Academic literature on the topic 'Choreographic editing'
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Journal articles on the topic "Choreographic editing"
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Gaudreau, Lynda. "A Letter to Ludwig Wittgenstein." Dance Articulated 6, no. 1 (June 24, 2020): 7–11. http://dx.doi.org/10.5324/da.v6i1.3615.
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Lynda Gaudreau’s current artistic research on asynchrony emerged from her choreographic practice. Asynchrony is the modification or disturbance of perception caused by a slight change in space and/or time within a work, and which, like a pebble, slips inside a machinery. This tiny friction between space and time heightens the audience’s attention. During her doctoral research (2018), she elaborated her conception of asynchrony through specific parameters, such as the hole/ gap, short circuit and fake space. These were organized into three dynamic axes: desynchronization, destruction, and editing. Her project eventually took the form of twenty-five fictional letters to various individuals - artists, thinkers and characters. They include letters to Pier Paolo Pasolini, Cedric Price, Dominique Gonzalez-Foerster and a Sainte. The letter to Ludwig Wittgenstein is one of the unpublished letters of this project. Begun during the live screening of the American presidential election in 2016, the letter integrates various recollections and texts about space, movement and time. It carries the reader into a choreographic and asynchronic experience, from one place to another, and into different times (live stream, recorded…). The letter to Ludwig Wittgenstein is a reflective enquiry into the relation between space and language, and the mobile nature of both.
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Androshchuk, L. M. "Future choreography teacher training in the system of choreographic and pedagogical education in the context of participation of graduating department in complex scientific project." Musical art in the educological discourse, no. 2 (2017): 123–27. http://dx.doi.org/10.28925/2518-766x.20172.12327.
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Future choreography teacher training in the system of choreographic and pedagogical education in the context of the participation of the graduating Department of Choreography and Department of Choreography and Artistic Culture of Pavlo Tychyna Uman State Pedagogical University in the complex scientific project are considered in the article. The basic tasks of the project in the context of the forming of the creative potential of the future choreography teacher are presented. The result of investigation is the following: 1) The aim and tasks of the subtopics of the complex scientific project “Theoretical and Methodological Foundations of Development of Future Choreography Teacher’s Creative Potential” are analyzed. The aim of investigation is foundation of the theoretical and practical component of development of future choreography teacher’s creative potential. 2) The results of analytical (2015) and search-activity (2016) stages are highlighted. The theoretical and methodological foundations of development of future choreography teacher’s creative potential are considered, innovative model of future choreography teacher’s creative potential in the process of the scientific-creative projects is proved; the series of scientific-creative projects in the disciplines of choreography cycle are developed and implemented; the series of academic editions from the professional dance disciplines are prepared; the results of investigation in the form of monographs “Theoretical and Methodological Foudations of Development of Future Choreography Teacher’s Creative Potential”, “Methodology of Implementation of Innovative Model in Development of Future Choreography Teacher’s Creative Potential”, publication “Strategies for Development of Choreographic Education”, articles in the professional editions etc. are implemented into scientific circulation and educational process. 3) Development and implementation of educational-methodological manuals, educational programmes and methodological recommendations for students’ independent work in disciplines of the choreographic cycle into the educational process of higher education institution are of great practical value according to obtained results. Among the significant results of implementation of a comprehensive scientific project there is an introduction into scientific community of the edition “Strategy for the Development of Choreographic Education, which was published on the results of the II and III All-Ukrainian Scientific and Practical Conference with International Participation “Modern Development Strategies for Choreographic Education” (May 16, 2015, June 25, 2016, Pavlo Tychyna Uman State Pedagogical University).
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Hildebrandt, Antje. "After the Future: Choreography as a practice of editing." Choreographic Practices 8, no. 2 (December 1, 2017): 297–309. http://dx.doi.org/10.1386/chor.8.2.297_1.
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Shaw, Brandon. "Effacing Rebellion and Righting the Slanted: Declassifying the Archive of MacMillan's (1965) and Shakespeare's (1597)Romeo and Juliets." Dance Research Journal 49, no. 2 (August 2017): 62–78. http://dx.doi.org/10.1017/s0149767717000201.
