Jean Coralli, Choreographer
Jean Coralli Peracini was born in Paris on January 15, 1779. He studied at the Opéra ballet school and made his stage debut as a dancer at the Opéra in August 1802, at age 23. Before this debut, he had already experimented with choreography in Vienna in 1800.
From 1815 to 1825, he produced a number of ballets in Milan, London, and Marseilles. In 1826, he became the ballet master of the Théâtre de la Porte Saint-Martin in Paris, where he choreographed additional works.
It was in 1831 that Coralli became ballet master of the Théâtre de l'Académie Royale (Opéra), where he received a wide range of responses to his choreography, including works such asLa Tempête
(1834), Le Diable Boiteux
(1836), La Tarentule
(1841), and La Peri
(1843). Arthur Saint-Léon described Coralli's work as "... essentially French, that is to say, refined, delicate, and poetic."
Jean Coralli retired from the Opéra in 1848 and died in Paris on May 1, 1854, at age 75.
Jules Perrot, Choreographer
Born August 18, 1810, in Lyon, France, he began training at 9 but achieved early recognition by performing a parody of a famous entertainer of the day. At 10, he went to Paris, where he obtained engagements in the vaudeville houses, performing his parodies. Eventually Perrot decided to put his talents to work in classical ballet.
He studied with Auguste Vestris and combined the best of Vestris' teaching of classical dance technique with his own knowledge of theatricality. He danced at the Paris Opéra in La Musette de Portico
in 1830. He partnered often with Marie Taglioni, who eventually severed the partnership, as she feared Perrot would outshine her.
Perrot left the Opéra in 1835 to tour European dance centers such as London, Milan, Vienna, and Naples, where he met and noticed the talent of Carlotta Grisi. He coached her and presented her to the world as the next great ballerina in an 1836 performance in London, with himself as her partner. In that same year, Perrot began to experiment with the art of choreography.
Following the success of his contributions to the choreography of Giselle
, Perrot went on to choreograph Alma ou la Fille du Feu
(1842) for Fanny Cerrito, which was hailed as a major choreographic success. In 1945 he created his famous masterpiece Pas de Quatre,
successfully negotiating the intricacies of persuading the four leading ballerinas of the day to appear on stage together.
In St. Petersburg, Perrot was engaged first as a dancer, and then in 1851 as ballet master where he remained until 1858. He retired after a disappointing season in Milan in 1864. In later years he gave classes at the Paris Opéra, where as a teacher he was immortalized by the Impressionist artist Edgar Degas in paintings such as The Dance Class
(1874).Perrot died in Paramé, France on August 29, 1892.
(excerpted from www.balletmet.org and www.brittanica.com)
Adolphe Charles Adam, Composer
In ballet, Adam is absolute master and he knew no rivals. It is in ballet that he revealed his great poetic feeling…and he brought to this type of music all the flexibility of writing and all the diversity of style which he had shown us elsewhere."
-- Critic Pier Angelo Fiorentino's memorial tribute to Adam in Le Moniteur
Adam was born in Paris on July 24, 1803. As a child, he preferred to improvise music of his own rather than study music seriously.
Adam began musical studies at boarding school and entered the Conservatoire in 1821, studying organ and harmonium under Benoist and later Boïeldieu. By age 20, Adam was writing songs for Parisian vaudeville houses and was playing in the orchestra at the Gymnase, where he would later become chorus master.
Adam's first solo ballet composition was Faust
in 1833 for choreographer André Deshayes at the King's Theatre in London. His first work for the Paris Opera was the music for the ballet La Fille du Danube
for Taglioni in 1836. He traveled to St. Petersburg to present the same work, a new ballet, L'écumeur de mer
, and an opera for the court of Tsar Nicholas I.
Adam's next important work was the music for the ballet Giselle
, for which he is probably best known today. It premiered at the Paris Opéra on June 28, 1841.
Adolphe Adam died on May 3, 1856, in Paris having written 40 operas, 14 ballets, and numerous light operas and vaudevilles.
(excerpted from www.balletmet.org)
Stephen Mills, Staging
Stephen Mills has created more than 40 works for companies in the United States and abroad, with noted collaborators including the band Asleep at the Wheel, musician Shawn Colvin, and flamenco artist José Greco II. From his inaugural season as Artistic Director in 2000, Mills attracted attention from around the United States with his world-premiere production of Hamlet
, hailed in Dance Magazine
as, “…sleek and sophisticated.” Under Mills’ direction, Ballet Austin has toured nationally and internationally to venues including The Kennedy Center for the Performing Arts in Washington, D.C,. and The Joyce Theater in New York.
Mills’ critically acclaimed contemporary ballets include One/The Body’s Grace
, which won the Steinberg Award at the Festival des Arts de Saint-Sauveur
International Choreographic Competition in Montreal. In 2005, Mills led 13 organizations through a community-wide human rights collaboration that culminated in the world premiere work Light / The Holocaust & Humanity Project
. In 2006, Mills’ work on Light / The Holocaust & Humanity Project
was awarded the Austin Anti-Defamation League's Audrey & Raymond Maislin Humanitarian Award.
Michelle Martin, Staging
Michelle Martin danced with the Alberta Ballet Company for four years before joining the Indianapolis Ballet Theatre (IBT) in 1982. While with IBT and, subsequently, the Hartford Ballet in Connecticut, she performed leading and soloist roles in Romeo and Juliet
, The Nutcracker
, The Sleeping Beauty
and The Moor's Pavane
as well as creating roles in many original works. Martin's teaching credits include guest-teaching engagements at schools and universities in Canada, South Carolina, Michigan, and throughout Indiana and Texas.
She was on faculty at Butler University in Indianapolis for five years. Martin began her tenure with Ballet Austin in 1991 as a dancer with the Company, and in 1992 she was appointed Ballet Mistress and Curriculum Director of the Academy. In 1999, she founded Ballet Austin II, Ballet Austin's apprentice program, providing professional development for the 10-member second company and designing educational programming for presentation in schools. Martin has served on the Texas Commission on the Arts advisory panel for Arts Education and is a recipient of the Austin Under Forty award for contributions in the area of the Arts and Entertainment. Martin was appointed Associate Artistic Director of Ballet Austin in 2000.
David Heuvel, Costume Designer
David Heuvel is presently Costume Production Director for Ballet West. He has been associated with Ballet West since 1979. Prior to his work in the United States, he was Chief Costumer for Ballet at P.A.C.T. in South Africa. Apart from Heuvel’s work with Ballet West, he has designed and built costumes for ballet companies both nationally and internationally, including Ballet Du Nord (France), Alberta Ballet, Ballet Met, Singapore Ballet, Oregon Ballet Theatre, Atlanta Ballet, American Repertory Ballet, Carolina Ballet, Ballet Hawaii, Nashville Ballet, and Ballet Memphis.
(excerpted from fashionremixslc.wordpress.com)
Peter Cazalet, Scenic Designer
Peter Cazalet was born in Kitwe, Northern Rhodesia, and, while studying ballet part time, qualifiedas an architect from the University of Cape Town. In 1958, Peter went to London and, after doing television work, he joined London Festival Ballet and also danced for Western Ballet Theatre and Ballet Rambert. Due to injury, he turned to stage design. In 1971, he returned to South Africa to design for CAPAB Ballet and in 1980 was appointed Head of Design for CAPAB. Peter’s commissions have included operas, ballets, and plays for South African and international theatres. He designed the costumes for Dawn Weller’s La Bayadere


