which are carried out before a casting panel. The casting panel may consist of directors, producers and choreographers. Performers are tested based on both their individual performances and their performances together as a group before the final selection is made. Once the casting is done, all the selected performers comprise the cast list and finally production on the performance can begin.
Up to two decades ago, the prime medium in which calls were made of print media such as advertisements in newspapers, digests and magazines. Individuals seeking jobs in the entertainment industry often found it difficult in getting casting calls based on their skills. However, with the advent of the World Wide Web, most of that has changed and now several online services and web sites provide casting calls and their listings free of cost.
The most useful aspect of these services is that a seeking individual can get knowledge of casting calls based exclusively on his skills and requirements. Most of these services have separate sections for different types of work in varying fields of the entertainment industry.
For example, a person can register for calls that are solely based on modeling; if he or she wants to perform in reality television shows, then they can simply subscribe to casting calls for Reality TV. People who find TV dramas and serials interesting can register for their relevant calls. It is all based on priority and personal preference. People who want to work in the music industry, create or appear in music videos can do so by simply registering for calls in music. Calls for theater and stage productions can also be subscribed to via these online services, along with film and other types of media.
Casting call-types on these services differ largely from acting to modeling, dancing to singing, to making music, choreography, and even stunt work. Such web sites not only promote employment. They also help talented individuals to get jobs in their areas of interest. Subscriptions to casting calls can be easily made and at cheap, affordable costs. It is an easy and effective way to find work
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Article Source: [http://EzineArticles.com/?All-About-Casting-Calls&id=6583881] All About Casting Calls

Thursday, December 22, 2011

Why Getting the Right Stage Lighting Equipment Can Mean a Very Big Difference to Your Stage Show

By [http://ezinearticles.com/?expert=Anthony_M_Langley]Anthony M Langley
Stage lighting equipment is one of the most crucial elements of any stage show.
Just so much equipment
Lighting equipment for the stage consists of so many different kinds of light and sound equipment which are used for so many diverse kinds of stage performances like those seen in theaters as well as rock music shows.
Acquiring equipment to give the show a very professional look is not at all cheap and it can in fact cost a fortune. Thus, if one is on a tight budget, things can get pretty tough. Also, getting very professional equipment has another big disadvantage - it is tough to use for a person who is untrained.
How do you know what stage lighting equipment to get?
The best way to know that you are getting the right equipment for your stage show is to get the advice of a professional or a staff member of the place from where you are buying the equipment.
Also, instead of going and purchasing the equipment, it makes more sense for you to just rent it. And, even though you are renting the equipment and not buying it, you will get the help of trained staff from the place where you buy the equipment, to help you set it up.
Get all the help you need
These staff will take care of the entire process of setting up the equipment and later on, de-installing it, after you have done with it. You need not worry about any technical issues of the setting up of the equipment as the staff will take care of all of this for you.
But that's not all that these staff can do - they will even deliver all the equipment that you need - bang on time for your show and they can even help you in creating an extraordinary ambience for you and your audience, with the help of the equipment that you buy or rent.
The importance of good stage lighting
When you have lighting equipment for your stage show, which is of high quality, you will thus be able to create a very amazing effect. If you have strobe lights, you can create an even more astounding lighting effect.
The best part is that - if you do not know how to organize things, the place where you are taking the equipment from will help you. Or, in the rare event that they cannot do so, there are many other companies who will take care of organizing your stage lighting equipment for you, totally!
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Article Source: [http://EzineArticles.com/?Why-Getting-the-Right-Stage-Lighting-Equipment-Can-Mean-a-Very-Big-Difference-to-Your-Stage-Show&id=6596358] Why Getting the Right Stage Lighting Equipment Can Mean a Very Big Difference to Your Stage Show

Tuesday, December 20, 2011

Build Your Confidence Dancing Salsa

By [http://ezinearticles.com/?expert=Sheena_J_Larsen]Sheena J Larsen
I want to ask you a serious question.
What do you feel when you are dancing... to music, with a partner?
Are you feeling happy? Inhibited? Ridiculous? Sexy? Confident? Tense?
Personally, I have felt all of the above at one time or another.
That's ok. It's part of the learning and growing process. However, I think you'll agree with me when I say that it feels SO MUCH better to have confidence and feel great dancing than it does to feel closed off and insecure.
That's why I am about to share two things that has helped me build my confidence in the past, and still to this day, in building my confidence while I dance Salsa.
The first, and most obvious, is PRACTICE!
I am not talking about just showing up at the dance studio to take a class. I am talking about focused, ultra-conscious, intentional and goal-driven practice. The kind of practice where you don't leave the mirror until your hips are swaying right. The kind of practice where you don't notice when someone walks into the room because you're so focused on what you are doing. Unfortunately, we cannot hire someone to put in the time for us. We have to do the work.
The second thing that has boosted my confidence is being able to FEEL the music.
Sometimes even great technical dancers lack musicality and poorly interpret the music. There is nothing more satisfying than being completely in the moment while dancing and hitting a break in the music, with a move from out of nowhere that felt so right. It's better than any drug you could ever take (not that I would know). FEELING the music means you are dancing to the rhythms and melodies of the instruments instead of counting the numbers.
Numbers are important when starting out, but if you never move past that stage you won't ever get to experience the true joy of dancing.
What an amazing feeling it is to instinctively KNOW when the music is going to change
and being ready to react to it with your body. Aaaahhhhhhh...
And yes, YOU have that ability. You just need to understand and tune into it. It will take time, effort and potentially a penny or two to gain the right knowledge and education. Once you have found an instructor or dance school that fits you, then it is up to you to practice what you learn and put it to use (in other words, get out and use those moves at the Salsa club).
Sheena Larsen http://stepintosalsa.com/
Article Source: [http://EzineArticles.com/?Build-Your-Confidence-Dancing-Salsa&id=6593208] Build Your Confidence Dancing Salsa

Sunday, December 18, 2011

Violinist Caroline Goulding: Success at Seventeen

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
Grammy Award nominee Caroline Goulding is seventeen. Unlike the hapless girl in Janice Ian's ballad, the gifted violinist has it all.
Growing up in a family of music lovers, she began violin lessons at an early age and soon surpassed all expectations. Her teacher's recommendation that she pursue advanced studies with Paul Kantor at Cleveland Institute of Music meant that the family had to relocate from their home in Michigan. Fortunately, both parents were teachers and able to find positions in Cleveland schools, so the family was not separated.
While developing into an astonishing talent, Goulding spent summers attending Michigan's Interlochen Center for the Arts, studying Celtic music on Capt Breton Island, Nova Scotia and performing at the Aspen Music Festival. By fifteen, she had won two violin concerto competitions and played as guest artist with the Cleveland Orchestra, the Cleveland Pops Orchestra, the Detroit Symphony Orchestra and other notable organizations. Because of her outgoing, social personality, she was always one of the students, not Caroline with the violin.
Hailed as a "brilliant talent...destined for greatness" by the chairman of the Stradivari Society, Goulding has made guest appearances on television's "The Today Show" and "Martha" and performed on NPR's "From the Top" and PBS's "From the Top at Carnegie Hall" with banjo artist Bela Fleck. Her instrument is the 1617 Lobkowicz A&H.
One of her favorite pieces is Tchaikovsky's Violin Concerto. Because it is such a massive, athletic piece, she cautions that one must build endurance enough to play it. Tchaikovsky dedicated it to violinist Leopold Auer, who said it was unplayable, but it quickly became a great favorite of violinists. The virtuosity it requires is immediately evident in the first movement, which lasts 18 out of the entire 45 minutes. Goulding laughs as she confesses that she especially loves the third movement because, "...when you get there, you're almost done and are about to play the exciting grand finale."
She acknowledges that none of her success could have come about had she not gone to Cleveland for advanced studies. The move was far more of a sacrifice for her family than for her and she is grateful every day that they did that for her.
As recipient of First Prize in the Young Concert Artists International Auditions and the Avery Fisher Career Grant, she has avoided the financial problems most young musicians face. Her self-titled debut album received a 2009 Grammy nomination. Her next recording will be released in June 2012.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?Violinist-Caroline-Goulding:-Success-at-Seventeen&id=6599998] Violinist Caroline Goulding: Success at Seventeen

