Dance – DANCER AND EDUCATOR THERESA RUTH HOWARD LAUNCHES MOBBALLET: A DIGITAL ARCHIVE PRESERVING THE LEGACY OF BLACK BALLET
MoBBallet’s Roll Call is a list of professional black ballet dancers that today features 301 names and is growing as black ballet artists submit their names. The site also houses an E–Zine that features insights on issues affecting both the ballet world and society such as diversity and inclusion –and a timeline that spans the history of black ballet from 1919 to present day.
DANCER AND EDUCATOR THERESA RUTH HOWARD LAUNCHES MOBBALLET: A DIGITAL ARCHIVE PRESERVING THE LEGACY OF BLACK BALLET
Initiative Creates a Shift in Perspective on the Current Conversation around Diversity in Ballet through Stories of Current and Past Black Professional Ballet Dancers
Dancer Theresa Ruth Howard announces the launch of Memoirs of Blacks in Ballet (MoBBallet), a groundbreaking legacy project documenting and transforming conversations around black ballet artists. The initiative will focus on bringing visibility to the lesser-known history of black ballet dancers around the world through video profiles, essays and archival data which capture the artistry and humanity of black ballet dancers. At launch, MoBBallet’s website houses a community sourced Roll Call which lists the names of black ballet dancers past and present, a digital timeline that places historical moments in black ballet history next to key events in world history, and an E-Zine that sheds light on issues affecting the ballet community and society at large.
The recipient of a $50,000 grant from the Knight Foundation, MoBBallet’s first anchor project, the Philadelphia Project, will document the stories of four Philadelphia trained black ballerinas— including Joan Myers Brown, founder of The Philadelphia Dance Company (PHILADANCO!), Delores Browne from the New York Negro Ballet Company and Judith Jamison, Artistic Director Emerita of the Alvin Ailey American Dance Theater.
Coinciding with the launch of MoBBallet, founder Theresa Ruth Howard will serve as keynote speaker at Dutch National Ballet’s Positioning Ballet conference on February 11th, where she will officially introduce MoBBallet’s mission to promote larger discussions within the international dance community around the stories of black ballet dancers. A select group of leading artistic directors from America, Europe, Asia and Russia have been invited to attend the conference.
“Diversity in Ballet in America is a very specific challenge given our racial history” remarks Howard. “The histories and demographics of each of the companies that will be represented during Positioning Ballet are just as specific. This is an unprecedented opportunity to see and hear what their issues are regarding diversity in the field.”
To date, MoBBallet has captured over 301 names to the Roll Call and calls for professional black ballet dancers not already on the list to add their names. MoBBallet’s archival information covers important moments in the history of black ballet from 1919 to present day.
ABOUT MOBBALLET Memoirs of Blacks in Ballet (MoBBallet) is a non-profit organization that is building a digital archive where the history of blacks in professional ballet can be preserved. Founded by ballerina Theresa Ruth Howard, MoBBallet facilitates authentic dialogues on diversity, equality and aesthetics through workshops, panels and video profiles of both iconic and emerging black ballet dancers. The online archive provides timelines of important moments in the history of black ballet and juxtaposes them against key moments in world history. The Roll Call initiative is an ever-expanding list of black ballet dancers past and present –E-Zine brings visibility to issues that loom large in both the ballet world and society such as diversity and inclusion.
ABOUT THERESA RUTH HOWARD Founder of MoBBallet, Theresa Ruth Howard is an expert and advocate on the issue of diversity in Ballet. She has sat on panels for Dance/USA, Dance/NYC, Collegium for African Diaspora Dance at Duke University, and collaborated with International Association of Blacks in Dance in the planning and facilitation of the first Ballet Audition for female ballet dancers of color. A former member of the Dance Theater of Harlem, and Armitage Gone! Dance, Howard has worked extensively with choreographer Donald Byrd, and was a guest artist with Complexions Contemporary Ballet. As a contributor to Pointe, Expressions (Italy), Tanz (Germany) and dance media publications, Howard has emerged as a clear and defining voice on topics such as body image and race. She holds more than 17 years of experience as a dance educator including Ballet Faculty at the Ailey School.
A great article by Contributing Editor Tanya Young
REFLECTING WOMEN: DIGITAL HOLLYWOOD VIRTUAL REALITY SUMMIT FALL 2016
By Contributing Editor, Business, West Coast Tanya Young @Tanya1720
For the fifth year in a row, Victor Harwood gathered leading makers, gamers, fans and press to delve into all things digital in Hollywood. The particular twist for this conference was its focus on virtual reality (VR) as a transformational tool for electronic media. The conference also explored binge watching as well as media finance and production for artists and creators of television, film and the internet.
Actually, Mr. Harwood and his speakers interpreted VR more broadly into augmented reality, immersive reality and what I call “enhanced” reality. Virtual reality (VR) is an artificial, computer-generated recreation of a real life environment or situation that makes the user feel like they are experiencing the simulated reality firsthand, primarily through vision, hearing and motion. In VR, your head movements are tracked in a three-dimensional world, making it ideally suited to interactive games, branded short subjects and even movies. It replaces the real world with a simulated one. Augmented reality (AR) is a live view of a real-world environment whose elements are augmented by computer-generated sensory input such as sound, video, graphics or GPS data.
As one of twenty SAG-AFTRA members comped to the fall event, delving into the shoptalk of gaming creators, yeomen designers and engineers as well as profiteers was a bit jarring in light of actors’ current, overdue strike against the video game industry.
