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<mask> (born March 31, 1987) is an American former professional baseball outfielder. He played for the Los Angeles Angels of Anaheim / Los Angeles Angels, St. Louis Cardinals, Philadelphia Phillies, Tampa Bay Rays and Atlanta Braves. The Angels selected him in the tenth round of the 2005 amateur draft from Notre Dame Preparatory High School in Scottsdale, Arizona. He made his MLB debut for the Angels in 2010. The Cardinals obtained him in a trade with the Angels after the 2013 season. <mask> has gained considerable attention for his defensive skills, including his range, speed and ability to make what are deemed difficult catches. After bouncing around a variety of different clubs over the next six years (including the Philadelphia Phillies, Tampa Bay Rays, Atlanta Braves), <mask> ended his career with the Angels before joining the Colorado Rockies front office as an advance scout.Career
<mask> attended Desert Mountain High School for his freshman year and later transferred to Notre Dame Preparatory High School in Scottsdale, Arizona. He also played football at Notre Dame High as wide receiver and kickoff returner. Los Angeles Angels of Anaheim
The Los Angeles Angels of Anaheim selected <mask> in the 10th round of the 2005 Major League Baseball draft, signing him on August 18, 2005. In 2008, <mask> registered 50 stolen bases (SB) and a .295 batting average (AVG) with the Rancho Cucamonga Quakes. <mask> spent 2009 with the Arkansas Travelers. In 110 games, he batted .281, scored 72 runs, hit 16 doubles, 14 triples, six home runs (HR) and drove in 51 runners (RBI). In 109 games in the outfield, he recorded 294 putouts,

masks:
Peter Christopher Bourjos
Bourjos
Bourjos
Bourjos
Bourjos
Bourjos
Bourjos


type: original

texts: five double plays and seven assists in 302 total chances with only one error for a .997 fielding percentage.He led the Texas League (TL) in triples and led the Travelers in runs. In May, he was selected as the Angels' Defensive Player of the Month and as a TL All-Star. He was also recognized as the Angels minor league system's Defensive Player of the Year in 2009. In the offseason after 2009, the Angels bought his contract and added him to their 40-man roster to prevent him from being selected by another team in the Rule 5 draft. Going into the 2010 season, Baseball America named him the second-best prospect in the Angels system, the "fastest baserunner", and "best defensive outfielder." Through the first three months of the 2010 season, he batted .314 with 12 triples and 27 stolen bases with the Salt Lake Bees. In 487 games and seven minor league seasons in the Angels system, <mask> batted .291 with a .345 on-base percentage, .455 slugging percentage, 88 doubles, 54 triples, 41 HR, 225 RBI and 141 SB.<mask> made his Major League debut on August 3, 2010. In an August game against the Toronto Blue jays, he nearly robbed Adam Lind of a triple when he ran so fast into the wall that the ball caromed off his forearm. That same game, he made a diving catch in shallow left-center field to rob Aaron Hill of a hit, caught Yunel Escobar's deep fly ball on the warning track at the 400-foot mark on the wall in center field and took away a hit from José Bautista on a rocket line drive in the ninth. <mask> appeared in 51 games that year, batting .204 with six doubles, four triples, six home runs and ten SB. He played 450 innings in

masks: Bourjos Bourjos Bourjos


texts: the outfield and recorded ten assists, which placed second among all American League (AL) center fielders. In 2011, he, along with Austin Jackson, led the AL with 11 triples. It was an overall breakout season for <mask> with a .271 batting average, 26 doubles, 12 HR, 49 extra base hits and 22 stolen bases in 147 games.He also registered seven assists, fifth among AL center fielders. The next season, he lost most of his playing time as heralded prospect Mike Trout emerged and the Angels continued playing Vernon Wells and Torii Hunter. His three-run, inside-the-park home run on April 11 erased a two-run deficit to the Minnesota Twins in the fifth inning on April 11, but the Angels were eventually defeated 6–5. It was the first such HR for an Angel since Gary Matthews, Jr., did so June 17, 2007 at Dodger Stadium. In September, Bourjos suffered wrist soreness in the aftermath of being hit by a pitch. He appeared in 101 games and totaled just 195 plate appearances. In  innings on defense, he made just one error for a .994 fielding percentage.The Halos won 64 of his 95 appearances (.674 winning percentage) in center field. His final batting line included a .220 batting average, .291 on-base percentage and .315 slugging percentage, three HR, seven doubles, and three stolen bases. After the season, Hunter signed with the Detroit Tigers as a free agent, clearing an opportunity for <mask> regain regular playing time. To increase his production at the plate, <mask> began taking batting practice off a tee before the 2013 season. His strategy was to change his approach by hitting more ground balls and line drives, and fewer fly


texts:
 balls. In 2011, he had posted a ground ball rate of 46.8 percent. In 2013, he had raised that total to 58.7 percent, which was top-ten for hitters with at least 170 plate appearances.The extra practice and change in approach showed improved results. As of June 29, he had carried a .333 batting average, .392 on-base percentage and .457 slugging percentage and started to recoup a regular role. However, in August, <mask> took another pitch off his wrist from Jordan Lyles of the Houston Astros. He attempted to rehabilitate it without surgery, but produced just five hits in 46 PA in August and September. Surgery was required to repair the wrist. His final 2013 batting line included a .274 AVG, .333 OBP, .374 SLG, three doubles, three triples and three home runs with six stolen bases in 55 total games and 196 PA.

St. Louis Cardinals

On November 22, 2013, the Angels traded <mask> and Randal Grichuk to the St. Louis Cardinals for third baseman David Freese and relief pitcher Fernando Salas. With the previous season's starting center fielder Jon Jay producing a decline in offensive performance and below average defense, acquiring Bourjos allowed the Cardinals to offset some defensive inconsistency.On January 17, 2014, <mask> and the Cardinals avoided arbitration by agreeing to a one-year, $1.2 million contract, with a plate appearance-based performance incentive worth $150,000. <mask>' first three-hit game for the Cardinals occurred on May 7, 2014, against the Atlanta Braves. He also hit his second home run of the season as the Cardinals prevailed, 7–1. During a May 29 game against the San Francisco Giants, he advanced from

masks: Bourjos Bourjos Bourjos Bourjos


texts: first base to third on pitcher Jaime García's sacrifice bunt. The Giants had optioned for an infield shift, leaving third base without a stationed fielder. The play also occurred without the benefit of an error. <mask>' first home run at Busch Stadium gave the Cardinals the go-ahead run against the Kansas City Royals on June 4.<mask>' fourth home run of the season came in the ninth inning against the Baltimore Orioles' Zach Britton on August 10, to opposite field over the right field scoreboard in Oriole Park at Camden Yards. Playing in 119 games, <mask> batted .231 with a .294 on base percentage in 2014. A slow start to the season caused him to lose playing time to Jay. <mask> made his first career playoff appearance against the Los Angeles Dodgers in the National League Division Series (NLDS) and the Giants in the National League Championship Series (NLCS), playing in five games and batting twice. The Giants eliminated the Cardinals from postseason play. On October 21, 2014, <mask> had surgery to repair hip impingement. He stated that it had affected his swing, contributing to lower offensive production, including his batting average.<mask> and the Cardinals avoided arbitration for the second consecutive season by agreeing to a one-year, $1.65 million contract, on January 15, 2015. He began the season as the fourth outfielder, with most of the playing time in center field going to Jay. His speed impacted both offense and defense in the April 29 win against the Philadelphia Phillies. He collected two hits, including an RBI triple, and covered long range to snare Chase Utley's fly ball at the warning track.

masks: Bourjos Bourjos Bourjos Bourjos Bourjos Bourjos


texts:
 Philadelphia Phillies

On December 2, 2015, the Philadelphia Phillies claimed Bourjos off of waivers. <mask> spent the entire season with the Phillies, hitting .251/.292/.389 with 5 home runs and 23 RBIs. Tampa Bay Rays
On January 27, 2017, Bourjos signed a minor league deal with the Chicago White Sox.On March 28, 2017, he was traded to the Tampa Bay Rays for cash considerations or a player to be named later. He played in 100 games for the Rays, hitting .223/.272/.383 with 5 home runs. Chicago Cubs
On February 1, 2018, <mask> signed a minor league contract with the Chicago Cubs. He was released on March 23. Atlanta Braves
On March 26, 2018, the Atlanta Braves signed <mask> to a one-year contract worth $1 million. He was designated for assignment on April 25, and later released on April 29. He resigned a minor league deal on May 1, 2018.He had his contract purchased for the second time on May 31, 2018. In 2018 with Atlanta he batted .205/.239/.364. On July 2, 2018, <mask> elected free agency after being designated for assignment and subsequently clearing waivers. San Francisco Giants
On July 13, 2018, the San Francisco Giants signed <mask> to a minor league deal. Second stint with Angels
On November 14, 2018, <mask> signed a minor league deal with the Los Angeles Angels. <mask> made the team in Spring Training and was selected to the Opening Day roster on March 27, 2019. Bourjos hit .091/.109/.114 in 26 games with the team before being designated for assignment on May 7.On May 10, 2019, <mask> was released by the Angels. Post-Playing Career
On January 30, 2020, <mask> was hired as an advance scout for the Colorado

masks: Bourjos Bourjos Bourjos Bourjos Bourjos Bourjos Bourjos Bourjos Bourjos


texts:
 Rockies, effectively ending his playing career. On November 11, 2021, <mask> was hired by the Arizona Diamondbacks to serve as the team's roving minor league outfield and baserunning coordinator. Skills profile
<mask> was prized mainly for his speed and defense. According to Fangraphs in 2013, he "rate(d) as one of the very best defensive center fielders in baseball", and also noted his base running. Baseball Prospectus noted that he "covered so much ground as a center fielder that it sometimes backfired early in the season. His corner outfielders (Hunter and Wells), unaccustomed to flanking a player with such range, sometimes weren't giving way to <mask>, while other times they flinched or back away at his mere approach."Even after Trout became a full-time player for the Angels in 2012, <mask> exclusively played center field when he was in the game, pushing Trout into left field. Through 2013, center field was the only position <mask> had played in 341 Major League games, aside from five as a designated hitter. As a hitter, <mask> was mainly a ground ball hitter, posting a 50.5% ground ball rate over his career as of 2013. In 2011, he posted his lowest career ground ball rate at 46.8%. Every other season, it has been above 50%. In 2013, it was 58.7%. According to former Cardinals pitching coach Dave Duncan's anecdotes, <mask>' batted-ball style is one that allows little margin for extra base hits.Personal
<mask> is the son of former San Francisco Giants outfielder <mask>, who played in the famous 33 inning minor league baseball game between the Pawtucket Red Sox and Rochester Red Wings in 1981. <mask> and his wife,

masks:
Bourjos
Bourjos
Bourjos
Bourjos
Bourjos
Bourjos
Bourjos
Bourjos
Chris Bourjos
Bourjos


texts:
 Ashley, have a son and a daughter. See also

 List of second-generation Major League Baseball players

References

External links

<mask> at SABR (Baseball BioProject)

