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In 1921, the Association established headquarters at the offices of "Dancing Times" magazine in London and the first Elementary, Intermediate and Advanced level examinations were held in the years that followed, with the first Children's syllabus being published and then examined in 1923 and 1924. In 1927 a scholarship scheme was introduced for students studying dance with an Association member and in 1928, Queen Mary consented to become Patron of the Association of Teachers of Operatic Dancing. |
In November 1930, the first issue of "Dance Gazette" was published containing a historical review of the Association's first ten years. 'Dance Gazette' is still the official magazine of the RAD, being distributed quarterly to all fully paid members. Since 2011, it is also available to buy in selected branches of WHSmith in the UK. In 1931, the first Genée International Ballet Competition for female dancers was held in London, with awards for male dancers being introduced later in 1939. The competition is the RAD's flagship annual event, named after Dame Adeline Genée DBE and now one of the most prestigious dance competitions in the world. The competition was introduced as an additional incentive for candidates who had passed the Solo Seal examination, and has taken place almost every year since 1931, even during the Second World War. In 1934, the Royal Opera House, Covent Garden agreed to an alliance with the Association and a Grand Council of prestigious men & women was formed to act as a governing body to advise the executive committee. |
In 1935 King George V approved the granting of a Royal Charter for the Association of Teachers of Operatic Dancing. The charter was eventually affixed with his Great Seal in 1936, and the Association of Teachers of Operatic Dancing officially became the 'Royal Academy of Dancing' (RAD). The following year in 1937, a coat of arms was designed by the College of Arms in London. |
The RAD coat of arts was granted by the College of Arms in 1937, designed by the Hon. George Bellew, Somerset Herald of |
Arms and Registrar. The crest at the top of the coat of arms is a figure of Terpsichore, one of the Muses from Greek mythology, representing dance. The supporter at either side of the shield is a winged doe, symbolising lightness and grace of movement. The Escutcheon shows a pentagram symbolising health, with a wavy and zigzag line conveying the movement of dancing. The motto 'Salus et Felicitas’ translates to mean health and happiness. |
In 1950, founder President of the RAD Adeline Genée was appointed a Dame Commander of the Order of the British Empire in the New Year Honours List. Further honours were awarded to members of the Academy in 1951, with Ninette de Valois being appointed a Dame, Philip Richardson being awarded an Order of the British Empire (OBE) and Margot Fonteyn awarded a Commander of the Order of the British Empire (CBE). Following the death of Queen Mary in 1953, Queen Elizabeth II consented to become the Royal Patron of the Royal Academy of Dancing and Dame Adeline Genée instituted the Queen Elizabeth II Coronation Award to mark the occasion. The award is presented annually in recognition of outstanding services to the art of ballet. The first recipient was Dame Ninette de Valois, founder of The Royal Ballet Company. The following is a list of selected recipients of the award. |
Dame Adeline Genée retired as President of the RAD in 1954 and Dame Margot Fonteyn was elected as her successor. The leading Principal dancer of the Royal Ballet at that time and considered the greatest Ballerina of her generation, Fonteyn was later appointed Prima Ballerina Assoluta of the Royal Ballet by Queen Elizabeth II. |
In 1963, the Academy was granted charitable status. In 1965, the first RAD summer school was held at Elmhurst Ballet School in Camberley, Surrey. Teachers and dancers attended the summer school from the United States, Canada, New Zealand as well as the UK. In 1968, Dame Margot Fonteyn devised a new children’s syllabus, which would become the basis for lower graded examinations. |
On 23 April 1970, Founder President of the Academy, Dame Adeline Genée died at the age of 92 and in 1972, the RAD moved into its current headquarters in Battersea Square, London. The building was fully refurbished to provide high quality dance facilities and was officially opened by Queen Elizabeth II in 1974. The following year in 1975, the Academy established the Professional Dancer's Teaching Diploma, an intensive course for professional ballet dancers and other dance professionals to gain registered teacher status with the RAD and in 1976, the RAD's teacher training schemes were organised into what is now officially the Faculty of Education of the RAD. |
