prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: In which six Western European territories have Celtic languages or cultural traits survived?

The following are given passages.
Context 1: Passage 1:
Celtic studies
Celtic studies or Celtology is the academic discipline occupied with the study of any sort of cultural output relating to the Celtic-speaking peoples (i e  speakers of Celtic languages)  This ranges from linguistics, literature and art history, archaeology and history, the focus lying on the study of the various Celtic languages, living and extinct  The primary areas of focus are the six Celtic languages currently in use: Irish, Scottish Gaelic, Manx, Welsh, Cornish, and Breton 
As a university subject, it is taught at a number of universities, most of them in Ireland, the United Kingdom, or France, but also in the United States, Canada, Australia, Germany, Poland, Austria and the Netherlands 

History
Written studies of the Celts, their cultures, and their languages go back to classical Greek and Latin accounts, possibly beginning with Hecataeus in the 6th century BC and best known through such authors as Polybius, Posidonius, Pausanias, Diodorus Siculus, Julius Caesar and Strabo  Modern Celtic studies originated in the 16th and 17th centuries, when many of these classical authors were rediscovered, published and translated Academic interest in Celtic languages grew out of comparative and historical linguistics, which was itself established at the end of the 18th century  In the 16th century, George Buchanan studied the Goidelic languages  The first major breakthrough in Celtic linguistics came with the publication of Archaeologia Britannica (1707) by the Welsh scholar Edward Lhuyd, who was the first to recognise that Gaulish, British and Irish belong to the same language family  He also published an English version of a study by Paul-Yves Pezron of Gaulish 
In 1767 James Parsons published his study The Remains of Japhet, being historical enquiries into the affinity and origins of the European languages  He compared a 1000-word lexicon of Irish and Welsh and concluded that they were originally the same, then comparing the numerals in many other languages 
The second big leap forwards was made when the Englishman Sir William Jones postulated that Sanskrit, Greek, Latin and many other languages including "the Celtic" derived from a common ancestral language  This hypothesis, published in The Sanscrit Language (1786), would later be hailed as the discovery of the Indo-European language family, from which grew the field of Indo-European studies  The Celtic languages were definitively linked to the Indo-European family over the course of the 19th century 
Although Jones' trail-blazing hypothesis inspired numerous linguistic studies, of which Celtic languages were a part, it was not until Johann Kaspar Zeuss's monumental Grammatica Celtica (volume 1, 1851; volume 2, 1853) that any truly significant progress was made  Written in Latin, the work draws on the earliest Old Irish, Middle Welsh and other Celtic primary sources to construct a comparative grammar, which was the first to lay out a firm basis for Celtic linguistics  Among other achievements, Zeuss was able to crack the Old Irish verb 

Celtic studies in the German-speaking world and the Netherlands
German Celtic studies (Keltologie) is seen by many as having been established by Johann Kaspar Zeuss (1806–1856) (see above)  In 1847, he was appointed professor of linguistics at the Ludwig Maximilian University of Munich  Until the middle of the 19th century, Celtic studies progressed largely as a subfield of linguistics  Franz Bopp (1791–1867) carried out further studies in comparative linguistics to link the Celtic languages to the Proto-Indo-European language  He is credited with having finally proven Celtic to be a branch of the Indo-European language family  From 1821 to 1864, he served as a professor of oriental literature and general linguistics in Berlin In 1896, Kuno Meyer and Ludwig Christian Stern founded the Zeitschrift für celtische Philologie (ZCP), the first academic journal solely devoted to aspects of Celtic languages and literature, and still in existence today  In the second half of the century, significant contributions were made by the Orientalist Ernst Windisch (1844–1918)  He held a chair in Sanskrit at the University of Leipzig; but he is best remembered for his numerous publications in the field of Celtic studies  In 1901, the Orientalist and Celtologist Heinrich Zimmer (1851–1910) was made professor of Celtic languages at Friedrich Wilhelm University in Berlin, the first position of its kind in Germany  He was followed in 1911 by Kuno Meyer (1858–1919), who, in addition to numerous publications in the field, was active in the Irish independence movement Perhaps the most important German-speaking Celticist is the Swiss scholar Rudolf Thurneysen (1857–1940)  A student of Windisch and Zimmer, Thurneysen was appointed to the chair of comparative linguistics at the University of Freiburg in 1887; he succeeded to the equivalent chair at the University of Bonn in 1913  His notability arises from his work on Old Irish  For his masterwork, Handbuch des Altirischen ("Handbook of Old Irish", 1909), translated into English as A Grammar of Old Irish, he located and analysed a multitude of Old Irish manuscripts  His work is considered as the basis for all succeeding studies of Old Irish In 1920, Julius Pokorny (1887–1970) was appointed to the chair of Celtic languages at Friedrich Wilhelm University, Berlin  Despite his support for German nationalism and Catholic faith, he was forced out of his position by the Nazis on account of his Jewish ancestry  He subsequently emigrated to Switzerland but returned to Germany in 1955 to teach at Ludwig Maximilians University of Munich  In Berlin, he was succeeded in 1937 by Ludwig Mühlhausen, a devout Nazi After World War II, German Celtic studies took place predominantly in West Germany and Austria  Studies in the field continued at Freiburg, Bonn, Marburg, Hamburg as well as Innsbruck; however an independent professorship in Celtic studies has not been instituted anywhere  In this period, Hans Hartmann, Heinrich Wagner and Wolfgang Meid made notable contributions to the scientific understanding of the boundaries of the Celtic language area and the location of the homeland of the Celtic peoples  The Berlin chair in Celtic languages has not been occupied since 1966 Today, Celtic studies is only taught at a handful of German universities, including those of Bonn, Trier, and Mannheim, the Johannes Gutenberg University of Mainz, and the Philipps University of Marburg  It is also taught at the University of Vienna  Only Marburg, Vienna and Bonn maintain formal programs of study, but even then usually as a subsection of comparative or general linguistics  Only Marburg offers an M A  course specifically in Celtic Studies  No Celtic studies research has taken place in the former centres of Freiburg, Hamburg or Berlin since the 1990s  The last remaining chair in Celtic studies, that at Humboldt University of Berlin, was abolished in 1997 The only Chair of Celtic studies in Continental Europe is at Utrecht University (in the Netherlands)  It was established in 1923, when Celtic studies were added to the Chair of Germanic studies on the special request of its new professor A  G  van Hamel 

Celtic studies in Ireland
Celtic studies are taught in universities in Northern Ireland and the Republic of Ireland  These studies cover language, history, archaeology and art  In addition, the Irish language is taught to a greater or lesser extent in schools across the island of Ireland 
The beginning of Celtic Studies as a university subject in Ireland might be dated to Eugene O'Curry's appointment as professor of Irish history and archaeology at the Catholic University of Ireland in 1854  Celtic Studies, either as full Celtic Studies programmes or as Irish language programmes, are now offered in the National University of Ireland, Galway, University College Cork, University College Dublin (the successor institution to the Catholic University), National University of Ireland, Maynooth, Trinity College Dublin, University of Limerick, Mary Immaculate College, Limerick, Dublin City University, Queen's University Belfast and Ulster University  The Dublin Institute for Advanced Studies (DIAS), School of Celtic Studies, is a research institution but does not award degrees  DIAS and the Royal Irish Academy are leading publishers of Celtic Studies research, including the journals Celtica and Ériu 

Celtic studies in the United Kingdom and the Isle of Man
Celtic studies are taught in universities in England, Wales, Scotland and Northern Ireland  These studies cover language, history, archaeology and art  In addition, Celtic languages are taught to a greater or lesser extent in schools in Wales, Scotland, Northern Ireland, Cornwall and the Isle of Man 
The formal study of Celtic Studies at British universities in the late nineteenth century gave rise to the establishment of chairs for Sir John Rhys, first Jesus Professor of Celtic at the University of Oxford, in 1874 and for Donald MacKinnon, first Chair of Celtic at the University of Edinburgh, in 1882  Institutions in the United Kingdom that have Celtic Studies departments and courses are: the Universities of Aberdeen, Aberystwyth, Bangor, Cambridge, Cardiff, Edinburgh, Exeter (which houses the Institute of Cornish Studies), Glasgow, Oxford, Swansea, Trinity St David's, Queen's University Belfast, Ulster University, the University of the Highlands and Islands and the University of Wales, Centre for Advanced Welsh and Celtic Studies  The top five rated degree-awarding programmes/departments as of 2017 are; (1) Department of Anglo-Saxon, Norse and Celtic at University of Cambridge (2) Welsh and Celtic Studies at Bangor University (3) Welsh and Celtic Studies at Cardiff University (4) Celtic and Gaelic at University of Glasgow (5) Irish and Celtic Studies at Queen's University, Belfast 
A major funder of UK Celtic Studies doctoral studies is the AHRC-funded Centre for Doctoral Training in the Celtic Languages, which admitted PhD students in the period 2014–2019  The CDT in Celtic Languages is administered through Celtic and Gaelic at the University of Glasgow and its director is Prof  Katherine Forsyth 

Celtic studies in North America
In North America, Celtic scholars and students are represented professionally by the Celtic Studies Association of North America 

In Canada
Several universities in Canada offer some Celtic studies courses, while only two universities offers a full B A  as well as graduate courses  St  Michael's College at the University of Toronto and St  Francis Xavier University offers the only B A  of its kind in Canada with a dual focus on Celtic literature and history, while the Pontifical Institute of Mediaeval Studies at the University of Toronto offers courses at a graduate level through their Centre for Medieval Studies, along with St  Francis Xavier University 
Other Canadian universities which offer courses in Celtic, Scottish or Irish studies include Cape Breton University, Saint Mary's University, Halifax, Simon Fraser University, the University of Guelph and the University of Ottawa 

In the United States of America
In the United States, Harvard University is notable for its Doctorate program in Celtic studies  Celtic studies are also offered at the universities of Wisconsin-Milwaukee, California–Berkeley, California–Los Angeles, Bard College, and many others, including programs in which a student may minor, like at the College of Charleston  Some aspects of Celtic studies can be accessed through Irish Studies programmes, such as at the University of Notre Dame 

