Since 2000 we have heard a lot of females claim to be the best (Buffy The Body) and who others claimed to be the best (Angel Lola) but in the end after we ran through 50 names that included names like lauren London,Esther Baxter,Bria Miles as well as One time video girls such as Megan Good,Paula Patton and Anna Kornikova. In the end only one name reigned supreme..  Who was it?

Rosa Acosta?                                                            Buffy                     

Angel

Take a look and see who was the top dog

The one and the only  The one through all the hate and newcomers still set the bar for Video Models everywhere..  In a interview once i called her “The Top Chick” and she still is

Melyssa “Jessica Rabbit “Ford

Take a look at the entire list and see where your favorite video Girl ranked

http://www.complex.com/blogs/2009/11/19/best-of-the-2000s-the-top-50-music-video-girls/

One factor that can make the difference between a dance that “rocks” or “flops” is the music.  To get everyone out of their choreography comfort zone, here is a list of songs to consider for dances.  Be creative!

        <div style=”text-align: center; margin-left: auto; visibility:visible; margin-right: auto; width:450px;”> <object width=”435″ height=”270″ data=”http://www.profileplaylist.net/mc/mp3player_new.swf?config=http%3A%2F%2Fwww.indimusic.us%2Fext%2Fpc%2Fconfig_site_noautostart.xml&amp;mywidth=435&amp;myheight=270&amp;playlist_url=http%3A%2F%2Fwww.indimusic.us%2Floadplaylist.php%3Fplaylist%3D72411994%26t%3D1259206487&amp;wid=os“> <param name=”bgcolor” value=”#e8e8e8″/> <param name=”movie” value=”http://www.profileplaylist.net/mc/mp3player_new.swf?config=http%3A%2F%2Fwww.indimusic.us%2Fext%2Fpc%2Fconfig_site_noautostart.xml&amp;mywidth=435&amp;myheight=270&amp;playlist_url=http%3A%2F%2Fwww.indimusic.us%2Floadplaylist.php%3Fplaylist%3D72411994%26t%3D1259206487&amp;wid=os”/> </object> <br/> <a href=”http://www.profileplaylist.net”><img src=”http://www.profileplaylist.net/mc/images/create_site.jpg” border=”0″ alt=”Get a playlist!”/></a> <a href=”http://www.pplaylist.com/standalone/72411994” target=”_blank”><img src=”http://www.profileplaylist.net/mc/images/launch_site.jpg” border=”0″ alt=”Standalone player”/></a> <a href=”http://www.pplaylist.com/download/72411994″><img src=”http://www.profileplaylist.net/mc/images/get_site.jpg” border=”0″ alt=”Get Ringtones!”/></a> </div>

Photographed by Moi of Ra

These guys were kind of scary and had covered themselves in yellow palm oil.

– License

For more photos from this event click here.

I danced as a child and then I quit to play sports. I came back to dance in high school when I got involved in musical theatre. Pilates came into my life in college, after dance, but I wish that would have been different! 

Pilates not only strengthens the core but creates long, lean muscles  that look beautiful on stage. The Pilates stance (leg turned out from the hips) is a “lower modification” of ballet’s first position. 

Many ballet studios cross train with Pilates exercises to increase flexibility and core strength. Here are some tips for teaching Pilates to dancers from Sonia Rodriguez. I fond this on the Peak Pilates Blog. Check out the rest of the article! 

Here are some tips from Sonia for teaching dancers:

1. Work with props, such as the Power Circle or Triad Ball. I use this to help dancers find specific connections and then take the prop away and have them create the same connection imagining the prop is still there.

2. Many times I will work with a prop throughout an entire mat session. During their next session, I have the student/dancer find the same connections as the last session, this time without the prop.

3. If you have dance experience, take the student into a short dance phrase or barre work. As I take them through the dance movements, I cue their bodies with the Pilates vocabulary. This is amazingly affective.

4. Ask the student/dancer what movements in dance they are struggling with. Then determine what the fundamental issue at hand is. This then becomes a theme you can thread throughout their session.

5. Remember that dancers want to make movements big then find control, thus Joseph Pilates frustration in working with dancers. Teach them how to work in a smaller more controlled range of motion, encouraging healthy movement patterns. Once they find control and centering, go for bigger ranges.