In 1979, a new bursary was founded and named in honour of Phyllis Bedells, a founder member and former vice-president of the RAD. The bursary of £1,000 is held annually, awarded for further training in the Academy’s method and is awarded to young dancers who are under 17 years of age and have passed RAD Advanced 1 with Distinction but have not entered for the Advanced 2 examination. Past winners have gone on to win medals in very high-profile competitions, such as the Genée International Ballet Competition, and to dance with world-renowned companies including the Australian Ballet, Dutch National Ballet, English National Ballet, London City Ballet, Maurice Béjart and The Royal Ballet. Payment of the Bursary can be offset against existing tuition fees where the winner may be studying, or against material / equipment needed for the winner to continue their training. |
In 1983, the RAD opened its first International headquarters in Darlinghurst, New South Wales, Australia. Since that time, the RAD has opened offices worldwide, including Brazil, China, Germany, Greece, Israel, Italy, Jamaica, Japan, Mexico, New Zealand, Singapore, South Africa, Spain, United Arab Emirates and the United States of America, |
In 1990, a new studio complex was opened at RAD headquarters. Titled the 'Fonteyn Centre', it was opened by Queen Elizabeth II. The following year in 1991, Dame Margot Fonteyn died on the 21 February in Panama City and Antoinette Sibley was elected as the RAD's third President. Also in 1991, the 'Graded Examination Syllabus' was introduced, with Grades 6, 7 and 8 being introduced later in 1992. The three-year teacher training course was also amended in 1992, being replaced by the RAD's first full-time Degree qualification, the BA (Hons) Art & Teaching of Ballet (now the BA in Ballet Education). |
The RAD celebrated its 75th Anniversary in 1995, the event being marked by events throughout the world. In 1996, RAD President Antoinette Sibley was appointed a Dame in the Queen's New Year Honours List and the Academy's first 12 degree students attended their graduation at Durham Castle. In 1997, the Benesh Institute was incorporated into the RAD and in 1999, The 'Faculty of Education' was established with further teaching qualifications being launched, validated by the University of Durham. |
On 20 December 2000, the RAD officially adopted its current title, "Royal Academy of Dance" and in the same year, qualifications were established for students studying 'Benesh Movement Notation'. |
In 2010 the RAD became an Accredited Institute of the University of Surrey. |
On 4 January 2011 in London and 17 January in Sydney, the RAD launched its new Intermediate Foundation & Intermediate syllabi. RAD Grades 1-8 and the first five levels of the Vocational Grades were accredited by the Office of Qualifications and Examinations Regulation (Ofqual) in England with the RAD as an Awarding Organisation, and the Academy also achieved SQA Accreditation (Scottish Qualifications Authority Accreditation) for RAD exams. UCAS tariff points for Graded and Vocational Graded Examinations in Dance at Level 3 were confirmed in August, meaning those candidates who have achieved a Pass or higher at Grades 6-8, Intermediate or Advanced Foundation can use their exam result as contributing towards their points tariff when applying to a university or Higher Education institution in the UK. The Genée International Ballet Competition 2011 was held for the first time in Cape Town, South Africa, at Artscape Theatre Centre, looking to present the competition in New Zealand in 2012. The first ever Dance Proms took place on Sunday 13 November at the Royal Albert Hall, London, as a partnership project between the International Dance Teachers Association, the Imperial Society of Teachers of Dancing, RAD and the Royal Albert Hall working together in celebration of dance and hosting more than 450 young dancers on the stage. UK and Republic of Ireland members from the three dance organisations were invited to video and submit a short dance piece online, and a variety of acts were then chosen both by an esteemed panel of professionals and through a public vote to perform live at the Royal Albert Hall. |
The RAD offers two examination syllabi, which are suitable for both male and female students and form the basis of the RAD's work in the UK and overseas. Each programme consists of a series of progressively more difficult practical examinations. |
Grades 1-8 and the first five levels of the Vocational Grades are accredited by the Office of Qualifications and Examinations Regulation (Ofqual) in England, the Department for Children, Education, Lifelong Learning and Skills (DCELLS) in Wales and the Council for the Curriculum, Examinations & Assessment (CCEA) in Northern Ireland. These organisations are the Government approved qualifications regulators for their respective countries. Candidates who successfully pass an RAD examination are awarded credit on the Qualifications and Credit Framework. The Academy also achieves SQA Accreditation (Scottish Qualifications Authority Accreditation) for RAD exams. |
In 2009, the RAD launched a new syllabus at Pre-Primary and Primary level in dance. These two new grades replace the existing Pre-Primary and Primary grades in ballet. The Academy has since launched new work for grades 1-5 |