Feb 28, 2020 · Complete Concussion Management is a network of trained multidisciplinary healthcare practitioners that collaborate with physicians to co-manage concussion injuries, helping patients and athletes safely return to learn, work and play. Looking for concussion assessments, treatment or rehabilitation? Were here to help.
Concussion Management - Concussion Safety in Youth SportsThe Immediate Post-Concussion Assessment and Cognitive Testing (ImPACT) computerized evaluation system is one of several state-of-the-art tools The Center Foundation uses for concussion management. This powerful tool helps determine if a concussion has occurred, as
During the impact, the brain moves inside the skull. The brain circuits (or cells called neurons) stretch and injure. This impacts the brains ability to function, causing the symptoms of concussion. Many athletes sustain a concussion and need to sit out a game, a few practices, or even a season.
Concussion management - King's Daughters' Health CEOImPACT is user-friendly software that provides a sports medicine physician or clinician with detailed information that helps take the guesswork out of concussion management and return-to-play decisions. Using a variety of scientifically validated neurocognitive tests of memory, reaction time and processing speed, ImPACT provides specific
Concussion management Technology - Oklahoma Impact Concussion Management What is a concussion? A concussion is a head injury caused by moving forces such as a bump, blow, or jolt to the head, that results in a variety of symptoms and temporary changes in mental status, coordination, and balance. Its
Apr 01, 2019 · Mild traumatic brain injury, also known as concussion, is common in adults and youth and is a major health concern. Concussion is caused by direct
ImPACT Applications:Concussion Management & TrainingImPACT Applications, Inc., a Riverside Insights® solution, is the maker of ImPACT, ImPACT Pediatric, and ImPACT Quick Test, all FDA cleared medical devices that assist in the assessment and management of concussion. See our milestones here and access our press releases here.
ImPACT Concussion Management at ALMH in Lincoln, ILThe ImPACT program is a research-based, scientifically proven method of concussion management that allows an athlete to return to competition safely and in a timely manner after they sustain a concussion. Athletes who choose to become involved in the program will take a neurological test before a concussion occurs, and these results can then be compared to post
This course describes the raw data on the ImPACT Pediatric Clinical report. Attendees will learn how each factor score is calculated and will see an overview of test performance by age.
ImPACT Raw Data & Composite ScoresImPACT Domain Mean RCI 90% Confidence ImPACT Verbal Memory Score Time 1 88.6 8.75 Time 2 88.8 ImPACT Visual Memory Score Time 1 78.7 13.5 Time 2 77.5 ImPACT Processing Speed Score Time 1 40.54 4.98 Time 2 42.24 ImPACT Reaction Time Score Time 1 .543 .06 Time 2 .536 ImPACT Symptom Score Time 1 5.23 9.6 Time 2 5.79 Iverson et al, TCN 2005
What is ImPACT baseline testing? ImPACT Applications What is ImPACT baseline testing? Baseline testing is typically performed before an individual participates in activity. Baseline testing is comprised of computerized assessments that measure reaction time, memory capacity (visual and verbal), speed of mental processing, and executive functioning of the brain.
Jul 06, 2016 · What is ImPACT? INFORMATION FOR TEST TAKERS, PARENTS AND GUARDIANS 1. What does ImPACT mean? ImPACT® stands for Immediate Post-Concussion Assessment and Cognitive Testing. 2. What is ImPACT? ImPACT is an objective tool to support trained healthcare providers in making sound return to activity decisions following concussions.
What is the Two-Factor Score? - ImPACT Applications Help Mar 02, 2021 · The Two-Factor Score (speed and memory) provides an additional summary score approach for interpretation of the test data. Research has shown that in addition to the existing four Composite Scores that have historically been used to describe the ImPACT test results, a Two-Factor Score can also provide a valid approachWhat is ImPACTImPACT® stands for Immediate Post-Concussion Assessment and Cognitive Testing. 2. What is ImPACT? ImPACT is an objective tool to support trained healthcare providers in making sound return to activity decisions following concussions. Its a computerized test that measures memory, attention span, visual and verbal problem solving. ImPACT has


Where is space junk located?
Much of the debris is in low Earth orbit, within 2,000 km (1,200 miles) of Earth’s surface, though some debris can be found in geostationary orbit 35,786 km (22,236 miles) above the Equator.
Is space junk tracked?
According to NASA, more than 27,000 pieces of orbital debris, or “space junk,” are tracked by the Department of Defense’s global Space Surveillance Network (SSN) sensors.
How is space junk detected?
Orbital debris and meteoroids less than 10 cm in size in low Earth orbit (LEO) are measured with ground-based telescopes and radar and by examining the surfaces of returned spacecraft. Each type of sensor is capable of detecting debris of increasingly smaller sizes.
What are the odds of being hit by space junk?
It is estimated to be less than a one in one trillion chance that a particular person will be injured by falling space debris. By comparison, the risk of being hit by lightning is one in 1.4 million and the risk that someone in the U.S. will be killed in a hurricane is about one in six million.
How many pieces of space junk are tracked?
There are over 20,000 known and tracked pieces of space debris orbiting Earth, each one traveling at about 15,000 mph (24,000 km/h). They pose a risk to future space missions, and nobody is bothering to clean it up.
What size space junk does NASA track?
DoD’s Space Surveillance Network tracks discrete objects as small as 2 inches (5 centimeters) in diameter in low-Earth orbit and about 1 yard (1 meter) in geosynchronous orbit. Currently, about 27,000 officially cataloged objects are still in orbit and most of them are 10 cm and larger.
Do you get a period in space?
Turns out menstruating in space is not much different than it is on Earth. Women have been living and working in space for decades now, and with no issues. But here’s the problem: all available data on periods in space pertain to short-duration missions.
How many pieces of space junk are there?
Space Debris and Human Spacecraft Orbital Debris and Human Spacecraft More than 27,000 pieces of orbital debris, or “space junk,” are tracked by the Department of Defense’s global Space Surveillance Network (SSN) sensors.
Does the military track debris in space?
Tracking Debris The Department of Defense maintains a highly accurate satellite catalog on objects in Earth orbit. Most of the cataloged objects are larger than a softball (approximately 10 centimeters). NASA and the DoD cooperate and share responsibilities for characterizing the satellite (including orbital debris) environment.
How fast does Space Junk travel around Earth?
More than 500,000 pieces of debris, or “space junk,” are tracked as they orbit the Earth. They all travel at speeds up to 17,500 mph, fast enough for a relatively small piece of orbital debris to damage a satellite or a spacecraft.
How are satellites protected from space junk?
Satellites and space craft are heavily shielded to protect vital components. At NASA’s Hypervelocity Impact Technology Facility in Texas, new protective materials can be tested by shooting objects from a Light-Gas gun to simulate space junk collisions.


STRANGE Animal Behaviors Explained
Date: 2019-01-24 15:15:00
The oddest, strange animal behaviors explained! From crimson-spraying lizard eyes to pom-pom twirling crustaceans
#10 Zebra Finch Ugly Counter
Beauty may be only skin deep among the common person, but for some species, it’s the difference between living a life in solitude and being able to procreate. But for the Zebra Finch, loneliness is rarely a problem as they have a back-up plan that’s a bit different. Females spend a lot more of their time and energy on their eggs rather than choosing especially attractive partners. Nearly all monogamous, zebra finches will stick with the same mate for life. As such, not every female finch ends up with a hunk, so to speak. To make up for a males genetic shortcomings, she will lay a larger egg than normal, more fully packed with nutrients and hopefully ensuring a better chance at survival and procreation for their offspring.
#9 Meerkat Practice
As demonstrated from the excellent job Timon and Pumba did with Simba in the classic Disney story of The Lion King, meerkats are great coaches! Practice makes perfect, and the meerkat gets it as demonstrated by its scorpion hunting lessons. When it’s time for young meerkats to begin learning to defend themselves against predators, elders in their family will bring the youth a deceased scorpion to practice slaying. As the youngster progresses, the elder will begin bringing back more and more live scorpions until the meerkat cub is capable of defending itself against the real deal. This highly intelligent practice helps prepare the entire population to turn what would otherwise be a painful, venom-stinging predator into prey.
#8 Cats Kneading
You might have seen this behavior on your lap or a sofa in which a common housecat will knead its paws onto a surface as if it were a professionally trained masseuse. But unless your footstool has a knot it needs worked out, there’s some other purpose at work here. Newborn kittens will often knead at their mother when feeding to help facilitate the flow of milk. It is thought by some that the act of kneading sticks with the cat as a behavior they associate with the comfort of feeding as an infant, similar to why a child may continue sucking their thumb. But that’s just one proposed theory as other researchers believe it may have to do with instincts associated with living outside and needing to make a bed within tall grass or other foliage. Different still is the belief that the action is meant to leave their mark, as kneading releases scents through glands on the pads of their paws. Regardless of the theory, though, kneading is generally seen as a positive behavior and a way for your feline friend to display contentment.