Friday, December 16, 2011

Barry Manilow: He Writes The Songs That Touch Hearts

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
Barry Manilow soared to the top of his craft early in his career with catchy melodies, winning showmanship and a voice that reminds us of the friendly fellow next door. At the top of his game 40 years later, he draws throngs wherever he performs. His tours this season focus on "15 Minutes," his first original album in ten years.
The title alludes to the 15 minutes of fame Andy Warhol predicted everyone would enjoy in life. The concept, Manilow explains, was thoughtfully created over a two year period. His music and lyrics by Enoch Anderson envision a life haunted by the dream of fame. Their songs trace its pursuit by talented people besotted by fame's trappings but unable to cope with them.
The title song is driven by a guitar headed for glory. "Work the Room" and "Bring on Tomorrow" exude hope. "Now It's For Real" and "He's a Star" represent the pinnacle.
But when triumph is followed by a downward spiral, the despair is captured in "Who Needs You?" and "Winner Go Down." Once the moment of self-acceptance is reached in "Train Wreck," the victim realizes that fame can be recaptured by hard work. In many cases, it is. "Everything's Gonna Be All Right" is the exhilarating finale in which Manilow's syncopated vocal line vies with an inverse choral counterpoint. Sheer musical genius!
Manilow and Anderson have worked together for many years. When they began this project, they started with an idea, a story and a situation the character was in. They were writing about a fictitious character who goes through all the stages of fame, gets it, then blows it and begins again.
He confesses that the hardest song to write is a love song because there are only so many ways to say 'I love you.' While writing "15 Minutes," he and Anderson focused on the story they were telling. Until he finished composing the music, Manilow had not realized that he had actually gone through all those phases."
"15 Minutes" is a dramatic story that could lend itself to a multi-media presentation, yet each song stands alone. At first hearing, one senses that at least half are destined for the top of the charts. Listeners of Clear Channel's "Radio Manilow" launched this past June on iHeartRadio.com have already heard the album and entered the contest asking "What would you do to become famous?" Sadly, many cannot envision the down side of fame and the fright Manilow once experienced and relives in "Letter From A Fan." He cannot forget the terror that overcame him when a group of people came to his home and refused to leave until he called for security. That trauma is relived in the song.
Manilow's enormous success as the Top Adult Contemporary Chart artist of all time has allowed him to inspire others. One honor was the invitation to perform at the 2010 Nobel Peace Prize ceremony in Oslo. The winner, Chinese dissident Liu Xiaobo was imprisoned in China, unable to be present. Manilow chose to perform "One Voice," a song he wrote more than 30 years ago that resonates today. It recognizes the power of one person singing in the darkness, like Mr. Liu, to draw a groundswell of followers.
A major voice for arts and music in the schools, Manilow follows that philosophy in his own life. His Manilow Music Project raises funds and instrument donations for needy schools and students. At each concert, he encourages audience members to scour their attics for instruments children can play.
As one of the biggest draws in Las Vegas for many years, Manilow always enters the stage with the pleasant thought that he is coming out to greet his great friends and have a wonderful party.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?Barry-Manilow:-He-Writes-The-Songs-That-Touch-Hearts&id=6600013] Barry Manilow: He Writes The Songs That Touch Hearts

Wednesday, December 14, 2011

Cathy Rigby Soars Again

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
Cathy Rigby has been the definitive Peter Pan ever since the diminutive Olympic champion gymnast turned her sights on musical theater in 1974. As the obstinate young boy who won't grow up, she has flown across the stage hundreds of times, earning Tony Award Nominations as Best Leading Actress in a Musical and Best Revival of a Musical.
Now she returns in a festive new production that belies her decision five years ago to shout her last hurrah in Never Never Land. The show makes its way to major cities throughout the country during the 2011-2012 season, pausing to enhance the shimmer and sparkle of Broadway's holiday season.
Rigby regards the role as an old friend. After coming off a production of 'Steel Magnolias,' she missed it so much she decided to do it again and confesses that she has never felt this happy and excited. Each production has brought in new audiences who keep coming back in multiple generations. This show is especially exciting because of the new sets and costumes and wonderful scenic design. Additionally, Rigby is using a double harness which is new and allows for more slipping around.
The big drumming number features talented actress Desiree Davar as Tiger Lily. The musical director, Keith Levenson, has rearranged the music to coordinate with the artistic aerial ballet in which she dances on silk, just like Cirque du Soleil.
Rigby is a ball of energy that transfers to all who work with her. Over the years, she has played many of theater's favorite musical heroines in such hits as 'The Wizard of Oz,' 'Annie Get Your Gun,' 'South Pacific' and 'The Unsinkable Molly Brown,' collected television credits and headlined in Las Vegas. Along the way, she and her husband established the McCoy Rigby Series at La Mirada Theatre for the Performing Arts in California where their theatrical productions are a community highlight. It serves as a center where they train children in voice, acting, dance and other theatrical skills.
'I'm up for anything,' says the mother of four and grandmother of two, who will celebrate her 60th birthday on the road.
Her great pleasure is seeing the joy children get from performing. Not long ago, her company put on a production of 'Annie' with underprivileged children, one of the many opportunities she offers that change lives, help children forget themselves and gain confidence through the arts. The company also presents discovery arts at hospitals.
Rigby is equally adept at changing the lives of women with her motivational talks about maintaining good health and flexibility for a lifetime. Women, she believes, often doubt themselves. Many would not have thought it possible to set goals and challenge themselves to work harder until they succeed and realize that they are not over the hill.
She emphasizes that women must not put limits on what they are capable of doing and adores hearing how proud her grandchildren are when they tell others, 'My grandmother is Peter Pan.'"
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?Cathy-Rigby-Soars-Again&id=6600033] Cathy Rigby Soars Again

Monday, December 12, 2011

Ozomatli Crosses Cultures With Vibrant Musical Mix

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
Ozomatli is America's secret weapon to promote peace and human understanding. As official Cultural Ambassadors for the U.S. State Department, the recipients of the 2010 Los Angeles Local Heroes Award, three Grammy Awards and countless other honors, the unlikely band of urban musicians travels the world. Their music is a kaleidoscope of Latino, hip-hop, salsa, samba, funk, merengue, Jamaican reggae, Indian raga and the native styles of the newest L.A. immigrants
Ozomatli's spokesman, Ulises Bella, is a veritable one-man band. He plays saxophone, clarinet, keyboard, melodica and the requinto jarocho, which he describes as a traditional small guitar from Veracruz, Mexico. Its style and shape were influenced by the Africans who emigrated to Mexico.
Bella has been in the band since its beginning 16 years ago. Growing up in a musical family, he was guided by his father, a violinist with perfect pitch who did not permit "messing around." Bella took advantages of the many musical opportunities for kids in L.A. at that time. There was wonderful music instruction in the public schools and the Saturday Conservatory was open to all children who wanted to attend. They may have missed out on the TV cartoons, but they learned music and were encouraged by their professors that they could do whatever they wanted to do.
Bella did just that, becoming a member of the Youth Symphony West, an all-star orchestra, and the Los Angeles Youth Symphony. He and several others had just formed a band when forty labor strikes paralyzed the city. Their first official performance to support the picketers led to other gigs throughout the area.
By the time their self-titled debut album was released in 1998, they were performing everywhere, from inner-city schools to protest rallies, fundraisers and activist events. Ozomatli quickly became the official band of their hometown. Their name, the Nahuatl word for the Aztec astrological symbol of the monkey, incorporates his qualities as god of dance, fire, the new harvest and music into their purpose.
With community service in their own city a major goals, Ozomatli established oZoKidZ to share their love of music with the next generation and their parents. At the same time, they were impacting audiences on six continents. The unified multi-racial ensemble committed to shattering stereotypes was exactly what the U.S. State Department needed to break boundaries.
Since 2007, they have toured the world as our nation's representatives, performing free public concerts, presenting master classes and jamming with youngsters and local musicians in such unexpected locations as Ho Chi Minh City, Viet Nam and a Palestinian refugee camp.
Bella recalls how surprised the people in Jordan were by their appearance because it did not conform with their perception of America. He is especially touched by the children they meet wherever they go. One of his biggest surprises came during a trip to Burma. As they were walking up to a school where they would perform, they heard music by an amazing band coming from the building ahead. It was so good, they thought members of a professional local band they expected to meet had arrived ahead of us. Upon entering, they discovered that the band members were blind students. When the students asked them to join in on their next number, Stevie Wonder's 'I Just Called to Say I Love You,' the members of Ozomatli almost lost it.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?Ozomatli-Crosses-Cultures-With-Vibrant-Musical-Mix&id=6600052] Ozomatli Crosses Cultures With Vibrant Musical Mix

Saturday, December 10, 2011

Life's A Stage: The Tips And Tricks Of Grease Makeup

By [http://ezinearticles.com/?expert=G_Blake_Cabot]G Blake Cabot
Whether you are thinking about using grease makeup for a theatrical event, a special Halloween party or some other occasion, you need to know what products are out there and how to apply them.
While grease makeup takes more time and preparation than regular water-soluble face paint, it also lasts much longer. Most importantly, grease makeup won't smear or run under hot lights or conditions where you might perspire. With grease makeup you can create a more dramatic and even professional look.
In addition to your grease face-paints and pencils you will need:
face-cleanser or cream cleanser and/or baby shampoo
clean towels or paper towel
clothing cover-up and hair-ties or shower cap
possible shaver for men
mirror if you aren't working from home
good quality painting brush, powder brush
professional setting powder, talcum or baby powder and applicator (see below)
Q-Tips or fine painting brush, tissue paper, paper towel are all handy
Other items that you might also consider:
light moisturizer
baby oil (to fix mistakes after painting has 'set')
charcoal pencil for eyes
mascara
sponge
mister or water-spray
glitter and other decoration