The Graded Examination Syllabus consists of Pre-Primary, Primary, and numbered Grades 1-8. Each grade incorporates classical ballet, free movement and character dance. The syllabus is devised to progress in difficulty from one grade to the next and a student studying the grades in sequence would be expected to develop a greater degree of dance technique at each level. |
Students who have studied a complete grade from the syllabus will normally take an examination organised by their dance teacher and held at the teachers studio or a suitable venue hired for the occasion. In the examination, the students perform the relevant grade work for an RAD examiner, who assesses the artistic and technical execution of the grade. A successful candidate receives a certificate printed with their name and the grade passed. They also receive a report detailing what marks were awarded and highlighting which aspects of their performance need further improvement. Unsuccessful candidates receive a report and a certificate of participation. The Pre-Primary grade is devised for younger students who are not old enough to enter the Primary examination. There is no examination offered at this level, however students can take part in a Presentation Class. |
Presentation Classes were introduced for students who a dance teacher feels may not benefit from, or be suitable for taking the series of examinations. In a Presentation Class, in contrast to an examination, the teacher and a small audience of spectators are present in the room. The students perform for an examiner but are not assessed. They dance a condensed selection of exercises from the appropriate grade and receive a certificate of participation, which is normally presented by the examiner at the end of the class. |
As a syllabus devised specifically with children in mind, examinations are not compulsory. The entry level of a new student is decided by the dance teacher based upon the child’s age, natural ability for dance or previous examination passes with another dance school or examination board, such as the IDTA or ISTD. |
The Grades are: |
The Vocational Graded Syllabus is designed primarily for older children or young adults who are considering a career in professional dance, as a performer, teacher or in another capacity. The vocational syllabus is technically demanding and comprises only Classical Ballet and Pointe Work. Students choosing to study this series of awards are required to be competent in the fundamentals of ballet technique and movement vocabulary. |
Unlike the Graded Examination Syllabus, the vocational grades have to be studied in sequence and the student must successfully pass an examination at each level before progressing onto the next. All vocational examinations are organised by RAD headquarters and instead of being held at a dance teachers own venue, they are held in major cities worldwide. In this situation, the session organiser is responsible for timetabling the examinations, and it is normal for students to dance alongside the students of other dance schools in the examination room. As with the graded syllabus, successful candidates receive a certificate personalised with their name and the level passed. They also receive a report, however for this series of examinations, there is a different marking system and assessment criteria. |
Students studying the vocational syllabus are expected to achieve a high level of technical and artistic ability in ballet and it can take a great deal of time and commitment to reach the standard required to pass these examinations. Normally, a student will begin studying the Vocational Graded Syllabus after completing Grade 5 in the Graded Examination Syllabus, however some students will continue to study the graded syllabus at the same time. The Intermediate Foundation and Advanced Foundation examinations are the only optional exams in this series of awards. They are devised for students who the teacher feels may need more preparation before studying at the higher level, however they are assessed in the same way, certificates awarded in the same way and credits awarded on the National Qualifications Framework. |
The Vocational Grades are: |
The RAD method, is a ballet technique and training system, specially devised by the founders of the RAD, who merged their respective dance methods (Italian, French, Danish and Russian) to create a new style of ballet that is unique to the organisation. The RAD method produces a style of ballet that has become recognised internationally as the English style of ballet. |
The most identifiable aspect of the RAD method is the attention to detail when learning the basic steps, and the progression in difficulty is often very slow. While the difficulty of an exercise may only increase slightly from grade to grade, more importance is placed on whether the student is performing the step with improved technique. For example, plie exercises are employed consistently throughout the lower grades to enable the student to progressively deepen the plie and improve turnout. The principle behind this is that if enough time is spent achieving optimal technique before introducing new vocabulary, the easier it is for the student to learn the harder steps, while exercising basic technique to the maximum at all times. |