Celtic studies in France
In 1804, the Académie Celtique was founded with the goal of unearthing the Gallic past of the French people  France also produced the first academic journal devoted to Celtic studies, Revue Celtique  Revue Celtique was first published in 1870 in Paris and continued until the death of its last editor, Joseph Loth, in 1934  After that point it was continued under the name Études Celtiques 
The University of Western Brittany (Brest) offers a two-year, an international European-Union certified master's degree course entitled "Celtic languages and Cultures in Contact"  It is part of the Centre for Breton and Celtic Research (CRBC)  Closely linked to this MA programme, the University of Western Brittany organizes an intensive two-week Summer School in Breton Language and Cultural Heritage Studies every year in June  This Summer School is also sponsored by the CRBC and welcomes scholars from around the world with an interest in the Celtic (and minority) languages and cultures to study Breton, the least known of the living Celtic languages 

Celtic studies elsewhere
Celtic studies are also taught at other universities elsewhere in Europe, including the Charles University in Prague (Czech Republic), University of Poznań (Poland), The John Paul II Catholic University of Lublin (Poland), Moscow State University (Russia), Uppsala University (Sweden)Irish studies are taught at the University of Burgos (Spain) and the University of A Coruña (Galicia)  Galicia also has its own Institute for Celtic Studies 
Celtic Studies are taught at both undergraduate and postgraduate levels at the University of Sydney (Australia), which also hosts the triennial Australian Conference of Celtic Studies 

International Congress of Celtic Studies
The International Congress of Celtic Studies is the foremost academic conference in the field of Celtic Studies and is held every four years  It was first held in Dublin in 1959  The XV International Congress of Celtic Studies was held at the University of Glasgow in 2015  In 2019, the XVI ICCS was held at Bangor University and the XVII ICCS will be held at Utrecht University in 2023 

Areas of Celtic studies
Archaeology
Linguistics and philology (historical linguistics)
Ethnology
Folklore
History
Literature
Onomastics (Toponymy)
Religious studies (see Celtic Christianity)
Political science

Notable Celticists
Notable academic journals
Zeitschrift für celtische Philologie (ZCP), est  1896, Halle 
Revue Celtique (RC), est  1870, Paris; continued after 1934 by Études celtiques 
Ériu est  1904, Dublin 
The Bulletin of the Board of Celtic Studies (BBCS), est  1921, Cardiff; merged with Studia Celtica in 1993 
Études Celtiques (EC), est  1936, Paris 
Celtica  Journal of the School of Celtic Studies, est  1949, Dublin 
Studia Celtica, est  1966, Cardiff 
Éigse  A Journal of Irish Studies, est  1939, Dublin 
Cambrian Medieval Celtic Studies (CMCS), est  1993, Aberystwyth; formerly Cambridge Medieval Celtic Studies 
Peritia  Journal of the Medieval Academy of Ireland, Cork 

The Derek Allen Prize
The Derek Allen Prize, awarded annually by the British Academy since 1977, rotates between Celtic Studies, Numismatics and Musicology  Recent winners in the field of Celtic Studies include: Prof  Máire Herbert (2018), Prof  Pierre-Yves Lambert (2015) and Prof  Fergus Kelly (2012)  Prof  Herbert is the first female Celticist to be awarded this prize 

See also
Irish American Cultural Institute

Citations
General references
Busse, Peter E  "Zeitschrift für celtische Philologie"  In Celtic Culture  A Historical Encyclopedia, ed  J T  Koch  5 vols: vol  5  Santa Barbara et al , 2006  p  1823 

Further reading
Brown, Terence (ed )  Celticism  Studia imagologica 8  Amsterdam: Rodopi, 1996 
Fischer, Joachim and John Dillon (eds )  The correspondence of Myles Dillon, 1922–1925: Irish-German relations and Celtic studies  Dublin: Four Courts, 1999 
Huther, Andreas  "'In Politik verschieden, in Freundschaft wie immer': The German Celtic scholar Kuno Meyer and the First World War"  In The First World War as a clash of cultures, ed  Fred Bridgham  Columbia (SC): Camden House, 2006  pp  231–44  ISBN 1-57113-340-2 
Koch, John T  "Celtic Studies"  In A century of British medieval studies, ed  Alan Deyermond  British Academy centenary monographs  Oxford: Oxford University Press, 2007  pp  235–61  ISBN 978-0-19-726395-2  RHS record
Mac Mathúna, Séamus (2006)  "The History of Celtic Scholarship in Russia and the Soviet Union"  Studia Celto-Slavica  1: 3–41  doi:10 54586/ASMH5209 
Meek, Donald E  (2001)  "'Beachdan Ura à Inbhir Nis/ New opinions from Inverness': Alexander MacBain (1855–1907) and the foundation of Celtic studies in Scotland"  Proceedings of the Society of Antiquaries of Scotland  131: 23–39  ISSN 0081-1564 
Ó Lúing, Seán  Celtic studies in Europe and other essays  Dublin: Geography Publications, 2000 
Schneiders, Marc and Kees Veelenturf  Celtic studies in the Netherlands: a bibliography  Dublin: DIAS, 1992 
Sims-Williams, Patrick (1998)  "Celtomania and Celtoscepticism"  Cambrian Medieval Celtic Studies  36: 1–35 
Wiley, Dan  "Celtic studies, early history of the field"  In Celtic Culture: A Historical Encyclopaedia, ed  J  T  Koch  Santa Barbara et al , 2006 

External links

Finding the Celtic project (FtC)
International Congress of Celtic Studies
Association of Celtic Students in Ireland and Britain
Celtic Studies in the Soviet Union
Passage 2:
Zeitschrift für celtische Philologie
The Zeitschrift für celtische Philologie is an academic journal of Celtic studies, which was established in 1897 by the German scholars Kuno Meyer and Ludwig Christian Stern  It was the first journal devoted exclusively to Celtic languages and literature and is the oldest significant journal of Celtic studies still in existence today  The emphasis is on (early) Irish language and literature and Continental Celtic languages, but other aspects of Celtic philology and literature (including modern literature) also receive attention Apart from Stern and Meyer, previous editors include Julius Pokorny, Ludwig Mühlhausen, Rudolf Thurneysen, Rudolf Hertz, Heinrich Wagner, Hans Hartmann, and Karl Horst Schmidt  The current editors-in-chief are Jürgen Uhlich, Torsten Meißner and Bernhard Maier 
In addition to the regular volumes, the journal also has a subsidiary series, Buchreihe der Zeitschrift für celtische Philologie The journal features in a poem by Flann O'Brien which satirises scholars who "rose in their nightshift / To write for the Zeitschrift" 
Passage 3:
Pan Celtic Festival
The Pan Celtic Festival (Irish: Féile Pan Cheilteach; branded simply using the Irish name Pan Cheilteach) is a Celtic-language music festival held annually in the week following Easter, in Ireland, since its inauguration in 1971  The first Pan Celtic Festival took place in Killarney, County Kerry, Ireland  Its aim is to promote the modern Celtic languages and cultures and artists from six Celtic nations: Brittany, Cornwall, Ireland (Republic of Ireland and Northern Ireland compete as a single entity), Isle of Man, Scotland and Wales 
Each participating nation holds its own national selection event to choose its representatives at the Festival  The most successful nation is Wales with fourteen wins, with Ireland in second having won eleven times  Bénjad, who represented Cornwall in 2012 and 2013, became the first artist in the festival's history to have won twice  The Isle of Man is the least successful nation, having only won once in 2014 

Origins and history
Formed in Killarney, County Kerry, Ireland, the Pan Celtic Festival was organised as a music festival to be held every Spring, to promote the modern cultures and Celtic languages through the medium of music  It was originally entitled Gŵyl Gerdd Bach (Welsh for "Small Music Festival"), by Con O'Connaill, but later changed to its current name  In May 1971, the first festival took place in Killarney; and featured performers from Wales (Phyllis and Meredydd Evans), Ireland (Scoil na Toirbhirte), and Brittany (Les Tregerez Group and Alan Stivell) Meredydd Evans engaged in discussions with the event organiser, Ó Connaill, following the 1971 Festival, and invited him to the National Eisteddfod of Wales  At the Eisteddfod, Ó Connaill met members from other Celtic nations, and formed a committee for the Pan Celtic Festival  Participants from the six Celtic nations of Brittany (Breizh), Cornwall (Kernow), Wales (Cymru), Scotland (Alba), Ireland (Éire) and the Isle of Man (Mannin) took part in the second Pan Celtic Festival, again held in Killarney in 1972  It was during this festival that the core structure of the event was finalised following a meeting with committee members  These principles of the event are to promote the languages, musical talents and cultures within the six territories recognised as Celtic nations 

Participation
Eligibility to compete at the Pan Celtic Festival is for Celtic nations, which are territories in Northern and Western Europe where Celtic languages or cultural traits have survived, and are members of the Celtic League  The term "nation" is used in its original sense to mean a community of people who share a common identity and culture and are identified with a traditional territory  It is not synonymous with "sovereign state" 

National selections
Brittany: Gouelioù Etrekeltiek An Oriant
The Gouelioù Etrekeltiek An Orient (English: Inter-Celtic Festival of Lorient, or French: Festival Interceltique de Lorient) is an annual Celtic festival, located in the city of Lorient, Brittany, France  The event also acts as a national selection process to determine the Breton representative for the annual Pan Celtic Festival  It was founded in 1971 by Polig Montjarret  This annual festival takes place every August and is dedicated to the cultural traditions of the Celtic nations (pays celtes in Brittany), highlighting celtic music and dance and also including other arts such as painting, photography, theatre, sculpture, traditional artisan as well as sport and gastronomy 

Cornwall: Kan Rag Kernow
Kan Rag Kernow (English: A Song for Cornwall) is a Cornish annual song contest to find a representative for Cornwall at the Pan Celtic Festival, held annually in Ireland  The Cornish group, The Changing Room, won the 2015 Kan Rag Kernow on 30 January 2015  The group went on to represent Cornwall at the 2015 Pan Celtic Festival, finishing in first place with the song "Hal an Tow" (Flora Day) 