1987 births
Living people
Sportspeople from Park Ridge, Illinois
Baseball players from Illinois
Major League Baseball outfielders
St. Louis Cardinals players
Philadelphia Phillies players
Tampa Bay Rays players
Atlanta Braves players
Los Angeles Angels players
Orem Owlz players
Arizona League Angels players
Cedar Rapids Kernels players
Rancho Cucamonga Quakes players
Arkansas Travelers players
Salt Lake Bees players
Leones del Escogido players
American expatriate baseball players in the Dominican Republic
Inland Empire 66ers of San Bernardino players
Lehigh Valley IronPigs players
Charlotte Stone Crabs players
Gwinnett Stripers players
Sacramento River Cats


texts: <mask> (June 22, 1909 – May 21, 2006) was an American dancer, choreographer, creator of the Dunham Technique, author, educator, anthropologist, and social activist. <mask> had one of the most successful dance careers in African-American and European theater of the 20th century, and directed her own dance company for many years. She has been called the "matriarch and queen mother of black dance." While a student at the University of Chicago, <mask> also performed as a dancer and ran a dance school, and earned an early bachelor's degree in anthropology. Receiving a fellowship, she went to the Caribbean to study dance and ethnography. She later returned to graduate school and submitted a master's thesis in anthropology. She did not complete the other requirements for that degree, however, she realized that her professional calling was performance.At the height of her career in the 1940s and 1950s, <mask> was renowned throughout Europe and Latin America and was widely popular in the United States. The Washington Post called her "dancer <mask> the Great." For almost 30 years she maintained the Katherine Dunham Dance Company, the only self-supported American black dance troupe at that time. Over her long career, she choreographed more than ninety individual dances. <mask> was an innovator in African-American modern dance as well as a leader in the field of dance anthropology, or ethnochoreology. She also developed the Dunham Technique, a method of movement to support her dance works. Early years in a Chicago hospitest of Chicago.Her father, Albert Millard <mask>, was a descendant of slaves from West Africa and Madagascar. Her mother, Fanny June <mask>, who, according to <mask>'s memoir, possessed Indian, French Canadian, English

masks:
Katherine Mary Dunham
Dunham
Dunham
Dunham
Katherine
Dunham
Dunham
Dunham
Dunham


texts: and probably African ancestry, died when <mask> was four years old. She had an older brother, Albert Jr., with whom she had a close relationship. After her mother died, her father left the children with their aunt Lulu on Chicago's South Side. At the time, the South Side of Chicago was experiencing the effects of the Great Migration were Black southerners attempted to escape the Jim Crow South and poverty. Along with the Great Migration, came White flight and her aunt Lulu's business suffered and ultimately closed as a result. This led to a custody battle over <mask> and her brother, brought on by their maternal relatives.This meant neither of the children were able to settle into a home for a few years. However, after her father remarried Albert Sr. and his new wife, Annette Poindexter <mask>, took in <mask> and her brother. The family moved to a predominantly white neighborhood in Joliet, Illinois. There, her father ran a dry-cleaning business. <mask> became interested in both writing and dance at a young age. In 1921, a short story she wrote when she was 12 years old, called "Come Back to Arizona", was published in volume 2 of The Brownies' Book. She graduated from Joliet Central High School in 1928, where she played baseball, tennis, basketball, and track; served as vice-president of the French Club, and was on the yearbook staff.In high school she joined the Terpsichorean Club and began to learn a kind of modern dance based on the ideas of Europeans [Émile Jaques-Dalcroze] and [Rudolf von Laban]. At the age of 15, she organized "The Blue Moon Café", a fundraising cabaret to raise money for Brown's Methodist Church in Joliet, where she gave her first public performance. While still a high school student, she opened a

masks: Dunham Katherine Dunham Katherine Dunham


texts:
 private dance school for young black children. Academia and anthropology
After completing her studies at Joliet Junior College in 1928, <mask> moved to Chicago to join her brother Albert at the University of Chicago. During her time in Chicago, <mask> enjoyed holding social gatherings and inviting visitors to her apartment. Such visitors included ethnomusicologist Alan Lomax, novelist and anthropologist Zora Neale Hurston, Robert Redfield, Bronisław Malinowski, A.R. Radcliffe-Brown, Fred Eggan, and many others that she met in and around the University of Chicago.After noticing that <mask> enjoyed working and socializing with people, her brother suggested that she study Anthropology. University of Chicago's anthropology department was fairly new and the students were still encouraged to learn aspects of sociology, distinguishing it from other anthropology departments in the US that focused almost exclusively on non-Western peoples. The Anthropology department at Chicago in the 1930s and 40s has been described as holistic, interdisciplinary, with a philosophy of liberal humanism, and principles of racial equality and cultural relativity. <mask> officially joined the department in 1929 as an anthropology major, while studying dances of the African diaspora. As a student, she studied under anthropologists such as A.R. Radcliffe-Brown, Edward Sapir, Melville Herskovits, Lloyd Warner and Bronisław Malinowski. Under their tutelage, she showed great promise in her ethnographic studies of dance.Redfield, Herskovits, and Sapir's contributions to cultural anthropology, exposed <mask> to topics and ideas that inspired her creatively and professionally. For example, she was highly influenced both by Sapir's viewpoint on culture being

masks: Dunham Dunham Katherine Dunham Dunham


texts: made up of rituals, beliefs, customs and artforms, and by Herkovits' and Redfield's studies highlighting links between African and African American cultural expression. It was in a lecture by Redfield that she learned about the relationship between dance and culture, pointing out that Black Americans had retained much of their African heritage in dances. <mask>'s relationship with Redfield in particular was highly influential. She wrote that he "opened the floodgates of anthropology" for her. He showed her the connection between dance and social life giving her the momentum to explore a new area of anthropology, which she later termed "Dance Anthropology". In 1935, <mask> was awarded travel fellowships from the Julius Rosenwald and Guggenheim foundations to conduct ethnographic fieldwork in Haiti, Jamaica, Martinique, and Trinidad studying the dance forms of the Caribbean.One example of this was studying how dance manifests within Haitian Vodou. <mask> also received a grant to work with Professor Melville Herskovits of Northwestern University, whose ideas about retention of African culture among African Americans served as a base for her research in the Caribbean. After her research tour of the Caribbean in 1935, <mask> returned to Chicago in the late spring of 1936. In August she was awarded a bachelor's degree, a Ph.B., bachelor of philosophy, with her principal area of study being social anthropology. She was one of the first African-American women to attend this college and to earn these degrees. In 1938, using materials collected ethnographic fieldwork, <mask> submitted a thesis, The Dances of Haiti: A Study of Their Material Aspect, Organization, Form, and Function,. to the Department of Anthropology in partial

masks: Dunham Dunham Dunham Dunham Dunham


texts:
 fulfillment of the requirements for a master's degree.However, fully aware of her passion for both dance performance, as well as anthropological research, she felt she had to choose between the two. Although <mask> was offered another grant from the Rockefeller Foundation to pursue her academic studies, she chose dance. She did this for many reasons. However, one key reason was that she knew she would be able to reach a broader public through dance, as opposed to the inaccessible institutions of academia. Never completing her required coursework for her graduate degree, she departed for Broadway and Hollywood. Despite her choosing dance, <mask> often voiced recognition of her debt to the discipline: "without [anthropology] I don't know what I would have done….In anthropology, I learned how to feel about myself in relation to other people…. You can't learn about dances until you learn about people.In my mind, it's the most fascinating thing in the world to learn". Ethnographic fieldwork
Her field work in the Caribbean began in Jamaica, where she lived for several months in the remote Maroon village of Accompong, deep in the mountains of Cockpit Country. (She later wrote Journey to Accompong, a book describing her experiences there.) Then she traveled to Martinique and to Trinidad and Tobago for short stays, primarily to do an investigation of Shango, the African god who was still considered an important presence in West Indian religious culture. Early in 1936, she arrived in Haiti, where she remained for several months, the first of her many extended stays in that country through her life. While in Haiti, <mask> investigated Vodun rituals and made extensive research notes, particularly on the dance movements of the

masks: Dunham Dunham Dunham


texts:
 participants. She recorded her findings through ethnographic fieldnotes and by learning dance techniques, music and song, alongside her interlocutors.This style of participant observation research was not yet common within the discipline of anthropology. However, it has now became a common practice within the discipline. She was one of the first researchers in anthropology to use her research of Afro-Haitian dance and culture for remedying racist misrepresentation of African culture in the miseducation of Black Americans. She felt it was necessary to use the knowledge she gained in her research to acknowledge that Africanist esthetics are significant to the cultural equation in American dance. Years later, after extensive studies and initiations in Haiti, she became a mambo in the Vodun religion. She also became friends with, among others, Dumarsais Estimé, then a high-level politician, who became president of Haiti in 1949. Somewhat later, she assisted him, at considerable risk to her life, when he was persecuted for his progressive policies and sent in exile to Jamaica after a coup d'état.Dancer and choreographer

From 1928 to 1938

<mask>'s dance career first began in Chicago when she joined the Little Theater Company of Harper Avenue. In 1928, while still an undergraduate, <mask> began to study ballet with Ludmilla Speranzeva, a Russian dancer who had settled in Chicago, after having come to the United States with the Franco-Russian vaudeville troupe Le Théâtre de la Chauve-Souris, directed by impresario Nikita Balieff. <mask> also studied ballet with Mark Turbyfill and Ruth Page, who became prima ballerina of the Chicago Opera. Additionally, she worked closely with Vera Mirova who specialized in "Oriental" dance.