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Archival evidence of Shakespeare's and Kenneth MacMillan'sRomeo and Juliets evince patriarchal efforts to efface female rebellion. As Juliet, Lynn Seymour declassifies ballet through recalcitrant stillness and off-balance choreography. Patriarchal institutions enlisted Margot Fonteyn's classifying instinct to efface these balletic transgressions from the archive utilizing strategies corresponding to early modern textual editing practices.
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Mukherjee, Silpa. "Behind the Green Door: Unpacking the Item Number and Its Ecology." BioScope: South Asian Screen Studies 9, no. 2 (December 2018): 208–32. http://dx.doi.org/10.1177/0974927618814027.
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The term ‘item numbers’ emerged in film journalism sometime in the late 1990s as an industry slang. It later evolved into a heterogeneous cinematic language with its investment in production design, choreography, special effects and specialised editing. Using interviews with industry professionals, this article will unpack the production ecology of the hypersexualised and hybrid song and dance spectacle.
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Abulhawa, Dani. "Porous choreographies of living and dancing." Choreographic Practices 13, no. 1 (July 1, 2022): 3–8. http://dx.doi.org/10.1386/chor_00038_2.
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This editorial discusses how performance and dance artists and theorists articulate and embody cohabitation and collaboration across geographies, cultural contexts and species. These current practices and concerns within the fields of dance, somatic practice and performance are contextualized here in relation to the current global, social and political context; societies living with COVID-19 and with the current or impending effects of the climate crisis. This discussion provides the basis for an introduction to the contributions featured in this edition of Choreographic Practices.
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Meng, Huo. "Analysis and Evaluation on the Harmfulness of Sports Dance Based on Intelligent Computing." Wireless Communications and Mobile Computing 2022 (April 23, 2022): 1–8. http://dx.doi.org/10.1155/2022/7371366.
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With the rapid development of motion analysis and editing technology, more and more animation technologies based on real human motion analysis are widely used in games, medicine, film and television, sports, and other fields. The role of this technology in the teaching system of sports dance arrangement cannot be ignored. This paper studies the application of intelligent algorithm in injury analysis of sports dance choreography and puts forward a smooth and natural motion editing method which is more in line with the characteristics of human motion. The square spherical surface intelligent algorithm is used to naturally transition the rotation posture of each frame of human joint, and the action modification of computer-aided dance choreography system is more in line with the real action of human body. Simulation results show that interframe data can be used for the same type of dance. Different types of dance arrangement can adopt the method of inserting a new framework between the two dance movements, so as to finally meet the needs of sports dance coaches and students to observe their own dance movements in an all-round way, so as to facilitate the arrangement and modification of sports dance movement design. It provides a certain reference for the application and development of virtual technology in the field of sports and greatly improves the current situation of sports dance teaching equipment. Through animation simulation technology, we can effectively avoid the injury caused by dangerous movements, provide a way of observation and improvement for coaches’ dance teaching, and effectively improve the training effect. Compared with traditional dance choreography methods, the intelligent algorithm in this study can make the animation display of sports dance more coherent and realistic and effectively solve the needs of current events observation and modification in sports dance choreography. It can produce complex movements with simple movements and help teachers arrange and teach sports dance. Avoid the accidental injury caused by the limitation of time and space in traditional teaching and realize the modernization and intelligence of physical education teaching.
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McClam, Nicole Y. "Choreography: A Basic Approach Using Improvisation, 4th Edition." Journal of Dance Education 18, no. 3 (July 3, 2018): 140. http://dx.doi.org/10.1080/15290824.2018.1442962.
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Lewis, Ann. "Extra-illustrating Rousseau’s Julie, ou La Nouvelle Héloïse: The case of the Defer de Maisonneuve edition (1793–1800)." Journal of Illustration 8, no. 2 (December 1, 2021): 251–80. http://dx.doi.org/10.1386/jill_00042_1.