Ireland: Comórtas Amhrán Náisiúnta
The Comórtas Amhrán Náisiúnta (English: National Song Contest) is the Irish selection process to determine the representatives for Ireland at the annual Pan Celtic Festival  In 2015, the selection show was held at the Seven Oaks Hotel, in Carlow, on 7 March 

Isle of Man: Arrane son Mannin
The Arrane son Mannin (English: Song for the Isle of Man) is the Manx competition through which a song is selected for the Pan Celtic Festival  In 2015, Shenn Scoill, a quartet whose name means "Old School", were chosen to represent the island 

Scotland: Am Mòd Nàiseanta Rìoghail
Am Mòd Nàiseanta Rìoghail (English: The Royal National Mòd) is the Scottish Gaelic selection process, organised by An Comunn Gàidhealach, to find the Scottish representative for the Pan Celtic Festival, held annually in Ireland  The Scottish band, Na h-Òganaich, were the first representatives for Scotland at the 1971 Pan Celtic Festival  They represented Scotland again in 1972, with the song "Mi le m’Uillin", finishing in first place 

Wales: Cân i Gymru
Cân i Gymru (English: A Song for Wales, Welsh pronunciation: [ˈkaːn i ˈɡəmrɨ]) is a Welsh television show broadcast on S4C annually  It was first introduced in 1969 when BBC Cymru wanted to enter the Eurovision Song Contest  It has taken place every year since, except in 1973  Cân i Gymru is different from most talent shows; whereas the majority invite the public to participate, Cân i Gymru welcomes only professional artists  The winner of the contest represents Wales at the annual Pan Celtic Festival held in Ireland and is also awarded a cash prize Wales made their debut participation in the Eurovision Choir of the Year 2017, which marked the second time in any of the Eurovision Family of Events that the country was not represented as part of the unified state of the United Kingdom, after 1994, when Wales participated lastly in the Jeux Sans Frontières  Wales used the talent show Côr Cymru, to select their representatives 

Festival hosts
The festivals, since 1971, have been held in various towns and cities in Ireland  Below is a list of the host cities and their respective years of hosting  The 2001 festival was cancelled due to the foot-and-mouth outbreak  As is shown below, County Kerry have hosted the festival twenty-nine times since 1971, with the most recent the 2011 Festival, in the town of Dingle, who first hosted the event in 2010  County Clare have only hosted once in 1997 

List of winners
By festival
The table below lists all of the annual Pan Celtic Festival winners since its inaugural event in 1971 

By Celtic nation
The table below lists all of the Pan Celtic Festival winners by Celtic Nations, since its inaugural event in 1971  Wales is the most successful nation to date, with fifteen wins; with Ireland coming in second with eleven wins  The Isle of Man achieved their one and only win to date in 2014 
Passage 4:
Insular Celtic languages
Insular Celtic languages are the group of Celtic languages spoken in Brittany, Great Britain, Ireland, and the Isle of Man   All surviving Celtic languages are in the Insular group, including Breton, which is spoken on continental Europe in Brittany, France  The  Continental Celtic languages, although once quite widely spoken in mainland Europe and in Anatolia, are extinct 
Six Insular Celtic languages are extant (in all cases written and spoken) in two distinct groups:

Brittonic (or Brythonic) languages: Breton, Cornish, and Welsh
Goidelic languages: Irish, Manx, and Scottish Gaelic

Insular Celtic hypothesis
The "Insular Celtic hypothesis" is a theory that they evolved together in those places, having a later common ancestor than any of the Continental Celtic languages such as Celtiberian, Gaulish, Galatian, and Lepontic, among others, all of which are long extinct 
The proponents of the hypothesis (such as Cowgill 1975; McCone 1991, 1992; and Schrijver 1995) point to shared innovations among these – chiefly:

inflected prepositions
shared use of certain verbal particles
VSO word order
differentiation of absolute and conjunct verb endings as found extensively in Old Irish and less so in Middle Welsh (see Morphology of the Proto-Celtic language) The proponents assert that a strong partition between the Brittonic languages with Gaulish (P-Celtic) on one side and the Goidelic languages with Celtiberian (Q-Celtic) on the other, may be superficial, owing to a language contact phenomenon   They add the identical sound shift (/kʷ/ to /p/) could have occurred independently in the predecessors of Gaulish and Brittonic, or have spread through language contact between those two groups  Further, the Italic languages had a similar divergence between Latino-Faliscan, which kept /kʷ/, and Osco-Umbrian, which changed it to /p/  Some historians, such as George Buchanan in the 16th century, had suggested the Brythonic or P-Celtic language was a descendant of the Picts' language   Indeed the tribe of the Pritani has Qritani (and, orthographically orthodox in modern form but counterintuitively written Cruthin) (Q-Celtic) cognate forms The family tree of the Insular Celtic languages is thus as follows:

This table lists cognates showing the development of Proto-Celtic */kʷ/ to /p/ in Gaulish and the Brittonic languages but to /k/ in the Goidelic languages 

^  In Welsh orthography ⟨u⟩ denotes [i] or [ɪ]A significant difference between Goidelic and Brittonic languages is the transformation of *an, *am to a denasalised vowel with lengthening, é, before an originally voiceless stop or fricative, cf  Old Irish éc "death", écath "fish hook", dét "tooth", cét "hundred" vs  Welsh angau, angad, dant, and cant  Otherwise:

the nasal is retained before a vowel, i̯, w, m, and a liquid:
Old Irish: ben "woman" (< *benā)
Old Irish: gainethar "he/she is born" (< *gan-i̯e-tor)
Old Irish: ainb "ignorant" (< *anwiss)
the nasal passes to en before another n:
Old Irish: benn "peak" (< *banno) (vs  Welsh bann)
Middle Irish: ro-geinn "finds a place" (< *ganne) (vs  Welsh gannaf)
the nasal passes to in, im before a voiced stop
Old Irish: imb "butter" (vs  Breton aman(en)n, Cornish amanyn)
Old Irish: ingen "nail" (vs  Old Welsh eguin)
Old Irish: tengae "tongue" (vs  Welsh tafod)
ing "strait" (vs  Middle Welsh eh-ang "wide")

Insular Celtic as a language area
In order to show that shared innovations are from a common descent it is necessary that they do not arise because of language contact after initial separation  A language area can result from widespread bilingualism, perhaps because of exogamy, and absence of sharp sociolinguistic division 
Ranko Matasović has provided a list of changes which affected both branches of Insular Celtic but for which there is no evidence that they should be dated to a putative Proto-Insular Celtic period  These are:

Phonological Changes
The lenition of voiceless stops
Raising/i-affection
Lowering/a-affection
Apocope
Syncope
Morphological Changes
Creation of conjugated prepositions
Loss of case inflection of personal pronouns (historical case-inflected forms)
Creation of the equative degree
Creation of the imperfect
Creation of the conditional mood
Morphosyntactic and Syntactic
Rigidisation of VSO order
Creation of preposed definite articles
Creation of particles expressing sentence affirmation and negation
Creation of periphrastic construction
Creation of object markers
Use of ordinal numbers in the sense of "one of" 

Absolute and dependent verb
The Insular Celtic verb shows a peculiar feature unknown in any other attested Indo-European language: verbs have different conjugational forms depending on whether they appear in absolute initial position in the sentence (Insular Celtic having verb–subject–object or VSO word order) or whether they are preceded by a preverbal particle  The situation is most robustly attested in Old Irish, but it has remained to some extent in Scottish Gaelic and traces of it are present in Middle Welsh as well 
Forms that appear in sentence-initial position are called absolute, those that appear after a particle are called conjunct (see Dependent and independent verb forms for details)  The paradigm of the present active indicative of the Old Irish verb beirid "carry" is as follows; the conjunct forms are illustrated with the particle ní "not" 

In Scottish Gaelic this distinction is still found in certain verb-forms across almost all verbs (except for a very few)  This is a VSO language  The example given in the first column below is the independent  or absolute  form, which must be used when the verb is in clause-initial position (or preceded in the clause by certain preverbal particles)  Then following it is the dependent  or conjunct  form which is required when the verb is preceded in the clause by certain other preverbal particles, in particular interrogative or negative preverbal particles  In these examples, in the first column we have a verb in clause-initial position  In the second column a negative particle immediately precedes the verb, which makes the verb use the verb form or verb forms of the dependent  conjugation 

Note that the verb forms in the above examples happen to be the same with any subject personal pronouns, not just with the particular persons chosen in the example  Also, the combination of tense–aspect–mood properties inherent in these verb forms is non-past but otherwise indefinite with respect to time, being compatible with a variety of non-past times, and context indicates the time  The sense can be completely tenseless, for example when asserting that something is always true or always happens  This verb form has erroneously been termed ‘future’ in many pedagogical grammars  A correct, neutral term ‘INDEF1’ has been used in linguistics texts 
In Middle Welsh, the distinction is seen most clearly in proverbs following the formula "X happens, Y does not happen" (Evans 1964: 119):

Pereid y rycheu, ny phara a'e goreu "The furrows last, he who made them lasts not"
Trenghit golut, ny threingk molut "Wealth perishes, fame perishes not"
Tyuit maban, ny thyf y gadachan "An infant grows, his swaddling-clothes grow not"
Chwaryit mab noeth, ny chware mab newynawc "A naked boy plays, a hungry boy plays not"The older analysis of the distinction, as reported by Thurneysen (1946, 360 ff ), held that the absolute endings derive from Proto-Indo-European "primary endings" (used in present and future tenses) while the conjunct endings derive from the "secondary endings" (used in past tenses)  Thus Old Irish absolute beirid "s/he carries" was thought to be from *bʰereti (compare Sanskrit bharati "s/he carries"), while conjunct beir was thought to be from *bʰeret (compare Sanskrit a-bharat "s/he was carrying") 
Today, however, most Celticists agree that Cowgill (1975), following an idea present already in Pedersen (1913, 340 ff ), found the correct solution to the origin of the absolute/conjunct distinction: an enclitic particle, reconstructed as *es after consonants and *s after vowels, came in second position in the sentence  If the first word in the sentence was another particle, *(e)s came after that and thus before the verb, but if the verb was the first word in the sentence, *(e)s was cliticized to it  Under this theory, then, Old Irish absolute beirid comes from Proto-Celtic *bereti-s, while conjunct ní beir comes from *nī-s bereti 
The identity of the *(e)s particle remains uncertain  Cowgill suggests it might be a semantically degraded form of *esti "is", while Schrijver (1994) has argued it is derived from the particle *eti "and then", which is attested in Gaulish  Schrijver's argument is supported and expanded by Schumacher (2004), who points towards further evidence, viz , typological parallels in non-Celtic languages, and especially a large number of verb forms in all Brythonic languages that contain a particle -d (from an older *-t) 
Continental Celtic languages cannot be shown to have any absolute/conjunct distinction  However, they seem to show only SVO and SOV word orders, as in other Indo-European languages  The absolute/conjunct distinction may thus be an artifact of the VSO word order that arose in Insular Celtic 