texts: Through her ballet teachers, she was also exposed to Spanish, East Indian, Javanese, and Balinese dance forms. In 1931, at the age of 21, <mask> formed a group called Ballets Nègres, one of the first black ballet companies in the United States. The group performed <mask>'s Negro Rhapsody at the Chicago Beaux Arts Ball.After this well-received performance in 1931, the group was disbanded. Encouraged by Speranzeva to focus on modern dance instead of ballet, <mask> opened her first dance school in 1933, calling it the Negro Dance Group. It was a venue for <mask> to teach young black dancers about their African heritage. In 1934–1936, <mask> performed as a guest artist with the ballet company of the Chicago Opera. Ruth Page had written a scenario and choreographed La Guiablesse ("The Devil Woman"), based on a Martinican folk tale in Lafcadio Hearn's Two Years in the French West Indies. It opened in Chicago in 1933, with a black cast and with Page dancing the title role. The next year the production was repeated with <mask> in the lead and with students from Dunham's Negro Dance Group in the ensemble.Her dance career was interrupted in 1935 when she received funding from the Rosenwald Foundation which allowed her to travel to Jamaica, Martinique, Trinidad, and Haiti for eighteen months to explore each country's respective dance cultures. The result of this trip was <mask>'s Master's thesis entitled "The Dances of Haiti". Having completed her undergraduate work at the University of Chicago and decided to pursue a performing career rather than academic studies, <mask> revived her dance ensemble. In 1937 she traveled with them to New York to take part in A Negro Dance Evening, organized by Edna Guy at the 92nd Street YMHA. The

masks:
Dunham
Dunham
Dunham
Dunham
Dunham
Katherine Dunham
Dunham
Dunham


texts:
 troupe performed a suite of West Indian dances in the first half of the program and a ballet entitled Tropic Death, with Talley Beatty, in the second half. Upon returning to Chicago, the company performed at the Goodman Theater and at the Abraham Lincoln Center. <mask> created Rara Tonga and Woman with a Cigar at this time, which became well known.With choreography characterized by exotic sexuality, both became signature works in the <mask> repertory. After her company performed successfully, <mask> was chosen as dance director of the Chicago Negro Theater Unit of the Federal Theatre Project. In this post, she choreographed the Chicago production of Run Li'l Chil'lun, performed at the Goodman Theater. She also created several other works of choreography, including The Emperor Jones (a response to the play by Eugene O'Neill) and Barrelhouse. At this time <mask> first became associated with designer John Pratt, whom she later married. Together, they produced the first version of her dance composition L'Ag'Ya, which premiered on January 27, 1938, as a part of the Federal Theater Project in Chicago. Based on her research in Martinique, this three-part performance integrated elements of a Martinique fighting dance into American ballet.From 1939 to the late 1950s
In 1939, <mask>'s company gave additional performances in Chicago and Cincinnati and then returned to New York. <mask> had been invited to stage a new number for the popular, long-running musical revue Pins and Needles 1940, produced by the International Ladies' Garment Workers Union. As this show continued its run at the Windsor Theater, <mask> booked her own company in the theater for a Sunday performance. This concert, billed as Tropics and Le Hot Jazz, included not

masks: Dunham Dunham Dunham Dunham Dunham Dunham Dunham


texts: only her favorite partners Archie Savage and Talley Beatty, but her principal Haitian drummer, Papa Augustin. Initially scheduled for a single performance, the show was so popular that the troupe repeated it for another ten Sundays. Based on this success, the entire company was engaged for the 1940 Broadway production Cabin in the Sky, staged by George Balanchine and starring Ethel Waters. With <mask> in the sultry role of temptress Georgia Brown, the show ran for 20 weeks in New York.It next moved to the West Coast for an extended run of performances there. The show created a minor controversy in the press. After the national tour of Cabin in the Sky, the <mask> company stayed in Los Angeles, where they appeared in the Warner Brothers short film Carnival of Rhythm (1941). The next year, after the US entered World War II, <mask> appeared in the Paramount musical film Star Spangled Rhythm (1942) in a specialty number, "Sharp as a Tack," with Eddie "Rochester" Anderson. Other movies she performed in as a dancer during this period included the Abbott and Costello comedy Pardon My Sarong (1942) and the black musical Stormy Weather (1943), which featured a stellar range of actors, musicians and dancers. The company returned to New York. The company was located on the property that formerly belonged to the Isadora Duncan Dance in Caravan Hill but subsequently moved to W 43rd Street.In September 1943, under the management of the impresario Sol Hurok, her troupe opened in Tropical Review at the Martin Beck Theater. Featuring lively Latin American and Caribbean dances, plantation dances, and American social dances, the show was an immediate success. The original two-week engagement was extended by popular demand into a three-month


texts: run, after which the company embarked on an extensive tour of the United States and Canada. In Boston, then a bastion of conservatism, the show was banned in 1944 after only one performance. Although it was well received by the audience, local censors feared that the revealing costumes and provocative dances might compromise public morals. After the tour, in 1945, the Dunham company appeared in the short-lived Blue Holiday at the Belasco Theater in New York, and in the more successful Carib Song at the Adelphi Theatre. The finale to the first act of this show was Shango, a staged interpretation of a Vodun ritual, which became a permanent part of the company's repertory.In 1946, <mask> returned to Broadway for a revue entitled Bal Nègre, which received glowing notices from theater and dance critics. Early in 1947 <mask> choreographed the musical play Windy City, which premiered at the Great Northern Theater in Chicago. Later in the year she opened a cabaret show in Las Vegas, during the first year that the city became a popular entertainment as well as gambling destination. Later that year she took her troupe to Mexico, where their performances were so popular that they stayed and performed for more than two months. After Mexico, <mask> began touring in Europe, where she was an immediate sensation. In 1948, she opened A Caribbean Rhapsody, first at the Prince of Wales Theatre in London, and then took it to the Théâtre des Champs-Élysées in Paris. This was the beginning of more than 20 years during which <mask> performed with her company almost exclusively outside the United States.During these years, the Dunham company appeared in some 33 countries in Europe, North Africa, South America, Australia, and East Asia. <mask>


texts:
 continued to develop dozens of new productions during this period, and the company met with enthusiastic audiences in every city. Despite these successes, the company frequently ran into periods of financial difficulties, as <mask> was required to support all of the 30 to 40 dancers and musicians. <mask> and her company appeared in the Hollywood movie Casbah (1948) with Tony Martin, Yvonne De Carlo, and Peter Lorre, and in the Italian film Botta e Risposta, produced by Dino de Laurentiis. Also that year they appeared in the first ever, hour-long American spectacular televised by NBC, when television was first beginning to spread across America. This was followed by television spectaculars filmed in London, Buenos Aires, Toronto, Sydney, and Mexico City. In 1950, Sol Hurok presented <mask>nham and Her Company in a dance revue at the Broadway Theater in New York, with a program composed of some of <mask>'s best works.It closed after only 38 performances. The company soon embarked on a tour of venues in South America, Europe, and North Africa. They had particular success in Denmark and France. In the mid-1950s, <mask> and her company appeared in three films: Mambo (1954), made in Italy; Die Grosse Starparade (1954), made in Germany; and Música en la Noche (1955), made in Mexico City. Later career
The <mask> company's international tours ended in Vienna in 1960. They were stranded without money because of bad management by their impresario. <mask> saved the day by arranging for the company to be paid to appear in a German television special, Karibische Rhythmen, after which they returned to the United States.<mask>'s last appearance on Broadway was in 1962 in Bamboche!, which included a few former <mask> dancers in the cast and

masks:
Dunham
Dunham
Katherine Du
Dunham
Dunham
Dunham
Dunham
Dunham
Dunham


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 a contingent of dancers and drummers from the Royal Troupe of Morocco. It was not a success, closing after only eight performances. A highlight of <mask>'s later career was the invitation from New York's Metropolitan Opera to stage dances for a new production of Aida, starring soprano Leontyne Price. In 1963, she became the first African American to choreograph for the Met since Hemsley Winfield set the dances for The Emperor Jones in 1933. The critics acknowledged the historical research she did on dance in ancient Egypt, but they were not appreciative of her choreography as staged for this production. Subsequently, <mask> undertook various choreographic commissions at several venues in the United States and in Europe. In 1966, she served as a State Department representative for the United States to the first ever World Festival of Negro Arts in Dakar, Senegal.In 1967 she officially retired, after presenting a final show at the famous Apollo Theater in Harlem, New York. Even in retirement <mask> continued to choreograph: one of her major works was directing the premiere full, posthumous production Scott Joplin's opera Treemonisha in 1972, a joint production of the Atlanta Symphony Orchestra and the Morehouse College chorus in Atlanta, conducted by Robert Shaw. This work was never produced in Joplin's lifetime, but since the 1970s, it has been successfully produced in many venues. In 1978 <mask> was featured in the PBS special, Divine Drumbeats: <mask>nham and Her People, narrated by James Earl Jones, as part of the Dance in America series. Alvin Ailey later produced a tribute for her in 1987–88 at Carnegie Hall with his American Dance Theater, entitled The Magic of Katherine Dunham. Educator and writer

In 1945, <mask>

masks:
Dunham
Dunham
Dunham
Dunham
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texts: opened and directed the Katherine Dunham School of Dance and Theatre near Times Square in New York City. Her dance company was provided with rent-free studio space for three years by an admirer and patron, Lee Shubert; it had an initial enrollment of 350 students.The program included courses in dance, drama, performing arts, applied skills, humanities, cultural studies, and Caribbean research. In 1947 it was expanded and granted a charter as the <mask> Dunham School of Cultural Arts. The school was managed in <mask>'s absence by Syvilla Fort, one of her dancers, and thrived for about 10 years. It was considered one of the best learning centers of its type at the time. Schools inspired by it were later opened in Stockholm, Paris, and Rome by dancers who had been trained by <mask>. Her alumni included many future celebrities, such as Eartha Kitt. As a teenager, she won a scholarship to the Dunham school and later became a dancer with the company, before beginning her successful singing career.<mask> and Kitt collaborated again in the 1970s in an Equity Production of the musical Peg, based on the Irish play, Peg O' My Heart. Dunham Company member Dana McBroom-Manno was selected as a featured artist in the show, which played on the Music Fair Circuit. Others who attended her school included James Dean, Gregory Peck, Jose Ferrer, Jennifer Jones, Shelley Winters, Sidney Poitier, Shirley MacLaine and Warren Beatty. Marlon Brando frequently dropped in to play the bongo drums, and jazz musician Charles Mingus held regular jam sessions with the drummers. Known for her many innovations, <mask> developed a dance pedagogy, later named the Dunham Technique, a style of movement and exercises based in traditional African dances, to support