From 1 October 2006, the RAD began a new association with the International Dance Teachers Association, a dance organisation based in Brighton, England. A press release issued to members of each organisation stated that "the two organisations would embark on a process of working together for the future of dance and to the mutual benefit of their members in both teacher education and training and examinations". |
As a result of this association, both organisations have formally granted teachers of the respective organisation the opportunity to enter candidates for its examinations thereby ensuring that both organisations recognise the right of qualified teachers to enter candidates for examinations of either awarding body. At the RAD these members are called ‘teachers recognised by mutual agreement’. Whilst the new association is not a merger, it is intended that it will develop co-operation between the two organisations and mutual recognition of the training and qualifications that they both provide. |
Dance Proms is a partnership project between the IDTA, the ISTD, RAD and the Royal Albert Hall working together in celebration of dance. In 2011, Dance Proms hosted more than 450 young dancers on the stage, showcasing a huge range of dance styles and cultural influences. UK and Republic of Ireland members from the three dance organisations are invited to video and submit a short dance piece online, featuring original choreography by themselves or their students in any dance genre, either as a solo, duet, or group performance. Acts are then chosen both by an esteemed panel of professionals and through a public vote to be performed live at the Royal Albert Hall, one of the world’s most iconic and prestigious venues. Dance Proms is designed to showcase the high standards of dance and dance teaching of the organisations and their members, and to raise standards and increase participation in and appreciation of dance in the UK. |
The Royal Academy of Dance is currently active in over 80 countries worldwide. The following is a list of countries, by region, in which the RAD has active members, including the locations of regional administrative offices: |
UK & Ireland |
Europe |
North America |
Caribbean, Central and South America |
Asia and Pacific |
Africa, Middle East and South Asia |
Ballet Schools & Companies - A number of international ballet schools offer their students the opportunity to take vocational examinations with the RAD. As a result of this, dancers from many of the world's leading ballet companies are also alumni of the RAD. Examples include: |
The Royal Academy of Dance is not affiliated to any of these schools. |
= = = Glass cliff = = = |
The glass cliff is the phenomenon of women in leadership roles, such as executives in the corporate world and female political election candidates, being likelier than men to achieve leadership roles during periods of crisis or downturn, when the chance of failure is highest. |
The term was coined in 2004 by British professors Michelle K. Ryan and Alexander Haslam of University of Exeter, United Kingdom. In a study, Ryan and Haslam examined the performance of FTSE 100 companies before and after the appointment of new board members, and found that companies that appointed women to their boards were likelier than others to have experienced consistently bad performance in the preceding five months. This work eventually developed into the identification of a phenomenon known as the glass cliff— analogous to the concept of a glass ceiling, but implying the inability to perceive the dangers of the cliff's transparent edge rather than the false promise of elevated organizational positions which can be "seen" through a ceiling of glass but which are actually unattainable. Since the term originated, its use has expanded beyond the corporate world to also encompass politics and other domains. |
Ryan and Haslam's research showed that once women break through the glass ceiling and take on positions of leadership they often have experiences that are different from those of their male counterparts. More specifically, women are more likely to occupy positions that are precarious and thus have a higher risk of failure—either because they are appointed to lead organizations (or organizational units) that are in crisis or because they are not given the resources and support needed for success. |
Extending the metaphor of the glass ceiling, Ryan and Haslam evoked the notion of the "glass cliff" to refer to a danger which involves exposure to risk of falling but which is not readily apparent. CEO tenure is typically shorter at companies which are struggling, compared to those which are stable. |