Possible pre-Celtic substratum
Insular Celtic, unlike  Continental Celtic, shares some structural characteristics with various Afro-Asiatic languages which are rare in other Indo-European languages  These similarities include verb–subject–object word order, singular verbs with plural post-verbal subjects, a genitive construction similar to construct state, prepositions with fused inflected pronouns ("conjugated prepositions" or "prepositional pronouns"), and oblique relatives with pronoun copies  Such resemblances were noted as early as 1621 with regard to Welsh and the Hebrew language The hypothesis that the Insular Celtic languages had features from an Afro-Asiatic substratum (Iberian and Berber languages) was first proposed by John Morris-Jones in 1899  The theory has been supported by several linguists since: Henry Jenner (1904); Julius Pokorny (1927); Heinrich Wagner (1959); Orin Gensler (1993); Theo Vennemann (1995); and Ariel Shisha-Halevy (2003) Others have suggested that rather than the Afro-Asiatic influencing Insular Celtic directly, both groups of languages were influenced by a now lost substrate  This was suggested by Jongeling (2000)  Ranko Matasović (2012) likewise argued that the "Insular Celtic languages were subject to strong influences from an unknown, presumably non-Indo-European substratum" and found the syntactic parallelisms between Insular Celtic and Afro-Asiatic languages to be "probably not accidental"  He argued that their similarities arose from "a large linguistic macro-area, encompassing parts of NW Africa, as well as large parts of Western Europe, before the arrival of the speakers of Indo-European, including Celtic" The Afro-Asiatic substrate theory, according to Raymond Hickey, "has never found much favour with scholars of the Celtic languages"  The theory was criticised by Kim McCone in 2006, Graham Isaac in 2007, and Steve Hewitt in 2009  Isaac argues that the 20 points identified by Gensler are trivial, dependencies, or vacuous  Thus, he considers the theory to be not just unproven but also wrong  Instead, the similarities between Insular Celtic and Afro-Asiatic could have evolved independently 

Notes
Passage 5:
Celtic nations
The Celtic nations are a cultural area and collection of geographical regions in Northwestern Europe where the Celtic languages and cultural traits have survived  The term nation is used in its original sense to mean a people who share a common identity and culture and are identified with a traditional territory 
The six regions widely considered Celtic nations are Brittany (Breizh), Cornwall (Kernow), Ireland (Éire), the Isle of Man (Mannin, or Ellan Vannin), Scotland (Alba), and Wales (Cymru)  In each of the six nations a Celtic language is spoken to some extent: Brittonic or Brythonic languages are spoken in Brittany (Breton), Cornwall (Cornish), and Wales (Welsh), whilst Goidelic or Gaelic languages are spoken in Scotland (Scottish Gaelic), Ireland (Irish), and the Isle of Man (Manx) Before the expansions of Ancient Rome and the Germanic and Slavic-speaking tribes, a significant part of Europe was dominated by Celtic-speaking cultures, leaving behind a legacy of Celtic cultural traits  Territories in north-western Iberia—particularly northern Portugal, Galicia, Asturias, León, and Cantabria (together historically referred to as Gallaecia and Astures), covering north-central Portugal and northern Spain—are considered Celtic nations due to their culture and history  Unlike the others, however, no Celtic language is attested there, unlike Celtiberia, and has been spoken in modern times 

Core nations
Each of the six nations has its own Celtic language  In Brittany, Ireland, Scotland, and Wales these have been spoken continuously through time, while Cornwall and the Isle of Man have languages that were spoken into modern times but later died as spoken community languages  In the latter two regions, however, language revitalisation movements have led to the adoption of these languages by adults and produced a number of native speakers Ireland, Wales, Brittany and Scotland contain areas where a Celtic language is used on a daily basis; in Ireland these areas are called the Gaeltacht; in Wales Y Fro Gymraeg, Breizh-Izel (Lower Brittany) in western Brittany and Breizh-Uhel (Upper Brittany) in eastern Brittany  Generally these communities are in the west of their countries and in more isolated upland or island areas  Welsh, however, is much more widespread, with much of the north and west speaking it as a first language, or equally alongside English  Public signage is in dual languages throughout Wales and it is now a requirement to possess at least basic Welsh in order to be employed by the Welsh Government  The term Gàidhealtachd historically distinguished the Gaelic-speaking areas of Scotland (the Highlands and islands) from the Lowland Scots (i e  Anglo-Saxon-speaking) areas  More recently, this term has also been adopted as the Gaelic name of the Highland council area, which includes non-Gaelic speaking areas  Hence, more specific terms such as sgìre Ghàidhlig ("Gaelic-speaking area") are now used In Wales, the Welsh language is a core curriculum (compulsory) subject, which all pupils study  Additionally, 20% of schoolchildren in Wales attend Welsh medium schools, where they are taught entirely in the Welsh language  In the Republic of Ireland, all school children study Irish as one of the three core subjects until the end of secondary school, and 7 4% of primary school education is through Irish medium education, which is part of the Gaelscoil movement  In the Isle of Man, there is one Manx-medium primary school, and all schoolchildren have the opportunity to learn Manx 

Other territories
Parts of the northern Iberian Peninsula, namely Galicia, Cantabria, Asturias and Northern Portugal, also lay claim to this heritage  Musicians from Galicia and Asturias have participated in Celtic music festivals, such as the Ortigueira's Festival of Celtic World in the village of Ortigueira or the Breton Festival Interceltique de Lorient, which in 2013 celebrated the Year of Asturias, and in 2019 celebrated the Year of Galicia  Northern Portugal, part of ancient Gallaecia (Galicia, Minho, Douro and Trás-os-Montes), also has traditions quite similar to Galicia  However, no Celtic language has been spoken in northern Iberia since probably the Early Middle Ages Irish was once widely spoken on the island of Newfoundland, but had largely disappeared there by the early 20th century  Vestiges remain in some words found in Newfoundland English, such as scrob for "scratch", and sleveen for "rascal" There are virtually no known fluent speakers of Irish Gaelic in Newfoundland or Labrador today  Knowledge seems to be largely restricted to memorized passages, such as traditional tales and songs Canadian Gaelic dialects of Scottish Gaelic are still spoken by Gaels in other parts of Atlantic Canada, primarily on Cape Breton Island and adjacent areas of Nova Scotia  In 2011, there were 1,275 Gaelic speakers in Nova Scotia, and 300 residents of the province considered a Gaelic language to be their "mother tongue" Patagonian Welsh is spoken principally in Y Wladfa in the Chubut Province of Patagonia, with sporadic speakers elsewhere in Argentina  Estimates of the number of Welsh speakers range from 1,500 to 5,000 

Celtic languages
The Celtic languages form a branch of the greater Indo-European language family  SIL Ethnologue lists six living Celtic languages, of which four have retained a substantial number of native speakers  These are the Goidelic languages (i e  Irish and Scottish Gaelic, which are both descended from Middle Irish) and the Brittonic languages (i e  Welsh and Breton, which are both descended from Common Brittonic) Taken together, there were roughly one million native speakers of Celtic languages as of the 2000s  In 2010, there were more than 1 4 million speakers of Celtic languages 

Celtic identity
Formal cooperation between the Celtic nations is active in many contexts, including politics, languages, culture, music and sports:
The Celtic League is an inter-Celtic political organisation, which campaigns for the political, language, cultural and social rights, affecting one or more of the Celtic nations Established in 1917, the Celtic Congress is a non-political organisation that seeks to promote Celtic culture and languages and to maintain intellectual contact and close cooperation between Celtic peoples Festivals celebrating the culture of the Celtic nations include the Festival Interceltique de Lorient (Brittany), the Pan Celtic Festival (Ireland), CeltFest Cuba (Havana, Cuba), the National Celtic Festival (Portarlington, Australia), the Celtic Media Festival (showcasing film and television from the Celtic nations), and the Eisteddfod (Wales) Inter-Celtic music festivals include Celtic Connections (Glasgow), and the Hebridean Celtic Festival (Stornoway)  Due to immigration, a dialect of Scottish Gaelic (Canadian Gaelic) is spoken by some on Cape Breton Island in Nova Scotia, while a Welsh-speaking minority exists in the Chubut Province of Argentina  Hence, for certain purposes—such as the Festival Interceltique de Lorient—Gallaecia, Asturias, and Cape Breton Island in Nova Scotia are considered three of the nine Celtic nations Competitions are held between the Celtic nations in sports such as rugby union (Pro14—formerly known as the Celtic League), athletics (Celtic Cup) and association football (the Nations Cup—also known as the Celtic Cup) The Republic of Ireland enjoyed a period of rapid economic growth between 1995 and 2007, leading to the use of the phrase Celtic Tiger to describe the country  Aspirations for Scotland to achieve a similar economic performance to that of Ireland led the Scotland First Minister Alex Salmond to set out his vision of a Celtic Lion economy for Scotland, in 2007 