6. Work with the jump board on the reformer. This is a great way to teach and correct hip, knee, and foot alignment during jumps and hops. It also provides an opportunity for educating foot articulation and propulsion.

7. Don’t be fooled by a dancer’s gracefulness and ability to learn “choreography” quickly. You have to look closely and make sure that the movement is truly coming from their center and the right firing patterns are being performed.

The Future Funk Alliance would like to congratulate Gino & Denise Vaccaro on the completion of their new studio. The new home of The Future Dance Center looks great.  It has three large rooms to dance in and flat screens all along the waiting room.

They started things off right with a great Grand Opening party.  There was plenty of dancing and plenty of food at the party.  It was great to see everyone enjoying themselves in the new studio.  A few of us were even getting down in some of the new rooms.  I mean who could resist those brand new wood floors?

Grand Opening

Not only does this mark the beginning of a new Future Dance Studio but it is also the beginning of the Future Funk Alliance. The Future Funk Alliance will be using the NEWLY started Groove Night (Tuesday 7PM-9:45PM) as a practice location. Not only will the new studio be used as a practice location but we will be using the open practice as a place to recruit new members and as a home base.  We look forward to dancing and spreading our knowledge about dancing to the rest of the community.

Groove Night

Be sure to check out Groove Night and get down with some of the best dancers in Buffalo.  We hope to see you there.  Maybe you will even be asked to join the Alliance.

As we all grow older, apparently we develop a natural sense of understanding of the world around us. This understanding or sense when used for “good” may become a powerful ally or trait that makes us more amiable, flexible/adaptable and less self-centric. On the other hand, if it is used for “evil” it can very likely make us crankier, rigid and even isolated. The interesting aspect is that most of us do not notice whether we are using this sense for good or evil until it is too late, until we are either robots or dancers.

The robot analogy is such that people end up “programmed” a certain way, and they behave only in that certain way. Furthermore, when life presents variations of what we were programmed for, we simply “panic” trying to apply the old behavior to the new situation, and eventually the panic translates to frustration to ourselves and everyone involved in that given situation.

As for the dancer analogy, people are not programmed with an absolute routine, or modus operandi for all possible situations. Instead, they are infused with critical thinking and a basic knowledge of how to behave in different situations. In short, they are ready to improvise, to adapt, literally like a dancer who knows how to dance but is also ready to improvise as the “rhythm” changes its course to something unexpected.

For the sake of exemplifying it, unfortunately I had the displeasure of being involved in a robot situation with one of the coordinators of my master’s degree program. The situation was quite small, but still, it caused a great deal of stress/frustration on my side. Long story short, I missed two hours of a 4 hour lecture about Business Social Responsibility, and the coordinator asked me to select from a set of make-up lectures (that had nothing to do with social responsibility) and write a two page paper about it. The frustration came about the fact that the “robotic” coordinator was programmed to: student misses two hours of lecture; therefore student must sit in ANY other two-hour lecture. I was totally amazed about the fact that I was asked to do it just for the sake of doing it. I don’t even believe the coordinator or anyone will even read my paper, so what’s the point? Well, that beats me, besides the fact I was asked to do it just for the sake of doing it. At hinge sight, the coordinator missed a great opportunity to “dance”, to improvise and build rapport with a student that is fact a customer of the university and certainly will speak either good or bad about his experience while at that university.

I am a firm believer we need more dancers, and less robots. My point is that robots are not necessarily a bad thing, they are indeed needed, they take part of the unpredictability away, they are reliable and don’t venture outside their realm of responsibilities. However, a society of robots doesn’t evolve, is rigid and hardly have technological or social breakthroughs. If this does not convince you, put it that way: robots are boring, and they would make the world a lot more boring that it already is. (Perhaps the world already has too much robots, and that’s why it is becoming increasingly boring…)

Finally, I urge you all to become more of a “dancer”. Dance, waltz, or samba your way through life, pick your pace and avoid falling into the time trap leaving for tomorrow what you can do today. Remember that it certainly gets more difficult to change as time goes by and we inevitably become more rigid and less willing to change. So, are you are robot or a dancer? (The clock is ticking…)

Dirget

Models Dancers Singers and Actors Industry Tips~

Venus Models Online is a nation wide event staffing company for trade show events, promotional events, event staffing, bartenders, actors dancers and models,

We have worked with events for MTV and staffed for the 2009 Emmy’s and much more.