What is Metasploit?
The Metasploit Framework is a development platform for creating security tools and exploits. The framework is used by network security professionals to perform penetration tests, system administrators to verify patch installations, product vendors to perform regression testing, and security researchers world-wide. The framework is written in the Ruby programming language and includes components written in C and assembler.
What does it do?
The framework consists of tools, libraries, modules, and user interfaces. The basic function of the framework is a module launcher, allowing the user to configure an exploit module and launch it at a target system. If the exploit succeeds, the payload is executed on the target and the user is provided with a shell to interact with the payload.
Metasploit has come a long way since itÃ¢â‚¬â„¢s early versions and have received notable support from the security community.
- Metasploit now has 445 exploit modules and 216 auxiliary modules (from 320 and 99 respectively in v3.2)
- Metasploit is still about twice the size of the nearest Ruby application according to Ohloh.net (375k lines of Ruby)
- Over 180 tickets were closed during the 3.3 development process
You can download Metasploit 3.3 here:
Windows Ã¢â‚¬â€œ framework-3.3.exe
Linux Ã¢â‚¬â€œ framework-3.3.tar.bz2


18th Century English Samplers
The English sampler underwent its most dramatic transformation during the eighteenth century, as its form gradually followed its function. No longer solely a pattern record, samplers were evolving into frameable art in their own right. A more pictorial format emerged throughout the eighteenth century. Borders, verses, and pictorial scenes replaced the long pattern bands of the seventeenth century. Until about the last quarter of the eighteenth century, stitch variety, symmetry and technical expertise were paramount in English needlework. Great genius was exhibited in many of these samplers, demonstrating that they were more than mere alphabetical exercises in monotony. Like American samplers of the nineteenth century, stitch variety declined and, with rare exceptions, only the cross stitch prevailed on later, simpler works.


|Earth from Space is a free eBook describing our planet from a satellite's perspective. Fore more information, please read the About pages.|
|Home Asia Maldives Malosmadulu Atoll|
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Position of center of photo (Lat/Long): [5.59206/73.04516]
North and South Malosmadulu Atolls are in the Maldives, an island republic in the northern Indian Ocean, southwest of India. The Maldives are made up of a chain of 1,192 small coral islands, which are grouped into clusters of atolls. It has a total area of 298 square kilometers and a population of about 330,000. The capital and largest city is Male, with a population of about 80,000. Arguably the lowest-lying country in the world, the average elevation is just 1 meter above sea level.
Waves triggered by the great tsunami of December 2004 spilled over sea walls to flood Male with sand-clouded water and then swept out just as suddenly. Residents fear this was a foreboding of disasters to come from sea-level rise due to global warming.
Part of the northern atoll has been enlarged in the inset at the right. One can easily recognize that some of the islands are inhabited (mostly by tourists).
|Source of material: NASA|
Further information: WikiPedia article on Malosmadulu Atoll


Explain the Youth Firearms Violence Initiative. Choose one of the strategies and tactics shown in Table 8.2 (p. 246). Explain the program in depth and its effectiveness in reducing juvenile weapons crimes. Requirements: 2-3 pages double spaced At least two reliable sources used other than the text (not Wikipedia)
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http://www.saferinternet.org.uk/advice-centre/parents-and-carers/parents-guide-technology has created a guide to explain these devices and highlights the safety tools available, empowering parents with the knowledge they need to support their children to use these technologies safely and responsibly.
A few important tips:
- All mobile network providers provide parental controls. Some will have these on as default, but others you will need to request to be turned on. For example, Tesco Mobile and O2 have a parental control option to ensure that only websites they have classified as suitable for children under 12 can be accessed. Contact your service provider to find out about filtering options.
- When smartphone users are at home, they often connect to their home wireless internet (to save using up their 3G data allowance). This does mean that any filtering options set up with your mobile provider do not function. All of the major internet providers offer free filtering tools that work across all devices connected to the home internet.
- Some apps can help filter out age-inappropriate content or help restrict some of the smartphone functions, so have a look in the app store.
- It's also possible to connect to public wifi when out and about, with shops, cafes and restaurants increasingly offering internet access. Look out for the Friendly WiFi symbol which means the content has been filtered.
- Some games consoles, like the Xbox 360 and the Xbox One, have a timer so that the console switches off after the allowed time. UKIE, the body that represents the interactive entertainment industry in the UK, recommends that all games should form part of a healthy and balanced lifestyle and recommend that games players should take five minute breaks every 45-60 minutes.
With Christmas fast approaching, your child may be searching online. No search engine is ever completely safe and appropriate supervision should always be given. Have you considered bookmarking search engines suitable for children to use?
DK Find Out! - http://www.dkfindout.com/uk/ which searches Dorling Kindersley content
Swiggle (SWGfL) http://www.swiggle.org.uk
nICE for Primary Schools - http://nice.medialab.nl which is a search engine and library
Kids Rex - http://www.kidrex.org/ which is a search engine
Primary School ICT - http://primaryschoolict.com/ which is a video, picture and website search engine
If your child uses search engine sites such as Google or Bing, please ensure that you have turned the safe search filtering tools on. However, this this only reduces (not removes) the possibility of accessing inappropriate content either accidentally or otherwise.


Prior to beginning work on this assignment, carefully read Chapter 1 of your text. Role of the environment in the development of personality. People should avoid speaking of themselves as victims.
So what are the most important things to remember when you choose psychology essay topics? This paper should include a brief description of classical conditioning and the major terms used in classical conditioning e. The psychological benefits of forgiveness. Prior to beginning work on this assignment, review sections 1.
The Emotional Effects of Solitary Confinement Refine your argument and make improvements to content. Current priorities of psychology as a practical science. Chemical groups that attach to DNA or to their associated proteins can 2. What do you think are the origins of your moral beliefs and principles?
In fact, you can find inspiration almost anywhere: Which theory do you think best describes your experience of anger?
Do we inherit or create our personalities? The Clinical Uses of Hypnosis - risks vs. Advantages and disadvantages of DSM Research the literature on the psychological and physical benefits of laughter. Review literary sources and find new problems in treating patients with various personality disorders.
Research a few reputable sources and describe what developments have emerged recently in clinical psychology. Find definitions of the two sciences and explain in what ways they are dissimilar. Write your first draft, including all in-text citations.
Make a list of several conditions you find the most damaging. Correct any spelling and grammar mistakes you noted while proofreading. Current Experiments in Thought Control The effect of different phobias on your personality Why is the divorce rate rising?
Does money buy happiness? Psychology and criminal investigations. This paper should describe a strong fear or phobia you have. Evaluate the influence of psychology on human studies and define its place among other modern sciences devoted to this issue.
You must attach your original draft when you turn in your second, revised paper. Understanding the psychology of homophobes Understanding solitary confinement and its effects What are the effects of colors on different mental states?
How has electrical stimulation of the brain been. Start by choosing a more general topic for your college psychology paper, and then narrow your psychology essay topic down so that it will be possible to fully cover the subject in your essay.
The Psychological Problems of the Homeless. What are the reasons behind long lasting marriages? Non-offensive handling of patients with cognitive disorders: Did the person receive counseling or therapy?
Sometimes finding a good idea for a psychology paper can be more challenging than actually doing the research and writing.Apr 09, · 70 Psychology Essay Topics: Free Amazing Ideas Zone for You. Posted by David Tucker to. Writing Tips; Start by choosing a more general topic for your college psychology paper, and then narrow your psychology essay topic down so that it will be possible to fully cover the subject in your essay.
Prepare the final draft.5/5(5).
Final Paper Assignment PSY Cognitive Psychology Term A Professor Ryan S.J.d. Baker For the final paper, you will choose a recent scientific paper in the area of cognitive psychology.
View Notes - PSYCH Paper-FINAL from PSYCH at St. Olaf College. “ALMOST- PSYCHOPATHS” ARE AMONG US “Almost- psychopaths” are Among. Independent research allows each AP Psychology student the opportunity to explore a topic of personal interest, and delve into greater detail on the chosen topic than we would have time to cover as an entire bsaconcordia.com paper (one per semester), to be submitted electronically, should be pages typed, double-spaced with a font size of 12, not.
Psych Final Paper Alison Alekperova Psychology Professor Fanelli May 15th, Depression is a common and disabling illness, affecting millions of people around the world.
Along with having a strong negative influence on a person physically, it also reduces the quality of life for them severely. PSYC FINAL RESEARCH PAPER DueDate:Wed$5/15$ • Therefore, if you’re going on in psychology, you need to become familiar with APA style and format. • There is a very helpful overview with lots of examples called Writing Empirical Psychology Papers (for.Download


