the las vegas academy of the arts

Junior Group Results

Junior Group

5th: Le Corsaire (Club Dance)

4th: The Singer (Project 21)

3rd: Rhapsody (Project 21)

2nd: Easy Love (Danceology)

1st: Odonata (The Rock Center for Dance)

Junior Line

5th: What They Call Love (Creative Arts Academy), Strings (Club Dance)

4th: So Blunt (Bobbie’s School of Performing Arts)

3rd: Birds (Danceology)

2nd: Someone to Stay (CSPAS), Arsonist’s Lullaby (Larkin Dance Studio), Humans (Creative Arts Academy)

1st: Awakening (Club Dance)

Junior Ext. Line

5th: High Stakes (CSPAS)

4th: Danke Schoen (The Rock Center for Dance), Awake O Zion (Danceology)

3rd: SWERVE (Bobbie’s School of Performing Arts), Sit Down You’re Rockin the Boat (Club Dance)

2nd: Fresh Prince (CSPAS)

1st: Vibeology (Club Dance)

Junior Production

4th: Buzzin (Maries Dance Studio)

3rd: Zombies (Maries Dance Studio)

2nd: Cookin (Danceology), House For You (Aspire Dance Academy)

1st: No Mercy (Club Dance)

High Score Ballet

5th: Octect (B-Discovered Dance Company)

4th: Allegra (Creative Arts Academy)

3rd: Chambermaid Swing (CSPAS)

2nd: Sleeping Beauty (Maries Dance Studio)

1st: Le Corsaire (Club Dance)

High Score Contemporary

5th: What They Call Love (Creative Arts Academy), Strings (Club Dance), House For You (Aspire Dance Academy)

4th: Unmasked (YYC Dance Project), Danke Schoen (The Rock Center for Dance)

3rd: Arsonist’s Lullaby (Larkin Dance Studio), Someone to Stay (CSPAS), Humans (Creative Arts Academy), The Singer (Project 21)

2nd: Odonata (The Rock Center for Dance)

1st: Awakening (Club Dance)

High Score Hip-Hop

5th: Party (Larkin Dance Studio)

4th: Cookin (Danceology)

3rd: SWERVE (Bobbie’s School of Performing Arts)

2nd: Fresh Prince (CSPAS)

1st: No Mercy (Club Dance)

High Score Jazz

5th: So Blunt (Bobbie’s School of Performing Arts)

4th: High Stakes (CSPAS)

3rd: Happy Birthday (Larkin Dance Studio), Awake O Zion (Danceology)

2nd: Rhapsody (Project 21)

1st: Vibeology (Club Dance)

High Score Lyrical

5th: Sky Full of Stars (Club Dance)

4th: I Remember Her (Bobbie’s School of Performing Arts)

3rd: Moana (Pas de Deux Hawaii)

2nd: Viva La Vida (B-Discovered Dance Company), Cathedrals (Aspire Dance Academy)

1st: Afterglow (Club Dance)

High Score Musical Theatre

5th: Raunchy (B-Discovered Dance Company)

4th: Willy Wonka (Maries Dance Studio)

3rd: Devil in Disguise (Danceology)

2nd: Diamonds (CSPAS)

1st: Sit Down You’re Rockin the Boat (Club Dance)

High Score Specialty

5th: Caught (Dye’n 2 Dance)

4th: You Are A Memory (Larkin Dance Studio)

3rd: My Angel That Rocks Me (Danceology)

2nd: Did I Mention (Club Dance)

1st: Superego (Club Dance), Enclosed Spaces (Bobbie’s School of Performing Arts)

High Score Tap

5th: Pokemon (Larkin Dance Studio)

4th: Smooth Criminal (Maries Dance Studio)

3rd: Crabbuckit (The Rock Center for Dance)

2nd: Birds (Danceology)

1st: Easy Love (Danceology)

 


Adjucations under the cut!