Before you start applying the makeup, you need to prepare your face so it goes on smoothly. Thoroughly clean your face, tying back hair where necessary, and for men, have a shave. (Bearded men can apply grease paint makeup but it can be tricky keeping it out of the hair.) Remember that grease makeup will stain clothes, so put on an old button-up shirt. After your skin dries, apply a very light moisturizer.
Working with the lightest color first - usually white - and a good quality brush or sponge, or your fingers, you can outline the area and then fill it in. Alternatively you can paint following the contours of your face. The grease makeup may not go on smoothly if it is too cold, which you can remedy by putting a little dab of the color of in the palm of your hand for a minute. After painting, use your fingers to 'pat' the makeup into your skin.
Unlike water-based makeup, grease makeup requires you to paint your face and then 'set' it with a professional setting powder, or baby or talcum powder. (If you go with talcum, be sure to confirm beforehand that you don't have an allergic reaction to it.) You can 'set' the grease makeup either in stages following each color's application, or at the end of all the painting. Some people prefer the latter, applying all the colors before setting with powder, because they can fix mistakes more easily. The downside however is that you risk mixing colors accidentally and smearing your work.
Whether you 'set' in stages or at the end, one reliable way to apply the powder is to partly fill a small, clean, cotton tube sock with the powder, tie it up, and then gently dab your face. Allow the powder sit for a half a minute or so before dusting the excess off with a powder brush. The painted areas should no longer feel moist or sticky - if this is not the case, you probably need more powder. Once the grease makeup has set, it should be fairly smudge-proof. If something needs correcting at this point, you can use Q-Tips soaked in baby oil, but remember that neighboring areas could now be smudged.
Be careful not to apply the grease face makeup thickly or in layers. If you do have too much in one spot, press down on it with your fingers to smooth it out. Continue to refine your face, using Q-Tips or a fine brush for the smaller areas. Grease pencils also can be used for the face, charcoal pencils for the eyes, and don't forget color for your lips too!
Allow the grease makeup to thoroughly dry, and apply a last light coating of powder, dusting off any excess with a brush or tissue paper. A damp cloth at the end can help remove the excess powder, or spray with a very light mist of water. In warmer climates you can probably skip this step because the extra powder will absorb any perspiration.
If you are applying glitter, it should be done at the very end. Generally glitter is most effective when applied over the eyes or on the cheeks, A glitter gel is often used instead of dry glitter to minimize the chances of it flaking into the eye. With dry glitter, first slightly dampen your face and cheeks, then 'poof' on the polyester glitter. Remember to let the makeup settle for about half an hour before you go out. If you have stray paint on your eyelashes, cover it with mascara.
Products available
For just about any type of face design you will need at a minimum white greasepaint foundation and a black greasepaint pencil, but of course there are many colors in between and you will probably want to try at least a few of them. The leading producers of grease makeup are Mehron and Ben Nye. Mehron grease makeup is focused on the theatrical professionals who want ease of application with good coverage. Ben Nye also appeals to the same community, although Ben Nye grease makeup is actually a cream. Grease face makeup comes in a range of forms, from palettes (generally sold as a kit), to individual liners. Pencils, crayons and sticks are useful for smaller areas of the face. Both Mehron and Ben Nye also make eye-shadows, blushes, a range of glitter and setting powders and sealing mists. You may also want to consider sweat-blocker sprays for the face to help preserve the greasepaint under strong lights or in a hot environment.
Blake Cabot
Owner of http://www.ClownAntics.com/ and a clown lover.
Article Source: [http://EzineArticles.com/?Lifes-A-Stage:-The-Tips-And-Tricks-Of-Grease-Makeup&id=6594186] Life's A Stage: The Tips And Tricks Of Grease Makeup

Thursday, December 8, 2011

Percussivo Mundo Novo Merges the Past With the Future

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
Percussivo Mundo Novo is not your typical electronic band. Leader Mikael Muti and his colleagues hail from Salvador in Bahia, one of Brazil's largest provinces where percussion instruments and traditions hark back more than 500 years to Africa. Muti has combined the old and new cultures in his ensemble of re-designed computer-operated drums.
After working with electronic music since '96 to get the flavor of Brazilian percussion on the keyboard, he was not content with the standard method. Doggedly, he played around until he discovered how to do it with video game controls using a touch-screen and Guitar Hero controller.
On his guitar, he has an iPod, a video controller and a telephone. Each button on the phone makes a different sound. The idea was never to replace the real instruments but to find interesting ways of using new technologies to enhance them.
Because Bahia originally was a major destination in the slave trade, it is today the largest African state outside the continent. The African-Brazilian religious culture colors all aspects of society there, none more than the traditional street party, where Muti and his ensemble first exhibited the concept that had sprung to life in his studio.
While they were playing, he kept hearing a voice inside his head telling him they must give something back in their performance. He did not realize they were performing a religious ritual at the street party until a spiritual master approached him and confirmed that they had done something important for the gods.
The samba rhythm leaps to life on the instruments Muti and his percussionists re-imagined. One drum, the Brazilian surdo, is double-headed. Its two skins have different tunings mating the powerful bass sound with the loud, high sound of the timbau of African origin that's played like a Cuban drum. Another instrument which adds flavor to Muti's keyboard and the drums is the berimbau, a single-stringed bow with a twanging sound. It arrived in Bahia with African slaves and dates far back in time.
Muti is so excited about his electronic discoveries that he has approached companies making video controls only to find that they simply do not understand what he is talking about. He plans to continue canvassing them until he meets someone in the business who sees the logic. Even audience members are skeptical at first until he invites them to play the instruments as they would a video game.
Since video games have become part of our culture and all children know how to operate them, Muti believes it only natural that the technology can be adapted for use in other ways and wants his audiences to discover that it's possible to look to the future without losing the past.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?Percussivo-Mundo-Novo-Merges-the-Past-With-the-Future&id=6601959] Percussivo Mundo Novo Merges the Past With the Future

Tuesday, December 6, 2011

Brian McKnight, R and B Superstar

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
With a string of platinum albums to his name and more Grammy Award nominations than any other artist without a win, Brian McKnight launched his Just Me Tour with his brother, Claude McKnight of the gospel group Take 6, and his sons B. J. and Niko of BRKN RBTZ (Broken Robotz).
When he put together his fourteenth album, which was released July 12, 2011, he thought it was important to remember that people everywhere have troubles that are difficult to overcome. It seemed to him a good time to combine new tracks with some of his old songs for the people who want to go back to something meaningful.
This tour is the first time McKnight and his brother have sung together since they were children. Growing in up a large, musical family in Buffalo, New York, they participated in church and school music programs. Claude, five years older, signed a record deal in 1987 and Brian followed suit in 1992. Along the way, he mastered nine instruments. When he is not playing one of them or singing in his expressive voice, he can be found composing, arranging or producing. He loves everything he does and when he goes to bed each night he thinks about what he's accomplished during the day and wonders what the next day promises. When he composes, he has no set pattern. The creation starts in his head. The moment something promising materializes, he might be sitting with his guitar watching a sports program.
Several seasons ago, McKnight was one of the celebrities featured on the then number one TV show, "Celebrity Apprentice." After members of Donald Trump's staff first approached him, he realized it was a win-win situation between the opportunity to earn money for worthwhile charities and the publicity the show provided for the various participants. When the men's team finally won a challenge on the fourth try, he recalls the relief they felt and the pride in that accomplishment. Best of all, he enjoyed getting to know some people he had met briefly or only heard about and establishing new friendships for life.
The Billboard Songwriter of the Year is known for his congeniality. Over the years, he has collaborated with dozens of the top musicians of our time, among them Quincy Jones, Mariah Carey, Justin Timberlake, Willie Nelson, Kenny G and Josh Grobin. His most meaningful partnerships, however, are with family members. His greatest pleasure is working with his brother and his sons. If possible, he would also include his 21 first cousins.
This current tour, he confesses, has provided more fun than any of the past. One of his favorite moments is singing the National Anthem, something he has done at baseball games and all his shows since 9/11. By looking around at his audiences and studying their faces, he realizes that the Anthem has taken on new meaning. Because he dislikes living in a day and time that is becoming jaded, he wants people to learn how to fall in love again and discover that life can be better.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?Brian-McKnight,-R-and-B-Superstar&id=6602314] Brian McKnight, R and B Superstar