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texts: her choreography. This won international acclaim and is now taught as a modern dance style in many dance schools. By 1957, <mask> was under severe personal strain, which was affecting her health.She decided to live for a year in relative isolation in Kyoto, Japan, where she worked on writing memoirs of her youth. The first work, entitled A Touch of Innocence: Memoirs of Childhood, was published in 1959. A continuation based on her experiences in Haiti, Island Possessed, was published in 1969. A fictional work based on her African experiences, Kasamance: A Fantasy, was published in 1974. Throughout her career, <mask> occasionally published articles about her anthropological research (sometimes under the pseudonym of Kaye Dunn) and sometimes lectured on anthropological topics at universities and scholarly societies. In 1963 <mask> was commissioned to choreograph Aida at New York's Metropolitan Opera Company, with Leontyne Price in the title role. Members of <mask>'s last New York Company auditioned to become members of the Met Ballet Company.Among her dancers selected were Marcia McBroom, Dana McBroom, Jean Kelly, and Jesse Oliver. The Met Ballet Company dancers studied Dunham Technique at Dunham's 42nd Street dance studio for the entire summer leading up to the season opening of Aida. Lyndon B. Johnson was in the audience for opening night. <mask>'s background as an anthropologist gave the dances of the opera a new authenticity. She was also consulted on costuming for the Egyptian and Ethiopian dress. Dana McBroom-Manno still teaches Dunham Technique in New York City and is a Master of Dunham Technique. In 1964, <mask> settled in East St. Louis, and took up the post of artist-in-residence at Southern Illinois University in

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texts: nearby Edwardsville.There she was able to bring anthropologists, sociologists, educational specialists, scientists, writers, musicians, and theater people together to create a liberal arts curriculum that would be a foundation for further college work. One of her fellow professors, with whom she collaborated, was architect Buckminster Fuller. The following year, 1965, President Lyndon B. Johnson nominated <mask> to be technical cultural adviser— a sort of cultural ambassador—to the government of Senegal in West Africa. Her mission was to help train the Senegalese National Ballet and to assist President Leopold Senghor with arrangements for the First Pan-African World Festival of Negro Arts in Dakar (1965–66). Later <mask> established a second home in Senegal, and she occasionally returned there to scout for talented African musicians and dancers. In 1967, Dunham opened the Performing Arts Training Center (PATC) in East St. Louis in an effort to use the arts to combat poverty and urban unrest. The restructuring of heavy industry had caused the loss of many working-class jobs, and unemployment was high in the city.After the 1968 riots following the assassination of Martin Luther King Jr., <mask> encouraged gang members in the ghetto to come to the center to use drumming and dance to vent their frustrations. The PATC teaching staff was made up of former members of <mask>'s touring company, as well as local residents. While trying to help the young people in the community, <mask> was arrested. This gained international headlines and the embarrassed local police officials quickly released her. She also continued refining and teaching the Dunham Technique to transmit that knowledge to succeeding generations of dance students. She


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 lectured every summer until her death at annual Masters' Seminars in St. Louis, which attracted dance students from around the world. She established the <mask> Dunham Centers for Arts and Humanities in East St. Louis to preserve Haitian and African instruments and artifacts from her personal collection.In 1976, <mask> was guest artist-in-residence and lecturer for Afro-American studies at the University of California, Berkeley. A photographic exhibit honoring her achievements, entitled Kaiso! <mask>nham, was mounted at the Women's Center on the campus. In 1978, an anthology of writings by and about her, also entitled Kaiso! <mask>nham, was published in a limited, numbered edition of 130 copies by the Institute for the Study of Social Change. Dunham Technique
Dunham technique is a codified dance training technique developed by <mask> in the mid 20th century. Commonly grouped into the realm of modern dance techniques, Dunham is a technical dance form developed from elements of indigenous African and Afro-Caribbean dances.Strongly founded in her anthropological research in the Caribbean, <mask> technique introduces rhythm as the backbone of various widely known modern dance principles including contraction and release, groundedness, fall and recover, counterbalance, and many more. Using some ballet vernacular, <mask> incorporates these principles into a set of class exercises she labeled as "processions". Each procession builds on the last and focuses on conditioning the body to prepare for specific exercises that come later. Video footage of Dunham technique classes show a strong emphasis on anatomical alignment, breath, and fluidity. Dancers are frequently instructed to place weight on the balls of their feet, lengthen

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 their lumbar and cervical spines, and breathe from the abdomen and not the chest. There is also a strong emphasis on training dancers in the practices of engaging with polyrhythms by simultaneously moving their upper and lower bodies according to different rhythmic patterns. These exercises prepare the dancers for African social and spiritual dances that are practiced later in the class including the Mahi, Yonvalou, and Congo Paillette.According to <mask>, the development of her technique came out of a need for specialized dancers to support her choreographic visions and a greater yearning for technique that "said the things that [she] wanted to say." <mask> explains that while she admired the narrative quality of ballet technique, she wanted to develop a movement vocabulary that captured the essence of the Afro-Caribbean dancers she worked with during her travels. In a different interview, <mask> describes her technique "as a way of life," a sentiment that seems to be shared by many of her admiring students. Many of Dunham students who attended free public classes in East St. Louis Illinois speak highly about the influence of her open technique classes and artistic presence in the city. Her classes are described as a safe haven for many and some of her students even attribute their success in life to the structure and artistry of her technical institution. Dunham technique is also inviting to the influence of cultural movement languages outside of dance including karate and capoeira. Dunham is still taught at widely recognized dance institutions such as The American Dance Festival and The Ailey School.Social activism
The Katherine Dunham Company toured throughout North America in the mid-1940s, performing as well in the


texts: racially segregated South. <mask> refused to hold a show in one theater after finding out that the city's black residents had not been allowed to buy tickets for the performance. On another occasion, in October 1944, after getting a rousing standing ovation in Louisville, Kentucky, she told the all-white audience that she and her company would not return because "your management will not allow people like you to sit next to people like us." She expressed a hope that time and the "war for tolerance and democracy" (this was during World War II) would bring a change. One historian noted that "during the course of the tour, <mask> and the troupe had recurrent problems with racial discrimination, leading her to a posture of militancy which was to characterize her subsequent career." In Hollywood, <mask> refused to sign a lucrative studio contract when the producer said she would have to replace some of her darker-skinned company members. She and her company frequently had difficulties finding adequate accommodations while on tour because in many regions of the country, black Americans were not allowed to stay at hotels.While <mask> was recognized as "unofficially" representing American cultural life in her foreign tours, she was given very little assistance of any kind by the U.S. State Department. She had incurred the displeasure of departmental officials when her company performed Southland, a ballet that dramatized the lynching of a black man in the racist American South. Its premiere performance on December 9, 1950, at the Teatro Municipal in Santiago, Chile, generated considerable public interest in the early months of 1951. The State Department was dismayed by the negative view of American society that the ballet presented

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 to foreign audiences. As a result, <mask> would later experience some diplomatic "difficulties" on her tours. The State Department regularly subsidized other less well-known groups, but it consistently refused to support her company (even when it was entertaining U.S. Army troops), although at the same time it did not hesitate to take credit for them as "unofficial artistic and cultural representatives". The Afonso Arinos Law in Brazil
In 1950, while visiting Brazil, <mask> Arinos law was passed in 1951 that made racial discrimination in public places a felony in Brazil. Hunger strike
In 1992, at age 83, <mask> went on a highly publicized hunger strike to protest the discriminatory U.S. foreign policy against Haitian boat-people. Time reported that, "she went on a 47-day hunger strike to protest the U.S.'s forced repatriation of Haitian refugees. "My job", she said, "is to create a useful legacy." During her protest, Dick Gregory led a non-stop vigil at her home, where many disparate personalities came to show their respect, such Debbie Allen, Jonathan Demme, and Louis Farrakhan, leader of the Nation of Islam.This initiative drew international publicity to the plight of the Haitian boat-people and U.S. discrimination against them. <mask> ended her fast only after exiled Haitian president Jean-Bertrand Aristide and Jesse Jackson came to her and personally requested that she stop risking her life for this cause. In recognition of her stance, President Aristide later awarded her a medal of Haiti's highest honor. Private life
<mask> married Jordis McCoo, a black postal worker, in 1931, but he did not share her interests and they gradually drifted apart, finally divorcing in 1938. About that time <mask> met and began to work

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texts: with John Thomas Pratt, a Canadian who had become one of America's most renowned costume and theatrical set designers. Pratt, who was white, shared <mask>'s interests in African-Caribbean cultures and was happy to put his talents in her service. After he became her artistic collaborator, they became romantically involved.In the summer of 1941, after the national tour of Cabin in the Sky ended, they went to Mexico, where inter-racial marriages were less controversial than in the United States, and engaged in a commitment ceremony on 20 July, which thereafter they gave as the date of their wedding. In fact, that ceremony was not recognized as a legal marriage in the United States, a point of law that would come to trouble them some years later. <mask> and John Pratt married in 1949 to adopt Marie-Christine, a French 14-month-old baby. From the beginning of their association, around 1938, Pratt designed the sets and every costume <mask> ever wore. He continued as her artistic collaborator until his death in 1986. When she was not performing, <mask> and Pratt often visited Haiti for extended stays. On one of these visits, during the late 1940s, she purchased a large property of more than seven hectares (approximately 17.3 acres) in the Carrefours suburban area of Port-au-Prince, known as Habitation Leclerc.<mask> used Habitation Leclerc as a private retreat for many years, frequently bringing members of her dance company to recuperate from the stress of touring and to work on developing new dance productions. After running it as a tourist spot, with Vodun dancing as entertainment, in the early 1960s, she sold it to a French entrepreneur in the early 1970s. In 1949, <mask> returned from international touring with her company for

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 a brief stay in the United States, where she suffered a temporary nervous breakdown after the premature death of her beloved brother Albert. He had been a promising philosophy professor at Howard University and a protégé of Alfred North Whitehead. During this time, she developed a warm friendship with the psychologist and philosopher Erich Fromm, whom she had known in Europe. He was only one of a number of international celebrities who were <mask>'s friends. In December 1951, a photo of <mask> dancing with Ismaili Muslim leader Prince Ali Khan at a private party he had hosted for her in Paris appeared in a popular magazine and fueled rumors that the two were romantically linked.Both <mask> and the prince denied the suggestion. The prince was then married to actress Rita Hayworth, and <mask> was now legally married to John Pratt; a quiet ceremony in Las Vegas had taken place earlier in the year. The couple had officially adopted their foster daughter, a 14-month-old girl they had found as an infant in a Roman Catholic convent nursery in Fresnes, France. Named Marie-Christine <mask> Pratt, she was their only child. Among <mask>'s closest friends and colleagues was Julie Robinson, formerly a performer with the Katherine Dunham Company, and her husband, singer and later political activist Harry Belafonte. Both remained close friends of <mask> for many years, until her death. Glory Van Scott and Jean-Léon Destiné were among other former Dunham dancers who remained her lifelong friends.Death
On May 21, 2006, <mask> died in her sleep from natural causes in New York City. She died a month before her 97th birthday. She wished her family a happy life. Legacy

Anthropology
<mask> predated, pioneered, and demonstrated new ways of doing

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 and envisioning Anthropology six decades ahead of the discipline. In the 1970s, scholars of Anthropology such as Dell Hymes and William S. Willis began to discuss Anthropology's participation in scientific colonialism. This wave continued throughout the 1990s with scholars publishing works (such as Decolonizing Anthropology: Moving Further in Anthropology for Liberation, Decolonizing Methodologies, and more recently, The Case for Letting Anthropology Burn) that critique anthropology and the discipline's roles in colonial knowledge production and power structures. Much of the literature calls upon researchers to go beyond bureaucratic protocols to protect communities from harm, but rather use their research to benefit communities that they work with.Six decades before this new wave of anthropological discourse began, <mask>'s work demonstrated anthropology being used as a force for challenging racist and colonial ideologies. After recovering crucial dance epistemologies relevant to people of the African diaspora during her ethnographic research, she applied anthropological knowledge toward developing her own dance pedagogy (Dunham Technique) that worked to reconcile with the legacy of colonization and racism and correct sociocultural injustices. Her dance education, while offering cultural resources for dealing with the consequences and realities of living in a racist environment, also brought about feelings of hope and dignity for inspiring her students to contribute positively to their own communities, and spreading essential cultural and spiritual capital within the U.S.