Genetic studies
A Y-DNA study by an Oxford University research team in 2006 claimed that the majority of Britons, including many of the English, are descended from a group of tribes which arrived from Iberia around 5000 BC, before the spread of Celtic culture into western Europe  However, three major later genetic studies have largely invalidated these claims, instead showing that haplogroup R1b in western Europe, most common in traditionally Celtic-speaking areas of Atlantic Europe like Ireland and Brittany, would have largely expanded in massive migrations from the Indo-European homeland, the Yamnaya culture in the Pontic–Caspian steppe, during the Bronze Age along with carriers of Indo-European languages like proto-Celtic  Unlike previous studies, large sections of autosomal DNA were analyzed in addition to paternal Y-DNA markers  They detected an autosomal component present in modern Europeans which was not present in Neolithic or Mesolithic Europeans, and which would have been introduced into Europe with paternal lineages R1b and R1a, as well as the Indo-European languages  This genetic component, labelled as "Yamnaya" in the studies, then mixed to varying degrees with earlier Mesolithic hunter-gatherer or Neolithic farmer populations already existing in western Europe  Furthermore, a 2016 study also found that Bronze Age remains from Rathlin Island in Ireland dating to over 4,000 years ago were most genetically similar to modern Irish, Scottish and Welsh, and that the core of the genome of insular Celtic populations was established by this time In 2015 a genetic study of the United Kingdom showed that there is no unified 'Celtic' genetic identity compared to 'non-Celtic' areas  The 'Celtic' areas of the United Kingdom (Scotland, Northern Ireland, Wales and Cornwall) show the most genetic differences among each other  The data shows that Scottish and Cornish populations share greater genetic similarity with the English than they do with other 'Celtic' populations, with the Cornish in particular being genetically much closer to other English groups than they are to the Welsh or the Scots 

Terminology
The term Celtic nations derives from the linguistics studies of the 16th century scholar George Buchanan and the polymath Edward Lhuyd  As Assistant Keeper and then Keeper of the Ashmolean Museum, Oxford (1691–1709), Lhuyd travelled extensively in Great Britain, Ireland and Brittany in the late 17th and early 18th centuries  Noting the similarity between the languages of Brittany, Cornwall and Wales, which he called "P-Celtic" or Brythonic, the languages of Ireland, the Isle of Man and Scotland, which he called "Q-Celtic" or Goidelic, and between the two groups, Lhuyd published Archaeologia Britannica: an Account of the Languages, Histories and Customs of Great Britain, from Travels through Wales, Cornwall, Bas-Bretagne, Ireland and Scotland in 1707  His Archaeologia Britannica concluded that all six languages derived from the same root  Lhuyd theorised that the root language descended from the languages spoken by the Iron Age tribes of Gaul, whom Greek and Roman writers called Celtic  Having defined the languages of those areas as Celtic, the people living in them and speaking those languages became known as Celtic too  There is some dispute as to whether Lhuyd's theory is correct  Nevertheless, the term Celtic to describe the languages and peoples of Brittany, Cornwall and Wales, Ireland, the Isle of Man and Scotland was accepted from the 18th century and is widely used today These areas of Europe are sometimes referred to as the "Celt belt" or "Celtic fringe" because of their location generally on the western edges of the continent, and of the states they inhabit (e g  Brittany is in the northwest of France, Cornwall is in the south west of Great Britain, Wales in western Great Britain and the Gaelic-speaking parts of Ireland and Scotland are in the west of those countries)  Additionally, this region is known as the "Celtic Crescent" because of the near crescent shaped position of the nations in Europe 

Endonyms and Celtic exonyms
The Celtic names for each nation in each language illustrate some of the similarity between the languages  Despite differences in orthography, there are many sound and lexical correspondences between the endonyms and exonyms used to refer to the Celtic nations 

Territories of the ancient Celts
Iberian Peninsula
Modern-day Galicians, Asturians, Cantabrians and northern Portuguese claim a Celtic heritage or identity  Despite the extinction of Iberian Celtic languages in Roman times, Celtic heritage is attested in toponymics and language substratum, ancient texts, folklore and music 

England
Movements of population between different parts of Great Britain over the last two centuries, with industrial development and changes in living patterns such as the growth of second home ownership, have greatly modified the demographics of these areas, including the Isles of Scilly off the coast of Cornwall, although Cornwall in particular retains Celtic cultural features, and a Cornish self-government movement is well established 

Formerly Gaulish regions
Most French people identify with the ancient Gauls and are well aware that they were a people that spoke Celtic languages and lived Celtic ways of life Walloons occasionally characterise themselves as "Celts", mainly in opposition to the "Teutonic" Flemish and "Latin" French identities 
Others think they are Belgian, that is to say Germano-Celtic people different from the Gaulish-Celtic French 

Italian Peninsula
The Canegrate culture (13th century BC) may represent the first migratory wave of the proto-Celtic population from the northwest part of the Alps that, through the Alpine passes, had already penetrated and settled in the western Po valley between Lake Maggiore and Lake Como (Scamozzina culture)  It has also been proposed that a more ancient proto-Celtic presence can be traced back to the beginning of the Middle Bronze Age (16th–15th century BC), when North Westwern Italy appears closely linked regarding the production of bronze artifacts, including ornaments, to the western groups of the Tumulus culture (Central Europe, 1600–1200 BC)  La Tène cultural material appeared over a large area of mainland Italy, the southernmost example being the Celtic helmet from Canosa di Puglia Italy is home to the Lepontic, the oldest attested Celtic language (from the 6th century BC)  Anciently spoken in Switzerland and in Northern-Central Italy, from the Alps to Umbria  According to the Recueil des Inscriptions Gauloises, more than 760 Gaulish inscriptions have been found throughout present-day France—with the notable exception of Aquitaine—and in Italy The French- and Arpitan-speaking Aosta Valley region in Italy also presents a claim of Celtic heritage 
The Northern League autonomist party often exalts what it claims are the Celtic roots of all Northern Italy or Padania 

Central and Eastern European regions
Celtic tribes inhabited land in what is now southern Germany and Austria 
Many scholars have associated the earliest Celtic peoples with the Hallstatt culture  The Boii, the Scordisci, and the Vindelici are some of the tribes that inhabited Central Europe, including what is now Slovakia, Serbia, Croatia, Poland and the Czech Republic as well as Germany and Austria  The Boii gave their name to Bohemia  The Boii founded a city on the site of modern Prague, and some of its ruins are now a tourist attraction  There are claims among modern Czechs that the Czech people are as much descendants of the Boii as they are from the later Slavic invaders (as well as the historical Germanic peoples of Czech lands)  This claim may not only be political: according to a 2000 study by Semino, 35 6% of Czech males have y-chromosome haplogroup R1b, which is common among Celts but rare among Slavs 
Celts also founded Singidunum near present-day Belgrade, though the Celtic presence in modern-day Serbian regions is limited to the far north (mainly including the historically at least partially Hungarian Vojvodina) 
The modern-day capital of Turkey, Ankara, was once the center of the Celtic culture in Central Anatolia, giving the name to the region—Galatia 
The La Tène culture—named for a region in modern Switzerland—succeeded the Halstatt era in much of central Europe 

Celtic diaspora
In the years between 1815, when vast industrial changes began to disrupt the old life-styles in Europe, and Canadian Confederation in 1867, when immigration of that era passed its peak, more than 150,000 immigrants from Ireland flooded into Saint John  Those who came in the earlier period were largely tradesmen, and many stayed in Saint John, becoming the backbone of its builders  But when the Great Famine raged between 1845 and 1852, huge waves of Famine refugees flooded these shores  It is estimated that between 1845 and 1847, some 30,000 arrived, more people than were living in the city at the time  In 1847, dubbed "Black 47," one of the worst years of the Famine, some 16,000 immigrants, most of them from Ireland, arrived at Partridge Island, the immigration and quarantine station at the mouth of Saint John Harbour  However, thousands of Irish were living in New Brunswick prior to these events, mainly in Saint John 

After the partitioning of the British colony of Nova Scotia in 1784 New Brunswick was originally named New Ireland with the capital to be in Saint John In New Zealand, the southern regions of Otago and Southland were settled by the Free Church of Scotland  Many of the place names in these two regions (such as the main cities of Dunedin and Invercargill and the major river, the Clutha) have Scottish Gaelic names, and Celtic culture is still prominent in this area 

See also
Passage 6:
Journal of Celtic Linguistics
The Journal of Celtic Linguistics is a peer-reviewed annual academic journal established in 1992 with the goal of encouraging and publishing original linguistic research in the Celtic languages  The journal is published by the University of Wales Press, but has specialist editors in all six Celtic languages  The current editor-in-chief, since volume 16, is Simon Rodway (Aberystwyth University), who replaced Graham Isaac (National University of Ireland, Galway) 

External links
Official website
Passage 7:
Alexei Kondratiev
Alexei Kondratiev (February 15, 1949–May 28, 2010) was an American author, linguist, and teacher of Celtic languages, folklore and culture  He taught the Irish language and Celtic history at the Irish Arts Center in Manhattan, New York from 1985 until his death on May 28, 2010  Nine editions of his book, The Apple Branch, were published in English and Spanish from 1998 to 2004  At various times, he taught all six of the living Celtic languages A long-time member of the Mythopoeic Society, Kondratiev was the Scholar Guest of Honor at the organization's Mythcon 33 convention in 2002, papers coordinator for Mythcon 39 in 2008, and maintained a book review column in its publication, Mythlore  In 2010, the society named a new award after Kondratiev, the Alexei Kondratiev Memorial Student Paper Award, to be presented for the first time at its Mythcon 41 convention in Dallas, July 9–12, 2010 He contributed significant portions of the text used on the website of the Celtic League's American Branch and book reviews for the organization's magazine, Keltoi On the File 770 science fiction fandom blog, Ken Gale reported that Kondratiev "spoke over 60 languages and was fluent in 13 to 20 of them"  In the Northeast Tolkien Society's tribute to Kondratiev, co-chairs Anthony S  Burdge and Jessica J  Burke reminisced about how he offered advice on the pronunciation of key Algonquian terms for a paper at Mythcon 37 in 2006, and his passion for the Polynesian culture and language at the Hawaii Mythcon Kondratiev encouraged students to think of language as a tool to connect with and understand the culture of its people  The collection of languages he acquired included the Native American languages of Cherokee, Lenape, Lakota, and Navajo 