Sunday, December 4, 2011

Judy Collins: Musician, Writer and Activist

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
During her 52 years of music making, Judy Collins has utilized her multiple talents. Her folk artist persona won a Grammy Award in 1968. The classical piano student remembered her unbending teacher in the documentary, "Antonia: A Portrait of the Woman," nominated for an Academy Award in 1975. The fervent activist campaigned for just causes in her songs and in the courthouse. The author has penned one novel and six non-fiction books, two of them memoirs. Her most recent book, "Sanity and Grace: A Journey of Suicide, Survival and Strength," reflects on the suicide of her son.
Accepting life as a mixture of sad things and celebrations, she has been recording her thoughts since junior high school and has always kept a journal. She admits that some days she I would rather be writing than singing. She wrote a song book in 1969 and by the time she wrote her first memoir in 1987, she couldn't stop.
During a conversation, she admitted that she finds it hard to live in the present because she is always looking back at those who came before her. She enjoys going to ancestry.com and reading about the first family member who emigrated to the United States, a preacher from Dorset, England who came in 1811. There were lots of preachers in her family, including a great-uncle who was a missionary in China and a big game hunter. He shot many lions at a time when lions were menaces.
As she continues to tour the world and record, Collins seeks songwriters whose words speak to her. "Paradise," the most recent album on her Wildflower label, is a remarkable mixture of evergreen numbers like "Over the Rainbow" and "Ghost Riders in the Sky" and songs for the 21st Century.
Perhaps the most poignant is "Kingdom Come," the song she dedicated to the New York firemen lost at 9/11. "Weight of the World" introduces the fresh voice of Amy Speace, a former Shakespearean actress, who owes her new career to an accidental meeting with Collins' manager. The song was named #4 Folk Song of the Decade by New York radio station WFUV.
Of all the causes Collins has championed in the past, she says that anti-war was the most important and she considers 'Weight of the World' to be as good as any anti-war song she has heard. The album also has a new song about Gauguin and duets with Joan Baez and Steven Stills.
Perhaps the most poignant of her songs to be introduced in the next album is one she wrote for her mother before she died last year. She calls it 'In The Twilight' because that is where her mother was. It joins other tales of heartache and troubles found in the album's folk songs and covers.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?Judy-Collins:-Musician,-Writer-and-Activist&id=6602135] Judy Collins: Musician, Writer and Activist

Friday, December 2, 2011

The Five Browns

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
The 5 Browns, the astonishing family of pianists who play together, grew up in Salt Lake City where music plays a major role in family, school and church traditions. After gaining poise and experience participating in piano competitions, siblings Desirae, Deondra, Gregory, Melody and Ryan traveled to New York City to audition at the Juilliard School of Music. All five were admitted at the same time.
Each was intent on a solo career until their senior year when the two older girls, Desirae and Deondra, formed a duo partnership. Fate intervened shortly after graduation when Sony suggested that they cut a recording featuring all five.
Wanting to entertain by showing who they are, they decided that the two older sisters would play works for four hands and the three younger would play separately as soloists. But in the end, it was agreed that all five should play together. This required finding repertoire that could be arranged for five pianists. They then turned to pianist/arranger Greg Anderson, a friend and fellow Juilliard graduate who continues to arrange for them and fills in on rare occasions in when one of the five is unable to be there.
Their self-titled debut album of popular classics rocketed to number 1 on Billboard's Classical Album Chart. In the wake of its success, they appeared on Oprah, 60 Minutes and other major shows. The viewing audience was enchanted by their fresh faces and astounding talent times five.
Since reawakening adults and children alike to the delight of playing the piano, they have toured throughout the world and completed four more albums: "Browns in Blue," "5 Stars," "No Boundaries" and "The 5 Browns in Hollywood." These are far more adventurous than might be expected from serious musicians.
As youngsters, they played only the classics, never jazz or ragtime, but that changed when they were contemplating a second album. The goal was to reach a larger demographic by incorporating less serious numbers.
Their fourth album, "No Boundaries," ranges even wider, from the folk favorite "Simple Gifts" to Argentine tangos. Their most recent album is an emotional romp from joy to terror. A pleasing potpourri of memorable film scores and themes, it incorporates a Disney movie medley, the "Star Wars" Suite, the "Psycho" prelude and the chase scene from "North By Northwest."
As Steinway Artists, the 5 Browns perform on pianos transported by Wheaton World Wide Movers. After an initial few years of constant travel, they have adjusted their schedule to suit their families (all five are married). Now they limit road trips to two weeks per month.
Their number one goal when playing before audiences of all ages is to shake things up, break down barriers and help young people be introduced to and enriched by classical music.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?The-Five-Browns&id=6601904] The Five Browns

Wednesday, November 30, 2011

Debo: Classic Ethiopian Pop With a Contemporary Twist

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
Debo is an energetic Ethiopian funk Boston-based band founded by saxophonist Danny Mekonnen. It specializes in dance sounds direct from four decades of classic pop nourished in Ethiopia. Just as the musicians unleash mystical grooves, so do dance moves by the gravity-defying Fendika leave folks gasping.
Mekonnen traces the history of the music Debo plays back to 1966 when Peace Corps volunteers arrived in Ethiopia and other nations with their personal record collections. From that introduction to American jazz, Ethiopian pop emerged, seasoned with traditional styles.
Ethiopian pop music of the 1970s, he points out, is played with the timbre and tone of the indigenous African styles from Nigeria. It was also influenced by the Turkish psychedelic rock bands. The 6/8 rhythm and non-Western scales are foreign to the average ear. The dissonance resembles what you hear in music from the Mid-East and Japan.
There was a period in Ethiopia when big bands contained strings and drums. Debo has two violins and a drum, along with two saxophones, a trumpet, a trombone, a tuba, an accordion, an electric bass and an electric guitar. The accordion has historical relevance, but tubas were only used in military bands. Debo is unique in that there never was a band with the combination it has.
Mekonnen was 18 months old when his parents came to the United States in 1982 by way of Sudan, the pathway of most refugees at that time. He grew up in Dallas, Texas, began saxophone lessons in middle school and entered the University of Texas in Arlington as a music major.
After graduating, he headed to Boston to study jazz. While working on his Ph. D., a Harvard professor with a background in Ethiopian music encouraged him to explore it. Subsequently, he formed Debo from musicians he played with around town. Their specialties ranged from classical music to klezmer and Balkan brass bands.
Since its debut in the Boston area, Debo's popularity has erupted nationwide. Adding to the excitement, the band joins forces at festivals and venues with Fendika, an ensemble they encountered at an Addis Ababa nightclub. It consists of a male and female dance duo, a female vocalist and a traditional goat-skin drummer.
The vocalist's vibrato is a timbre of singing found in Ethiopian voices and the saxophone. Like native singers, she is often accompanied by a one-string violin and a lyre with six strings and no fret board.
The dancers perform in the style called 'eskista' wearing traditional outfits to display a lot of color and visual elements of the culture. The woman does a shoulder dance to a 6/8 rhythm played by the drum. All the movement is from her shoulders, head and neck. Her movements are emphasized by a scarf and a huge set of beads that accentuates the sound. She contrasts with the male dancer who has worked with a forward-looking and trendy Dutch punk rock band.
Mekonnen's ensemble of 15 is large because he wants audiences to see how they bring together folk dances and the big, exciting band with a little bit of dissonance that doesn't fit tradition.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?Debo:-Classic-Ethiopian-Pop-With-a-Contemporary-Twist&id=6599962] Debo: Classic Ethiopian Pop With a Contemporary Twist

Monday, November 28, 2011

Peter Frampton Recalls the Past As He Heads Into the Future

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
Peter Frampton celebrates the 35th anniversary of "Frampton Comes Alive!" with a mega-tour ending in Paris next November. The instrumentalist, singer and producer has jam-packed the program with favorite numbers from one of the top-selling live albums of all time and highlights from his extensive repertoire.
When his "Fingerprints" won the 2007 Grammy Award for Best Pop Instrumental Album, it put him back into peoples' minds as the guy with the frizzy hair and the looker, which he confesses he is not today. Nevertheless, a pop career lasts about 18 months, while a musician's career lasts a lifetime.
The title song of Frampton's latest album, "Thank You Mr. Churchill," conjures up his childhood memories in suburban London when the city vibrated with the sounds of construction workers rebuilding the homes, offices and landmarks reduced to rubble by German bombs. He recalls the safe, peaceful atmosphere that allowed a five-year-old to wander up the road and chat with the workmen.
Soon afterward, while investigating the attic, he found his grandmother's banjolele and taught himself to play. "Vaudeville Nanna and the Banjolele," another album surprise, revisits that happy discovery. By eight, he had taught himself to play guitar and piano and was taking classical music lessons. Graduating from one band to another, he segued from child singer to lead guitarist and singer at age 15 with The Herd. Three years later, he and Steve Marriott formed Humble Pie.
Humble Pie enjoyed great success in England and Europe before it came to America. When it proved to be equally popular here, Frampton took the plunge and moved to the United States in 1971. He now makes his home in Cincinnati. After 9/11, he became an American citizen. His recent appearances on "The Simpsons," "Family Guy" and Oprah's TV show have endeared him to a new generation.
Over the years, his life and work intertwined with many contemporaries, among them Marriott, David Bowie (his childhood classmate and fellow Buddy Holly fan), and Hank Marvin, probably the most influential of all. Bassist Stanley Sheldon, who played on "Frampton Comes Alive," is a member of his tour band, along with Rob Arthur on keyboard, guitar and vocals, Adam Lester on guitar, and Dan Wojciechowski on drums.
These are people he wants to spend time with. They're only on stage a short while, but they're together a long time on the bus or plane.
Julian Frampton, his son, is a surprise soloist on "Road to the Sun." The response to that number has been so positive that they recently recorded together, Julian on drums and guitar, Peter on guitar and bass. Dubbing will be done in hotel rooms during this tour. One tour highlight is his arrangement with Abbey Road to create CDs of each show for distribution to the audience. He was delighted when Abbey Road proposed this idea. To make it happen, they'll travel with the tour and will record each number, three CDs in all because it's a long show. They'll begin pressing them half way through the evening. By the end of the show, all three will be ready for the fans to take home.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?Peter-Frampton-Recalls-the-Past-As-He-Heads-Into-the-Future&id=6602007] Peter Frampton Recalls the Past As He Heads Into the Future