With the technology we’ve had up to today, it’s been very difficult to account for the weathering of our bridges, buildings, and other structures. State Departments of Transportation spend millions of dollars every year in testing, but current methods include many assumptions and are not always accurate. Thus accidents happen like the collapse of the Minneapolis I-35 Bridge that crosses the Mississippi.
New sensors to monitor performance are starting to become more common, but they only help if the sensor is placed at the source of a potential problem. I remember when I was working at the Constructed Facilities Laboratory at NC State, we would place sensors on key areas of beams and columns and test them for failure. Fortunately, we knew where each column and beam would fail, but bridge-systems are slightly more complicated.
New funding from the National Institute of Standards and Technology and the Michigan DOT is being spent on next-generation monitoring systems like “skins”. These skins can be painted on or exist in a layer of concrete. New wireless technology will help bring the cost of these systems down significantly, and wireless sensors have performed well in the East. You can read the full article that goes further in depth at Scientific American.


According to a General Aviation Fatal Accidents Data Listing Report conducted by the U.S. Department of Transportation (DOT) and the Federal Aviation Administration (FAA), the average number of general aviation and nonscheduled fatal accidents is between 319 and 385 per year. That reflects only a portion of total number of aviation accidents that occur each year.
The FAA governs a wide variety of activities in relation to aviation in the USA: from flight operations, aircraft manufacture and pilot activity. The vast majority of aviation accidents occur at a relatively low height – either before, during or after take off or landing. A much smaller number of crashes occur in mid-flight. After a crash, the National Transport Safety Board, amongst other authorities, investigate what caused the accident although these findings are not permitted to form part of any subsequent court proceedings.


Implantation and Development of the Placenta: Introduction and Index
Throughout gestation, the mammalian embryo is a parasite that survives "at the pleasure" of its mother. Early in gestation, the embryo is small and has correspondingly small requirements for nutrients and for waste disposal systems - it subsists by taking up endometrial secretions and dumping its metabolic wastes into the lumen of the uterus. This situation changes rapidly.
As the embryo grows and develops a vascular system, it must establish a much more efficient means of obtaining nutrients and eliminating waste products, and does so by establishing an efficient interface between its vascular system and that of its mother. That interface is the placenta.
In addition to its primary goal of facilitating transport between mother and fetus, the placenta is also a major endocrine organ. In almost all mammals the placenta synthesizes and secretes steroid hormones - progestins and estrogens. The placenta also produces a number of protein hormones. Depending on the species, it is the source of chorionic gonadotropins, relaxin, and placental lactogens. Placental hormones have profound effects on both fetal and maternal physiology.
Despite the fact that all placentae carry out the same basic processes of transport and hormone secretion, there are important differences in structure and function among families of mammals. The placentae of humans, cattle, horses and dogs are all very different from one another at both gross and histologic levels. They also differ in certain functions that are clinically important - for example, in the ability to transport maternal immunoglobulins to the fetus.
Core concepts related to implantation and placentation are presented in the following topics:
Advanced and supplemental topics related to implantation and placentation are:
Last updated on March 25, 2001
|Author: R. Bowen|
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Too often I hear people say that studying history is a useless waste of time. Why study it when it happened in the past and isn’t relevant for today? They couldn’t be farther from the truth. Studying history is one of the most valuable things everyone can use. It can help decision making today simply by studying the decisions of the past and results of those decisions. History can help us in so many ways.
Here are four reasons studying history is so very important.
To Understand Today
Today was shaped by yesterday. We can’t get around that. Everything that happens today was set in motion ten, twenty, a hundred, or even a thousand years ago. What is a law today came about because of events from yesterday. We cannot escape history as it shapes our entire lives. If we want to understand the world today, we have to understand the past that created it.
Why are we having racial issues today? You cannot fully understand it until you study the history of race relations in America. What started it all? You have to study history to understand it and know how to deal with it today. These issues didn’t start last week or last year. They didn’t even start a decade ago. You have to go back several hundred years to get the full and complete story and even then go over several different continents and expand into social and political scenes.
How do you understand the international waters today? You study the past to understand the present. That is the only reason to understand why countries despise each other or seek to eliminate entire races from the planet. The interactions of today can be traced back to the early days of mankind.
Success in politics, business, and overall society relationships can be found simply by studying history and understanding people better.
To Avoid Repeating It
If you never remember that a stove is hot, you’ll continually put your hand on it and get burned. It sounds like common sense, but we only know not to put our hand on a burner that is on because we know it gets hot. How can avoid mistakes in life if you don’t learn how others have travelled down that same road fared?
Too often, nations have repeated mistakes that many have made in the past. If they had studied history, they would have realized how decisions had played out in the past with certain groups. Don’t make the same mistakes when you have history to teach you about it.
Want to know if a decision will have positive results? Study history to help give you insight into the parties and the subject matter. You might find yourself coming out with a more positive future. You could avoid wars, riots, and tense relations.
How do you know if a politician is lying? You need to know your facts. That’s when they can’t get away with trying to pull the wool over your eyes. You’ll be too smart for them.
If you study history, you are wiser than those who don’t. You understand how the people of today work and how things came about. You can understand politics better. Many politicians try to use history to justify their comments or actions.
I can’t tell you how many times my husband and I watch politicians and end up shaking our heads at the lies they tell. What’s worse is seeing how many people believe them. If we want honest politicians, we have to start with educating ourselves and making them tell us the truth. Show them that we are not blind mice to be led around.
You can learn many lessons by studying history. When certain groups of people were treated a certain way, what happened? How did the public react to certain actions? History can teach you all that.
By studying history you understand why you cannot set one country’s representative next to another. You need to give them space because there is history there. Want to know why certain groups can’t get along in your city? Look into their history. That will help you deal with the present.


A Positive Influence, Part I
For our littlest dancers at SDC, dance is about much more than learning how to move to music! While the steps are important, of course, what’s even more special are the life skills that are introduced in our younger classes.
Learning how to be a good friend is one of those skills—it’s the character quality of kindness that surfaces in dance class as our students understand how to interact with their peers. Because their minds are exceptionally neuroplastic and adaptable, our students’ early friendship skills give them the chance to develop valuable communication tools at a young age.
Children are also developing their self-control in dance class, learning how to express their imaginations and emotions while participating in a group activity. In class, our students are learning how to take turns and how to listen to the teacher (and each other), which helps them learn patience and poise.
Through dance, even our youngest students are living out our mission to develop more than just technical skills. They are learning how to become kind, confident, and disciplined people in the world; the kind of people whose influence will make a difference!
– Ms. Julie


Born August 2, 1775, the youthful forger filled Shakespeare’s biographical void by creating the sort of personal literary effects scholars had been energetically but vainly searching for.
While the Bard’s peers left behind letters, manuscripts, and other written relics, all that had been found in William Shakespeare’s hand at the close of the 18th century were 5 signatures (now, 250 years of diligent hunting later, we have added only 1 more signature).
William Henry Ireland’s forgeries fooled many experts of the day and provided the world with Shakespeare’s love letters to Anne Hathaway, play manuscripts, unpublished poems, correspondence with the Earl of Southampton, and other documents that fleshed out the life and personality of the ghostly author. Ireland’s most ambitious project was an all-new Shakespeare play. Vortigern and Rowena premiered to great acclaim and closed in infamy all on the same night, April 2, 1796.
At age 20, Ireland was forced to retire from forgery, and he settled into a second career as a gothic novelist. Later in life, he chronicled his exploits as Shakespeare in the bestselling Confessions of William Henry Ireland.