Early years
Born on February 14, 1949 in New York, son of a Russian father and French mother, Kondratiev became fluent in the languages spoken by his parents: Russian, French and English  English was the later of these three languages; he did not speak it until he started school in New York  He was the eldest of six children, with four sisters and one brother Kondratiev grew up in both New York City and Bourgogne, France, as he traveled back and forth between the home of his parents in New York City and his grandparents' home in the Saone Valley  His interest in the Celtic culture began as a child, exploring the ancient Celtic ruins near his grandparents' home in eastern France  He began learning the Irish language from library books In the 1960s, Kondratiev studied the Celtic languages and culture while traveling through Brittany, Wales, Ireland and Scotland  He lived for a while among native speakers of the Irish language on Inishmaan, the middle island of the Aran Islands group, where he acquired fluency in Irish Gaelic   During that period, the Aran Islands were still home to elderly Gaeilge monoglots 

Education
A graduate of New York's Columbia University (anthropology and linguistics), Kondratiev also studied Celtic philology at the Ecole des Hautes Etudes in Paris  His studies at both schools included archaeology  During the 1970s, he took music courses at the Mannes College in New York 

Neopagan community
A frequent participant and occasional speaker at science fiction conventions, Kondratiev met Judy Harrow at a science fiction convention in the early 1980s  During an interview at the Etheracon convention in Poughkpeepsie in January 1993, Kondratiev commented about how Harrow practiced a "heretic" form of Gardnerian Wicca  He attributed his gradual attraction to Neopaganism in the 1980s to his contact with science fiction fans who had become Neopagans  When he met Harrow, Kondratiev still considered himself a Christian, and continued to identify himself as such throughout the 1980s while attending Neopagan religious ceremonies 

"Children of Memory"
Although he did not join Harrow's Proteus Coven, Kondratiev was initiated into the "Proteus tradition" by  Night Rainbow  After his initiation, he joined Mnemosynides Coven  This group was founded by Len Rosenberg (known in the Neopagan community as "Black Lotus") with Erich Heinemann ("Ophion") in 1988  Mnemosynides, which means "Children of Memory," was named after the titaness of Greek mythology, Mnemosyne  Mnemosynides Coven belonged to the Protean-Gardnerian tradition of Wicca, which originated with Judy Harrow's Proteus Coven  Kondratiev remained a member of Mnemosynides, and a Christian, until his death in 2010 At the time of his death, Kondratiev had been high priest of Mnemosynides for more than 20 years  In her "Memoriam" to the group's former high priest, published by Circle Sanctuary, Mnemosynides high priestess Lisa Bodo explained how he taught her the importance of "the bridge between Celtic Paganism and early Celtic Christianity " He did not consider his Neopagan and Christian beliefs to be in conflict and never renounced his Christianity 

Guest speaker and teacher
His knowledge of Celtic mythology and language made Kondratiev a frequent guest speaker at conventions, conferences and retreats, especially events with an emphasis on magic, Neopaganism or Wicca  He taught classes  and served as program director for the Esotericon convention (which focused on science fiction, fantasy, magick and Neopaganism) in New Jersey from 1985 until 1991, when the convention discontinued  Then he served as a guest speaker for Etheracon, a similar convention which was started in Poughkeepsie, New York in 1992  In more recent years, Kondratiev has been a guest at the Sacred Space and Ecumenicon conferences in Maryland, and the CWPN Harvest Gathering in Connecticut  As a featured guest at the Chesapeake Pagan Summer Gathering (Maryland) in 2008, he recited 108 names of the Hindu goddess, Kali, at a puja led by Len Rosenberg 

Bird watcher
His friends remember Kondratiev as an avid bird watcher  Queens was one of his favorite locations for studying birds, as well as a center for cultural diversity  He commented that over 100 different species of birds could be observed in a single day while walking through the park in Queens  Birds and animals are one of the interests Alexei Kondratiev had for all of his life 

Bibliography
Books
Devoted to You: Honoring Deity In Wiccan Practice  Co-authored with Judy Harrow, Geoffrey W  Miller, and Marueen Reddington-Wilde  Kensington Publishing Corp  (2003)  ISBN 0-8065-2392-1 
Celtic Rituals: A Guide to Ancient Celtic Spirituality  Scotland: New Celtic Pub  (1999)  ISBN 1-902012-18-6 
The Apple Branch: A Path to Celtic Ritual  Cork, Ireland: The Collins Press (1998)   American edition: Citadel Press (2003)  ISBN 0-8065-2502-9 
Learning the Celtic languages: a resource guide for the student of Irish, Welsh, Scottish Gaelic, Breton, Manx, or Cornish  Co-authored with Liam O Caiside  New York: Celtic League American Branch (1991) 

Comic books
Dangerous Times, Featuring Beleagean Days and Vidorix the Druid, Evolution Comics (1989)  A series of six comic books, with Vidorix the Druid by Alexei Kondratiev and Beleagean Days by Margie Spears  Artwork for Vidorix the Druid was by Jim Fletcher, Don Hudson, Jordan Raskin and Sandu Florea  The series of six comic books published under the trade name, Evolution Comics, by Ken Gale and Mercy Van Vlack in 1989, is unrelated to a comic book publisher with the same trade name founded by Nicholas Ahlhelm in 2007  Cover art for volume 1 of the series was by Michael Kaluta 

Significant articles and papers
"Samhain: Season of Death and Renewal"  An Tríbhís Mhór: The  IMBAS Journal of Celtic Reconstructionism, volume 2, issue 1/2, Samhain 1997, Iombolg 1998 
"Basic Celtic Deity Types"  IMBAS website  Retrieved 2010-06-01 
"Thou Shalt Not Suffer a Witch to Live: an Enquiry into Biblical Mistranslation " Enchante, Number 18 (1994)  pp  11–15 

Contributions to periodicals
Alexei Kondratiev also contributed articles about folklore, mythology and Celtic culture to the following publications 
Mythlore  Semi-annual journal of the Mythopoeic Society 
Mythprint  Monthly bulletin of the Mythopoeic Society 
Keltoi  Magazine published by the Celtic League American Branch 
CARN  Quarterly magazine of the International Celtic League 
Keltria: A Journal of Druidism and Keltic Magick  Quarterly publication by the Henge of Keltria, an organization of modern Druids 
Six Nations, One Soul  Quarterly newsletter of the Celtic League American Branch 
Butterbur's Woodshed  Mythopoeic Society's discussion group 

Radio show guest
Nuff Said!, a radio show devoted to comic books and related subjects, produced by Ken Gale for WBAI radio  Alexei Kondratiev was a guest on five of the show's broadcasts from 1993 to 2002, speaking on the subjects of comic books, Celtic culture, mythology, history, and works of J  R  R  Tolkien  Notes in the show's archives for February 5, 2002, when Kondratiev talked about Tolkien, claimed that he could also speak Elvish, but did not identify which of the Elvish languages fabricated from Tolkien's stories 
Moorish Orthodox Radio Crusade, a radio show about radical environmentalism, produced by Bill Weinberg for WBAI radio  Kondradiev was an occasional guest of the show, talking about the works of J  R  R  Tolkien 
"Eco-Logic," a radio show on environmental issues, produced for WBAI-FM by Ken Gale   Alexei was on the Dec  29, 2009 episode speaking on "Natural Cycles "
Passage 8:
Continental Celtic languages
The Continental Celtic languages are the now-extinct group of the Celtic languages that were spoken on the continent of Europe and in central Anatolia, as distinguished from the Insular Celtic languages of the British Isles and Brittany  Continental Celtic is a geographic, rather than linguistic, grouping of the ancient Celtic languages 
These languages were spoken by the people known to Roman and Greek writers as the Keltoi, Celtae, Galli, and Galatae  They were spoken in an area arcing from the northern half of Iberia in the west to north of Belgium, and east to the Carpathian basin and the Balkans as Noric, and in inner Anatolia (modern day Turkey) as Galatian 
Even though Breton has been spoken in Continental Europe since at least the 6th century AD, it is not considered one of the Continental Celtic languages, as it is a Brittonic language, like Cornish and Welsh  A Gaulish substratum in Breton has been suggested, but that is debated 

Attested languages
It is likely that Celts spoke dozens of different languages and dialects across Europe in pre-Roman times, but only a small number are attested:

Lepontic (6th to 4th century BC) was spoken on the southern side of the Alps  It is evidenced in a number of inscriptions as well as place names 
Gaulish (3rd century BC to 5th (?) century AD) was the main language spoken in greater Gaul  This is often considered to be divided into two dialects, Cisalpine (spoken in what is now Italy) and Transalpine (spoken in what is now France)  It is evidenced in a number of inscriptions as well as place names and tribal names in writings of classical authors  It may have been a substratum to Breton (see below) 
Galatian, which was spoken in the region of Ankara of what is now central Turkey  Classical writers say that the language is similar to that of Gaul  There is also evidence of invasion and settlement of the Ankara area by Celts from Europe 
Noric, which is the name given sometimes to the Celtic spoken in Central and Eastern Europe  It was spoken in Austria and Slovenia; only two fragmentary texts are preserved 
Celtiberian or Northeastern Hispano-Celtic (3rd to 1st century BC) is the name given to the language in northeast Iberia, between the headwaters of the Douro, Tagus, Júcar and Turía rivers and the Ebro river  It is attested in some 200 inscriptions as well as place names  It is distinct from Iberian 
Gallaecian also called Gallaic or Northwestern Hispano-Celtic, attested in a set (corpus) of Latin inscriptions containing isolated words and sentences that are unmistakably Celtic  It was spoken in the northwest of the Iberian Peninsula comprising today's Spanish regions of Galicia, western Asturias and western Castile and León, and the Norte Region in northern Portugal 

Use of term
The modern term Continental Celtic is used in contrast to Insular Celtic  While many researchers agree that Insular Celtic is a distinct branch of Celtic (Cowgill 1975; McCone 1991, 1992; Schrijver 1995) that has undergone common linguistic innovations, there is no evidence that the Continental Celtic languages can be similarly grouped  Instead, the group called Continental Celtic is paraphyletic, and the term refers simply to non-Insular Celtic languages  Since little material has been preserved in any of the Continental Celtic languages, historical linguistic analysis based on the comparative method is difficult to perform  However, other researchers see the Brittonic languages and Gaulish as forming part of a subgroup of the Celtic languages that is known as P-Celtic  Continental languages are P-Celtic except for Celtiberian, which is Q-Celtic  They have had a definite influence on all of the Romance languages 