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While scholarly treatments of extra-illustration have focused almost exclusively on the Anglo-American context, this article considers the phenomenon from a French perspective, by examining two contrasting but previously unstudied extra-illustrated copies of Rousseau’s bestselling novel Julie, ou La Nouvelle Héloïse (1761), each hosted within the large-scale Defer de Maisonneuve edition of Rousseau’s Œuvres (1793–1800). The present article compares these spectacular copies and situates them in the context of French traditions of bibliophilia and connoisseurship, thus nuancing the picture of extra-illustration, which has emerged from Anglo-American accounts, and adding a new dimension to the growing field of work on the iconography surrounding Julie. The two copies, held by the British Library (London, United Kingdom) and Bayerische Staatsbibliothek (Munich, Germany), contain multiple artists’ series of illustrations and individual prints depicting scenes from Julie originally intended for other editions. Each thus provides an intricate choreography of visual readings and configures new connections and possibilities for the reader/viewer, while breaking up the traditional relationship between text and image typically found in eighteenth-century illustrated editions. In their very different scale and presentation of prints (number, size, type, arrangement and binding), they suggest highly divergent practices of collecting, displaying and viewing/reading, inclining variously more to the arts of the book and literary culture in one case, or towards print connoisseurship in the other.
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Kim, Jian, Eunhye Kim, and Aeryung Hong. "OTT Streaming Distribution Strategies for Dance Performances in the Post-COVID-19 Age: A Modified Importance-Performance Analysis." International Journal of Environmental Research and Public Health 19, no. 1 (December 29, 2021): 327. http://dx.doi.org/10.3390/ijerph19010327.
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The purpose of this study was to explore strategies for distributing online content of dance post COVID-19 in Korea. And specially to discuss the distribution strategies of online performances through videoization of dance performances and OTT (over-the-top) streaming: (1) Methods: For this purpose, a survey was conducted on the distribution strategy of dance online contents for a total of 100 practitioners such as dance field, video contents, and art management. A total 91 sample were used except for defective questionnaires, and Vavra (1997)’s modified important performance analysis was conducted; (2) Results: The results of the matrix through the modified IPA analysis are as follows: first, the first quadrant included ‘quality of dance performance’, ‘platform for OTT streaming’, and ‘promotion for potential audience development’. This means that both explicit and intrinsic importance are high, and it is an important execution factor that has a positive effect on the satisfaction of the online contents of dance only if it is met. Second, the second quadrant included ‘brand awareness of choreographer or dance company’, ‘creative composition and choreography’, and ‘fee and price criteria’. This is a case of low explicit importance but high intrinsic importance, and these factors are attractive attributes that affect the satisfaction of dance online contents, although consumers do not expect it to be important. Third, the third quadrant included ‘new formats and curation’, ‘convergence technology (AR, VR, 3D, etc.) for the field sense’, and ‘online audience service (communication, membership, etc.)’. This means that both explicit and intrinsic importance are low, and if these factors are met, it can have a positive effect on the satisfaction of viewing of dance online contents. However, it does not have a negative effect even if it is not met. Fourth, in the fourth quadrant, ‘production and editing competency’, ‘quality of videos and sounds’, ‘copyright of performance creation’, and ‘fandom and audience management’ was included. This is an essential attribute in the distribution strategy of dance online contents because it has high explicit importance and low intrinsic importance, and it can have a negative impact on satisfaction when these factors are not met.
Dissertations / Theses on the topic "Choreographic editing"
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Schrock, Madeline Rose. "Visual Media, Dance, and Academia: Comparing Video Production with the Choreographic Process and Dance Improvisation." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1306695898.
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Guy, Priscilla. "L'autoreprésentation des femmes en cinédanse à l'aune de perspectives féministes : de la figure du cyborg vers une théorie de la déformation." Thesis, Université de Lille (2022-....), 2022. http://www.theses.fr/2022ULILH014.