Just like her colleague Zora Neale Hurston, <mask>'s anthropology inspired the blurring of lines between creative disciplines and anthropology. Early on

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texts: into graduate school, <mask> was forced to choose between finishing her master's degree in anthropology and pursuing her career in dance. She describes this during an interview in 2002: "My problem – my strong drive at that time was to remain in this academic position that anthropology gave me, and at the same time continue with this strong drive for motion – rhythmic motion". She ultimately chose to continue her career in dance without her master's degree in anthropology. A key reason for this choice was because she knew that through dance, her work would be able to be accessed by a wider array of audiences; more so than if she continued to limit her work within academia.However, this decision did not keep her from engaging with and highly influencing the discipline for the rest of her life and beyond. As one of her biographers, Joyce Aschenbrenner, wrote: "anthropology became a life-way" for <mask>. Her choreography and performances made use of a concept within Dance Anthropology called "research-to-performance". Most of <mask>'s works previewed many questions essential to anthropology's postmodern turn, such as critiquing understandings of modernity, interpretation, ethnocentrism, and cultural relativism. During this time, in addition to <mask>, numerous Black women such as Zora Neal Hurston, Caroline Bond Day, Irene Diggs, and Erna Brodber were also working to transform the discipline into an anthropology of liberation: employing critical and creative cultural production. Numerous scholars describe <mask> as pivotal to the fields of Dance Education, Applied Anthropology, Humanistic Anthropology, African Diasporic Anthropology and Liberatory Anthropology. Additionally, she was named one of the most influential African


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 American anthropologists.She was a pioneer of Dance Anthropology, established methodologies of ethnochoreology, and her work gives essential historical context to current conversations and practices of decolonization within and outside of the discipline of anthropology. Her legacy within Anthropology and Dance Anthropology continues to shine with each new day. Dance
Anna Kisselgoff, a dance critic for The New York Times, called <mask> "a major pioneer in Black theatrical dance ... ahead of her time." "In introducing authentic African dance-movements to her company and audiences, <mask>—perhaps more than any other choreographer of the time—exploded the possibilities of modern dance expression." As one of her biographers, Joyce Aschenbrenner, wrote: "Today, it is safe to say, there is no American black dancer who has not been influenced by the Dunham Technique, unless he or she works entirely within a classical genre", and the Dunham Technique is still taught to anyone who studies modern dance. The highly respected Dance magazine did a feature cover story on Dunham in August 2000 entitled "One-Woman Revolution". As Wendy Perron wrote, "Jazz dance, 'fusion,' and the search for our cultural identity all have their antecedents in <mask>'s work as a dancer, choreographer, and anthropologist.She was the first American dancer to present indigenous forms on a concert stage, the first to sustain a black dance company.... She created and performed in works for stage, clubs, and Hollywood films; she started a school and a technique that continue to flourish; she fought unstintingly for racial justice." Scholar of the arts Harold Cruse wrote in 1964: "Her early and lifelong search for meaning and artistic values for black people, as


texts: well as for all peoples, has motivated, created opportunities for, and launched careers for generations of young black artists ... Afro-American dance was usually in the avant-garde of modern dance ... <mask>'s entire career spans the period of the emergence of Afro-American dance as a serious art." Black writer Arthur Todd described her as "one of our national treasures". Regarding her impact and effect he wrote: "The rise of American Negro dance commenced ... when <mask> and her company skyrocketed into the Windsor Theater in New York, from Chicago in 1940, and made an indelible stamp on the dance world... Miss <mask> opened the doors that made possible the rapid upswing of this dance for the present generation." "What <mask> gave modern dance was a coherent lexicon of African and Caribbean styles of movement—a flexible torso and spine, articulated pelvis and isolation of the limbs, a polyrhythmic strategy of moving—which she integrated with techniques of ballet and modern dance." "Her mastery of body movement was considered 'phenomenal.' She was hailed for her smooth and fluent choreography and dominated a stage with what has been described as 'an unmitigating radiant force providing beauty with a feminine touch full of variety and nuance."Richard Buckle, ballet historian and critic, wrote: "Her company of magnificent dancers and musicians ... met with the success it has and that herself as explorer, thinker, inventor, organizer, and dancer should have reached a place in the estimation of the world, has done more than a million pamphlets could for the service of her people." "<mask>'s European success led to considerable imitation of her work in European revues ... it is safe to say that the perspectives of

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texts: concert-theatrical dance in Europe were profoundly affected by the performances of the Dunham troupe." While in Europe, she also influenced hat styles on the continent as well as spring fashion collections, featuring the Dunham line and Caribbean Rhapsody, and the Chiroteque Française made a bronze cast of her feet for a museum of important personalities." The Katherine Dunham Company became an incubator for many well known performers, including Archie Savage, Talley Beatty, Janet Collins, Lenwood Morris, Vanoye Aikens, Lucille Ellis, Pearl Reynolds, Camille Yarbrough, Lavinia Williams, and Tommy Gomez. Alvin Ailey, who stated that he first became interested in dance as a professional career after having seen a performance of the Katherine Dunham Company as a young teenager of 14 in Los Angeles, called the Dunham Technique "the closest thing to a unified Afro-American dance existing." For several years, <mask>'s personal assistant and press promoter was Maya Deren, who later also became interested in Vodun and wrote The Divine Horseman: The Voodoo Gods of Haiti (1953). Deren is now considered to be a pioneer of independent American filmmaking.<mask> herself was quietly involved in both the Voodoo and Orisa communities of the Caribbean and the United States, in particular with the Lucumi tradition. Not only did <mask> shed light on the cultural value of black dance, but she clearly contributed to changing perceptions of blacks in America by showing society that as a black woman, she could be an intelligent scholar, a beautiful dancer, and a skilled choreographer. As Julia Foulkes pointed out, "<mask>'s path to success lay in making high art in the United States from African and Caribbean sources, capitalizing on a heritage


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 of dance within the African Diaspora, and raising perceptions of African American capabilities." Awards and honors
Over the years <mask> has received scores of special awards, including more than a dozen honorary doctorates from various American universities. In 1971 she received the Heritage Award from the National Dance Association. In 1979 at Carnegie Hall, she received the Albert Schweitzer Music Award "for a life's work dedicated to music and devoted to humanity." In 1983 she was a recipient of one of the highest artistic awards in the United States, the Kennedy Center Honors.In 1986 the American Anthropological Association gave her a Distinguished Service Award. In 1987 she received the Samuel H. Scripps American Dance Festival Award, and was also inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, New York. She also received a Candace Award from the National Coalition of 100 Black Women. In 1989 she was awarded a National Medal of Arts, an honor shared by only two other University of Chicago alumni, Saul Bellow and Philip Roth. Dunham has her own star on the St. Louis Walk of Fame. In 2000 she was named one of the first one hundred of "America's Irreplaceable Dance Treasures" by the Dance Heritage Coalition. In 2002 Molefi Kete Asante included her in his book 100 Greatest African Americans.In 2004 she received a Lifetime Achievement Award from Dance Teacher magazine. In 2005, she was awarded "Outstanding Leadership in Dance Research" by the Congress on Research in Dance. Further reading

References

Sources
 Aschenbrenner, Joyce. <mask>: Dancing A Life. USA: University of Illinois Press, 2002. Chin, Elizabeth. "<mask>'s Dance as Public

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 Anthropology."American Anthropologist 112, no. 4 (December 2010): 640–42. https://www.jstor.org/stable/40931251. Chin, Elizabeth. <mask>: Recovering an Anthropological Legacy, Choreographing Ethnographic Futures. Advanced Seminar Series. Santa Fe, NM: School for Advanced research Press, 2014.Biography
 Cruz Banks, Ojeya. "<mask>: Decolonizing Anthropology Through African American Dance Pedagogy." Transforming Anthropology 20 (2012): 159–68. <mask>, <mask>. A Touch of Innocence. Chicago: University of Chicago Press, 1994. <mask>, <mask>.Island Possessed. Chicago: University of Chicago Press, 1994
 Haskins, James, <mask>. New York: Coward, McCann, & Geoghegan, 1982. "Kaiso! : Writings by and About <mask>." Choice Reviews Online 44, no. 01 (2006): 44–0233.https://doi.org/10.5860/CHOICE.44-0233. <mask> on dance anthropology. Video. https://www.loc.gov/item/ihas.200003840/. <mask> on her anthropological films. Video. https://www.loc.gov/item/ihas.200003841/
 Kraut, Anthea, "Between Primitivism and Diaspora: The Dance Performances of Josephine Baker, Zora Neale Hurston, and <mask>," Theatre Journal 55 (2003): 433–50.Long, Richard A., The Black Tradition in American Dance. New York: Smithmark Publications, 1995. Archives

 The <mask>nham Collection and the online Katherine Dunham Collection at the Library of Congress. Guide to the Photograph Collection on <mask>. Special Collections and Archives, The UC Irvine Libraries, Irvine, California. Dunham Collection - Missouri History Museum
<mask>'s oral history video excerpts at The National Visionary Leadership Project
Katherine Dunham Museum in East St. Louis, Illinois

External links

 "<mask> on Overcoming 1940s Racism". Archival footage of <mask> speaking on June 26, 2002, at a

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 Jacob's Pillow Dance Festival.<mask>nham Centers for Arts and Humanities
 Recalling Choreographer and Activist <mask> - NPR
 "How <mask> Revealed Black Dance to the World" - New York Times
 <mask>, Dance Pioneer, Dies at 96 Playbill
 <mask> and child undated photo, possibly 1936; African Americans at the University of Chicago 1870–1940. FBI files on <mask>