I would like to give some industry tips for all you singers, actors, dancers and models to get more exposure and good paying industry placement

1. Have some 1 shoot some video of your performing give it your best shoot make a reel of yourself showcasing your talent on video for industry placement and give it your best.

Watch and example below of what a Reel should look like this is our very own Kelly V.

2.Once your video is complete upload your video showcasing your talent on Venus Talent TV and you might find yourself suddenly a star go to http://www.venustalenttv.com and upload your video showcasing your talent.

If you have an event and you need to hire talent go to http://www.venusmodelsonline.com

Post classified ads free at http://www.dirget.com

Interesting I always assumed pilates was developed for dancers: http://www.jillianhessel.com/beyondpilates_dance.html

Folks, this is insane! You have to watch these amazing dancers!!!

These are the 10 backup dancers that were chosen from over 5000 dancers to be a part ofMichael Jackson’s tour. They are featured in the film This Is It and if you haven’t already made plans to see this film, you need to get out there and see it. If you don’t believe me, check this out: http://bit.ly/29ZICS

]]> http://dvisions85blogg.wordpress.com/2009/11/22/bok-pump-celebrates-20-years-in-the-game/ Sun, 22 Nov 2009 15:48:46 +0000 'Everyone has a visions' http://dvisions85blogg.wordpress.com/2009/11/22/bok-pump-celebrates-20-years-in-the-game/

Reebok Pump celebrated its 20th Anniversary in style last night, with a party in East London attended by the likes of Mr Hudson and Kelly Brook. And a DJ set from Jezebel soundsystems, namely Jade Jagger & Dan Williams, made sure the party was rocking.

Reebok Pump was created by Paul Litchfield, originally a basketball trainer, in 1989- it had such impact that its patented technology was quickly used by Reebok for their tennis, running and football trainers..and quickly adopted as a fashion trainer.

We know this post is a few days old, but better late then never.

The Reebok 20 party was such a big party,

Info:

I love posts that involve the strength of ballet.  Most people do not realize that ballet is essentially a sport.  Ballet is also the second most demanding activity (with American football at number one).

by Laura Diffenderfer — Sep 14, 2009

Merce Cunningham, who was routinely referred to as the world’s greatest living choreographer, died on July 26 in his Manhattan home at the age of 90. Born on April 16, 1919 in Centralia, WA, Cunningham studied tap and ballroom dancing as a child with Maude Barrett, a retired vaudeville performer. He went on to attend the Cornish School in Seattle, where he began taking modern dance classes with Bonnie Bird, a young teacher who had danced with Martha Graham. In 1939, Cunningham attended the first West Coast session of the Bennington College modern dance summer school at Mills College, where he caught the eye of Graham. She invited Cunningham to come to New York to dance with her troupe and in September of that year, Cunningham became the second male to join the Martha Graham Dance Company, which he performed in as a soloist for five years.

Bird not only led Cunningham to Graham, but to a composer who would help Cunningham form new ideas about dance and its relationship to music. While at the Cornish School, Bird introduced Cunningham to a young musician she had just hired to be her chief accompanist and music director, John Cage. Although Cunningham would collaborate with many important contemporary artists in the years to come, including Robert Rauschenberg, Jasper Johns and Andy Warhol, it was his partnership with Cage that would prove most significant. In the 1940s, Cage and Cunningham began a long, fruitful relationship in both life and art that continued until Cage’s death in 1992. Together, they proposed new and radical ideas, the most important being the notion that dance and music should be created separately and performed simultaneously, without supporting each other in the traditional way. The two creations would exist independently, producing a spontaneous relationship when combined for the first time—usually opening night.

Cunningham, like Cage and a number of other artists in the 1950s, began using chance procedures in his work, often turning to dice, cards and the ancient Chinese text “I Ching” for guidance. This is a practice he continued to rely on throughout his career. For instance, in his 2003 work “Split Sides,” he used dice to select the order of the music, to decide which dancers would perform the sections, and to determine which set pieces and costumes would be used. Because Zen Buddhism and nature were also influential in Cunningham’s aesthetic, customary features of choreography like narrative, musicality and climax were replaced by abstract movement, unexpected movement and music pairings, and a conscious departure from the notion of dance as entertainment.