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À partir d'une épistémologie féministe intersectionnelle, je propose d'interroger les pratiques d'autoreprésentation des femmes en cinédanse en mettant en lumière les propos de huit artistes contemporain·e·s — Kijâtai-Alexandra Veillette-Cheezo, Manon Labrecque, Cara Hagan, Sonya Stefan, Emilie Morin, Paulina Ruiz Carballido, Kim-Sanh Châu et Jossua Collin Dufour — recueillis lors d'entretiens de fond, de même qu'en analysant leurs œuvres à l'aune de théories croisées. Ce corpus est mis en perspective grâce à un noyau généalogique original campé au tournant du 20e siècle qui permet de considérer Alice Guy, Loïe Fuller, Valeska Gert et Joséphine Baker comme constituant une genèse productive pour penser le développement de la cinédanse. Des artistes des avant-gardes new-yorkaises des années 1940 à 1985 — dont Marie Menken, Maya Deren, Shirley Clarke, Yvonne Rainer, Martha Rosler, Blondell Cummings et Amy Greenfield — agissent en tant que courroie de transmission entre les pionnières et les artistes d'aujourd'hui. Du point de vue théorique, ces pratiques autoreprésentationnelles sont problématisées à travers trois grands axes : d'abord, une historiographie critique des théories du regard au cinéma au confluent de considérations kinesthésiques; ensuite, une interrogation des implications politiques et esthétiques des mutations technologiques de l'image depuis la fin du 19e siècle en relation avec les corps dansants; finalement, une réflexion sur l'aspect collectif des pratiques d'autoreprésentation en cinédanse, malgré les divergences qui sous-tendent les œuvres au sein de constellations hétérogènes. En m'appuyant sur la figure du cyborg (Haraway, 1985), je déploie une réflexion qui prend le potentiel subversif et la nature intermédiale des pratiques d'autoreprésentation comme tremplin pour le développement d'une théorie de la déformation. Celle-ci se construit au fil des chapitres, jusqu'à se déposer dans un récit de science-fiction et d'autothéorie qui vient à la fois clore la thèse et relancer mes interrogations sur la virtualité des corps dansantsAdopting an intersectional feminist epistemology, I propose to interrogate the self-representation of women in screendance, by examining the statements of eight contemporary artists — Kijâtai-Alexandra Veillette-Cheezo, Manon Labrecque, Cara Hagan, Sonya Stefan, Emilie Morin, Paulina Ruiz Carballido, Kim-Sanh Châu et Jossua Collin Dufour — gathered through in-depth interviews, and by analyzing their works from cross theories. This corpus is put in perspective with the help of an original genealogic core rooted in the turn of the 20th century: one that proposes Alice Guy, Loïe Fuller, Valeska Gert and Joséphine Baker as constituting a productive genesis in imagining the modalities of screendance. New York avant-garde artists from the years 1940 to 1985 such as Marie Menken, Shirley Clarke, Maya Deren, Yvonne Rainer, Martha Rosler, Blondell Cummings and Amy Greenfield act as bridges between pioneers and today's artists. From a theoretical point of view, screendance self-representation practices are problematized through three major axes: first, a critical historiography of gaze theories in cinema at the confluent of kinesthetic considerations; secondly, an interrogation of the political and aesthetic implications of the moving image's technological mutations since the end of the 19th century in relation to dancing bodies; finally, a reflection on the collective modalities of women's self-representation in screendance, despite the divergences that underlie the œuvres themselves within heterogeneous constellations. While leaning on the figure of the cyborg (Haraway, 1985), I deploy a critical reflection that uses the subversive potential and the intermedial nature of screendance self-representation practices as a springboard to develop a theory of deformation. This theory is constructed gradually in each chapter, finally settling into a science fiction and autotheory narrative that both concludes the thesis and resumes my interrogations about dancing bodies' virtuality
Books on the topic "Choreographic editing"
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Guy, Priscilla. Where Is the Choreography? Who Is the Choreographer? Edited by Douglas Rosenberg. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199981601.013.28.
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This chapter examines editing as a springboard to envision new types of choreographic practices for screendance and proposes choreographic editing as a dance-making approach embedded within the process of editing, encouraging further headway into screendance practices. Martin Heidegger’s thinking provides insightful tracks to follow in theorizing the role of contemporary screendance choreography and mediated dances/bodies on screen. Erin Braningan’s concept of micro-choreographies and Harmony Bench’s essay on anti-gravitational choreographies in screendance suggest ideas of choreographic editing as an alternate approach to contemporary choreography. These are illustrated by editing strategies in three screendance works—Pas de Deuxby Norman McLaren,An Ostrich Proudlyby Xan Burley and Alex Springer, and Béla Tarr’sThe Turin Horse.The films show how techniques ranging from reediting of dancers’ motions to a quasi-absence of cuts that reveals strong kinesthetic empathy for the viewer all open up new possibilities of using editing in a powerful way.