The glass cliff concept has also been used to describe employment discrimination experienced by leaders who are members of minorities or disabled. |
Evidence of the glass cliff phenomenon has been documented in the field of law. A 2006 study found law students were much likelier to assign a high-risk case to a female lead counsel rather than a male one. A 2010 study found undergraduate students in British political science likelier to select a male politician to run for a safe seat in a by-election, and much likelier to select a female candidate when the seat was described as hard to get. |
Other research has failed to confirm the existence of glass cliff phenomenon. A 2007 study of corporate performance preceding CEO appointments showed that women executives are no more likely to be selected for precarious leadership positions than males. |
Many theories have been advanced to explain the existence of the glass cliff. |
University of Houston psychology professor Kristin J. Anderson says companies may offer glass cliff positions to women because they consider women "more expendable and better scapegoats." She says the organizations that offer women tough jobs believe they win either way: if the woman succeeds, the company is better off. If she fails, the company is no worse off, she can be blamed, the company gets credit for having been egalitarian and progressive, and can return to its prior practice of appointing men. |
Haslam and Ryan say their studies show that people believe women are better-suited to lead stressed, unhappy companies because they are felt to be more nurturing, creative, and intuitive. These researchers argue that female leaders are not necessarily expected to improve the situation, but are seen as good people managers who can take the blame for organizational failure. |
Haslam has said that women executives are likelier than men to accept glass cliff positions because they do not have access to the high-quality information and support that would ordinarily warn executives away. Utah State University professors Ali Cook and Christy Glass say women and other minorities view risky job offers as the only chance they are likely to get. |
A 2007 study found that female news consumers in the United Kingdom were likelier than male ones to accept that the glass cliff exists and is dangerous and unfair to women executives. Female study participants attributed the existence of the glass cliff to a lack of other opportunities for women executives, sexism, and men's in-group favoritism. Male study participants said that women are less suited than men to difficult leadership roles or strategic decision-making, or that the glass cliff is unrelated to gender. |
Glass cliff positions risk hurting the women executives' reputations and career prospects because, when a company does poorly, people tend to blame its leadership without taking into account situational or contextual variables. Researchers have found that female leaders find it harder than male ones to get second chances once they have failed due to having fewer mentors and sponsors and less access to a protective "old boys' network". |
However, some researchers argue that companies in bad situations offer more opportunity for power and influence compared with companies that are stable. |
News media have described the following as examples of the glass cliff. |
= = = The Dawn Parade = = = |
The Dawn Parade were a British rock band from Bury St Edmunds formed in 2000. Greg McDonald was the main songwriter, and also provided vocals and guitar. |
The band performed 200 gigs in the UK and received critical acclaim from "Rolling Stone" and John Peel, for the latter of whom the band performed a number of live sessions. |
In 1998 friends from Thurston Community College, Greg McDonald, Nick Morley, Tom Weller and Ben Jennings formed a band, The Hip Down. The band played a small festival as their debut performance and later recorded a ten track demo at Meadowside Studios in Wisbech. Shortly into 1999 Weller departed to University, leaving the band without a permanent bassist. In late 1999, singer-songwriter Seymour Glass briefly joined on bass before leaving to front another local band, Miss Black America. |
Auditioning many bass players and managing to win a local band competition covering "Bohemian Rhapsody", they formed a new incarnation of the band in 2001, with Rob Brown (guitar) and Dave Jago (bass) under the new name The Dawn Parade. The band's name came from McDonald's term for his walk back to his village on a Monday morning as the sun came up, having spent the money needed for a taxi home in bars the previous night. The new band played several shows and recorded a self-funded, self-titled debut EP, which the band distributed themselves. Shortly before the release of the EP, Jago left to concentrate on his own project, grindcore band Becky Jago, and was replaced by the longstanding permanent bassist Barney Wade. |