See also
Italo-Celtic
Context 3: Passage 1:
Lev Ivanov
Lev Ivanovich Ivanov (Russian: Лев Ива́нович Ива́нов; 2 March 1834, Moscow – 24 December 1901, Saint Petersburg) was a Russian ballet dancer and choreographer and later, Second Balletmaster of the Imperial Ballet  As a performer with the Imperial Ballet, he achieved prominence after performing as an understudy in a benefit performance of La Fille Mal Gardée   He is most famous as the choreographer of Acts II and IV of Swan Lake, which include the Dance of the Little Swans, Act II of Cinderella, and The Nutcracker, which he choreographed alongside Marius Petipa 

Biography
Ivanov entered the Moscow School of Dance, but in 1844 moved to Saint Petersburg where he studied at the Imperial Ballet, becoming an official member of the Corps de ballet in 1852   Among his teachers during this time were Jean-Antoine Petipa, Alexandr Pimenov, Pierre Frédéric Malavergne and Emile Gredlu (Эмиль Гредлю) 
Historically, Ivanov is credited with choreographing the entirety of premiere of Pyotr Ilyich Tchaikovsky's ballet The Nutcracker in 1892 due to the ill health of the ballet master, Marius Petipa  While some contemporary and modern accounts dispute this, Ivanov is still mentioned in The New Grove Dictionary of Music and Musicians, Second Edition with choreographing at least the majority of the ballet as Petipa had reportedly not progressed very far in his work  Regardless of the amount of work he actually did, Petipa's was the only name listed for choreography on posters for the first production in St  Petersburg Ivanov worked with Petipa on a new restaging of Tchaikovsky's Swan Lake ballet in 1895   Ivanov choreographed the entirety of the lakeside acts or "white acts", Act II and Act IV   This includes the Dance of the Little Swans, an iconic pas de quatre where the four cygnets huddle together and dance in unison, before breaking the chain and falling to the floor whilst attempting to fly  Ivanov also choreographed the Danse Vénitienne (Neapolitan/Venetian Dance) and the Pas Hongrois (Hungarian Dance) of the third bier scene In his last years Ivanov was in financial straits  On the strength of his 50 years' service he petitioned the Imperial Theatres for financial assistance 

Ballets
Original works
La Forêt enchantée (en  The Enchanted Forest)  Ballet-fantastique in one act  Music by Riccardo Drigo  Imperial Ballet School, 5 April [O S  24 March] 1887  Imperial Mariinsky Theatre, 15 May [O S  3 May] 1887 
revival by Marius Petipa  Peterhof, July 1889 
La Tulipe de Haarlem (en  The Harlem Tulip)  Ballet-fantastique in three acts  Music by Baron Boris Fitinhoff-Schell  Imperial Mariinsky Theatre, 16 October [O S  4 October] 1887 
revival by Claudia Kulichevskaya and Pavel Gerdt  Imperial Ballet School, 16 April [O S  3 April] 1902 
revival by Alexander Shiryaev  Imperial Mariinsky Theatre, 29 April [O S  16 April] 1903 
La Flûte magique (en  The Magic Flute)  Ballet-comique in one act  Music by Riccardo Drigo  Imperial Ballet School, 22 March [O S  10 March] 1889  Imperial Mariinsky Theatre, 23 April [O S  11 April] 1889 
La Ruse de Cupidon (en  Cupid's Prank)  Ballet-anacréontique in one act  Music by Alexander Friedman  Krasnoe Selo, 6 August [O S  24 July] 1890  Imperial Mariinsky Theatre, 23 November [O S  11 November] 1890 
La Beauté de Séville (en  The Beauty of Seville)  Divertissement-ballet in one act  Music by various composers  Krasnoe Selo, 10 August [O S  29 July] 1889 
La Fête des bateliers (en  The Boatman's Festival)  Divertissement-ballet in one act  Music by Alexander Friedman  Krasnoe Selo, 7 August [O S  26 July] 1890 
The Nutcracker  Ballet-féerie in two acts  Choreographed jointly with Marius Petipa   Music by Pyotr Ilyich Tchaikovsky  Imperial Mariinsky Theatre, 18 December [O S  6 December] 1892 
Cinderella (a k a  Zolushka)  Ballet-féerie in three acts  Staged jointly with Enrico Cecchetti and Marius Petipa  Music by Baron Boris Fitinhoff-Schell  Imperial Mariinsky Theatre, 17 December [O S  5 December] 1893 
revival by Lev Ivanov  Bolshoi Theatre, Moscow, 12 March [O S  28 February] 1898
Swan Lake  Ballet-fantastique in three acts  Staged jointly with Marius Petipa  Music by Pyotr Illyich Tchaikovsky, revised by Riccardo Drigo  Imperial Mariinsky Theatre, 27 January [O S  15 January] 1895 
Acis et Galatée (en  Acis and Galatea)  Ballet-mythologique in one act  Music by Andrei Kadlets  Imperial Mariinsky Theatre, 2 February [O S  21 January] 1896 
revival by Alexander Shirayev  Imperial Ballet School, 3 May [O S  20 April] 1905 
La Fille du Mikado (en  The Mikado's Daughter)  Ballet-fantastique in three acts  Music by Baron Vasily Wrangell  Imperial Mariinsky Theatre, 21 November [O S  9 November] 1897 
Egyptian Nights (a k a  Une Nuit d'Egypte or Nuits égyptiennes)  Divertissement-ballet in one act  Music by Anton Arensky  Never premiered 
revival by Mikhail Fokine  Imperial Mariinsky Theatre, 8 March [O S  24 February] 1908 
revival by Mikhail Fokine as Cléopâtre for the Ballets Russes  Théâtre du Châtelet, Paris, 2 June 1909 
Sylvia  Ballet-mythologique in three acts  Music by Léo Delibes  Staging completed by Pavel Gerdt due to Ivanov's final illness and death  Imperial Mariinsky Theatre, 15 December [O S  2 December] 1901 
Passage 2:
The Nutcracker (Willam Christensen)
Tchaikovsky's now-classic 1892 ballet The Nutcracker received its first complete production in the U S  on 24 December 1944, performed by the San Francisco Ballet  This production used the ballet's original plot and was choreographed by Willam Christensen, who danced the role of the Cavalier  Gisella Caccialanza, the wife of Lew Christensen, danced the role of the Sugar Plum Fairy  The staging was a huge success and one critic wrote: "We can't understand why a vehicle of such fantastic beauty and originality could be produced in Europe in 1892 with signal success [a factually erroneous claim] and never be produced in its entirety in this country until 1944  Perhaps choreographers will make up for lost time from now on " The company was the first in the U S  to make the ballet an annual tradition, and for ten years, the only company in the United States performing the complete ballet, until George Balanchine's production opened in New York in 1954  (Annual productions of the San Francisco Ballet Nutcracker began in 1949 )
The San Francisco Ballet performs The Nutcracker annually to this day, though not necessarily with Christensen's choreography (their most recent version is choreographed by Helgi Tomasson)  Christensen's Nutcracker continues in Salt Lake City, where it is performed annually by Christensen's Ballet West  The stage success of the Christensen version marked the first step in making productions of The Nutcracker annual Christmas season traditions all over the world – a phenomenon that did not really come to flower until the late 1960s 
Passage 3:
Adam Cooper (dancer)
Adam Cooper (born 22 July 1971) is an English actor, choreographer, dancer and theatre director  He works as both a performer and choreographer in musical theatre, and has choreographed and/or starred in award-winning shows such as On Your Toes, Singin' in the Rain and Grand Hotel  He began his professional career as a dancer of classical ballet and contemporary ballet and is a former Principal of the Royal Ballet, a major international ballet company based in London  He became internationally recognised for creating the lead role of Swan/Stranger in Matthew Bourne's contemporary dance production of the ballet Swan Lake, a role that was briefly featured in the 2000 film Billy Elliot, in which Cooper played the adult version of the titular character 

Biography
Adam Cooper was born 22 July 1971 in Tooting, London to a musician father and a social worker mother  He has an older brother, Simon Cooper, who is also a dancer and they trained at the same schools  From a young age, he and his brother studied tap and ballet at the Jean Winkler School of Dance in Tooting  They also played various musical instruments and sang in a choir  At age 11, Cooper won a place at ArtsEd, a specialist performing arts school in London where he studied classical ballet, character, modern, tap, jazz and contemporary dance, as well as singing, acting and stage combat  After completing his secondary education at the school, aged 16, he was accepted into the Royal Ballet Upper School 
At his graduation performance he played the lead role of Young Man in Ashton's the Two Pigeons Cooper married Sarah Wildor in 2000  She was a principal dancer with the Royal Ballet She has become an Olivier-nominated actress  Their first child, a daughter, was born in 2008  They also have a  son 

Dance
Royal Ballet
In 1989 Cooper joined the Royal Ballet and was quickly promoted to First Artist and Soloist in 1991, First Soloist 1993 and Principal Dancer in 1994  He was recognized for his performances in the classic as well as dramatic and contemporary ballet works, and he excelled in playing cruel but sexy villains  While with the Royal Ballet he worked extensively with choreographers Kenneth MacMillan and William Tuckett partnering all the leading ballerinas of the company including Sylvie Guillem and Darcey Bussell  He also performed works choreographed by George Balanchine, Ashley Page, Fokine, Bronislava Nijinska, Mikhail Baryshnikov, Christopher Wheeldon, Matthew Hart, and William Forsythe  He left the Royal Ballet in 1997 to freelance and expand his career opportunities 

Adventures in Motion Pictures
In 1995 Matthew Bourne recruited Cooper to join Adventures in Motion Pictures (now renamed New Adventures) for his radically re-interpreted production of Swan Lake  Together they created the basic Swan movement motifs and Cooper also contributed to the choreography  Cooper performed the dual Swan/Stranger role (the analog of the white and black swan in the classic version) all over the world and his performances won him international acclaim, multiple awards and a strong fan following  Cooper's performance was described as one of "tremendous excitement, subtlety,emotional depth and sheer sexiness"  The popular press embraced him and his photo appeared in many magazines For his performances as the Swan/Stranger he received the Time Out Award in 1995, the Evening Standard Dance Award in 1997 and the 1999 Astaire Award for Best Dancer  He was also nominated for the 1999 Tony Award for Best Actor in a Musical



ground_truth: Brittany, Cornwall, Ireland, Isle of Man, Scotland and Wales.