Keep reading

TDA Las Vegas SOTY Master List

Mini/Junior Ballet

Teen/Senior Ballet

Mini/Junior Jazz

Teen/Senior Jazz

Mini/Junior MT/Specialty

Teen/Senior MT/Specialty

Mini/Junior Contemporary/Lyrical

Teen/Senior Contemporary/Lyrical

Mini/Junior Tap/Hip-Hop

Teen/Senior Tap/Hip-Hop

PeeWee & Mini Group Results

 PeeWee Group

5th: Proud Mary (CSPAS)

4th: Move (CSPAS)

3rd: The Fall (Larkin Dance Studio)

2nd: Silent Night (Club Dance)

1st: Swept Ashore (Larkin Dance Studio)

PeeWee Line

5th: Halloween (Danceology)

4th: Old School (Larkin Dance Studio)

3rd: If I Could (Modern Conceptions of Dance), Disco Fever (Modern Conceptions of Dance)

2nd: Lullaby (Club Dance)

1st: Hanami (The Rock Center for Dance)

PeeWee Extended Line

4th: Tarzan (Larkin Dance Studio)

3rd: Hard Knock Life (Club Dance)

2nd: Big Bad Wolf (Larkin Dance Studio)

1st: This Is What You Came For (CSPAS)

PeeWee Production

1st: Cookin’ With Grease (Club Dance)

Mini Group

5th: Can You Do This? (Project 21), Don’t Worry About Me (Club Dance)

4th: Til Morrow (Club Dance)

3rd: Open Road (Larkin Dance Studio)

2nd: Shadow Journal (The Rock Center for Dance)

1st: Smoke and Mirrors (CSPAS), Come To Me (CSPAS)

Mini Line

5th: We Run This (Club Dance), No More Fear (Club Dance)

4th: Wanting (Club Dance)

3rd: Lost It All (CSPAS)

2nd: Lady Marmalade (CSPAS)

1st: Dance Like Your Daddy (Project 21)

Mini Extended Line

5th: Undertow (Danceology)

4th: Smooth Criminal (Larkin Dance Studio)

3rd: Make Haste Precipitate (The Rock Center for Dance), Ninjaz (Creative Arts Academy)

2nd: Capture the Flag (Creative Arts Academy)

1st: We So Meek (Club Dance)


Adjudications below the cut!

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‘She’s What a Woman Should Be’ February 9, 1974

That’s Loretta Swit–But not necessarily Margaret Houlihan.

February 9, 1974.

By Edwin Kiester Jr.

Maj. Margaret Houlihan of the Mobile Army Surgical Hospital (M.A.S.H) is a super-efficient career Army nurse, true-blue for the service, who is the target of leering jokes from a couple of scapegrace surgeons because of her gung-ho attitudes and because of her flaming romance with the married, straight-arrow executive officer, Maj. Frank Burns.

               Loretta Swit is a blonde, green-eyed Polish-American actress from Passaic, N.J. who shuts her eyes at the sight of blood, lives alone in West Hollywood hills with a houseful of dogs but not so much as a serious boy friend, and considers “sex symbol” a couple of fighting words.

               What do the two women have in common?

According to Loretta, who plays “Hot Lips” Houlihan in the CBS series M*A*S*H they represent two stages of the liberation of the American female, 20 years apart. “At the time of the Korean War, just to have an affair with a married man was a mark of liberation in itself,” she says. “Of course, Margaret [she never calls her “Hot Lips”] denies it. She never fully faces up to her lust for Frank—that’s where the comedy comes in. Still, she’s very liberated, compared to others of her time.

               “Notice that she’s chosen to establish herself as a person, she hasn’t just accepted the traditional housewife-and-children role. She’s deliberately made the Army her life. And although she’s the only woman in the regular cast, the scripts don’t put her down. She’s never portrayed as anything but exceedingly competent in her work—as good at her job as the men are at theirs.”

               Her own view of liberation is somewhat different. She has to prove that “I’m not a Barbie doll. And when I meet someone who assumes that I am, it’s my duty as a person and a woman and an actress associated with a series of which I’m very proud to straighten out the image.” Recently during a promotional tour for M*A*S*H, a radio interviewer opened their talk with, “Do you drink your milk hot or cold?” Loretta quickly set him straight: “I don’t drink milk at all, but why don’t you ask me about the children’s book I wrote?”

               “It was,” she says, “some time before he recovered.”