Several months later the band made an appearance on an early form of internet television station 'MP3TV' which led them to finally releasing their first official single, "Good Luck Olivia", under the station's show host Susan Hyatt's Not Your Common Records. Then came their second, "Hole in my Heart", in 2002 via the Cambridge based independent record label, Repeat Records, leading the band to tour extensively around the UK for six weeks. Soon after this the band recorded its first Peel Session. The second took place in March 2003, live with a studio audience at BBC Maida Vale (MV4). The band further gigged extensively across the country until July 2003, when Morley, Jennings and Wade decided to leave. |
The band re-formed with a new line-up of McDonald on guitar and vocals, Jeremy Jones (lead guitar), Neil Rayson (bass guitar), Mark Sewell (drums, vocals) and Claire Pruden (backing vocals). Rayson was soon replaced by Steve McLoughlin. The first single of this lineup was "The Fortune Line". The band changed its name to The Visions in late 2005, shortly after finishing recording their debut album in Wales with producer Chris Brown. By August 2006 the band split and finally released their debut album in November 2006 on Repeat Records under their original name The Dawn Parade. |
Following the Dawn Parade's split, McDonald continued as a solo artist; he has, to date, recorded two full-length solo albums, partly in collaboration with former Hip Down/Dawn Parade members Jeremy Jones, Nick Morley and Seymour Glass (credited as Seymour Patrick) and continues to play live throughout the UK. |
= = = Jing (Chinese medicine) = = = |
Jīng (; Wade–Giles: ching) is the Chinese word for "essence", specifically kidney essence. Along with qì and shén, it is considered one of the Three Treasures "Sanbao" of traditional Chinese medicine or TCM. |
According to tradition, Jīng is stored in the kidneys and is the most dense physical matter within the body (as opposed to shén which is the most volatile). It is said to be the material basis for the physical body and is "yīn" in nature, which means it nourishes, fuels, and cools the body. As such it is an important concept in the internal martial arts. Jīng is also believed by some to be the carrier of our heritage (similar to DNA). Production of semen, in the man, and menstrual blood (or pregnancy), in the woman, are believed to place the biggest strains on jīng. Because of this, some even equate jīng with semen, but this is inaccurate; the jīng circulates through the eight extraordinary vessels and creates marrow and semen, among other functions. |
Jīng (; essence) should not be confused with the related concept of jìn (; power), nor with jīng (; classic/warp), which appears in many early Chinese book titles, such as the Nèi Jīng, yì jīng and Chá Jīng, the fundamental text on all the knowledge associated with tea. |
The characteristics which constitute signs of good Jing (e.g. facial structure, teeth, hair, strength of adrenals or kidneys) share the embryological origin of neural crest cells. These cells undergo immense and challenging cellular migrations requiring great organisation. As such, Jing may simply represent the strength of embryological self-organisation in the organism. This will be manifestated most strongly in those cells which require most organisation; that is, the neural crest cells. |
One is said to be born with a fixed amount of "jīng" (prenatal "jīng" is sometimes called "yuanqi") and also can acquire "jīng" from food and various forms of stimulation (exercise, study, meditation.) |
Theoretically, "jīng" is consumed continuously in life; by everyday stress, illness, substance abuse, sexual intemperance, etc. |
Prenatal "jīng" is very difficult to be renewed, and it is said it is completely consumed upon dying. |
Jīng is therefore considered quite important for longevity in traditional Chinese medicine (TCM); many disciplines related to qìgōng are devoted to the replenishment of "lost" jīng by restoration of the post-natal jīng. In particular, the internal martial arts (esp. T'ai chi ch'uan) and the Circle Walking of Baguazhang may be used to preserve pre-natal jīng and build post-natal jīng, if performed correctly. Ginseng, particularly Korean and Chinese, is said to bolster the jīng. |
An early mention of the term in this sense is in a 4th-century BCE chapter called "Neiye" "Inner Training" () of a larger text compiled during the Han dynasty, the Guǎnzi (). |
= = = Richard Hodges (archaeologist) = = = |
Richard Hodges OBE, FSA (born 29 September 1952) is a British archaeologist and president of The American University of Rome. A former professor and director of the Institute of World Archaeology at the University of East Anglia (1996–2007), Hodges is also the former Williams Director of the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia (October 2007- 2012). His published research primarily concerns trade and economics during the early part of the Middle Ages in Europe. His earlier works include "Dark Age Economics" (1982), "Mohammed, Charlemagne and the Origins of Europe" (1983) and "Light in the Dark Ages: The Rise and Fall of San Vincenzo Al Volturno" (1997). |