Saturday, November 26, 2011

Belly Dancing Men - What's Up With That?

By [http://ezinearticles.com/?expert=Ben_G_Gao]Ben G Gao
Men Belly Dancing Way Back When
During the reign of Sultans of the Ottoman Empire (1345-1922) male belly dancers were often a hot commodity. With many females confined to their harems, and those out in public enforced to cover up, there weren't a lot of opportunities to see women gyrate in sexy belly dance costumes. That left a gap for belly dancing men, who took old town Turkey by storm. There were two varieties of male belly dancers: tavsan oglan, meaning Rabbit Boy, known for tight pants and delightful hats, and the koceks who did their undulations and hip hits wearing women's belly dance outfits with their long locks out. Both the tavsan oglan and koceks provided colourful entertainment to the sultans, aristocracy and commoners at feasts, festivals and weddings, where men and women were separated.
In Egypt as recently as 50-years ago, male would be strutting their stuff alongside female down stretches such as Cairo's Mohammed Ali Street where you go for all your needs. But when Gamal Abdul Nasser took rule of the land in 1954, belly dancing boys were effectively pushed out as he felt they were a symbol of the overthrown King Farouk's debauchery.
Egypt, just like Istanbul and other parts of Turkey, North Africa and the Middle East, have made it increasingly difficult for men to due to its perceived association with homosexuality which is taboo under Islamic law. But in a change of fortunes, male belly dancing is coming back.
Thailand has its lady boys, Turkey has its kol.
Raqs sharqi, (meaning Dance of the Near East), the belly dancing style best known in the west, is becoming popular again in the clubs, cabarets and restaurants in cities such as Istanbul and Cairo, and even further field. More men are performing as a reminder of the glory days of the Ottoman Empire and the centuries-old Egyptian tradition.
Back in 2000, a 19-year-old male belly dancer made international headlines after he was rescued by Turkish Police having been chained to a bed for three days by his father. His dad's defense was that his son had been performing as a belly dancer.
Our chained heroine was not alone. More and more of Istanbul's hip nightclubs have strapping young men performing belly dances virtually every night of the week. In that city, they are affectionately known as rakkas, derived from the Turkish word raks, meaning dance. They are famous for their dazzling, brightly coloured costumes that sparkle under nightclub lights. Male belly dancers posing as patrons at clubs in Cairo are often paid by the clubs to dance to bring some edginess and cool factor to the clubs.
So expect to see increasingly more males doing the Raqs sharqi ( meaning Dance of the Near East) in clubs, cabarets and restaurants in Istanbul, Cairo and cities further field such as Santa Cruz. Even Japanese Olympic gold medalist Daiichi Suzuki, now swim coach, is having his lads do belly dancing to get in shape - a fun reminder of the glory days of the Ottoman Empire and old Egypt.
Henry G Dance has an irresistible range of affordable belly dancing outfits - tops, bottoms and accessories when you are a lady or a man, so click here to see them.
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Article Source: [http://EzineArticles.com/?Belly-Dancing-Men---Whats-Up-With-That?&id=6595849] Belly Dancing Men - What's Up With That?

Thursday, November 24, 2011

What Every Actor Should Know

By [http://ezinearticles.com/?expert=Alicia_C_Milstead]Alicia C Milstead
Some actors love to be a member of the "Woe is me Club," which usually consists of wallowing in their lack of auditions and success, and dragging other actors down with them. They blame their lousy agent, their day job, or perhaps their dog! Hey, at least he'll listen. He's a captive audience, right?
Sure, commiseration feels nice for the moment, but this constant borage of negativity can lead an actor to spiral into a hole of self-doubt and defeatism. But what's the pay-off? What are you getting from that? Perhaps it's comforting to commiserate, but it's not paying off in your career in a positive way.
When an actor feels stuck in their career, it's easy to blame others instead of holding a mirror up to themselves. Certainly, some factors are not in our control, such as the writer's strike years back or summers that can be slow for auditions. But occasionally, what stops the actor is an internal block or limiting/negative belief about him or herself; that was learned either unconsciously or consciously.
Why do blocks happen? Sometimes, it's because of an experience or series of experiences a person has endured. At times, a person who has experienced a real or perceived failure starts to believe they will always fail and feel powerless. At this point, it's become a learned behavior. Now this individual perceives every situation as unchangeable and feels stuck. "I won't get a callback because I never get them." Psychologists often refer to this as "learned helplessness."
At some point, many of us have been misled by a series of lies about ourselves. A couple of examples might be, "You can't do ---" (fill in the blank) or "You're not good enough to do---." The messages may be subtle, but they are always there. It's like your actor friend Roy from college, who has been sleeping on your couch for three months. Uh, Roy, I thought you said you needed three weeks to get your own place?
These negative, limiting beliefs and internal dialogues seep into your work as an actor because you bring yourself to every role you play. Many actors aren't aware of their internal blocks and instead, give up, feeling defeated; not truly understanding why. YOU are your own instrument, so it's vital for yourself, your life, as well as your life as a performer to live up to your fullest potential.
Once an actor recognizes these self-sabotaging messages, they can begin to move forward. This is when the actor begins to realize they have the power to change their thought process, create a game plan and have a successful career.
One of my favorite movies is The Wizard of Oz, and not just because I thought it was magical when the film moved from black and white to color. When Dorothy was trying desperately to get back home, the good witch Glenda told her, "You had the power in you all along, dear." You, as an actor, have everything you need already, inside of you.
Alicia Milstead-B.A. Theatre, M.A. Clinical Psychology, is a Certified Life Coach who helps LA Actors identify their blocks and clarify goals to create a plan to live the life they've imagined. http://www.theempoweredactor.com/
Article Source: [http://EzineArticles.com/?What-Every-Actor-Should-Know&id=6581800] What Every Actor Should Know

Tuesday, November 22, 2011

Sage Magic Performance Tips

By [http://ezinearticles.com/?expert=Jacob_T_Anderson]Jacob T Anderson
Impossible feats and clever tricks are only a small part of every magic performance. A magician's "patter", or prepared speech, and unique identity are as much a part of his performance as the sleight of hand techniques he's spent years mastering.
Almost every great magician has a gimmick or unique facet that makes them stand out from the crowd. Channing Pollock would never smile until the end of his performances, Cardini pretended to be drunk, Teller doesn't talk, David Copperfield performs to rock music.
It is up to every magician to create a character that matches and enhances their personality.
When putting together a magic performance there are many considerations that must be made ahead of time. Where are you in position to the audience? Can anyone see you from a strange angle that might give away a trick?
A magic performance needs to have structure which should also be planned ahead of time. It should have a clear beginning, middle, and end. You should start with tricks that are flashy and grab the audience's attention, do more technical tricks in the middle, and finish with a trick that will leave the audience stunned.
Variety is key to an enjoyable performance. If, for example, there is a portion of the routine that involves a large number of card tricks in a row, mix it up by including some flashier tricks. You will better hold the audience's attention.
Never include a trick that you can't do in your sleep. Tricks must be practiced over and over until you develop muscle memory and can do the tricks easily, without thinking. The great magicians are extremely meticulous in their practice. It is part of the magician's code not to perform any trick until you have practiced it enough that you can maintain the secrecy of the illusion.
It's best to practice your routine as well before trying it in front of a live audience. Practice in the mirror, for friends and family, or film yourself performing the routine. Once it is perfected you will be more confident performing in front on a crowd of strangers.
If there are any tricks in your routine that require a higher degree of concentration or that you are worried about, apply some classic misdirection. Work out a way to distract the audience during sticky moments, and perform the trick in between two tricks you are very comfortable with.
When first starting out it is more important to concentrate on your performance and become comfortable with your patter than it is to perform big, technical tricks. Start simple and really try to learn how to connect with your audience.
Performing a magic routine in front of a live audience can be a daunting task for beginners. The magician must combat stage fright and nervousness with practice and preparation. If you know you can do the tricks easily, and become comfortable talking to the audience, then you can enter every performance with the confidence needed to dazzle the audience.
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Article Source: [http://EzineArticles.com/?Sage-Magic-Performance-Tips&id=6604815] Sage Magic Performance Tips