Since the founding of the Merce Cunningham Dance Company in the summer of 1953, Cunningham choreographed nearly 200 works for his company, including “Sounddance” (1975), “Fabrications” (1987) and “BIPED” (1999), which are all currently still in the repertory. He made important contributions to dance for the camera, with his collaborations with filmmakers like Charles Atlas and Elliot Caplan. He was a pioneer in the marriage of dance and technology, combining them in both creation and performance. Revered as a gifted and dedicated teacher, even into 2009, Cunningham remained inspiring and inspired until the end.

In April of this year, he presented his last work “Nearly Ninety,” which opened at the Brooklyn Academy of Music on the artist’s 90th birthday, proving to sold-out audiences that he was still an artist of supreme talent. Alastair Macaulay called the dance “one of Mr. Cunningham’s most poetic cornucopias,” noting that his “imagination actually appears more fertile than ever before.” With music by Led Zeppelin’s John Paul Jones, mixed-media sound artist Takehisa Kosugi, and members of Sonic Youth, the work was simply one example of a forward-looking perspective that kept Cunningham’s work perennially vanguard, and cemented his place as one of the most important artists of the 20th century.

For a figure of such elevated stature, he remained matter-of-fact about his process. “Over the history of art, something unfamiliar becomes part of society and everybody accepts it. Obviously, the artist goes on. You try to see what the next problem or question to ask is. That’s what an artist does; you find another question,” he said.

As announced before Cunningham’s death, the company will embark on a two-year international tour before closing down the Cunningham Dance Foundation, which supports the company. In lieu of flowers or acknowledgments, the foundation requests that contributions be made to the company’s Legacy.

This video inspired me to dance in public.  I now get strange looks when I do chaînés through Wal-Mart (for those of you who don’t know what chaînés are- http://www.youtube.com/watch?v=TwuQ-RXQ1EE).

by Katie Langan — Oct 13, 2009

As one of the most popular forms of study in dance studios around the country, why is jazz dance so hard to find on the concert stage? Jazz dancers go to Broadway or Los Angeles for commercial dance, but there are very few options for those who want to dance in a company. And today, when jazz dancers start their own companies, they often call them contemporary dance. Why? Is jazz passé? There are a growing number of hip hop companies and many contemporary dance companies, but jazz companies are few and far between. Again, why?

“I’ve asked that question myself,” says Nan Giordano, artistic director of Giordano Jazz Dance Chicago and the Jazz Dance World Congress. “My thoughts on jazz dance are that it lives in the current time, as well as the historical. It is the pulse of what is happening now along with the roots of African and where jazz came from. Our company definitely stretches the boundaries of what defines jazz dance.” Giordano goes on to say that it is difficult to find companies that suit the mission of the Jazz Dance World Congress. “For the Jazz Dance World Festival performances, we push the boundaries of jazz with companies that are not necessarily jazz companies but have a jazz vein in their repertoire.”

So where are all the jazz companies? “First,” Giordano says, “jazz dance is the younger of the art forms in terms of concert dance, and second, the pioneers of jazz dance and the very formulating masters did not choose to have a company. They honed in on teaching their technique as opposed to showcasing it. Our company was born because the Bolshoi Ballet was coming to Chicago and there were no jazz companies. Ann Barzel (who was a noted critic and historian) came to my father and asked him to get together some dancers to show the Russians some American jazz dancing. This was unprecedented.”

Giordano is on to something. It isn’t that such masters of jazz dance as Jack Cole, Matt Maddox and Bob Fosse didn’t showcase their work. They did, but just not by creating a dance company in the ballet and modern tradition.* There is good reason for this phenomenon.

Jazz is rooted in the shared experience. Stemming from African-American vernacular and several social dances, individualism came in the form of improvisational moments meant to spearhead further conversation within the social forum in which they were danced. Concurrently, this translates to the rise of the jazz musician, who also worked improvisationally within the group dynamic. These origins are important in following jazz dance’s trajectory, because while there was indeed showcasing, it was not necessarily in the form of set works prepared for the concert stage, as in the repertoire of modern and ballet. The move toward repertoire came in stages with each new forum moving it closer to concert dance: the minstrel show, vaudeville stage, film and finally Broadway, the showcase of all showcases. While jazz remained a popular form of dance, it was not perceived as artistically serious, making it difficult for jazz dance to compete in the concert dance world. In order to move more directly into the concert dance world, a shift of sorts would be necessary.