Hodges’s academic career has focussed upon the archaeology of the later Roman world and the early Middle Ages in western Europe. Many of his excavations and publications have highlighted the transformation of classical antiquity and the birth of Europe. Beginning with Dark Age Economics (1982), he reviewed the changing regional patterns of urban phenomena – especially emporia – in the making of north-west Europe. Following this, with David Whitehouse, in Mohammed, Charlemagne and the Origins of Europe (1983), he reappraised Henri Pirenne’s celebrated historical thesis about the collapse of antiquity and the rise of Europe in the Carolingian age. Perhaps his most significant contribution to this theme was the 18-year (1980-98) excavations at San Vincenzo al Volturno, an Italian Benedictine monastery of the Carolingian renaissance, where together with the art historian, John Mitchell, the history and culture was unearthed and set within a European context. In the many reports on these excavations the architectural history and the art history, including well preserved cycles of paintings in the crypt of San Vincenzo Maggiore, were situated within the changing social and economic circumstances of 9th-century Italy. |
Hodges pursued a similar approach at the UNESCO World Heritage Site of Butrint, the Graeco-Roman town in southern Albania, where over 20 years (1993-2012) representing the Butrint Foundation (Lords Rothschild and Sainsbury), and partnering with the Packard Humanities Institute, he developed a large-scale research programme (with many publications) and a concurrent cultural heritage programme. The project examined all archaeological periods at this site, including the formerly unknown Middle Byzantine periods. |
As of 2015-20 Hodges is the principal investigator of a European Research Council project known as nEU-Med (no. 670792) with the University of Siena entitled ‘The creation of economic and monetary union (7th to 12th centuries): mining, landscapes and political strategies in a Mediterranean region’. This project involves excavations at Vetricella, a complex 9th- to 11th- century elite site near Scarlino, a study of Portus Scabris on the Tyrrhenian Sea, environmental and archaeological studies of the Pegora valley corridor, and a major analysis of Italian early Medieval silver coinage with a view to identifying silver extracted from the Colline Metallifere. |
Throughout his career Hodges has written articles for public audiences. Foremost amongst these are his bi-monthly column for "Current World Archaeology", a collection of which has been published as "Travels with an Archaeologist" (2017). |
As a lecturer at Sheffield University (1976–88) Hodges created the Roystone Grange Archaeological Trail (1988-87). This teaching exercise, with the Peak District National Park, was intended as an innovative heritage feature in the National Park. A second teaching project focussed upon the Montarrenti project (1982–87), with Siena University and the Province of Siena. This was designed as a programme to make a park using the castle with its Romanesque to Renaissance tower-houses as well as the associated lost village. |
As Director of the British School at Rome (1988–95) Hodges was faced with running an institution as government policy on higher education was being radically changed. He oversaw reforms of the institutional structures (charter, committees, staffing, programmes etc.) with a prominent emphasis upon activity-led projects aimed at raising the School’s profile and winning support for refurbishing the it building (originally constructed by Sir Edwin Lutyens). Among the initiatives during his administration were the creation of an art gallery and an active archaeological unit. He also oversaw the refurbishment of the School’s celebrated neo-classical façade with funds from the British government. During this period Hodges also wrote Visions of Rome (2000), a biography of the School’s third director, the archaeologist, Thomas Ashby. |
As Director at the Prince of Wales’s Institute (1996–98) Hodges was charged with its re-positioning because it was attracting academic and journalistic criticism. He worked with two chairmen to reduce the trustees to a small working group, and then tackled the academic programme with reviews, and concurrently began the process of re-establishing the Institute within the Prince’s group of trusts devoted to sustainability and the built environment. |
As a professor in the School of World Art Studies, University of East Anglia, Norwich (1995- 2007) Hodges set up a research institute, the Institute of World Archaeology (1996-2007). This was conceived as a research constellation with an emphasis upon cultural heritage activity. The main projects were in Albania and involved the making of a sustainable archaeological park at Butrint, as well as creating a post-communist archaeological community in serving a transition economy. |