Sunday, November 20, 2011

The Plays and Sonnets of William Shakespeare

By [http://ezinearticles.com/?expert=Calvin_E_Bailey]Calvin E Bailey
The plays and sonnets of William Shakespeare bears no comparison within the history of theatrical arts. Shakespeare was a flexible English poet, play writer and actor. He has written almost 38 plays, 154 sonnets and numerous poems between the years 1582-1612, that are honored even to this day. They had nice influence on English literature and western theater. All Shakespeare's works have been translated into all identified languages they usually have been carried out round over the globe over 1,000,000 times.
Though most of his works have been written for an English viewers the attraction has been universal. His writing model was greatly influenced by Christopher Marlowe. In 1594, Shakespeare grew to become part-proprietor of Lord Chamberlain's Males, a theater company. By then he had even began performing, along with writing plays. Under his presence the corporate grew to become so well-known which made King James I buy the corporate after which it was named as King's men.
His plays revolved round tragedy, comedy, romance and history. He began his career remodeling on other authors writings which was widespread at that time. At that time he helped the playwrights to complete their work speedily. Like Hamlet was the new adaptation of a lost play named Ur-Hamlet and King Lear was the new version of King Lear. His performs on history were inspired by the Greek, Roman and English history. Performs like Plutarch's Parallel Lives and Raphael Holinshed's The Chronicle of England inspired performs like King Lear and Macbeth. Tempest was his authentic work.
Shakespeare's early works of the 1590s had been primarily based on romantic comedies and historic nostalgia which had been the center of works like; A Midsummer Evening's Dream and Henry IV, Half I. After the plague, he began together with rhymed couplets and dramatic dialogues in his work. His center period works revolved round betrayal, homicide, egoism, power, ambition, lust, tragedy and comedy. Performs like Othello, Hamlet, Macbeth, King Lear, Troilus and Cressida had been primarily based on them. His later works have been mostly romantic and fantasies such as The Winter's Story and The Tempest. His works had been also revealed in press as a sequence of quartos. Two actors named John Heminges and Henry Condell began First Folio to honor and publish Shakespeare's work solely in 1623. Classes comparable to comedies, histories and tragedies had been made in First Folio. Fashionable critics have added classes like downside-play and tragic-comedies.
The exact order of plays is not known and has all the time been the subject of disagreement as at his time, performs weren't authoritatively printed. Many of his plays had many various blueprints due to the textual mistakes like printer's error and compositor's misreading, so the popularity of his unique work is a problem. Many words and spellings were created by Shakespeare. He had a habit of writing his performs number of time using these different words and spellings. After his death, speculations have risen concerning the authenticity of Shakespeare's work. There have been very little document about the occasions that happened in his life nor does his will gives an detailed explanation of any of his performs, poems, sonnets and ownership of the Globe theater. It has been rumored that they could be works of Francis Bacon or Christopher Marlowe.
The works which have been misplaced are Love's Labour' Won, Cardenio and Quixote. Romeo and Juliet, A Midsummer Night time's Dream, Julius Caesar, As You Like It, Hamlet, The Taming of the Shrew, The Tempest, King Lear, The Merchant of Venice, Othello, Twelfth Night, Richard III and Macbeth are some the highly honored writings of William Shakespeare.
Calvin Bailey is the owner and webmaster for the popular information website on the city of [http://www.stratford-ontario.com]Stratford Ontario. Want to learn about the city that gave birth to the Shakespeare Festival Theater in Canada? Discover the history, view the photographs, and review the plays of William Shakespeare. Discover why [http://www.stratford-ontario.com]Stratford Ontario continues to be the choice tourist attraction and vacation destination for both history buffs and theater goers the world over.
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Article Source: [http://EzineArticles.com/?The-Plays-and-Sonnets-of-William-Shakespeare&id=6606349] The Plays and Sonnets of William Shakespeare

Friday, November 18, 2011

Why Are There So Many Different Types of Stage Lighting Available Today?

By [http://ezinearticles.com/?expert=Anthony_M_Langley]Anthony M Langley
Whether you intend having a small school play or a big stage play, you can be sure of the fact that stage lighting plays a very important role.
No matter what kind of play, big or small, lighting is very significant. Lighting provides you with just the right kind of illumination that your play requires and it is thus a driving force for your play. If you want to set the right ambience for your play, then you must get the lighting right.
It is very critical for you to decide where you want to place your lights. If you want your play to have great colour effects, then you should place the lights in front. To accentuate the action that takes place in your play, you should place the lights at the side. When you need to create depth or if you want to silhouette anyone totally, then you would do well to use back lighting. If you want to have an effect that is bold and sweeping, then you must use background lights.
There is the basic floodlight type of lighting which is called the Scoop. This kind of lighting can provide light to the complete stage or an entire area. Then there are the traditional stage lights that are known as Ellipsoidal and these are considered to be the most vital element of stage lights. These lights are the focus lights and their appearance on the stage can be modified by making use of filters and shutters.
There are also lights which are used to give colour washes to the stage and these are known as Fresnel lights. There are also lights that can follow people and move with them on the stage, these are known as Follow Spots. These are not the only lighting options and there are many more available, as a result of so many advances in technology.
It is now possible to give your lights various colours. You can do so by making use of what are known as Gels. These Gels function as colour filters. There are focused beams of light that can be used on stage, which are known as LEDs and these are now replacing the light bulbs that are commonly used on stage.
You can also get Dizzies, which are round spheres which consist of many LED lights, made up of different colours, which cover the surface of the sphere. There are so many different stage lights that are available today as stage lighting plays a very critical role on a stage.
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Article Source: [http://EzineArticles.com/?Why-Are-There-So-Many-Different-Types-of-Stage-Lighting-Available-Today?&id=6596362] Why Are There So Many Different Types of Stage Lighting Available Today?

Wednesday, November 16, 2011

What Are Some Easy Card Tricks to Learn?

By [http://ezinearticles.com/?expert=Austin_Hackney]Austin Hackney
What are some easy card tricks to learn? Well, here's a pretty simple but effective magic trick that you might like to try. You can download a whole range of easy tricks from a good website that will be far more effective than this, but just to get you started and give you a taste for it...
Start with a pack of cards and make sure that you have a quick peek at the top card before you start. So you know what the top card is at the beginning. Now what you should do is to begin to flick through the cards casually and ask a member of your audience to tell you when to stop. Stop at that point and take of the top half of the deck from there. And here's the trick: slide this top half off quickly in a forwards direction, towards the member of the audience who is helping you; but as you do it, keep your thumb pressed on the top card (you can quickly lick your thumb first) and that will make the top card (the card you know) stay in place and land on top of the lower portion of the deck. The rest is easy..
Just ask your audience member to pick up the card from the top of the lower portion of the deck - the card they freely cut to at random (so they think!) and then look at it secretly and memorize it. You can then hand them the deck and ask them to put it in anywhere they want and give the cards a good shuffle. You can then reveal the card in any way you please - either by pretending to search for it through a spread or by turning it into a mental magic routine, asking them to concentrate hard on an image of the card whilst you read their mind or anything you like. It doesn't really matter because you secretly forced them to take the card that you wanted and so in any case you already know what it is!
That's an example of a card force that is used in lots of easy card tricks you can learn. Always make sure that you practice your tricks well first and never reveal the secret to anyone. If you like the idea of learning more and maybe better easy card tricks then why not check out some amazing easy tricks tutorials which you can download instantly to get a full and detailed explanation of how to do some astonishing easy tricks that are of a professional standard? You can also get some fantastic ebooks to download instantly and that's a great way to get a lot of tricks all at once. And remember that even easy tricks can be very, very impressive if you perform them right. In fact, the easiest tricks are often the most convincing because people are always looking for some very clever 'sleight-of-hand' or trick and frequently overlook the obvious move that is happening right under their noses!
I hope finding out about some easy card tricks to learn and that you come back often to learn more. Once you get started in magic it can become really addictive!
Austin Hackney is a performing magician, entertainer, theatre practioner and writer of many years standing, always keen to share his experience and encourage the novice. His website, [http://www.magic-tricks.ws]The Magic Tricks Homepage is a great free resource for magic tutorials, articles, visual guides, eBooks and more. If you want to learn magic well, not just a huge number of tricks but solid performance skills, the site is well worth a visit. You can download magic video tutorials [http://www.magic-tricks.ws/magictrick28.html]here which is a great way of learning and building a repertoire.
Article Source: [http://EzineArticles.com/?What-Are-Some-Easy-Card-Tricks-to-Learn?&id=6624104] What Are Some Easy Card Tricks to Learn?