When I was a little girl, I dreamed of marrying a wealthy business owner, and when I got older, I dreamed of becoming a successful business owner, but teachers and family had other plans for me. They wanted me to attend university and have a career as a doctor or dentist. Helping people and changing lives appealed to me, but being around sick people or staring at teeth all day did not. When I finally decided to step out of the box and become an entrepreneur, I discovered all my years of schooling weren’t enough to fulfill my dream.
Employee vs entrepreneur
School taught me how to be an excellent employee. I went from obeying the teacher to obeying the boss, from taking six classes a day to working set hours. I performed according to expectations and job requirements, and challenged myself to leave my comfort zone when it meant a pay raise or getting fired. Having a job and a career were great – I really enjoyed my writing career after I graduated from university. However, it didn’t bring me any closer to fulfilling my dream.
Now that I have my own business, I’ve realized that there are entrepreneurship skills that school doesn’t teach you that are relevant no matter what career you choose for yourself. Some of the most successful entrepreneurs, including Richard Branson and Henry Ford, were not known for having a shining academic performance.
Students who are well behaved, complete their homework, and perform well on tests are praised by their teachers. Students like Branson who struggled with dyslexia, or who found schoolwork boring, or generally didn’t fit the good student stereotype, were given assistance so they could fit closer to this stereotype. A friend who failed in school (because it didn’t challenge him) now owns two flourishing side businesses. Perhaps, in addition to the current school curriculum, children should be taught entrepreneurship from an early age. Entrepreneur wannabees would benefit from these skills, but students seeking careers would benefit also.
Leadership and communication
Two of the most important entrepreneurship skills are leadership and communication. Children who lead by example and communicate effectively are known for their charisma and optimism. Peers are drawn to their ability to make decisions and have a clear vision of their objectives, such as making teams and establishing rules for a game. They are able to convince others why building a sandcastle would be a fun activity.
These leaders are the type of friend who will listen to your problems and show understanding, or offer advice if needed. I remember a popular girl in my grade three class. Everyone liked her. She was always smiling, and when you spoke to her, it seemed like you were the only person in the world.
I have never heard anyone say that they admire their bossy supervisor. But I’ve heard how much people admire leaders who get their hands dirty and treat their coworkers as part of a team of equals. That’s similar to a child who makes the extra effort to make the new student feel welcome, and encourages classmates to do the same.
An example of how leadership can inspire others is acclaimed speaker and author Adora Svitak. She advocated kids to take action about academic and environmental concerns and has also spoken for causes such as feminism and literacy. Her Ted Talk “What Adults Can Learn From Kids” has received more than 4 million views and established her as a prodigy by the age of 12.
The ability to sell yourself
Not everyone likes to sell, or become a salesperson, but everyone should learn how to sell to be successful in life. Before the age of 18, children have done various jobs, from opening a lemonade stand to paper routes, to mowing lawns, to baby sitting. It’s a way to experience bookkeeping as you track sales, as well as selling your wares and skills to customers. If you know what you’re good at, there is a way to sell it.
Moziah Bridges was 11 when he started to sell his bow tie creations on Etsy. He had learned to sew from his grandmother. He’s made more than $600,000 in sales and continues to grow his business with a seven figure deal with the NBA to make bow ties for 30 professional basketball teams.
Evan of EvanTube reviews toys and covers topics that interest other kids his age through the use of video recordings. He makes more than one million per year with his brand, and he’s not even ten years old.
Having the ability to sell can start at a young age, and be just as valuable when you’re an adult. If you can convince someone that you have what it takes to do a job, you will ace a job interview. If you can show someone that you have the personality and qualities that he or she is looking for, you will do well on a first date.
Teaching children about entrepreneurship includes teaching them about how to weather financial difficulties. If they would like money to buy a new outfit or video game, they will be unafraid to speak with neighbours, friends, and family members to make some cash by shovelling snow, painting a fence, or selling a toy collection they no longer want. We can also teach children to see opportunities instead of problems. For example, if they receive an allowance, they may be seeing only the problem if they have only $100 in allowance money and the toy they want to buy is $130.
The creator of Nay Games, 14-year old Robert Nay, learned how to code through research at the public library. He programmed “Bubble Ball,” which received more than one million downloads. Nay Games now has games to help students with spelling and physics-based puzzles. Nay saw an opportunity, and followed through with it.
Learning problem solving
Children who learn about entrepreneurship also learn problem solving. They learn more than how to operate technology such as their iPhone or tablet to play games or message friends when their homework is done. They learn to find solutions to their problems by tacking the situation head on.
In the case of Cory Nieves, a six year old boy became the owner of his own business after he decided he was tired of taking the bus to school. He wanted to buy a car instead because it was too cold. He sold hot cocoa, and later branched out to selling lemonade and cookies to achieve his dream and save up for college. In 2014, when he was ten years old, he was making sales of a thousand cookies a weekend.
Busy vs productive
Time management is a valuable skill when you own your own business. You learn to be productive, instead of just busy. Children who are adept at time management accomplish more, and efficiently. Instead of taking two hours to finish a homework assignment with plenty of breaks, they can finish it in one hour and have time for other tasks.
Business mentor and coach Cameron Herold has spoken in favour of having parents and teachers encourage kids to be entrepreneurs. At a Ted Talk in Edmonton, Alberta, he speaks about how he was bored and failing in school because teachers did not identify entrepreneurial traits as worth encouraging. For example, at the age of seven, he was able to sell coat hangers at a higher price than originally expected, but negotiation was not a skill that he was taught.
Stories of successful kid entrepreneurs all echo a similar theme to Herold’s story: Child entrepreneurs who didn’t pay attention in school but became thriving business owners. Young teenagers who were told to set aside their business ventures until they were older, but instead continued to pursue their dream until they reached their goal or surpassed it.
My earliest brush with entrepreneurship was in grade five. One day, we were asked to bring some belongings we no longer wanted and place them on our desks at school. We walked around the class and looked for things we wanted to barter for, using our own items. A classmate had a pair of three inch tall glass boots I liked. I asked her what she wanted from my desk in exchange. Sadly, what she wanted was only worth one boot – she didn’t like the other items I had. To this day, I only have one glass boot in my display case, a reminder of my early attempts at commerce.
If you have a say in the education of a child, consider how entrepreneurship can provide them with opportunities to succeed as adults, whether they choose to have a job or own a business. One lesson that successful kid entrepreneurs have taught us is that we should never limit what we want to accomplish.


This article published in Biology Letters focuses on a topic pertinent to animal behavior and evolutionary anthropology. Disruptive coloration is a common mechanism used by organisms (i.e. moths) to avoid detection by predators. However, the researchers brought up the point that there has not been experimental evidence relating disruptive coloration and decreased likelihood of detection. From this, the researchers designed an experiment in which human subjects were asked to search for computer-generated moth targets; eye movement of the human subjects was measured. The researchers found that an increase in the number of edge-intersecting patches (simulating disruptive coloration) on the moth decreases the probability of it being detected. From these results, the researchers discussed that there is a strong evolutionary basis for disruptive coloration and provided experimental evidence for this adaptation.