1909 births
2006 deaths
20th-century American actresses
20th-century American musicians
20th-century American women scientists
20th-century anthropologists
African-American activists
African-American choreographers
African-American dancers
African-American female dancers
African-American social scientists
American choreographers
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American female dancers
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American people of French-Canadian descent
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Hunger strikers
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Kennedy Center honorees
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University of Chicago alumni
Writers from Joliet, Illinois
African-American women musicians
20th-century African-American women
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21st-century African-American people
21st-century African-American

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<mask> (Mantua, 1507 – Prague 1588) was an Italian polymath courtier, painter, architect, goldsmith, inventor of machines, numismatist, linguist, collector, and merchant of works of art. His portrait by Titian has kept his image familiar. Biography
He is supposed to have received early training as a goldsmith in the Mantua workshops of Giulio Romano; drawings of Giulio's Palazzo del Tè and of its painted interiors and those of the Palazzo Ducale at Mantua, datable 1567-68, are attributed to <mask>, intended for his Descrizione di tutta Italia. From 1552 to 1555 he sojourned in Lyon and travelled to Rome in the service of Pope Paul III, and after his death his successor Marcellus II, upon whose sudden death he returned north. From 1556 onwards he settled at Vienna and from 1576 served as an official artist and architect to three successive Habsburg Holy Roman emperors, Ferdinand I, Maximilian II and Rudolph II. He also worked for Albert V, Duke of Bavaria, for whom he conceived the Antiquarium to house the antiquities at the Munich Residenz; the Roman sculptures that he assembled for the Duke may still be seen in the setting he devised there. He also served as the friend and trusted agent of the Augsburg patrician, humanist and book-collector, and a friend and advisor of Albrecht, the immensely rich Jakob Fugger (1516–1557), for whom he scouted works of art in Italy from his headquarters in Mantua.On Fugger's commission he assembled a comprehensive array of coats of arms of Italian nobility, filling fifteen volumes, for Fugger's library. A suite of drawings of ancient coins, that <mask>

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texts: did for Fugger, has found its way into Duke Albrecht's collection and is preserved at Gotha. In 1544 he wed Grafin Ottilia Schenk von Roßberg in Lyon. He moved to Nuremberg in 1546, where he was granted the city's freedom as a goldsmith in 1549. In 1556 he moved to Vienna, taking a house that still stands, now Bankgasse 12, and putting his antiquarian knowledge at the disposal of the Habsburg court, and rewarded with the care of the imperial treasury. He worked as architect to Ferdinand I in the ongoing construction of the Hofburg. In December 1566 he journeyed to Albrecht's court in Munich, to oversee the Antiquarium planned in conjunction and competition with Fugger, returning to Vienna in 1568.For Schloss Bučovice near Brünn he provided plans for the architect Jan Šember von Boskovic. For Schloss Neugebäude, begun from scratch (neu gebäude) as a hunting box by Maximilian II in 1568, no architect is reported in surviving documents, but its advanced integration with gardens makes Strada the most likely candidate; its construction, altered by numerous minute changes, abruptly came to an end with the Emperor's death in 1576. The circumstances surrounding the making of the Titian portrait show <mask> in a less favourable light. He visited Venice in 1567-68 to try and acquire for Albrecht the famous collection of art and antiquities left by Gabriele Vendramin (died 1552, and also now mainly remembered as the subject of a Titian portrait, the Portrait of the Vendramin Family). This entailed breaking the terms of Vendramin's will, and in the end the attempt failed. Another deal was hatched


texts: with Titian while the negotiations proceeded; <mask> was to authenticate for the Emperor Maximilian studio repetitions of works that Titian had painted for Philip II of Spain as originals from the hand of the master himself. In return Titian was to paint <mask>'s portrait, and to receive a fur from him; perhaps the one that seems to be falling from his shoulders in the portrait.Knowledge of the deal comes from a letter to Fugger by Nicolò Stoppio, a Venetian dealer who was <mask>'s rival in Fugger's service; this claims Titian disliked <mask>, and thought him a charlatan. Although the brilliant quality of the portrait has always been recognised, art historians agree the depiction of <mask> is not flattering. The pose is taken from a tomb relief of about 1335 that Titian would have known, where a nobleman offers God his soul, represented as a naked baby. However, in his "expensive den", <mask> makes a very different offer to a client: "He manhandles a Venus, whose pudica gesture is wittily cancelled out by his hand clamped on her breast. As a shady character, he has an exceptionally heavy chiaroscuro on his face. His crowning achievement, his works on numismatics (a mixture of erudition and nonsense) are significantly placed above his head. His social ambition is emphasised by Titian's late decision to double the loops of his chain."He quit Albrecht's service about 1570. During 1571–1574 he compiled a catalogue of the surviving literature of Antiquity and compiled a lexicon. In 1574 his wife Ottilia died. At the end of the year, 27 December, he was accorded noble status. He demolished

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 and rebuilt his dwelling, which housed his library of 3,000 volumes and his Kunstkammer. There he lived until his death, the honoured guest of the emperors. His Palais Strada stood as an eminent example of Late Renaissance architecture in the Simmering district of Vienna until it was demolished in 1875 in the rebuilding of the Wiener Burgtheater.In 1577 he published in Frankfurt-am-Main Sebastiano Serlio's seventh book of architecture, with its original Italian text, which exists in manuscript on parchment, and <mask>'s Latin translation. In the introduction <mask> reported that he had received the manuscript from Serlio himself in Lyon in 1550. He died in Prague and is buried in the Church of St. Nicholas in the Malá Strana. His son, Ottavio <mask> (1550–1607), his assistant at the Hofburg, followed in his father's footsteps in the service of the Imperial court as expert in works of art. Ottavio's daughter Katharina was a favourite of Emperor Rudolph II, and bore him six children. Bibliography
 Jansen, Dirk Jacob. Urbanissime Strada : <mask> <mask> and cultural patronage at the Imperial Court.Maastricht, 2015. Doctoral thesis. Lawrence, Sarah. <mask> <mask> (1510 – 1588). Mannerist Splendor: Extravagant Designs for a Royal Table. San Francisco: Serge Sorokko Gallery, 2007. Panofsky, Erwin.Problems in Titian, Mostly Iconographic. New York University Press, 1969. Notes

References

External links

1507 births
1588 deaths
Architects from Mantua
Italian art dealers
Italian goldsmiths
16th-century Italian architects
Italian Renaissance architects
16th-century German architects
Writers from

masks: Strada Strada Strada Jacopo Strada Jacopo Strada


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<mask>  (born April 25, 1935) is a Canadian-American astrophysicist, astronomer, and theoretical cosmologist who is currently the Albert Einstein Professor of Science, Emeritus, at Princeton University. He is widely regarded as one of the world's leading theoretical cosmologists in the period since 1970, with major theoretical contributions to primordial nucleosynthesis, dark matter, the cosmic microwave background, and structure formation. <mask> was awarded half of the Nobel Prize in Physics in 2019 for his theoretical discoveries in physical cosmology. He shared the prize with Michel Mayor and Didier Queloz for their discovery of an exoplanet orbiting a sun-like star. While much of his work relates to the development of the universe from its first few seconds, he is more skeptical about what we can know about the very beginning, and stated, "It's very unfortunate that one thinks of the beginning whereas in fact, we have no good theory of such a thing as the beginning." <mask> has described himself as a convinced agnostic. Early life
<mask> was born on April 25, 1935 in St. Boniface, in present-day Winnipeg, Manitoba, Canada, the son of Ada Marion (Green), a homemaker, and <mask>, who worked for the Winnipeg Grain Exchange.He completed his bachelor of science at the University of Manitoba. He then went on to pursue graduate studies at Princeton University, where he received his Ph.D. in physics in 1962, completing a doctoral dissertation titled "Observational Tests and Theoretical Problems Relating to the durateston Conjecture That the Strength of the Electromagnetic Interaction May Be Variable" under the supervision of Robert Dicke. He remained at Princeton for his whole career. <mask> was a Member in the School of

masks:
Phillip James Edwin Peebles
Peebles
Peebles
Peebles
Andrew Charles Peebles
Peebles


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 Natural Sciences at the Institute for Advanced Study during the academic year 1977–78; he made subsequent visits during 1990–91 and 1998–99. Academic career
Most of <mask>' work since 1964 has been in the field of physical cosmology to determine the origins of the universe. In 1964, there was very little interest in this field and it was considered a "dead end" but <mask> remained committed to studying it. <mask> has made many important contributions to the Big Bang model.With Dicke and others (nearly two decades after George Gamow, Ralph A. Alpher and Robert C. Herman), <mask> predicted the cosmic microwave background radiation. Along with making major contributions to Big Bang nucleosynthesis, dark matter, and dark energy, he was the leading pioneer in the theory of cosmic structure formation in the 1970s. Long before it was considered a serious, quantitative branch of physics, <mask> was studying physical cosmology and has done much to establish its respectability. <mask> said, "It was not a single step, some critical discovery that suddenly made cosmology relevant but the field gradually emerged through a number of experimental observations. Clearly one of the most important during my career was the detection of the cosmic microwave background (CMB) radiation that immediately attracted attention [...] both experimentalists interested in measuring the properties of this radiation and theorists, who joined in analyzing the implications". His Shaw Prize citation states "He laid the foundations for almost all modern investigations in cosmology, both theoretical and observational, transforming a highly speculative field into a precision science." <mask> has a long record of innovating the basic ideas, which would be

masks: Peebles Peebles Peebles Peebles Peebles Peebles Peebles


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 extensively studied later by other scientists.For instance, in 1987, he proposed the primordial isocurvature baryon model for the development of the early universe. Similarly, <mask> contributed to establishing the dark matter problem in the early 1970s. <mask> is also known for the Ostriker–Peebles criterion, relating to the stability of galactic formation. <mask>' body of work was recognized with him being named a 2019 Nobel Laureate in Physics, "for theoretical discoveries in physical cosmology"; <mask> shared half the prize with Michel Mayor and Didier Queloz who had been the first to discover an exoplanet around a main sequence star. <mask> Klein Medal (1997)
 Gold Medal of the Royal Astronomical Society (1998)
 Gruber Prize in Cosmology (2000), with Allan Sandage
 Harvey Prize (2001)
 Shaw Prize (2004)
 Member of the American Philosophical Society (2004)
 Crafoord Prize with James E. Gunn and Martin Rees (2005)
 Hitchcock Professorship (2006)
 Dirac Medal (2013)
 Member of the Order of Manitoba (2017)
 Nobel Prize in Physics (2019)
 Elected a Legacy Fellow of the American Astronomical Society in 2020. Named after him
 Asteroid 18242 Peebles