Monday, November 14, 2011

Review: How To Succeed In Business Without Really Trying

By [http://ezinearticles.com/?expert=Amy_L_Butenhof]Amy L Butenhof
Like all aspects of pop culture, Broadway shows are always coming in and out of style. While just a few years ago edgy, rock-grunge musicals, � la Rent, Spring Awakening and American Idiot, were all the rage, the trend seems to have re-geared in an entirely unexpected direction. The demand for cutting-edge has been replaced with a call for nostalgia. A slew of revivals (and a few originals) set in and between the roaring twenties (Anything Goes) and the corporate world of the sixties (Promises Promises) have taken the Great White Way by storm, filling NYC with the sound of show-stopping tap numbers, upbeat tunes and fabulously cheesy one-liners. The plots and time periods obviously vary, but they all share a delightful light-heartedness and abound with the charms of yesteryear.
The latest of these shows to come along is How to Succeed in Business Without Really Trying, a revival featuring former Harry Potter star Daniel Radcliffe as J. Pierrepont Finch. The show originally debuted in 1961, and like many of its contemporaries has begun to show some age. When Finch's love interest Rosemary, played by a time-period-appropriately cheeky Rose Hemingway, sings about her dreams of keeping an emotionally-distant husband's dinner warm as he climbs the corporate ladder, more than a few pairs of eyebrows are bound to shoot upward.
But nonetheless, the vibrant cast attempts to blow off the dust with infectious zeal. Daniel Radcliffe proves himself a capable leading man with an adequate singing voice, impressive dance moves, and the pairing of a remarkably enthusiastic presence and lovable grin. He is at every moment wide-eyed, bristling with an energy and earnestness that threatens to distract from the character itself. But this sort of vigor and projection of innocence may be exactly what is required in order for the audience to fall in love with the otherwise duplicitous Finch. Impressive too are his comedic chops, as evident whenever he, spotlit, shares with the audience his knowing, impetuous grin to signal that his latest scheme has pulled through.
John Larroquette secures a lot of laughs as Finch's amiable yet morally dubious boss, whom we know the unstoppable Finch must eventually succeed. While he does project presence, his limited theater experience is evident; too often he dissolves into mumbling or attempts to use subtleties that work for the TV screen but not for the stage. Rose Hemingway is appropriately cute and feisty, bringing strength and sympathy to a character that could easily be scoffed at by the modern American woman. Tammy Blanchard is entertaining as wobbly tart-with-a-heart Hedy La Rue, and Christopher J Hanke manages to make us both love yet not root for Finch's bumbling nemesis Bud Frump.
Derek Mclane's set design is very reminiscent of recent productions of Bye Bye Birdie, Promises Promises (both directed and choreographed by Robert Ashford), and the short-lived 9 to 5; a cubic style that suggests a certain type of set instead of actually having the suggested set present. Why these productions find so much appeal in spending equal amounts of money on sets that pretend to be one thing, instead of building the actual thing, is a bit perplexing. Perhaps the style's popularity derives from its ability to lend a modern edge to otherwise dated scripts.
Catherine Zuber's chromatic outfits liven up an otherwise metallic backdrop, chock-full of sleek suits and twirly skirts. Ashford's choreography is impressive and lively, although it's been pointed out in other reviews that each number tries a little too hard to be a showstopper (of which How To Succeed really possesses only one; the effervescent 'Brotherhood of Man'.)
Although constrained by its age, this production of 'How To Succeed' navigates through the script's shortcomings with aplomb, and an irresistibly charming Radcliffe keeps the spark alive throughout the performance. How the show will fare without his star power remains to be seen (although with Glee's Darren Criss and The Jonas Brothers' Nick Jonas lined up as replacements, I'd wager fairly well), but if you're in search of a little animated, frolicsome entertainment, 'How To Succeed' is certainly worth your time.
Article Source: [http://EzineArticles.com/?Review:-How-To-Succeed-In-Business-Without-Really-Trying&id=6616389] Review: How To Succeed In Business Without Really Trying

Saturday, November 12, 2011

Get Magic Tricks Downloads

By [http://ezinearticles.com/?expert=Austin_Hackney]Austin Hackney
Get magic tricks videos (you can download them from several reputable sites) if you want to learn some easy but totally cool magic tricks to impress your friends and family - maybe even pull yourself a girlfriend! Everybody loves magic. It's a great way to break the ice at parties, introduce yourself to new people, make friends and get noticed by people you want to notice you. Downloading magic tricks videos is the easiest, quickest and best way to learn some great tricks.
There are coin tricks, card tricks, mind-reading tricks, rope tricks, all kinds of tricks that you can do easily with objects that you've got in your pockets or lying around the house. Don't be conned by the big magic stores that try to sell you expensive gimmicks (where you blow $30 plus for what turns out to be nothing more than a rubber band with a paper clip on one end and a magnet on the other - what a rip off!) I've seen a video download that will show you how to make that gimmick - The Raven, as used by David Blaine - absolutely free from stuff you can find around the place or get from the hardware store for under a dollar! Not only that, it'll show you 20 amazing, mind-blowing but easy tricks you can do with it. And all that for the price of the box from the store! You don't need to be spending all that money on over-hyped rip-offs. Get magic tricks videos because they give you hundreds of cool magic tricks videos that you can learn the best magic from ranging in price from $0.99 to $25 for the best, top class instruction.
If you're wanting to learn the best magic for the best price then this is your first port of call. Why do I do I like this? Well, because I got sick of being ripped off. The endless disappointment of opening up those massive, brightly colored boxes only to find some cheap bit of plastic inside. It was obvious that someone was having a joke. So I looked around for sites that had invited normal folks who love magic to sell demos and tutorials at sensible prices. Turned out there weren't that many, surprise, surprise! But the best ones had attracted tutorials from some pretty cool magicians. So these are tricks from people like you, for people like you. Or at least people who've been where you are now.
So get magic tricks videos from and start learning easy, simple tricks you can learn at home without burning holes in your pockets. Then check out the best sites for some of the blog posts which will give you loads of ideas of how to practice, present and make the most of the magic tricks you learn from your downloads. That's the other advantage if you get magic tricks videos - you can download them instantly after payment; you don't have to wait anxiously for the mail to arrive only to be disappointed. You get your download and you're happy. Most of the tricks you'll learn when you get magic tricks videos you'll be showing off the next day!
Austin Hackney is a performing magician, entertainer, theatre practitioner and writer of many years standing, always keen to share his experience and encourage the novice. His website, [http://www.magic-tricks.ws]The Magic Tricks Homepage is a great free resource for magic tutorials, articles, visual guides, eBooks and more. If you want to learn magic well, not just a huge number of tricks but solid performance skills, the site is well worth a visit. You can download magic video tutorials [http://www.magic-tricks.ws/magictrick28.html]here which is a great way of learning and building a repertoire.
Article Source: [http://EzineArticles.com/?Get-Magic-Tricks-Downloads&id=6624055] Get Magic Tricks Downloads

Thursday, November 10, 2011

Amazing Mentalism Magic!

By [http://ezinearticles.com/?expert=Austin_Hackney]Austin Hackney
There's no doubt that of all the kinds of magic tricks that can be performed, the most popular and effective today is to astonish an audience with amazing mentalism magic. This kind of magic creates the illusion that the magician has startling mental powers, or psychic abilities to move objects without touching them or make predictions about the future or read other people's minds.
Of course such things cannot really be done - they are illusions. Nevertheless, this kind of amazing mentalism magic really is the most powerful of all the performance magic techniques as it really is inexplicable from the audience's point of view.
A great advantage of mentalism magic tricks is that they can be learned quite easily with a little practice and performed almost anywhere as they frequently don't require complex props or devices. Any props or devices you might need would be nothing more than a thumb-tip, playing cards, maybe a bit of invisible thread and some magician's wax - all things that you can carry in your clothes. That said, there are many, many effects which can be done without any props at all. That;s one of the attractions of mentalism, coupled with the fact that it is a real crowd pleaser!
Amazing people with mental magic is no new thing. The tricks and techniques employed probably go back to ancient times when priests and prophets and oracles conned their followers into believing that they could see the future or receive messages from spirits and the dead - much as so-called psychics and mystics do today to their very great discredit.
However, the modern profession of performing apparently supernatural feats for the sake of entertainment is an entirely honourable one just so long as you are not tempted to abuse your magical powers as these charlatans and rascals who call themselves mediums and psychics do.
One of the factors that makes the magic of mentalism so uniquely intriguing to any audience is the way in which it can be performed very close up to people and still leaves them entirely at a loss as to any explanation for the effect.
If you watch carefully the great mentalist performers of our own day (such as Derren Brown) you will see that once you have the basic principles of mental magic under your belt, then the perfection of this techniques comes down to style and presentation.
Any modern magician who wants to truly astound a highly sophisticated modern audience, or even just cause real astonishment at parties, would do well to learn some amazing mentalism magic!
Austin Hackney is a magician, entertainer, theatre practioner and writer of many years standing, always keen to share his experience and encourage the novice. His website, [http://www.magic-tricks.ws]The Magic Tricks Homepage is a great free resource for magic tutorials, articles, visual guides, eBooks and more. If you want to learn magic well, not just a huge number of tricks but solid performance skills, the site is well worth a visit. You can download magic video tutorials (including some amazing mentalism effects) [http://www.magic-tricks.ws/magictrick28.html]here which is a great way of learning and building a repertoire.
Article Source: [http://EzineArticles.com/?Amazing-Mentalism-Magic!&id=6625929] Amazing Mentalism Magic!