The origins of Les Ballet Jazz de Montreal are unquestionably rooted in jazz dance, but according to a quote from artistic director Louis Robitaille in Mary Staub’s October 2008 article in this magazine, the company struggled in its early years to be recognized alongside ballet and modern companies. Interesting to note, is that it has recently been rebranded under the name BJM Danse. There has also been a shift in the kinds of works the company now performs, which by all standards have brought outstanding recognition. However, it is no longer considered a jazz company but a contemporary one, a word that gets a lot of mileage in the dance world these days.

“I hate the word contemporary,” Giordano says. “The word is so overused. When I use the word, it means ‘current,’ it means ‘now.’” This is what we all mean whether we refer to contemporary ballet, modern, jazz or an amalgamation of all three and more. Unfortunately for the jazz world, we unwittingly defy any further delineation of the meaning of jazz dance and therefore chip away at an already elusive definition of just what constitutes the form today.

Cole and Fosse’s jazz techniques are now referred to as theater dance, while those of Luigi and Maddox are called classical jazz. We have east and west coast styles of jazz dance, each with its own mix of tap, hip hop, Latin and lyrical. Without question, the nature of jazz dance demands that it be given room to evolve; it needs to remain current. But how do we make these shifts and remain true to what differentiates jazz dance from other dance forms?

Billy Siegenfeld, artistic director of the Jump Rhythm Jazz Project, creator of the most recent jazz technique in several decades and a wonderfully passionate speaker about this topic, offers his point of view: “Marshall Stearns wrote an article entitled ‘Is Modern Jazz Dance Hopelessly Square?’ in which Stearns claimed that what defined jazz dancing was its rhythmic essence. I respond to this thinking and live by it,” says Siegenfeld.

“As a jazz drummer, I am very, very sensitive to so-called jazz rhythms, which are quite different from others. Two rhythms play against each other, one on the beat and one off the beat. The polyrhythmic result is what gives jazz its flavor. So, I have built a technique on rhythm. By doing so, we are trying to define characteristics of what defines jazz dancing,” he continues.

Siegenfeld says that bringing in other forms may impede the rhythmic nature of jazz dancing. “If you go with a jazz impulse—that is for me, a rhythmic impulse, to make bodies create rhythm—the body’s weight is used to create accents down into the earth,” he continues. “I call it ‘full-bodied rhythm,’ meaning that the body is in the service of making rhythm visible. But if a jazz choreographer is going to premise his/her work on a ballet-based technique or a release technique, that choreographer is by definition not allowing that body to perform rhythmically at its most articulate,” Siegenfeld concludes.

Siegenfeld’s two distinctions—the rhythmic impetus for the creation of jazz dance, and the emphasis on downward movement accents—may be shifting because of choreographers, but dancers’ training also comes into play. Now we have jazz dancers with tremendous ballet backgrounds and choreographers love to take advantage of this. What one sees a lot of today is a vocabulary that is based in the kinds of extraordinary things ballet training allows you to do. Because of this we find ourselves by default in different territory: the amalgamated.

The title by which artistic director Tracie Stanfield, a relative newcomer to concert jazz, identifies her company is Synthesis Dance Project. “Firmly grounded in classical technique and pulling from jazz and contemporary styles of movement, the company challenges the boundaries of concert dance,” her mission states. Stanfield explains, “I chose the word ‘synthesis’ because there are a lot of different sides to me, and I wanted freedom to be able to explore…. At the heart of what I do I will always think of myself as a jazz choreographer, but I definitely think that lyrical is an extension of jazz, and I define jazz dance by the vocabulary of the movement instead of the type of music used.”

For Stanfield, using a broader definition of jazz affords her company more opportunity. “As a jazz dancer and teacher, I have always felt frustration in seeing jazz placed only in commercial vehicles. So, I started my company and initially, we primarily performed jazz dance. However, there didn’t seem to be very many concert dance opportunities. Presenters always questioned whether I was offering ballet or modern. As an emerging choreographer, one of the only places I felt accepted was at the Jazz Dance World Congress.”

Questioning Stanfield to the edge of discomfort, she admits that she shies away from calling her troupe a jazz company partly for marketing purposes. “In an effort to be viable and to earn a living, for better or worse, the word jazz has the connotation of being old school, not hip, not of the time. In order to get my ideas produced, I have had to give up a little. I now use the catchall phrase that everyone else uses: contemporary. Jazz doesn’t stand on its own.”