Publications
 <mask>, J. P. E. (2009).Finding the Big Bang (1st ed.). Cambridge University Press. <mask>, P. J. E. (1980). Large-Scale Structure of the Universe. Princeton University Press. <mask>, P. J. E. (1992). Quantum Mechanics (1st Printing ed.).Princeton University Press. <mask>, P. J. E. (1993). Principles of Physical Cosmology (n ed.). Princeton University Press. <mask>, P. J. E. (2020). Cosmology’s Century. Amsterdam University Press.References

Footnotes

External links

 Bruce Medalists
 Personal Web page at Princeton University (Photos)
A Discussion on General

masks: Peebles Peebles Peebles Peebles Peeblesskar Peebles Peebles Peebles Peebles Peebles


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 Relativity by Students of John Wheeler and Bob Dicke, organized by <mask>
Oral History interview transcript with <mask> April 4 and 5, 2002, American Institute of Physics, Niels Bohr Library and Archives
 including the Nobel Lecture on Sunday 8 December 2019 How Physical Cosmology Grew

1935 births
Living people
20th-century American physicists
21st-century American physicists
21st-century Canadian  astronomers
20th-century American astronomers
American astrophysicists
American Nobel laureates
Canadian astrophysicists
20th-century Canadian astronomers
Canadian emigrants to the United States
Canadian Nobel laureates
Canadian cosmologists
Companions of the Order of Canada
Fellows of the American Physical Society
Fellows of the Royal Society
Members of the Order of Manitoba
Foreign associates of the National Academy of Sciences
Members of the United States National Academy of Sciences
Nobel laureates in Physics
People from Princeton, New Jersey
People from Winnipeg
Princeton University alumni
Princeton University faculty
Recipients of the Gold Medal of the Royal Astronomical Society
Scientists from Manitoba
University of Manitoba alumni
Winners of the Dannie Heineman Prize for Astrophysics
Fellows of the American Astronomical Society
American agnostics
Canadian agnostics
Members of the American Philosophical

masks:
Jim Peebles
Jim Peebles


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<mask> OBE (: ; born 8 March 1960), is a Soviet-born British ballet dancer of Tatar origin who has danced with the Bolshoi Ballet and the Royal Ballet. Born in Kazan, he trained at the Moscow Choreographic Institute under the guidance of Alexander Prokofiev between 1970 and 1978. Upon graduation, he joined the Classical Ballet Company, where he spent three years touring around the world. It was with this company that he first danced Romeo, a role that was to become one of his most acclaimed. In 1981 he won the Grand Prix and gold medal at the International Ballet Competition in Moscow and was immediately invited to join the Bolshoi Ballet as a principal dancer, where he not only became Grigorovich's favourite danseur but went to become the youngest man ever to dance the leading role in Spartacus. After defecting from the Soviet Union in 1990, he became a Senior Principal Dancer with the Royal Ballet in London, remaining with the company for many years and dancing lead roles in the classic ballets as well as the English repertoire. He was appointed an Officer of the Order of the British Empire for services to dance in the 2000 New Year Honours.Career

For nine years he was the Bolshoi's leading male dancer. His repertoire included Ivan the Terrible, Don Quixote, Swan Lake, Romeo and Juliet, Giselle, Raymonda and Legend of Love. Yury Grigorovich created the leading role in The Golden Age for him in 1984. His international tours with the Bolshoi earned him a huge fan-base  and in 1988 he was awarded the Hans Christian Andersen Prize for Best Dancer in the World. In 1990, he defected from the Soviet Union to the United Kingdom, not for artistic or political purposes, but because his wife was pregnant and they wanted a better life for his child. The family were mentored by Tamara Tchinarova and he joined The Royal


texts: Ballet in London, where he soon became a favourite of resident choreographer Kenneth MacMillan, who helped him to develop his dramatic range. MacMillan created Winter Dreams  (based on Chekhov's The Three Sisters) for him and Darcey Bussell  which was subsequently filmed for television and transmitted on the BBC at Christmas 1992.He appeared on numerous television shows and was subject of a one-hour Omnibus documentary in 1991. <mask> distinguished himself for his wide repertory. At The Royal Ballet he danced the traditional classics such as The Nutcracker, Raymonda Act III, La Bayadère, Swan Lake and Giselle, and he also gave unforgettable performances in more contemporary works. He performed both male leading roles in MacMillan's Manon, danced Colas in Ashton's La Fille Mal Gardée, and in 1992 created the leading male role in Macmillan's The Judas Tree, opposite Viviana Durante, who was widely considered his finest Royal Ballet partner. His 1992 debut in Macmillan's Romeo and Juliet was met with universal acclaim, as also his debut in Mayerling (which was filmed for television). In 1993 he danced in Balanchine's Apollo and in The Prodigal Son. Ashley Page created the lead role in Fearful Symmetries for him (1994), and in 1995 Twyla Tharp was so impressed by his talent that she chose him for one of the lead roles in her first full-length ballet for The Royal Ballet, Mr.Worldly Wise. In 1999, he appeared for the second time with Arc Dance Company where Kim Brandstrup created the leading role in The Return of Don Juan for him. The same year saw him create the role of Peter Quint in William Tuckett's ballet The Turn of the Screw. In 2001 he was invited to make a special guest appearance in Lorka Massine's Zorba with the Ballet of Teatr Wielki in Warsaw. He was voted Dancer of the Year (1992) by the readers of


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 the prestigious British magazine Dance and Dancers (only the third ever male recipient of the award) and in the same year was voted Dancer of the Year by The Independent On Sunday. Still in the same year he won the London Evening Standard Award for Dance and the Gino Tani Dance Award in Italy. He was also awarded the Prix Benois de la Danse in Paris in 1996, and in 1998 he received the Nijinsky Medal and was invited to become President of the Legat Society.In January 2000 he was awarded the OBE in the New Years Honours List. In April 1992, <mask>ov and Company, which performed in England and Spain. For the London season, <mask> invited Kim Brandstrup and Arc Theatre Company to join him. Kim Brandstrup created a new ballet for Mukhamedov, Othello, in which for the first time he danced with a contemporary dance company. Othello subsequently received the Evening Standard Award for Dance. In 2001, the Ballet of Teatr Wielki, Warsaw premiered his production of Swan Lake, a new conception of this enormously popular ballet which saw the introduction of his own choreography, including a new pas de deux for the Prince and Odette in the last act. <mask> stopped dancing regularly in 2004, but returned to the stage in the mid-2010s.Repertoire

 Franz in Coppélia, Moscow Choreographic School, Moscow, 1978. Tybalt, Romeo and Juliet, Moscow Classical Ballet, 1978–81. Romeo, Romeo and Juliet, Moscow Classical Ballet, 1978–81. Pas de deux, Carnival in Venice (from Santanilla), Moscow Classical Ballet, 1978–81. Diana and Acteon (pas de deux), Esmeralda, Moscow Classical Ballet, 1978–81. Basil, Don Quixote Pas de Deux, Moscow Classical Ballet, 1978–81. Conrad, Le Corsaire Pas de Deux, Moscow Classical Ballet, 1978–81.Colin, Lise and Colin; ou, La Fille mal gardée, Moscow Classical Ballet, 1980. Title role, Spartacus, Bolshoi

masks: Mukhamedovmed Mukhamedov Mukhamedov


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 Ballet, Moscow, 1981. Basil, Don Quixote, Bolshoi Ballet, 1981. Title role, Ivan the Terrible, Bolshoi Ballet, 1982. Romeo, Romeo and Juliet, Bolshoi Ballet, 1983. Boris, The Golden Age, Bolshoi Ballet, 1984. Jean de Brienne, Raymonda, Bolshoi Ballet, 1985.Basil, Don Quixote, Royal Ballet of Flanders, 1988. Title role, Cyrano de Bergerac, Bolshoi Ballet, 1988. Prince, The Sleeping Beauty, Paris Opera, 1989. Title role, Petrushka, Nijinsky Festival, Bolshoi Ballet, 1990. Solor, La Bayadere, Royal Ballet, London, 1990. Principal dancer, Farewell (pas de deux, later incorporated into Winter Dreams), Royal Ballet, London, 1990. Prince, The Nutcracker, Royal Ballet, London, 1990.Vershinin, Winter Dreams, Royal Ballet, Metropolitan Opera House, New York City, 1991. Des Grieux, Manon, Royal Ballet, London, 1991. Lescaut, Manon, Royal Ballet, London, 1991. Jean de Brienne, Raymonda, Royal Ballet, London, 1991. Title role, Cyrano de Bergerac, Royal Ballet, London, 1991. Chanson Dansee (an "Athlete"), Les Biches, Royal Ballet, London, 1991. Romeo, Romeo and Juliet, Royal Ballet, London, 1992.Title role, Othello, Sadler's Wells Theatre, London, 1994. Television appearances

 The Kennedy Center Honors: A Celebration of the Performing Arts, CBS, 1987. "The Nutcracker" The Bolshoi at The Bolshoi NHK production 1989
 The Hans Christian Andersen Awards 1988, PBS, 1990. Solor, "La Bayadere from the Royal Ballet," Great Performances, PBS, 1991. Dancing, PBS, 1993. Omnibus documentary, 1991. The South Bank Show, 2002.See also
 List of Russian ballet dancers

References

External links
 International Ballet Masterclasses in Prague. Artist Page Bio. Biography at Film Reference

Soviet male ballet dancers
1960 births
Living people
Prix Benois de la Danse winners
Dancers of The Royal Ballet
Officers of the Order of the British


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<mask> ( ; ; born June 25, 1961) is a Russian-Kazakh  film director, producer, screenwriter, and tech entrepreneur. He is best known for the fantasy epic Night Watch (2004) and action thriller Wanted (2008), as well as for pioneering Screenlife films: Unfriended (2015), Searching (2018) and Profile (2021). He founded Baselevs, a production company that earned a spot among the 2021 World’s 10 Most Innovative Companies in Video, according to Fast Company. Early life
<mask> was born on 25 June 1961, in the city of Guryev, now in Kazakhstan. His father, <mask>, worked in management positions with the energy supplier GuryevEnergo. As Timur recollects, he was chief power engineer of Western Kazakhstan. His mother, Mira Bogoslovskaya, was deputy editor leading the party issues department at the regional newspaper Prikaspiyskaya Kommuna.He has Kazakh ancestry on his father's side, and Jews ancestry on his mother's side. After graduation from school, <mask> entered the Moscow Power Engineering Institute in 1979 and left it in 1980, on the eve of the 1980 Summer Olympics. He was deported from Moscow on the grounds of being "unreliable" and moved to Tashkent, Uzbek SSR, to study at the Alexander Ostrovsky Theatrical and Artistic Institute, from which he graduated in 1987 with a degree in theater and cinema set design. Career