Tuesday, November 8, 2011

Can I Become a Great Dancer in 4 Years?

By [http://ezinearticles.com/?expert=Brice_Ashta]Brice Ashta
We all have goals. Reaching those goals often comes with a price: an investment of time. How much time, however, is a mystery. Many new dancers - especially those aspiring to become professionals, to dance Swan Lake, to open studios - crave the knowledge of how long it will take to achieve greatness.
Unfortunately, nobody can tell you without a crystal ball. Fortunately, there are some guidelines in place for making an estimate.
10,000 Hours
According to Malcom Gladwell's famous essay, "Outliers," it takes 10,000 hours of dedicated practice to become an expert or master.
This theory has been popularized in recent years because of a movement toward believing-then-achieving motivational speaking. Society wants to believe that passionate work is enough to make anybody successful at something, regardless of what talents and skills they were gifted with at birth.
Many subscribe to this theory. If you were to practice for an average of two hours per day, then it would take approximately fourteen years to become an expert in your chosen field.
Applying this to dance is easy. Simply practice every day and you'll become an expert dancer. Unfortunately, this isn't the whole and there are more details to be satisfied first.
Facets of Knowledge
By many catalogs, every dance has a number of facets. I will discuss belly dance, because that is what I know most about.
Belly dance has an incredible number of different topics and subjects when you think in depth about expertise. Granted, movement vocabulary is fairly limited, but other requirements for true mastery are musicality, safety, rhythms, props, professionalism and business sense, and costuming.
Is Four Years Enough?
I have no doubt in my mind that a person can become a very talented and great dancer in four years, in the sense of movement. However, things like raw emotional expression, business knowledge, networks and contacts, and even a sense of movement from an internal perspective - the ability to correct posture and execution while being over ten feet away from the student - takes much longer.
If you are looking to become a dancer, I encourage you to start with a teacher. Dedicated practice will make perfect. Four years, however, is a slightly short time for expertise and mastery. Begin your 10,000 hours today and you will soon come to see successes. Four years is more than enough time for greatness - but not mastery.
Brice Ashta is a [http://briceashta.com/]belly dance instructor in Denver, Colorado. He also maintains a blog about belly dance and small business on his website.
Article Source: [http://EzineArticles.com/?Can-I-Become-a-Great-Dancer-in-4-Years?&id=6625470] Can I Become a Great Dancer in 4 Years?

Sunday, November 6, 2011

The Ahn Trio: The Zesty Panorama of Brazil

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
The Ahn Trio purveys imaginative artistry, glamor and confirmation that mainstream classical music continually evolves. Their latest CD, BraziliAHN, is is a scintillating representing a co-commission from Wolf Trap, Notre Dame University and the University of Florida.
Angella, the violinist of the sisterly ensemble that includes twins Lucia at the piano and Maria on cello, enthused about the program of works inspired by the sounds and scenes of the largest country in South America. She pointed out that Maria had this idea for a long time because she loves bossa nova and every kind of music coming out of Brazil. The three traveled there to meet the country's famous musicians. As the idea evolved, they worked with Brazilian singers and composers.
In "Landscapes," a suite written for them by Nelson Ayes, the listener is transported to Brazil and its picturesque countryside. The first of three movements, De bubuia evokes the feeling of traveling down a river, perhaps the Amazon, listening to surrounding sounds. The second, Mantiqueira, was inspired by an enormous mountain range, home to a lush environment, while the third movement, Agreste, depicts the hot, dry region of Northeastern Brazil through energy and rhythm. The centerpiece of the album, it is joined by arrangements of Brazilian folk songs and works infused with bossa nova, samba and other rhythms native to the country.
Born in Korea, the sisters moved to New York City in 1981 to attend the Juilliard School's pre-college program. Once they arrived, they were exposed to jazz and other styles of music that caught their fancy and opened new horizons. As teenagers, they never intended to become a trio. It was not until they were working on their master's degrees that the idea finally clicked.
Their family was not particularly musical. Their mother enjoyed music, but she was a writer and their father had a publishing business. Lucia was the leading force. She saw a piano in her Kindergarten class and would not leave it alone, so the teacher encouraged her mother to get her a piano. Afterward, Marie and Angella picked their instruments at random and began practicing. Like all Koreans, they knew they must work hard at their hobbies.
Since striking out as an ensemble, they have deliberately sought out works by an eclectic group of composers, among them Pat Metheny, Kenji Bunch, Nicolai Kapustin, David Balikrishnan and Mark O'Connor. Ever adventurous, they collaborated with the Parson Dance Company in a highly acclaimed program of original choreography and music. They are currently working on a similar program with Nai-Ni Chen, a cross-cultural contemporary dance company.
Earlier this year, they were greeted like rock stars during their sold-out tour of the Czech Republic with Tata Bojs, the country's award-winning rock band, performing music from "Smetana," the album they recorded together. Upon arrival, they could not believe that ten thousand people were chanting their names.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?The-Ahn-Trio:-The-Zesty-Panorama-of-Brazil&id=6632163] The Ahn Trio: The Zesty Panorama of Brazil

Friday, November 4, 2011

Valery Gergiev: Genius at Work

By [http://ezinearticles.com/?expert=Emily_Cary]Emily Cary
Valery Gergiev is the dynamic force behind the success of the Mariinsky (formerly Kirov) Theatre which encompasses the Ballet, Orchestra, Opera, Chorus and Academy of Young Singers. This fall he and the Orchestra are touring the United States performing all-Tchaikovsky programs, including five at Carnegie Hall, and featuring pianist Danill Trifonov. Gergiev conducted the London Symphony Orchestra at London's Barbican Hall on July 1, 2011 when the young pianist became the Grand Prize Winner of the XIV International Tchaikovsky Competition.
Gergiev is as well known worldwide as he is in Russia. As Principal Conductor of the London Symphony Orchestra since 2007, he is so admired in Great Britain that he was named Conductor of the Year by Britain's Royal Society of Music in 2008 and Conductor of the Year by Great Britain Royal Philharmonic Society in 2009. These awards join the countless honors he has received from Germany, France, Italy, Sweden, Japan, the Netherlands and his own country. In 2011, he was the Honorary President of the Edinburgh International Festival
Truly a giant in his field, Gergiev not only directs one of the world's greatest orchestras, but he is also the Artistic Director of the Mariinsky Ballet and Opera companies and General Director of the Mariinsky Theatre, which has been St. Petersburg's cultural center since 1783. He oversees and continues to expand the Opera Company's extensive repertoire. It encompasses the contemporary operas by Prokofiev and Shostakovich and the successful return of Wagner's operas to the schedule. That accomplished, he plans even more surprises.
Each component of the Mariinsky Theatre is world class. The soloists of both ballet and opera are familiar names. Dozens of the Orchestra personnel are soloists in their own right. Along with multiple soloists and section leaders, there are deputy leaders and enough instrumentalists to comprise several symphony orchestras.
Gergiev made certain that the vocalists would have incomparable training by founding the Academy of Young Singers in 1998. The students chosen from throughout the world benefit from their outstanding teachers and frequent master classes presented by famous visiting singers and coaches. During their training, they perform throughout Russia and abroad.
Gergiev's contributions to the Mariinsky Theatre have been monumental, none more so that the building itself. Over several years, he s8pervised the reconstruction of the theatre and concert complex, overcoming numerous challenges from blueprint to completion. In 2006, he presented it to the companies and the general public. Today it is one of the city's marvels.
Between his duties at the Mariinsky Theater, the international tours and the music festivals he directs, one wonders when Gergiev rests, and yet he finds time to program concerts for young children. He is passionate about sharing his love for music with the younger generation. Along with introducing Trifonov, a young soloist who is destined for fame, he wants them to discover the brilliant virtuosity of one of the world's greatest and oldest orchestras.
Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.
Article Source: [http://EzineArticles.com/?Valery-Gergiev:-Genius-at-Work&id=6632232] Valery Gergiev: Genius at Work