And last spring when her costumer announced she was leaving because she didn’t receive the same salary as the men costumers performing the same duties, Loretta immediately carried the women’s rights protest to the producers. She set in motion a chain of events that resulted in all costumers at 20th Century Fox, where the show is produced, receiving the same pay regardless of sex.

               Wearing a butterscotch jersey with “CAMEL” emblazoned across the chest, and sitting cross-legged on the raised hearth of her four-room, secluded bungalow, Loretta recently reflected on what it’s like to be a modern woman on a male-chauvinist-pig program—and on her success since she arrived in Hollywood a scant four years ago. “I think I’m pretty lucky,” she says. “I’ve done pretty well for a girl who came out here on her way back to New York.”

Loretta Swit has wanted to be an actress ever since she attended dancing school at 7. It wasn’t an ambition that sat well with her mother and father, whose parents were Polish immigrants. “Mom practically threw herself in front of the door” when Loretta left for New York, after graduation from Pope Pius High School, to study acting. She first attended the American Academy of Dramatic Arts and later got individual coaching from Gene Frankel. She made several off-Broadway appearances, then got a big break as Agnes Gooch in a production of “Mame,” starring Susan Hayward, that played eight months at Caesars Palace in Las Vegas. When the show closed, she intended to return to New York and the stage, but friends persuaded her to visit the coast. Within a few weeks she landed a choice part in Gunsmoke. This was quickly followed by roles in Mannix, Mission: Impossible, Hawaii Five-O, Bonanza, and other shows. She also had a supporting role in a feature film, “Stand Up and Be Counted,” about women’s liberation.

               Loretta was in the islands filming Hawaii Five-O when the news broke that M*A*S*H was being planned as a TV series and that the plum role of Hot Lips was up for grabs. Indeed, she didn’t even have a clear view of what the part was about, having shut her eyes through most of the movie— “because I can’t stand blood.”

               “So when my agent called one day and said he’d sent me up for the part and I was to read that day I said, “Well fine!” Madlyn Rhue (an actress friend) and I were going shopping at Saks, and Fox was only about two minutes away, so it fit”—a laugh—“my schedule very nicely. I bought a hat at Saks—I still call it my lucky hat—and went over and read for them. In two weeks my agent called them and they said, “We’re going with her.”

               Gene Reynolds, co-producer of M*A*S*H, explains that casting the part was tricky. “We needed an actress who had both dramatic and comedic talents,” he says. “Very few could play humor and still come across credibly as competent and commanding head nurses.” Larry Gelbart, Reynolds’ partner, points out that the Korean War story is not a situation comedy but a comedic drama. It turns on a classic absurdity, centering on a group of people whose mission is to put people back together when the over-all goal is to destroy them. The conflict and comedy arise because the Hawkeye-Trapper faction recognises this absurdity, whereas the straight arrows, led by Hot Lips and Frank, do not.

From the first, according to Loretta, the cast was drawn together by the challenge. “Although,” she adds, “another thing was the temperature at the ranch where we shot the pilot. One day was 15 degrees and we had nothing to keep us warm but body heat. So we huddled together and shook and became very good friends.” When the men in the cast drew up their chairs in the circle to discuss a script or scene they solicited her views.

               “They helped me overcome my natural conditioning not to speak up in a group of men,” Loretta says. Alan Alda, who with his wife is active in what he calls “the human-rights movement,” was her special mentor. One of the points he made was that it was not incongruous to play an exploited sex object like Hot Lips—especially in a period piece like M*A*S*H. After all, he said she could play a murderess without believing in killing.

M*A*S*H’s first season, last year, was a success, and the series has been doing even better this season in a new Saturday slot.

Loretta’s part, says Gelbart, is getting “rounder” and “she is beginning to evolve more as a character.” The producers recently commissioned two 25-year-old women, Mary K. Place and Linda Bloodworth, to write what they called “Loretta’s show.” The episode explores the problems of the woman who has made her choices professionally and romantically but now wonders if they were right. Loretta spent five hours with the two, discussing her own views, before they began to write.