Make Way For Egypt’s Independent Contemporary Performing Arts
The art practitioners, art aficionados, cultural journalists and–above all–the regular audience members of Egypt are really spoilt for choice when it comes to the contemporary art scene, in Cairo, Alexandria, and several other cities. Even within the contemporary performing arts, there are countless events, formats, genres and colors, and a great deal of passion and dynamism on the part of practitioners.
The ardor is striking and reflects the great variety of art practitioners, cultural managers, and venues. There are both professionals and amateurs, with some artists operating under the governmental institutions while others are embraced by the independent organizations; there are troupes of all sizes, professional academies, and centers providing education in performing arts, along with clubs and social circles.
Flashback: The importance of the history
This startling élan, however, did not arise from a vacuum; the current performing arts scene is the result of decades of evolution. Egypt’s unique performing arts history has been characterized by boundless enthusiasm, with the Egyptian identity often influenced and enriched by the international scene.
During the period of the imperial powers, with the British Occupation (1882–1952) and the opening of the Suez Canal (1869), Egypt’s performing arts underwent significant changes. For the first time, there were strong creative discussions between the two worlds, with many cultural bridges built, although at first, the main beneficiaries seemed to be the Western cultural players. In 1869, the Khedivial (Royal) Opera House opened, the first such institution in Africa and the Arab region, until it burnt down in 1971.The opera embraced the Western art forms–symphonic music, ballet, and opera, along with international theatre troupes–and provided a stage to the music stars of the Arab World.
In 1885, the National Theatre, known at the time as the Al-Azbakiya Theatre, hosted its first performances by an Egyptian theatre troupe. It also hosted the first Egyptian musicals and showcased the most notable singers of the Arab World, among them Um Kalthoum. By 1935, the National Egyptian Group had been formed under the leadership of poet Khalil Motran, although this was disbanded in 1942 because of its anti-British performances.
Slowly but surely, while the local traditional music and performing arts continued to play an important role within their enclosed communities, Egypt’s creative minds began to fuse the local traditional expressions with foreign avant-gardist experiences, often using them to showcase their new and highly distinctive identity.
Then came the July Revolution of 1952, led by the Free Officers, with King Farouk toppled and the British powers removed from Egypt. The Republic was declared and the country saw the establishment of its first Ministry of Culture, headed by Tharwat Okasha (1921–2012), an ample and knowledgeable figure. Among Okasha’s main aims was to provide the best arts education to the Egyptians, founding educational institutions and offering international scholarships. He launched the Academy of Arts, a complex embracing the already existing Higher Institute of Arabic Music (1929–) and the Higher Institute of Dramatic Arts (1944–). To these were added the Cairo Conservatoire, the Higher Institute of Cinema, and the Higher Institute of Ballet, all three established in 1959 with mostly foreign teachers.
This Golden Age of the Egyptian arts bore many fruits for the country, attracting the attention of the Arab World and the international scene in general. But the reality was not always milk and honey. With the arrival of President Anwar Sadat (in office 1970–1981) and then President Hosni Mubarak (1981-2011), the government’s priorities, as expressed through the Ministry of Culture, no longer responded to the hopes and ambitions of the new and growing generation of arts practitioners.
The 1980’s and 1990’s: Challenging the status quo
Around this time, the big governmental bubble was broken by determined independent voices. At the heart of the burgeoning independent movement were the performing arts practitioners headed by the theatre circles; they probed for options that were free from government constraints, questioned and challenged the censorship laws, and looked for alternative spaces.
Those years witnessed birth of the El-Warsha troupe (1987), managed by Hassan El-Geretly, the Temple Independent Theatre Company, established by Ahmed El-Attar in 1993, along with other pioneering independent troupes, such as Abeer Ali’s Al-Misaharati (Awakener), Mohamed Abdel-Khaliq’s Atelier Al-Masrah (Theatre Atelier), and Mohamed Abul Soud’s Al-Shazia (Shrapnel). At the outset, those companies focused on traditional means of expression and verbal theatre, and while some have continued in this vein, others have slowly incorporated contemporary vocabulary into their productions.
In September 1990, the Ministry of Culture canceled the state-run Cairo International Experimental Theatre Festival (CIFET, 1988–2010, reborn in 2016 as the Cairo International Festival for Contemporary & Experimental Theatre, CIFCET) on account of the Iraqi invasion of Kuwait. In response, a group of theatre activists and critics held a meeting dubbed The First Free Theatre Encounter. The meeting resulted in the launch of the short-lived Free Theatre Festival (1991). The resulting commotion prompted Farouk Hosni, minister of culture (1988–2011), to offer Al-Hanager Centre–an edifice located within the grounds of the new Cairo Opera House (National Cultural Centre)–as a venue for independent voices.
In 1993, the Egyptian Modern Dance Theatre Company was established at the Cairo Opera House, with its first director Walid Aouni. It embraced several young dancers and physical performers: Mohamed Shafik, Nora Amin, Dalia El-Abd, Karim Tonsy, and Nancy Al-Tonsy, among others. However, unable to express their own voices, many of those young dancers left the company and founded their own physical theatre and/or contemporary dance practices.
This divorce from the state-run dance company was among the hallmarks of the late 1990’s, reflecting the significant shift in creative concepts on the part of young independent artists. With the arrival of the internet and increasing access to the international scene, young artists began exploring new ideas and contemporary modes of expression. Their passions and interests were in large part braided with the need to challenge the taboos, to ponder freedom of thought and expression, and to weave personal experiences and socio-political commentaries into their performances.
Neither the state-run Al-Hanager nor the Egyptian Modern Dance Theatre Company were able to meet the expectations of the budding youth. Nora Aminhad worked with both institutions and later found her independence, establishing Lamusica Independent Theatre Company in 2000. The troupe started as a laboratory for researching physical expression within performance, later becoming a company and staging over 30 performances to date.
Another former member of the Modern Dance Company is dancer and choreographer Mohamed Shafik, who was awarded at the state-run CIFET in 2000. Shafik’s Homma troupe blossomed in the early 2000s, launching a collaboration with the artist Laurance Rondoni in France in 2003.
We should also highlight such names as Dalia El-Abd, Karim Tonsy, Nancy Al-Tonsy, former members of the Modern Dance Company, who also embarked on their own independent practice.
Paralleling those practitioners, Karima Mansour’s Ma’at Dance M.E.C.A (Movement for Egyptian Contemporary Art), established in 1999, is among the pioneers of the independent contemporary dance movement. Mansour worked with and educated young dancers and choreographers, and in 2011 she opened the Cairo Contemporary Dance Studio, providing a curriculum of contemporary dance and physical expression.
The Ministry continued to invest in what they called “high culture”–establishing hundreds of Cultural Palaces and theatres, launching lavish international film, theatre or folkloric arts festivals, and keeping thousands of employees on the ministerial payrolls. However, many artists felt that the Ministry, in monopolizing the opportunities and spaces, failed to serve their needs in terms of creative expression and to act on behalf of a large segment of the Egyptian society.
The 2000s: Opening a Pandora’s box
For the governmental players, the growing independent movement–in theatre, dance, cinema, and music–was like a Pandora’s box; once opened, it could not be closed. Against all odds, the performing arts scene, in particular, began to breathe.
In the 2000s, dozens of new troupes emerged, either fusing the traditional art forms with contemporary vocabulary or dedicating themselves fully to the latter format. They included Mohamed Abdel Fattah’s Hala (Mood) street-theatre troupe, Hani Abdel-Naser’s Halwasa (Hallucination), Said Soliman’s Ihtigag (Protest), and Mohamed Fawzi’s Marionette.
From the governmental side, and on the initiative of Farouk Hosni, the Forsan El Sharq Heritage Company (The Knights of the Orient) dance troupe was established in 2009, under the joint supervision of two ministerial bodies, the Cultural Development Fund and the Cairo Opera House, with Esmat Yehia as its first artistic director. This was the state’s new attempt at creating a company that reflected the spirit captured by the world-renowned Caracalla Dance Theatre company, the over four-decades-old Lebanese troupe that fuses the Oriental traditional techniques in performing arts with Western modern and contemporary expressions. Though the Forsan El Sharq troupe is still present on the scene, due to various managerial and financial constraints, it did not take off as planned, being kept within more local parameters.
Again, the independent scene stepped in with its own projects. The early 2000’s witnessed the emergence of various young choreographers, many of whom launched their own troupes: these include Reem Higab’s MALH (Salt) and HaRaKa (Movement) for Dance and Development and Research, a collective established in 2003 by Adham Hafez. They explore physical dance and theatre, mime and movement, often creating an interesting fusion of art forms. Many of the independent players were embraced by the already established dance and theatre centers (including the Cairo Contemporary Dance Studio), where they could pass their practice on to younger generations.
In parallel, both the new and established cultural spaces run by the Egyptian cultural players and foreign cultural institutions began offering support to the contemporary performing arts practitioners. Here it is important to mention the Studio Emad Eddin Foundation, established by Ahmed El-Attar in 2005, Townhouse/Rawabet Space for Performing Arts, founded in 2006, in addition to foreign institutions such as the British Council Egypt, the Netherlands-Flemish Institute in Cairo, the Goethe Institut Kairo, Institute Francais Egypte, and the Cultural Office of the Public Affairs Section at the Embassy of the United States in Cairo, among others. Such players embraced the local scene, advocated their activities, opened doors to the various opportunities in Egypt and abroad, and brought various international artists to Egypt.
2011: New opportunities
With the political and social developments of the 2011 Revolution, Egypt’s cultural scene went through many changes, with new opportunities immediately grasped by independent performing arts practitioners. On the level of new troupes, young choreographers founded many companies in 2011, such as Mirette Mechail’s No Point Perspective dance/theatre group, Heba El Cheikh’s Mahatat for Contemporary Art, Ezzat Ezzat Dance Studio (EEDS), and the already mentioned Cairo Contemporary Dance Centre.
Artistic festivals were another gain, challenging the stagnant culture of the stage and old regime’s dependence on numbers: the big festivals, hundreds of invitees, dozens of performances, a profusion of funding–while the artistic values remained secondary. The rule of the Muslim Brotherhood (2012–2013) brought new financial constraints and ideological shifts, and the Ministry of Culture found it very difficult to keep its head above water. There was no better time for the independent cultural players to step in with their boundless creativity.
Once again, the financial–and moral–support provided by foreign institutions allowed new practitioners to emerge and new independent festivals to be launched. An Egypt Country Report on the European Union’s cultural relations states: “In Egypt and the Middle East, the new form of performing art with an interdisciplinary dimension is not very developed. But a new generation of young artists wants to work in that way. They are the future of the performing art field where it’s difficult to say if it’s dance, theatre, performance, installation. They are also the future of the image of this region.”
Meanwhile, the pressure that the independent scene created on seven consecutive ministers of culture in two years, pushed the Ministry to offer some support, usually in the form of accommodation for the foreign guests and occasionally in providing venues.
The contemporary performing arts practices were fused into many initiatives. Speaking of the festivals, Egypt saw a spirit of reinvigoration of the already existing festivals (Cairo Contemporary Music Days, Bibliotheca Alexandrina Summer Festival, Cairo Jazz Festival, 2B Continued Lab and Festival, among others), while many new ones were launched (The Downtown Contemporary Arts Festival, the Backstreet Festival in Alexandria, the Hakawy International Arts Festival for Children, the Bibliotheca Alexandrina Contemporary Theatre Festival, etc.)
The Downtown Contemporary Arts Festival (D-CAF)
Finally, it is impossible to tackle the contemporary performing arts scene without giving space to The Downtown Contemporary Arts Festival (D-CAF). Launched in 2012, D-CAF makes use of various venues in downtown Cairo, as well as other locations in Cairo and other cities, presenting local audiences with the work of contemporary and/or experimental dance, theatre, music (in collaboration with Mahmoud Refaat from 100Copies Studio), literature, visual art, and street art. At the same time, D-CAF provides a meeting point between Egyptian artists and international practitioners.
The main dynamo behind D-CAF is Egyptian independent theatre director, playwright, and cultural player Ahmed El-Attar, who has already been mentioned in connection with Temple Independent Theatre Company, 2B Continued Lab and Festival, and the Studio Emad Eddin Foundation, which he also manages. El-Attar is probably one of the few cultural managers able to blend their long presence in and understanding of the scene with the ability to bring to light a variety of artistic practices, all of which serve the contemporary arts scene. With D-CAF, El-Attar encapsulates the history of the Egyptian independent contemporary creative movement, propelling it towards many more encounters with the international scene.
With the support of many parties–most of the cultural centers, the European Union Delegation to Egypt, and the Ministry of Culture–D-CAF continues to grow. According to the report provided by D-CAF, in 2017 the festival included 91 performances, concerts, and other events, 150 artists and speakers from 22 countries, catering to 6,800 attendees–figures in line with the 2016 edition. However, the quality of D-CAF is not limited to numbers. Each year, D-CAF brings a hand-picked selection of contemporary performances that carry unique artistic and/or human values; moreover, the festival provides opportunity for local artists to present themselves to the local scene while taking part in a multi-national performing arts showcase. D-CAF also creates a platform for exchanges to share thoughts and practices and workshops which fuse educational elements with participants’ hopes and expectations. At the time of writing this article, we are in the middle of D-CAF’s 7th edition (8-29 March), with a particularly interesting program suggesting that the numbers will grow further.
A hopeful future
The Egyptian contemporary performing arts scene is alive and well. It is the story of the ongoing determination of practitioners to push the boundaries of self-expression and creativity. Cairo and Egypt’s other cities provide a captivating platform for expression and a fulfilling experience for all followers of performing arts–from all generations and social strata.
While Cairo is at the heart of all artistic practice, the independent cultural players do not neglect the other urban centers, with numerous events in Alexandria and other governorates. This happens on a larger scale, through cooperation among the many cultural players. Enumerating all such instances would require another long article, but a few examples can be mentioned here. For instance, Mahatat for Contemporary Art cooperated with the Cairo Contemporary Dance Studio in one of their Art in Transit series, taking contemporary dance to the streets of cities outside Cairo. Also, D-CAF occasionally moves its activities outside the capital. Very important are the discussions and interaction between different countries, including in the Arab region; the upcoming IETM Satellite, part of D-CAF’s programme, is a good example.
The Ministry of Culture continues to make its own contribution to the scene, although its projects are often hampered by its complicated network of priorities–financial, managerial, and socio-political.
As such, the hope for the future of Egypt’s contemporary performing arts development remains in the hands of the dynamic independent cultural managers and artists.
This article originally appeared in IETM and has been reposted with permission.
This post was written by the author in their personal capacity. The opinions expressed in this article are the author's own and do not reflect the view of The Theatre Times, their staff or collaborators.