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Dance Composition Basics-2nd Edition. Human Kinetics, Inc., 2019.
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Notes on stew choreography - Book Two: Flageolet Pencils. Missoula, Montana: The Link Egglepple Starbureiy Museum, 2011.
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Further Steps: 2nd Edition. 2nd ed. Routledge, 2008.
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Further Steps: 2nd Edition. 2nd ed. Routledge, 2008.
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Discovering Dance (1st Edition). Human Kinetics, 2014.
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Chakravorty, Pallabi. Flexing and Remixing Bodies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199477760.003.0004.
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This chapter combines the theory of ‘embodiment and experience’ with ethnographic fieldwork to examine how the dominant aesthetic emotion (‘rasa’) once associated with the song and dance sequences in Bombay films is transformed through technological and aesthetic innovations on screen and the actual training of the body in dance halls, film studios, and dance classes in Mumbai and Kolkata. The embodiment of ‘remix’ describes the interconnections between new training techniques, film editing, and choreography of Indian dances.
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Parfitt-Brown, Clare. An Australian in Paris. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.005.
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Reviewers of Baz Luhrmann’sMoulin Rouge!(2001) often claimed to be bombarded, overloaded, or pathologically infected by the film’s rapid-fire imagery and eclectic cultural references. This chapter explores these visceral experiences of spectatorship, focusing on the film’s dance sequences. It argues that in these sequences, choreography and digital technology (including computer-generated imagery and editing) combine to allow spectators to physically experience on-screen bodies that are historically and culturally complex, distant, and “other.” Alison Landsberg’s notion of “prosthetic memory” (2004) suggests that films can physically connect spectators with pasts and memories they have not directly experienced. This chapter argues thatMoulin Rouge!achieves this physical connection by tapping into, and updating, a bohemian tradition of cross-cultural and transhistorical self-performance.
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Winkler, Kevin. Dance of Death. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0011.
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This chapter looks at Bob Fosse’s most ambitious film, the autobiographical All That Jazz. All That Jazz follows Joe Gideon, a director and choreographer very much like Fosse who is at a personal and professional crossroads as he prepares to direct a Broadway musical much like Chicago while simultaneously editing a film that looks a lot like Lenny. Following graphic footage of open-heart surgery and a series of metaphoric musical comedy turns by the women in his life, All That Jazz concludes with Gideon presiding over a combined funeral and wake for himself: a glamorous, high-energy floor show to end all floor shows. Here Fosse took the movie musical further than anyone had dared—not only in subject matter, but also in structure and pacing. Fosse tells this “putting on a show” musical in nonlinear fashion, with surprising juxtapositions, fragments, and time leaps.
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A, Hoffmann E. T. The Nutcracker: The Heirloom Edition. Running Press Kids, 2003.
Find full textBook chapters on the topic "Choreographic editing"
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"Editing as Choreography." In Cutting Rhythms, 46–65. Routledge, 2015. http://dx.doi.org/10.4324/9781315719580-9.
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"PREFACE TO THE REVISED EDITION." In The Dancing Body in Renaissance Choreography, ix—xlvi. Anthem Press, 2022. http://dx.doi.org/10.2307/j.ctv2c3k1k7.3.
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"Editing as Choreography ............................................... Shifting the Discussion from Music to." In Cutting Rhythms, 53–72. Routledge, 2012. http://dx.doi.org/10.4324/9780080927763-8.
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LoBrutto, Vincent. "The Burden of Men." In Ridley Scott, 133–38. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.003.0016.
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This film is based on true deadly events encountered by US troops in Somalia in 1993 that began when a rebel army shot down an American helicopter. Scott was interested in the story because of the theme of people caught on the edge of society, revealing human behavior stretched and challenged. The production was staged in Morocco. It took four months of diplomacy to bring this to a reality and even involved Colin Powell, then US secretary of state. Two thousand extras from twenty-four African communities were employed as well as a large cast of American actors, including Sam Shepard, Josh Harnett, Ewan McGregor, Tom Sizemore, and Eric Bana. As many as eleven cameras were used to shoot the intricately choreographed battle sequences. This highly respected film won the Academy Award for Best Editing and Best Sound.
