798 resultados para Dance versatility
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Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.
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Megan Henderson and Gay Walkington in Wattle Dance Group, Christmas 1968. The Wattle Dance Group met every Saturday in the Trades Hall, Brisbane, Australia. They held an concert at the end of each year. Janet Henderson was the mainstay and taught along with a few others. Jean Leary was the pianist. She took over from Eva Bacon.
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June Hill in Wattle Dance Group, Christmas 1968. The Wattle Dance Group met every Saturday in the Trades Hall, Brisbane, Australia. They held an concert at the end of each year. Janet Henderson was the mainstay and taught along with a few others. Jean Leary was the pianist. She took over from Eva Bacon.
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Julie Walkington and Karlin Bracegirdle in Wattle Dance Group, Christmas 1968. The Wattle Dance Group met every Saturday in the Trades Hall, Brisbane, Australia. They held an concert at the end of each year. Janet Henderson was the mainstay and taught along with a few others. Jean Leary was the pianist. She took over from Eva Bacon.
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The cytochrome P450 (P450) enzymes involved in drug metabolism are among the most versatile biological catalysts known. A small number of discrete forms of human P450 are capable of catalyzing the monooxygenation of a practically unlimited variety of xenobiotic substrates, with each enzyme showing a more or less wide and overlapping substrate range. This versatility makes P450s ideally suited as starting materials for engineering designer catalysts for industrial applications. In the course of heterologous expression of P450s in bacteria, we observed the unexpected formation of blue pigments. Although this was initially assumed to be an artifact, subsequent work led to the discovery of a new function of P450s in intermediary metabolism and toxicology, new screens for protein engineering, and potential applications in the dye and horticulture industries.
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One perpetual concern among Indigenous Australian peoples is authenticity of voice. Who has the right to speak for, and to make representations about, the knowledges and cultures of Indigenous Australian peoples? Whose voice is more authentic, and what happens to these ways of knowing when they make the journey into mainstream Western academic classrooms? In this paper, I examine these questions within the politics of “doing” Indigenous Australian studies by focusing on my own experiences as a lecturer in the Aboriginal and Torres Strait Islander Studies Unit at the University of Queensland. My findings suggest that representation is a matter of problematizing positionality and, from a pedagogical standpoint, being aware of, and willing to address, the ways in which power, authority, and voice are performed and negotiated as teachers and learners of Indigenous Australian studies.
Resumo:
Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.