By Theodora Filis
Public health concerns beyond food borne illness are created when over-crowded animalsare susceptible to infection and disease. Industrial livestock facilities treat animals with low-levels of antibiotics to prevent illness and promote weight gain. This creates a breeding ground for antibiotic-resistant bacteria. The sub-therapeutic dosages used on millions of factory-farmed livestock can reduce the effectiveness of antibiotics for human patients. The feed used for livestock can also introduce public health threats. Broiler chickens often receive arsenic-based feed additives to promote pinker flesh and faster growth, and beef cattle continue to be fed with animal byproducts, which increases the risk of mad cow disease.
According to the FDA, approximately 80% of all antibiotics used in the US are fed to farm animals for non-therapeutic purposes.
Routine administration of antibiotics has the harmful effect of promoting the development of antibiotic-resistant bacteria. Although the low dosage of antibiotics kills many bacteria, the stronger bacteria that survive can reproduce and pass their resistance to future generations. Since bacteria are able to reproduce in as little as 20 minutes, routine administration of antibiotics can induce the rapid development of antibiotic-resistant bacteria, which can spread directly to humans and animals. When manure is spread onto fields or stored in manure lagoons, these bacteria can also contaminate waterways and groundwater. In fact, scientists have detected antibiotic-resistant bacteria in groundwater as far as 250 meters away from manure lagoons.
Rise of the Super-bug
The rise of factory farming is as a result of public policy choices driven by big agribusinesses, especially meat packers and processors that dominate the critical steps taken between farm and consumer. The silos and gentle meadows portrayed in advertisements are a sham. With tens of thousands of animals comes millions of tons of manure and adds to the increased polluting of waterways, groundwater, air and soil. Wetlands have been destroyed; beautiful rivers and tributaries turned into algae choked cesspools devoid of life, pastures ruined by excess nitrates, phosphates and toxic residues from antibiotics, hormones and even dangerous heavy metals. Oceans are so filled with industrial effluents and animal factory waste that it is no longer safe to eat any ocean creature, all are contaminated by excess levels of mercury, cadmium and other trace metals.
Most of the pork, beef, poultry, dairy and eggs produced in the US come from large-scale, confined livestock operations.
Large-scale farms do not produce healthy or safe food, and in no way maintain our environment. The growth of factory farms, in recent decades, is decimating the small and medium scale livestock farms that provide good food for us, and good economies for rural communities. Industrial livestock operations create public health hazards with over-crowded facilities making it easy for disease to spread. When thousands of beef cattle are packed into feedlots full of manure, bacteria can get on their hides and then into the slaughterhouses. Contamination on even one steer can contaminate thousands of pounds of meat inside a slaughterhouse. In 2010, the crowded, unsanitary conditions at two Iowa egg companies caused a recall of more than half a billion potentially Salmonella-tainted eggs.
As antibiotic-resistant bacteria spread, medicines used to treat human diseases can become less effective, which poses a significant threat to public health. The Institute of Medicine estimates that antibiotic-resistant bacteria cause US health care costs to increase by four to five billion dollars each year.
Factory farms threaten human health by incubating infectious diseases that can spread to the human population. Diseases can be transferred directly from animals to humans, or from an animal serving as a “mixing vessel” for a new strain of a disease. In cases of direct transmission, a worker who comes in contact with a diseased animal or its manure can contract the disease and pass it on to family and the surrounding community.
In other cases, an animal infected with one disease can contract a second disease from another animal, causing the diseases to mix and form a new type of illness.
Scientists suggest that a virus passed from hogs to humans may have caused the 1918 “Spanish Influenza” pandemic which eventually killed 40 million people worldwide. The Centers for Disease Control has expressed concern that another similar epidemic will occur in the future.


