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With former elite gymnasts and talented Junior Olympians on their roster, the Bruins have no shortage of talent capable of doing the most difficult of tumbling passes, but this year’s commitment to character set this floor rotation apart. “Your brain starts to go to this story rather than I’m just listening to music and I’m watching a girl do tumbling,” said Kramer, who averages 9.883 on floor. “It adds so many layers of depth.”. Margzetta Frazier planned her floor routine long before she arrived in Westwood. She wanted to pay homage to voguing, the dance style originating from Harlem’s Black LGBTQ community. Frazier, who performs to Kevin Aviance’s “Din Da Da,” admired how the dancers expressed themselves so freely.
The Glass pieces are being arranged specifically for the chorus, adds Sainte-Agathe — “Father Death Blues” by Glass himself ballet shoes ballerina heart machine embroidery design and “Vessels” by Bielawa, “I spoke with Philip Glass last week, and he’s very excited and so happy to see his music performed by these young singers,” the music director says, “It’s another color for his music, and I think it’s going to work beautifully.”, Contact Georgia Rowe at email@example.com, Presenting ‘Philip Glass and the Class of ’37,’ with members of the Philip Glass Ensemble..
Details: Jan. 27-Feb. 11; Firehouse Arts Center, Pleasanton; $19-$41; 925-931-4848, www.firehousearts.org. 7 Jasper String Quartet: The award-winning Philadelphia foursome founded in 2004 and mentored by the Tokyo String Quartet comes to San Jose’s Trianon Theatre Jan. 28 with tenor Nicholas Phan to perform works by Schubert and Britten. Details: Presented by San Jose Chamber Music Society; 7 p.m.; $34-$49; www.sjchambermusic.org. 8 Paul Dresher: The Bay Area avant-garde composer and musician brings his Electro-Acoustic Band to San Francisco’s Z Space performance complex to perform the world premiere of Ned Rothenberg’s “Beyond C,” an improvisational work inspired by the Terry Riley classic “In C.” The evening includes a performance by the boundary-pushing group Living Earth Show.
I made time to ramble about the 93-acres of enchanted forest that is Lithia Park, to watch the ducks glide across the blue-green waters of the pond and the dogs dash around the emerald lawn, Then I ambled over to the Ashland Art Center, where you can buy art as well as take classes, If I’d been rushing to make a curtain, I wouldn’t have had time to stroll through the open studios, which spotlight the craft of 40 local artists, from painters to fiber artists, I also pushed my palate ballet shoes ballerina heart machine embroidery design to experience something new, At first my adventures were a tad disappointing, The new Granite Tap House on the plaza, while praised for its pizzas, overcooked my burger and overseasoned my gazpacho, Sigh, I found solace at the new Elizabethan-themed bar, Oberon’s Tavern, with its twinkly fairy lights, Renaissance-garbed staff and love of mead..
Scholars dismissed the trend as simplistic, accusing painters of using Eastern exoticism to condone scenes of nudity, subservience and sex. I believe the artist of your work is Austrian painter Eugen Ansen-Hofmann, who lived from 1862 to 1955. Although I can find no documentation that he ever traveled far from his native Vienna, his best-known works are of female nudes in what he perceived to be slave markets, abductions or harems. Your painting depicts a nude woman with the decidedly 1920s or ’30s Western features of a bow mouth and shingled, bobbed hair. This points to the approximate year the work was done. The golden amphora to her right, the diaphanous veil around her hips and the sketches of other nudes in the background all point to this painting as portraying a Western artist’s notion of an unfamiliar yet tantalizing scene. The sketchiness of the incomplete background leads me to think that this painting may be a study for a more complex scene involving other characters.