If dozens of Digital Hollywood panelists are to be believed, we are just a few years away from a storytelling revolution on par with the dawn of the film projector, VCR and the Blu-ray player. CEO Jim Stewartson of Awesome Rocketship plans to bring photo booth-style VR kiosks to malls, arcades and other public venues at a cost of $10 to $15 per experience. Media and entertainment engineer Ed Lantz presented a new venture Vortex Immersion Media that brings virtual reality experiences into the nightclub environment of Las Vegas.
But for all the VR and immersive reality cheerleaders, there are a handful of naysaying gadflies. Dave Cobb, VP Creative Development for Thinkwell Group, sees neither the cost and hygiene of hardware nor the appeal of content as compelling enough for the mass market. Yet. Currently, Cobb describes higher-end private resorts as better venues for VR and related programming at a more realistic price point.
According to , forty-seven percent of gamers are between 18 and 49 years old. Fifty-nine percent of those who play games on a regular basis are men; forty-one percent are women. Women remain in the minority audience traditional single or multiplayer games. Top titles include Halo, Grand Theft Auto, Street Fighter and World of Warcraft.
Advocates of mainstream video gaming say the violence in popular games is about fantasy. Shoot ’em ups can be a really unique way to relax. The point is that, unlike real life stressors, video game shoot ’em ups are not real.
During one of the handful of panels focusing on women, Catherine Day of Jaunt VR posited hope that the virtual reality revolution in gaming will make empathy, rather than shoot ’em ups, the prime movers.
Contradicting this empathy direction, the panel on consumer points-of-contact described agency as the key to consumer enjoyment of ER in kiosks, domes, IMAX and other special venues that extend beyond the headset.
Cost and hardware, though available, remain prohibitive to the average $200-$400 console gamer with a PlayStation. The more expensive options are Oculus Rift ($600), Samsung Gear VR ($99) and the HTC Vive ($800). The Oculus Rift was repeatedly clowned during the four days panels – both for its price and onerous equipment package. But these consoles really are ready for holiday purchase. Reviews and word-of-mouth on theses consumer VR packages is extremely limited at the moment. So I’m not clear which VR gears delivers the biggest bang for your buck.
Let me praise the newer venue for the Digital Hollywood conference. Though the Ritz-Carlton Marina Del Rey will always have its wind-blown charms, what a terrific conference venue Skirball is — from the elegant rooms and grand, austere structures in close proximity to the security staff and close, free easily accessible Wi-fi and plentiful free parking.
The highlight of each conference day was the wine, beer & snacks reception by the reflecting pool in the Taper Courtyard.
Truly, Victor Harwood is a supremely thoughtful expert in developing and producing conference events for professionals, executives and enthusiasts. Thank you to Digital Hollywood for working with SAG-AFTRA again this year to make Digital Hollywood accessible and inspiring for industry executives and creative artists alike.
The autonomous car was first mentioned at a JD POWER Automotive Roundtable in 2014 by a JP MORGAN analyst who predicted its adoption by the end of the decade.
Self-driving cars do seem to be well on their way in becoming mainstream vehicles, although there is still much more room for improvement in order to avoid accidents such as crashing into a bus. Hence, additional tests are still mandatory, but this does not mean that self-driving cars will not be the norm down the road. Ford looks as though they are preparing for such a day to arrive, having received a patent that was approved by the U.S. Patent Office where an “Autonomous Vehicle Entertainment System” is concerned.
In other words, we are looking at a drive-in movie theater, save for the fact that this particular theater is meant only for those who sit within the car. Outsiders will only be able to look on in envy, and this would come in handy only when the car is fully autonomous so that you can check out the latest movies or even live TV that is being projected while you are being ferried through algorithms to your office or destination.
The roll-down screen will deploy from the top of the windshield, where images are shown from a ceiling-mounted projector. Of course, this is the possible next step in evolution for in-vehicle entertainment systems, as right now, dashboard displays or the center console display would do their jobs perfectly fine, while screens embedded into headrests for the rear passengers are pretty adequate, too.
HOME / Technology — Second-Generation SmartCharge Light Seeking IndieGoGo Supporters to Fund Mass Production
As we saw in mid Atlantic region past weekend that power outages are very common during snowstorms and other extreme weather situations. Many countries face rolling blackouts almost every day.
SmartCharge 2.0 – LED Light which works even during power outage!!
Intrigued by the First one in the world to develop an ultra energy efficient LED light bulb which works like a normal light bulb even during a power outage? SmartCharge is integrated with a rechargeable lithium ion battery and patented switch sensor technology.
The user can turn it ON/OFF from the same wall switch even during a power outage. SmartCharge doesn’t require any hardware changes or rewiring—it fits right into standard light sockets.
It works on a wide range of supply voltages, thus it is applicable to every country in the world. Its built-in backup battery provides 4 hours of light. These 4 hours of charge can be “extended” by turning the bulb off if there’s no need for light at the moment. When the power comes back, SmartCharge automatically recharges the battery.
The award winning (winner of CleanTech Open Sustainability Award, & Winner of IFNC Grant) SmartCharge 2.0 has several improvements over its original version introduced in late 2014 and now ready for mass production.
They have just launched a crowd funding campaign at Indiegogo to raise fund for first batch of mass production where people can pre order.
Support with a Pre-Order:
As an emergency kit, every home can use few of these SmartCharge bulbs and keep lights ON.
Watch the review of David Pogue on Yahoo Tech! – “Seems like magic”