Film and television career
<mask> started his career in the late 1980s as a production designer at Ilkhom Theater in Tashkent, Uzbekistan, and at Uzbek national film studio Uzbekfilm. After the demise of the Soviet Union, <mask> moved from Uzbekistan to Moscow, Russia, where he started making commercials for the Russian market. His commercial series World History retelling life episodes of the world’s prominent rulers (from Neron and Tamerlan to Napoleon and the last Russian emperor Nicholas 2d) is still considered the best video advertising in Russia. In 1994, he founded Bazelevs, an advertising and film production company.Its advertising division continues making commercials for big Russian and international brands (in 2021 its commercial featuring Apple’s new iPhone in the Hermitage Museum interiors was nominated for the

masks:
Timur Bekmambetov
Bekmambetov
Nuruakhit Bekmambetov
Bekmambetov
Bekmambetov
Bekmambetov


texts: Cannes Lions. <mask>'s directorial debut was Peshavar Waltz (1994) depicting the war fought by the USSR in Afghanistan. The film was dubbed in English as Escape from Afghanistan and released direct-to-video by Roger Corman in 2002. In 1998, Corman invited <mask> to direct his production of The Arena (2001) starring Karen McDougal and Lisa Dergan. The film was a remake of the 1974 gladiator exploitation film The Arena. In 2004, <mask> wrote and directed Night Watch (2004), a Russian fantasy film based on the book by Sergey Lukyanenko. The film was the first Russian production which, after the demise of the Soviet Union, managed to top the domestic box office, making US$16.7 million in Russia alone, thus overtaking The Lord of the Rings: The Fellowship of the Ring.The sequel to Night Watch, Day Watch (2006), was likewise written and directed by Bekmambetov and set a new record for the domestic box office, having grossed more than US$ 26 million in the first two weeks. The Russian blockbuster epic attracted the attention of Fox Searchlight Pictures, which paid US$ 4 million to acquire the worldwide distribution rights (excluding Russia and the Baltic states). In 2010, the tape entered the 100 Best Films of World Cinema by Empire magazine. The film received positive reviews from American directors Quentin Tarantino and James Gunn (Guardians of the Galaxy). <mask>'s Hollywood directorial debut was Universal's action thriller Wanted (2008), an adaptation of the graphic novel series created by Mark Millar and J. G. Jones. Starring Angelina Jolie, James McAvoy and Morgan Freeman, the action film grossed US$ 341 million worldwide, became Universal's highest ever grossing “R” rated film, and earned two Oscar nominations. In 2009, alongside Tim Burton and Jim Lemley, Bekmambetov produced an animation film titled 9 (2009), the story of a rag doll in a post-apocalyptic world, directed by Shane Acker.In 2011, Bekmambetov produced the science fiction thriller Apollo 18, together with The Weinstein Company, and the science fiction film The Darkest Hour  set in Moscow and produced by New Regency. In 2012, Bekmambetov directed and produced the

masks: Bekmambetov Bekmambetov Bekmambetov Bekmambetov


texts:
 live-action adaptation of Seth Grahame-Smith’s novel – Abraham Lincoln, Vampire Hunter, together with Tim Burton and Jim Lemley. He was awarded the 2012 International Filmmaker of the Year award by the National Association of Theatre Owners. In 2013, Variety (Russian Edition) named Bekmambetov one of the most commercially successful Russian directors of the decade. In 2016, Bekmambetov directed Ben-Hur, the fifth film adaptation of the novel Ben-Hur: A Tale of the Christ by Lew Wallace. At the same time, he produced the action film Hardcore Henry (directed by Nobody’s Ilya Naishuller), using the first-person perspective of a first-person shooter. In 2017, Bekmambetov produced the historical drama The Current War starring Benedict Cumberbatch, Tom Holland and Nicholas Hoult.The film was inspired by the 19th-century war of currents between Thomas Edison and George Westinghouse. In 2021, <mask> directed the WW2 action film V2. Escape from Hell, with its aircraft battle scenes using the War Thunder game engine. The film was released in Russia both theatrically as a feature and on a streaming platform as a smartphone-only vertical series. In 2021, Deadline announced <mask> bringing to the screen a new universe based on the unexploited works in the horror genre by the Marvel Сomics creator Stan Lee. Screenlife filmmaking
<mask> is the pioneer of the Screenlife filmmaking, thus responding to people’s life migrating to the digital world of mobile gadgets. In a screenlife film, viewers see the action play out from the POV of the computers, tablets or smartphones used by the characters.In 2015, <mask>'s debut screenlife production, the teen horror Unfriended, was picked up by Universal, grossing $65 million worldwide with a budget of $1 million; three years later a sequel Unfriended: Dark Web appeared. <mask> followed that up with the 2018 thriller led by John Cho, Searching, grossing more than $75 million worldwide. In 2019, he produced the 10-episode series Dead of Night for Snapchat, with the story revolving around a viral outbreak that turns people into zombies. It scored over 16 million viewers in the first releasing month and got extended

masks: Bekmambetov Bekmambetov Bekmambetov Bekmambetov Bekmambetov


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 for the second season. In 2020, Universal and Bekmambetov inked a deal to partner on five Hollywood features to be made in the screenlife format in various genres. In 2021, Focus Features released Profile, <mask>'s first directorial feature in the screenlife format, where a female reporter goes online to catch a Jihadi recruiter to get a story on why and how European women join ISIS. Inspired by the 2015 nonfiction bestseller In the Skin of a Jihadist by a French journalist Anna Erelle, Profile won a 2018 Audience Award by Berlin Film Festival.<mask>'s recent screenlife production, R#J, a Gen Z adaptation of Shakespeare's Romeo and Juliet, premiered at Sundance 2021 and won a special prize at SXSW. Invention of the screenlife filmmaking technique brought <mask>’s Bazelevs a spot among Fast Company’s 2021 World’s Most Innovative Companies. Personal life
<mask> is the current owner of the former Walt Disney's mansion in Los Angeles. <mask> is married to the Russian urbanist Natalia Fishman-<mask>a, who worked on the facelift of the Gorky Park in Moscow and the renovation of Kazan. Filmography

Producer only
 9 (2009)
 Black Lightning (2009)
 Lucky Trouble (2011)
 Apollo 18 (2011)
 The Darkest Hour (2011)
 Kikoriki. Team Invincible (2011)
 The Snow Queen (2012)
 Yolki 3 (2013)
 Alisa Knows What to Do! (2013)
 Gorko!(2013)
 Hardcore Henry (2015)
 The Snow Queen 2: The Snow King (2015)
 Unfriended (2015)
 Paws, Bones & Rock'n'roll (2015)
 Hack the Bloggers (ru) (2016)
 Yolki 6 (2017)
 The Age of Pioneers (2017)
 I Am Dragon (2017)
 The Current War (2017)
 Searching (2018)
 Unfriended: Dark Web (2018)
 R#J (2021)
 Searching 2 (TBA)

Music videos
 Yulia Chicherina – Tu-lu-la
 Yulia Chicherina – Zhara
 Linkin Park – Powerless

References

External links
 Portrait of <mask> Bekmambetov

1961 births
Living people
People from Atyrau
Kazakhstani expatriates in Russia
Kazakhstani film directors
Russian film directors
Action film directors
Kazakhstani film producers
Russian film producers
Kazakhstani screenwriters
Russian screenwriters
High Courses for Scriptwriters and Film Directors alumni
Moscow Power Engineering Institute alumni
Advertising

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<mask> is an American punk and metal guitarist, singer, songwriter and keyboardist from Los Angeles. Noted primarily for her guitar work, during the 1980s she was among relatively few women with established aggressive rock guitar credibility. She released four solo albums and three albums with her band To Damascus after starting her career as a keyboard player in The Leaving Trains. She was also a member of the band SWA with ex-Black Flag bass player Chuck Dukowski. She was active from 1980 to 1995 before taking a hiatus, then started playing guitar again in 2009. Biography

Early life

<mask> was born and raised in Los Angeles. She started playing piano and composing instrumental pieces when she was six years old.The Leaving Trains was the first band Juncosa joined, as keyboard player, when she was 16 years old. They released the "Bringing Down the House" / "Going Down to Town" 7" single and appeared on the Keats Rides a Harley compilation. She left that band in 1982, citing a preference for guitar over keyboards. However she did accept an opportunity to tour with Clay Allison, playing keyboards and acoustic rhythm guitar. To Damascus

She then started the band, To Damascus, named after a play by August Strindberg. The band
experienced numerous personnel changes over the next three years. They recorded a single at Radio Tokyo studio with producer Ethan James, where the majority of Juncosa's releases would later be recorded.For a very brief period in 1985, she was the guitar player in The Healing Dream, which soon afterward became The Nymphs. When David Winogrond and Tyra von Pagenhardt joined in 1985, To Damascus finally had a more stable line-up and began a busy, productive period that would

masks:
Sylvia Juncosa
Juncosa


texts:
 exemplify Juncosa's high-activity work style during those years. The band completed and released its first album, Succumb, which Juncosa had started earlier with former Leaving Trains members Jason Kahn and Tom Hofer filling in on drums and bass, respectively. Shortly afterward, they recorded a second album, Come to Your Senses, distributed by Restless Records, and embarked on a shoestring-budget US tour. To Damascus broke up on friendly terms in 1988 when Winogrond and von Pagenhardt were unable to commit to the touring musician life that Juncosa intended to embark upon. SWA

In 1986, Juncosa also joined the SST Records band SWA, which featured bassist Chuck Dukowski, former Black Flag member and co-founder of the SST record label. In interviews, Juncosa asserted that joining SWA came about by happenstance when she called SST on behalf of her band, To Damascus.She got in a long conversation with Dukowski, and auditioned for his band the same night. SWA
soon recorded the album XCIII, which spawned the single "Arroyo" and its accompanying video. Juncosa was gigging constantly with both SWA and To Damascus during this time, and 1987 quit SWA to focus solely on one band. Solo career

Juncosa abandoned the band name to go "solo", for more flexibility and options with the inevitably changing band lineups. Her music was also moving toward a more hard rock sound. With the 1988 release of "Nature" (SST Records), Juncosa attained some notoriety as a guitarist and for being one of a relative minority of female players with an aggressive hard rock style during that time period. In 1988, the band made a mini-tour in New York, then the first European tour, which was very well received, defying