               Meanwhile, M*A*S*H has made abrupt changes in Loretta’s life. For one thing, it has reconciled her with her parents—“They’re no longer saying but what are you doing with your life’” For another, it has made her a public figure, a person who can’t just go to the movies the way she used to and who recently had to fight off a drunk in an airplane who wanted to investigate whether she really had hot lips. It has also increased the demand for her to appear in other shows. Recently she appeared in an original television movie, “Shirts/Skins,” and the has become a regular on game shows.

               She has also found time to take up the cudgels in defense of the Polish-American image— “and I can’t think of an image that needs improvement more. I think we have been maligned long enough.” She has made speeches for the League of Polish Americans and appeared on Merv Griffin’s all-Pilish show with Ted Knight and Gloria Swanson, “who’s about one eighth Pole.”

               Loretta manages to cram a lot of activity in her few spare hours. Painting is her current craze. The walls of the bungalow are covered with her worls—many of them unabashed copies of the masters, others displaying a free-flowing caricature style in the manner of John Held Jr. She also studies French, plays paddle tennis regularly, and cooks. She dotes on her dogs—Pief and Simba, both Pekingese, and a Peekapoo (half Peke, half poodle) named Zława (an affectionate Polish name, freely translated as “Precious”), plus three recently born puppies.

               But M*A*S*H is her main interest. When she’s not scheduled to work, she often visits the set anyway, just to see “those very special people.” She talks to them by phone regularly. She and Wayne Rogers play tennis and eat lunch together; and McLean Stevenson, who is divorced, brings his 5-year-old daughter around to visit. “Loretta’s very unselfish and giving,” says Stevenson, “she’s what a woman should be.”

Columnists have linked her romantically with actor Gardner McKay, but she pooh-poohs the idea. “I think that in their eagerness to attach me to someone, they chose somebody I’d known a long time. Gardner and I did stock together. There’s never been a romance, but people won’t let go of the thought. Someone apparently thinks it would be terrific if we got together and why don’t we? But we don’t and haven’t and didn’t and won’t.

               Oh I have a couple of friends,” she says, “but I’m not deeply involved in any serious romance.” She pauses a moment. “And I don’t know I’d tell you if I were. That may not be what you want to hear, but it’s honest.”

               In the authoritative voice of Maj. Margaret Houlihan, Loretta Swit had spoken.

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Julie Dickson - Journey for a Traveler 

solo for mini best dancer

CAA

TDA Las vegas

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Crystal Huang - Crippled Bird
Mini Solo
Yoko’s Dance and Performing Arts Academy
Starpower Las Vegas Nationals Battle for the Title 2017

TDA Las Vegas Teen Duet/Trio & Senior Solo Results

Teen Duet/Trio

1st Two of the Few Danceology

2nd Departure Michelle Latimer

3rd Save Tonight Center Stage

4th Piano Forte Danceology & Skin and Bones Larkin

5th Last Lost Chance Aspire & Silhouette Larkin


Senior Solos

1st Simrin Club

2nd Lexus Larkin

3rd Sydney Aspire

4th Elise Creative Arts Academy

5th Sierra The Rock

6th Aria Bobbies

7th Shannon Bobbies

8th Sophia Latent Dance Project

9th Ezra Center Stage

10th Isabelle Club

Pablo Picasso - Science and Charity (1897)

- Science and Charity is one of the major works from Picasso’s early years of training. At just 15, Picasso felt mature enough to take on large ambitious compositions as the culmination of his academic studies in Barcelona School of Fine Arts that were led by his father Jose Ruiz Picasso, who was the model for the doctor in this painting. Science and Charity was awarded an Honorary Mention at the General Fine Arts Exhibition in Madrid in spring 1897 and the Gold Medal at the Provincial Exhibition in Malaga held afterwards. After that, Joaquin Martinez de la Vega – a painter and a friend of Picasso’s father – held a glass of champagne and, letting a few drops fall on Picasso’s head, baptized him a Painter. And Picasso’s uncle, impressed by this wonderful achievement, sent money so that his nephew could study further in Madrid. However, despite the success, this would be Picasso’s last great work in traditional academic style. He left behind the intention, fostered by his father, to shape a career based on prizes and awards, to seek his artistic path outside and beyond the academy.

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Brightyn Brems
Mini Best Dancer at The Dance Awards Las Vegas 2017!!
Center Stage Performing Arts Academy.