During this period, Hodges was supported by the Open Foundation to be international adviser in Tirana to the Albanian Minister of Culture, Edi Rama. Hodges also advised the Packard Humanities Institute on archaeological and other projects, notably the rescue excavations of the Roman city of Zeugma, Turkey, the conservation of Herculaneum, and the research and conservation of Chersonesos in the Crimea (Ukraine). |
As Williams Director of the University of Pennsylvania Museum of Archaeology and Anthropology (2007–12) Hodges, at the request of the university’s Provost, embarked upon a programme to create a modern museum accessible to Penn students and to K-12 schoolchildren and Philadelphians. Restructuring the museum involved re-positioning the research staff, modernizing the curatorial and exhibition programmes, as well as changing the education, catering, marketing and gallery programmes. This led to a successful campaign to refurbish the Museum’s West Wing, to install new teaching facilities, to install new travelling exhibition galleries, and to implement a digital programme to put the museum's international collections online. |
As President of the American University of Rome (2012–present) Hodges has established a new mission for the university, promoting it as primarily a 4-year international university in the liberal arts, business administration and international relations. Giving it a new identity of working with international academics, and, in effect, beginning an overhaul of every aspect of the university, the university is on course to become a major accredited American university in the Mediterranean region. |
Hodges has also served as a specialist archaeological consultant to the York Archaeological Trust for the Roşia Montană gold mines in Romania (2014), and to the Norwegian power company, Statkraft in the Devoll valley dams, Albania (2016). |
= = = Benesh Movement Notation = = = |
Benesh Movement Notation (BMN), also known as Benesh notation or choreology, is a dance notation system used to document dance and other types of human movement. Invented by Joan and Rudolf Benesh in the late 1940s, the system uses abstract symbols based on figurative representations of the human body. It is used in choreography and physical therapy, and by the Royal Academy of Dance to teach ballet. |
Benesh notation is recorded on a five line staff from left to right, with vertical bar lines to mark the passage of time. Because of its similarity to modern staff music notation, Benesh notation can be displayed alongside (typically below) and in synchronization with musical accompaniment. |
In 1955, Rudolf Benesh publicly introduced Benesh notation as an "aesthetic and scientific study of all forms of human movement by movement notation". In 1997, the Benesh Institute (an organisation focused on Benesh notation) merged with the Royal Academy of Dance. |
Benesh notation plots the position of a dancer as seen from behind, as if the dancer is superimposed on a staff that extends from the top of the head down to the feet. From top to bottom, the five lines of the staff coincide with the head, shoulders, waist, knees and feet. Additional symbols are used to notate the . A "frame" is one complete representation of the dancer. |
A short horizontal line is used to represent the location of a hand or foot that passes through the Coronal plane which extends from the sides of the body. A short vertical line represents a hand or foot at a plane in front of the body, whereas a dot represents a hand or foot at a plane behind the body. The height of the hands and feet from the floor and their distance from the mid-line of the body are shown visually. A line drawn in the top space of the staff shows the position of the head when it changes position. A direction sign is placed below the staff when the direction changes. |
= = = Rabin–Karp algorithm = = = |
In computer science, the Rabin–Karp algorithm or Karp–Rabin algorithm is a string-searching algorithm created by that uses hashing to find an exact match of a pattern string in a text. It uses a rolling hash to quickly filter out positions of the text that cannot match the pattern, and then checks for a match at the remaining positions. Generalizations of the same idea can be used to find more than one match of a single pattern, or to find matches for more than one pattern. |
To find a single match of a single pattern, the expected time of the algorithm is linear in the combined length of the pattern and text, |
although its worst-case time complexity is the product of the two lengths. To find multiple matches, the expected time is linear in the input lengths, plus the combined length of all the matches, which could be greater than linear. In contrast, the Aho–Corasick algorithm can find all matches of multiple patterns in worst-case time and space linear in the input length and the number of matches (instead of the total length of the matches). |
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