As difficult as it may be to say these things out loud, Stanfield is telling it like it is. “I teach two classes on Mondays: an intermediate jazz and an intermediate contemporary lyrical. The contemporary lyrical class exactly doubles in size even though I teach exactly the same class,” says Stanfield. With this, we can unfortunately conclude that at least in some students’ minds, jazz is passé. Perception is everything.

So, there are clear reasons why pure jazz dance is in such a precarious place: jazz came late to the concert dance world; it entered against the latent superiority of concert dance; the form incorporated an amalgamation of techniques/styles before concert jazz dance got off the ground running; and there was a shift away from thinking of jazz rhythm as an impetus for creating movement. All of this puts jazz dancing in a prickly place. Where are all the jazz companies? There are the few. The rest have conceded and joined the catch-all contemporary umbrella – a necessary step for now until we find our way, or at least a better word.

Hey Dancers!

Here’s an awesome website for entering dance competitions through posting your videos online, and ALL DANCE DISCIPLINES ARE WELCOME! You could win:

1st Prize $500 DDS (Discount Dance Supply) Gift Card
2nd Prize $250 DDS (Discount Dance Supply) Gift Card
3rd prize $100 DDS (Discount Danc e Supply) Gift Card

All you have to do is:

Step 1: Register as a Dancer so you can compete in competitions!
Step 2: See what competitions are available that you might enter.
Step 3: Upload, or use your YouTube embed link to enter your performance video
Step 4: When your video competition moves into the voting stage – start voting! Tell all your Friends!!

http://danceworld.com/registerDancer.php

A flash dance in the middle of a train station! I love how all of the dancers just continue on as if they didn’t just randomly burst out into dance a fw seconds ago!

It’s that time of year again! Hype will be featuring there first show of the 2009-2010 season at Marquette University! This is a FREE show, and both teams will be in attendance. Also featuring some of the acts from the popular Dance Inc. show, and guest performance by remix! Hit us up if you want to go, doors open at 2:30 PM, show starts at 3… Check out the flier below :

Dirget

Do you need any tips on planning your next special event?

With me being well versed in the business, I know most of my clients have big complaints about other agencies/event staffing companies

The biggest complaint I get from my customers when booking talent and events through other agencies is; they get a lot of no call no shows. This gives an event planner a big decrease in the success of the event. To avoid no call no shows I have some tips for you. When booking talent with companies do these things

1. Make sure you make it very clear to your booking agent it is very important that each model/talent/bartender to show up to work on time

2. Ask your agent or agency if the staff they are providing is under contract with them this will decrees the level of no shows.

3.  Ask your booking agent is there anything in place in the agreement where the talent/event staff pays a fine if he or she does show up for work (this gives the talent an incentive to show up for work).

View Pictures of our Staff at events!

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If you sing act dance or model post your video on http://www.venustalenttv.com

The dance group is a professional team of dancers. Into her composition they can often access only dancers and often composition is being mixt up. Members of the group have appropriate arrangements get at national and foreign ballet schools. The dance group has the different dance, which thanks in its repertoire for living rhythms and beautiful colourful dresses of dancers, are giving real the show and the dance revue. With its performances the dance group is appearing in many towns in the country, he often also goes abroad. There is a possibility of organising performances of such a group during different celebrations. Such a dance revue is more and more often gracing organised parties by companies on the occasion of jubilee celebrations or contain of new light switches.  The dance group can also give a concert during parties connected with opening hotels, boarding houses, the restaurant. In many cases dancers are being rented for gracing private celebrations, so as the name day, the birthday, the engagement, girlish, bachelor evening parties, the marriage ceremony or the wedding. In such situations choice of the repertoire is possible by the customer, like also of dresses. Ordering can for themselves choose dances which the most they like can also decide on performances of the entire group or individual dancers or dancers. Very attractive performances can be in the open air, e.g. at known and popular holiday, as well as in towns put from a distance from the city hubbub centres. Its manager as well as all sorts advertising and promotional agencies are dealing with the organization of performances of the dance group. They are looking after the assurance for group of permanent performances, they are dealing with their organization, they are creating the schedule as well as they provide with the appropriate course of permanent and away-from-home concerts and they are establishing the repertoire.