Timeline of Events in the Life of Conan Doyle
1868 – Conan Doyle is sent to Jesuit boarding school in England.
1876 – Charles Doyle enters a nursing facility to receive treatment for his alcoholism. Conan Doyle attends the University of Edinburgh Medical School where he meets Dr. Joseph Bell, the person who inspired the character of Sherlock Holmes.
1879 – Conan Doyle’s work is published for the first time. The story is The Mystery of the Sasassa Valley.
1880 – He serves as ship’s surgeon on the Greenland whaler Hope.
1881 – A Bachelor of Medicine and Master of Surgery are awarded to Conan Doyle. He leaves from Liverpool to serve as shipboard medical officer on the steamer Mayumba.
1882 – Conan Doyle leaves for Portsmouth to establish is own medical practice.
1883 – He joins the Portsmouth Literary and Scientific Society.
1885 – On August 5th, Conan Doyle marries Louise “Toulie” Hawkins.
1887 – A Study in Scarlet, the first Sherlock Holmes story, is published.
1889 – Mary, the first child of Conan Doyle, is born. Micah Clarke is published.
1890 – The Sign of Four is published.
1891 – Conan Doyle gives up his medical practice in favor of writing. The White Company is published.
1892 – Louise gives birth to Arthur Allyne Kingsley. The Adventures of Sherlock Holmes is published.
1893 – Conan Doyle visits Reichenbach Falls. Louise is diagnosed with tuberculosis. Conan Doyle’s father, Charles, dies. Conan Doyle takes Louise toSwitzerland because of her health. Conan Doyle joins the British Society for Psychical Research. The Adventure of the Final Problem is published.
1894 – The Memoirs of Sherlock Holmes is published. Conan Doyle goes on a lecture tour of the United States.
1895 – Visits Egypt
1896 – Conan Doyle and family move back to England.
1897 – Conan Doyle meets Jean Leckie, the woman who would later become his second wife.
1899 – A Duet with an Occasional Chorus is published.
1900 – Serves in the Boer War.
1901 – The Hound of the Baskervilles is published in The Strand magazine.
1902 – The War in South Africa: Its Causes and Conduct is published. Conan Doyle is knighted for this publication.
1904 – Conan Doyle is made a member of the Crimes Club. The Return of Sherlock Holmes is published.
1905 – Sir Nigel is published.
1906 – Louise dies at the age of forty-nine. Conan Doyle begins investigation of the George Edalji case.
1907 – Conan Doyle marries Jean Leckie.
1909 – Denis Percy Stewart Conan Doyle is born to Jean and Arthur. Conan Doyle writes The Crime of the Congo.
1910 – Conan Doyle becomes involved in the Oscar Slater case. Adrian Malcom is born to Jean and Arthur.
1911 – Conan Doyle and Jean participate in the Prince Henry Tour.
1913 – The Poison Belt is published.
1914 – Conan Doyle visits the United States.
1915 – The Valley of Fear is published in book form.
1916 – Conan Doyle declares his belief in Spiritualism in the Light magazine.
1917 – Conan Doyle speaks publicly on Spiritualism for the first time. His Last Bow is published.
1918 – His son, Kingsley, dies. His brother, Innes, also dies.
1921 – Jean Conan Doyle discovers that she had the ability to do automatic writing.
1922 – The Coming of the Fairies is published. Jean Conan Doyle attempts to contact Houdini’s mother.
1925 – The Lost World is made into a film. The Land of Mist is published.
1926 – History of Spiritualism is published.
1927 – The Case-Book of Sherlock Holmes is published.
1928 – Conan Doyle launches a five-month tour of Africa.
1930 – Sir Arthur Conan Doyle dies on July 7. He is buried at the rose garden in Windlesham.


How do you connect Shakespeare with culture and history?
Those of us teaching Shakespeare to young people in the classroom are tasked with not only making learning interesting but also relevant. In observance of Black History Month, we want to pay tribute to the work of legendary jazz musician, Duke Ellington.
Ellington was a legendary musician whose career spanned fifty years. He composed many songs for the stage, screen and contemporary songbook. His is one of the most distinctive ensemble sounds in Western music He called his sound “American Music”.
In 1957, Ellington composed Such Sweet Thunder, a twelve part album that explores Shakespeare’s canon through jazz composition.
Try playing Such Sweet Thunder for your students: http://www.shakespeareinamericanlife.org/stage/music/thunder/dukeellington.cfm
What other tools can be used to engage students about Shakespeare?


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More on this story england's young people near bottom of global league table for basic skills oecd finds 16- to 24-year-olds have literacy and numeracy levels no better than those of their . A great collection of literacy quotes relating to reading, literacy and education illiteracy so far has been judgment any more than a pencil substitutes for . Ultimately, how well our schools and colleges educate students for this kind of thoughtful technological citizenship is far more critical to the future of democracy than how well they train students to operate the latest generation of computers.
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Table 5 shows that immigrants who first arrived in the united states more than 15 years ago are still far more likely than natives to be below basic in fact, there appears to be little to no literacy improvement compared to immigrants overall. “ literacy is far more than reading and writing it involves critical thinking as well” within today’s teaching practices literacy has come to be a major part of the course curriculum when teaching early years, it has numerous definitions and meanings to individual people as it continues to be developed through our rapidly changing world . Chapter 1 mass media literacy we are exposed to media messages more than two-thirds of our waking hours a far-reaching effect of mass media has been as a . Facts about children’s literacy some 70 percent of middle school students read more than 10 books a year, compared with only 49 percent of high school students.
It's about more than just books: why literacy is important bill federer recounts history of reading, writing, freedom, slavery “to exterminate our popular vices is a work of far more . Free essay: “ literacy is far more than reading and writing it involves critical thinking as well” within today’s teaching practices literacy has come to be. I have suggested that learning to read and learning to be literate is far more complex than decoding decoding should never be equated with reading learning to read is not a singular global skill that we acquire for life – it is something that must be worked at constantly.
Education news more than books: twice so far – to make a difference what we ultimately hope the cultivate world literacy project will be is . Teenage girls between the ages of 16 to 19 who live at or below the poverty line and have below average literacy skills are 6 times more likely to have children out of wedlock than girls their age who can read proficiently. Why literacy is so important published on july 6, yet a total lack of literacy on a massive scale would be far more devastating as any illiterate person aware of the modern world can attest . Literacy surveys have the potential of being more accurate – when the sampling is done correctly – because they allow for more specific and detailed measurement than short and generic questions in population censuses.
Literacy is far more than reading and writing, it also involves critical thinking where it tests someone’s understanding of a balanced literacy program which in turn addresses the issues that promotes active and critical learners. Literacy is far more than reading and writing, it also involves critical thinking where it tests someone’s understanding of a balanced literacy program which in . More than 20 percent of adults read at or below a fifth-grade level - far below the level needed to earn a living wage reference literacy statistics reference information. We observed far less of the low-level worksheet-type tasks and a greater reliance on more complex tasks across the school day and across subject matter perhaps because of the nature of this work, students seemed more often engaged and less often off-task than other researchers reported.