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Van Leuven, Holly. "Where’s Charley?" In Ray Bolger, 138–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639044.003.0009.
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Chapter 8 chronicles the inception and creation of Where’s Charley?, Bolger’s most important Broadway show. The estate that held rights to the show agreed to let Feuer and Martin produce it if three conditions were met: Bolger needed to be the star, the show had to play in a first-class Broadway theater, and Feuer’s edits to the original Samuel French edition of the play had to be the basis of the finished musical. The chapter includes accounts of director George Abbott, composer and lyricist Frank Loesser, choreographer George Balanchine, and new producers Cy Feuer and Ernest Martin, who received assistance from Bolger’s wife, Gwen Rickard. In particular, Bolger’s “Once in Love with Amy” number is discussed for its importance and for the role it played in securing him a Tony Award for his performance as Charley Wykeham.
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Belsey, Alex. "Self-editorship and ‘Keith Vaughan’." In Image of a Man, 209–42. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620290.003.0007.
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This chapter examines Keith Vaughan’s attempt to curate his own legacy with the publication of his self-edited Journal & Drawings (1966). At intervals throughout the 1950s he had been revisiting the wartime volumes of his journal and by the early 1960s his opinion of them had changed from scornful critique to aching nostalgia, so in 1965 he commenced (at the behest of Alan Ross) a long process of self-editing journal entries from 1939 to present to be published alongside previously unseen drawings and photographs. The first section of this chapter considers Vaughan’s practices of re-reading his journal and examines his typescripts as evidence of the extensive revisions made to the content and style of specific journal entries for publication. The second section reveals how Vaughan shaped the text of Journal & Drawings through processes of selecting, re-writing, and even devising entirely new material, resulting in a streamlined narrative at once confessional yet choreographed. The third section of this chapter surveys the placement of drawings and photographs in Journal & Drawings and how words and images work to communicate the interrelations between his journal-writing and visual practice – and to fix and control the image of ‘Keith Vaughan’.
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Nadel, Ira. "Mansfield, Movement and the Ballets Russes." In Katherine Mansfield and Russia, 89–106. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474426138.003.0006.
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Mansfield and the world of the Ballets Russes, is the focus of this discussion of the importance of movement and dance for her writing and life. Incorporating aspects of Russian dance, especially its expressiveness, gesture and experimentation, into her prose becomes an important feature of her writing marked in part by the physical actions of her characters. Balancing the Chekhovian dispassion of her short stories was a vitality located in her incorporation of elements of the Ballets Russes which became, for a period, the intellectual and fashionable centre of London. Part of their originality was collaboration with dancers and choreographers working with set designers and musicians. The Ballets Russes also confirmed her own artistic efforts to unite novelty and tribalism, especially in her New Zealand stories. Her co-editing Rhythm became another venue for her support of the innovative work produced by Diaghilev, choreographed by Massine, costumed by Léon Bakst and highlighted by sets designed by Cocteau and Picasso. Sharing the impact of the Ballets Russes with high profile admirers, Mansfield applied their originality to her own efforts recognising that their overall impact was not technique alone but the expression of technique into idea as the Times wrote in June 1911.
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Gill, Hannah. "Conclusion." In The Latino Migration Experience in North Carolina, Revised and Expanded Second Edition, 175–80. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646411.003.0008.
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It was standing-room only in the South Graham Elementary School (SGE) gym at the “Latin America through the Decades” event on a September evening in 2016. Principal Elizabeth Price welcomed students and their families, speaking Spanish and English in her usual fashion. An audience of more than two hundred people cheered and clapped as kindergarten classes walked onstage wearing white gloves and jean jackets, Michael Jackson– style. They performed choreographed dances to Latin pop music from the 1980s and sang songs with great enthusiasm and huge smiles. Older students followed with different performances highlighting music from the Americas. Afterward, a salsa band appeared onstage and played music as families met teachers and students got stamps on “passports” they had made in school. Despite the fact that the gym was crowded and hot, the audience lingered, laughed, and learned about the extraordinary work of the SGE community, which has embraced learning models that celebrate the heritage and linguistic skills of its Latino students....