TDA LAS VEGAS junior female best dancers

top 21 | top 11 | top 4

ava wagner · larkin dance studio

selena hamilton · project 21

audrey caldwell · club dance studio

brooke shaw · west coast school of the arts

sophie santella · the rock center for dance

hailey meyers · danceology

zoe ridge · center stage performing arts studio

haley beck · dance industry performing arts center

avery gay · master ballet academy

marley heath · club dance studio

peyton macdonald · yyc dance project

samantha mcgowan · club dance studio

christian burse · rise dance company

ava brooks · danceology

emma schipaanboord · creative arts academy

ally cheung · west coast school of the arts

brooke cheek · studio bleu

bennet espindabanick · larkin dance studio

ella horan · creative arts academy

milla fabirkiewicz · club dance studio

kailyn yi · visions dance company

TDA Las Vegas Closing Show --Performances recompeting for Best Performance

Mini:

Dance Like Yo Daddy from Project 21

Shadow Journal from The Rock Center for Dance

We So Meek from Club Dance Studio

Open Road from Larkin Dance Studio

Capture the Flag from Creative Arts Academy

Smoke and Mirrors from Center Stage Performing Arts Studio


Junior:

Odonata from The Rock Center for Dance

Fresh Prince from Center Stage Performing Arts Studio

Easy Love from Danceology

SWERVE from Bobbie’s School of Performing Arts

Awakening from Club Dance Studio


Teen:

Unspeakable Joy from Bobbie’s School of Performing Arts

The Self House from Club Dance Studio

Light It Up from Center Stage Performing Arts Studio

I Wasn’t Done from Larkin Dance Studio

Cheek to Cheek from Leighton Dance Project

SA from Danceology


Senior:

Proportions from Aspire Dance Academy

Settle In from Club Dance

La La Land from Larkin Dance Studio

Twisted from Leighton Dance Project

Red Room from Creative Arts Academy

All Night from Center Stage Performing Arts Studio


**PeeWee Group performing: Swept Ashore from Larkin Dance Studio

Teen Solos

10th: Colton Hagler – On Green Dolphin Street (Danceology), Elle Moulton – Anyone Who Knows What Love Is (Creative Arts Academy)

9th: Jazlyn Robinson – Transformations (Club), Jenna Valenzuela – Yearning (Club)

8th: Kennedi Childs – Stay Awake (Aspire)

7th: Kendall Wheeler – The Storm Within (Club), Amelie Or – Manteca (Leighton)

6th: Zack Sommer – The Haunted (Danceology), Sarah Bamford – Cherokee (Danceology)

5th: Jasmine Robinson – Surrender (Club)

4th: Sara Gutz – You Are the Sun (Larkin), Kate Happe – With You (Dance Arts Centre), Alexis Weldner – Against Time (Danceology)

3rd: Reyna Pine – Captive (Danceology)

2nd: Eva Igo – Farewell (Larkin)

1st: Ellie Wagner – Afloat (Larkin)

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Adjudications under the cut!

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“Dreaming” - Michelle Cheng, Orange County Performing Arts Academy junior lyrical solo, KAR National Finals Blue, Las Vegas NV, July 2015
Dreaming ~ original song by Jasmine Thompson

American Wizard HeadCanon

The American Wizarding Government is one of the youngest magical organizations in the world. Originally founded as the American Ministry of Magic the government collapsed during the Civil War. In 1857 a new government was installed that consisted of a Magical Congress, a Supreme Court and The Warlock in Chief. 

The United States has four large wizarding schools.

The Salem Association, an all girls school located in Massachusetts that focuses on Herbology, Potions, Care of Magical Creatures and Healing.

The Las Vegas School of Sorcery, which focuses on wandless magic and using other objects as a substitute for a wand.

The Chicago Institute of Magic, referred to as the ‘American Hogwarts’. The Institute uses much of the same curriculum as Hogwarts but places a heavy focus on Muggles Studies and specifically the eventual integration of magic and technology.

New York Sorcery and Military Academy, the United States possesses an army of witches and wizards so that they can respond to magical conflicts across the world. The NYSMA teaches both the Dark Arts and Defense and produces many high level duelers.