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What is the name of this suburb within the Central Coast Council local government area, where Tessa, of Microwave Jenny, grew up?

The following are given passages.
Context 2: Passage 1:
Avoca Beach, New South Wales
Avoca Beach is a coastal suburb of the Central Coast region of New South Wales, Australia, about 95 kilometres (59 mi) north of Sydney  Avoca Beach is primarily a residential suburb, Avoca Beach is also a popular tourist destination  Avoca Beach is known for its surfing and state (regional) surf competitions  Avoca Beach village has a variety of restaurants and cafes as well as a post office, newsagent, pharmacy and mini-mart  Avoca Beach also has a historic cinema, a hotel, bowling club, motel and caravan park  It is located within the Central Coast Council local government area 
This suburb is unrelated to the NSW Southern Highlands suburb of Avoca, New South Wales, except in name only 

Geography
Avoca Beach is located on the Tasman Sea 17 kilometres (11 mi) east-southeast of the Gosford central business district, and about halfway between Newcastle and Sydney, being about 95 kilometres (59 mi) from each  It is bordered to the north by the Bulbararing Lagoon, to the west by Saltwater Creek and to the east by the ocean 

History
The area was originally inhabited by the Darkinjung & Awabakal Aboriginal people  "Avoca" is an Irish name meaning "great estuary" or "where the river meets the sea", and is also the name of a town in County Wicklow, Ireland On 4 January 1830, 640 acres (259 ha) of land in the area were promised to Irish army officer John Moore  However, the official deeds were not issued until 30 September 1839, due to the difficulty in surveying the land  He built a house opposite Bulbararing Lake (now known as Avoca Lake) and planted vines, cereals and fruit trees  He left the area in 1857 for the Victorian goldfields  In the late 19th century, Tom Davis leased the area in order to exploit local timber, which was transported by tram to a mill at Terrigal via what is now Tramway Road in North Avoca 

In the 1950s, commercial buildings began to be built and populated, including bakery, service station, butchery, mini mart, caravan park and the Avoca Beach Picture Theatre 
Residential development in Avoca Beach began during the 20th century, and the area subsequently became a popular holiday retreat with wealthy residents of Sydney's North Shore In February 2010, following the proposal to scuttle the frigate HMAS Adelaide off the beach as a dive wreck in late March, a resident action group was formed to protest against this  The group claims that the wreck will negatively affect surf conditions, tides, and littoral sand drift, and is concerned over the thoroughness of inspection and removal of dangerous materials and chemicals from the former warship, with the chance that marine life and people could be poisoned  An appeal to the Administrative Appeals Tribunal three days before the planned scuttling date of 27 March led to a postponement of the plan until the residents' claims were investigated  The decision from the Tribunal, in favor of the project going ahead after further cleanup work, was handed down on 15 September 2010, and despite further attempts to delay, Adelaide was scuttled on 13 April 2011 

Demographics
At the ABS 2016 census, Avoca Beach had a population of 4,584 people  76 4% of people were born in Australia  The next most common country of birth was England at 8 9%  90 9% of people only spoke English at home  The most common responses for religion in Avoca Beach were No Religion 34 0%, Catholic 22 5% and Anglican 19 9% Avoca Beach residents had a median age of 41, compared with the median of 42 for the Central Coast local government area  Median individual incomes in Avoca Beach were above average for the region — $764 per week compared with $600 per week  The 2016 Census reported 1,527 occupied private dwellings, of which 83 3% were separate houses, and the median monthly housing loan repayment of $2,167 was well above the regional average of $1,750 
In 2020, Avoca Beach's median house price was $1,150,000 versus $940,000 for the Central Coast region 

Education
Avoca Beach has a state primary school, which first opened in 1935  The suburb is within Kincumber High School's catchment area 

Politics
At federal level, Avoca Beach is within the Division of Robertson  In the Federal election of May 2022 it was won by Gordon Reid of the Australian Labor Party, previously held for nine years by Lucy Wicks of the Liberal Party of Australia 
In the New South Wales Legislative Assembly, Avoca Beach is within the electorate of Terrigal, currently held by Adam Crouch of the Liberal Party 
Polling place statistics are presented below from the Avoca Beach polling place in the elections leading up to and including the 2019 federal and state elections as indicated 

Gallery
Passage 2:
Hamlyn Terrace, New South Wales
Hamlyn Terrace is a suburb of the Central Coast region of New South Wales, Australia  It is part of the Central Coast Council local government area  The suburb was formerly part of Warnervale and is part of the Warnervale development precinct  The suburb is split between two governmental wards in the Central Coast Council governmental area, the northern part is in the Budgiewoi ward and the rest is in the Wyong ward 
Passage 3:
Woy Woy Bay, New South Wales
Woy Woy Bay is a suburb located in the Central Coast region of New South Wales, Australia, as part of the Central Coast Council local government area  Most of the suburb's area belongs to the Brisbane Water National Park, although a small community on Woy Woy Bay (part of Brisbane Water) containing a community hall, public reserve and wharf is also located within the suburb  Woy Woy Bay is commonly used by boaters on the weekend because of the open expanses of the bay  The main thoroughfare is Taylor Street 

Notable residents
John Della Bosca (1956–), former politician: New South Wales Legislative Council 1999–2010 
Belinda Neal (1963–), former politician: Australian House of Representatives (2007–2010); New South Wales Legislative Council (1994–1998) and Gosford City Council Alderman (1992–1994) 
Passage 4:
Phegans Bay, New South Wales
Phegans Bay () is a suburb within the local government area of the Central Coast Council on the Central Coast of New South Wales, Australia 
Phegans Bay is located 6 kilometres (4 mi) west of Woy Woy between Brisbane Water National Park and Woy Woy Inlet 
Passage 5:
Umina Beach, New South Wales
Umina Beach ( you-MY-nə) is a suburb within the Central Coast Council local government area on the Central Coast of New South Wales, Australia  Umina Beach is situated 85 kilometres (53 mi) north of Sydney and 111 kilometres (69 mi) south of Newcastle 
Umina Beach is locally known on the Central Coast as being on 'The Peninsula' (or 'Woy Woy Peninsula')  A natural peninsula that includes the towns of Umina Beach, Woy Woy, Blackwall, Booker Bay and Ettalong Beach  The main street, West Street, is the retail centre of The Peninsula with key national brands represented through Coles, Woolworths, Aldi and Bunnings 
Moving from north to south, Umina Beach begins where Woy Woy and Blackwall end: at Veron Road and Gallipoli Avenue 
Umina Beach is the most populated suburb on the Central Coast 

Geography
Umina Beach has one unbroken sand shoreline that has been divided in name only: Umina Beach (south western section) and Ocean Beach (north eastern section)  Both beaches have their own Surf Life Saving Club (refer to Sports Clubs section)  The only other type of shoreline is located at Umina Point (Mt Ettalong), a Hawkesbury Sandstone headland that adjoins the south western end of Umina Beach 
Umina Beach is geographically located on the north side of Broken Bay at the river mouth of Hawkesbury River  The formation of Umina Beach and 'The Peninsula' is due to sand deposition that has been influenced by (and not limited to) climatic conditions, soil-binding flora, Hawkesbury Sandstone formations (e g ; Box Head, Barrenjoey and Umina Point), wave patterns and tidal amplitude from the Tasman Sea, Hawkesbury River and Brisbane Water 

History
The word "Umina" was derived from the Australian Aboriginal word meaning Place of sleep The Woy Woy and Umina district was home to the Guringai Australian Aboriginal tribe  This tribe stretched from the north side of Port Jackson, north through Pittwater, Broken Bay and Brisbane Water, to the southern end of Lake Macquarie European entry to the region was first recorded in March 1788 when Governor Arthur Phillip landed with a party at Ettalong Beach 
In June 1789, a more thorough investigation of Brisbane Water was conducted  A rest stop was made at Ettalong Beach before the group passed through 'The Rip' (a dangerous passage leading into Brisbane Water)  On return, the party camped at Ettalong Beach before sailing to Dangar Island in the Hawkesbury River The first land subdivision occurred in 1914 which led to the current commercial and residential centre  Umina Beach celebrated its 100th anniversary in 2014 

Schools
Umina Beach is served by two public schools, Umina Public School (primary school) and Brisbane Water Secondary College (high school) Opened on 3 February 1956, Umina Public School's population approximates 800 students and 50 staff  It currently has 29 classes from kindergarten to year 6 

Business
Umina Beach town centre has been represented by the Peninsula Chamber of Commerce since the late 1980s  It is affiliated with the NSW Business Chamber  The town centre is serviced by Woolworths, Coles, Bunnings Hardware, Aldi Supermarkets and McDonald's, along with a number of local shops, takeaway restaurants and cafes, including the multi-award-winning Bremen Patisserie on West street  The town is also serviced by a number of medical and specialist practices, the Central Coast Council Library, and two service stations 

Transport Links
Umina Beach is well serviced by regular bus services (Busways) with connections to Woy Woy Rail Station and Gosford  The town centre is easily accessed with an efficient grid system of connecting roads with primary access from Ocean Beach Road, West Street and Barrenjoey Road 
Substantial car parking facilities adjacent to the town centre contribute to its success as a retail hub 

Media
Community Papers:

Peninsula Community Access News, fortnightly free distribution within the 2256 and 2257 postcode areas 
Central Coast Express Advocate, published by News Limited's Cumberland Courier Newspapers, is distributed free every Wednesday & Friday 
Central Coast Sun Weekly was last published on 30 April 2009 Radio Broadcasting:
Umina Beach is locally serviced by the national public broadcaster, Australian Broadcasting Corporation, via ABC Local Radio 2BL/T 92 5 FM 
Commercial licences covering Umina Beach are:
Analogue FM and AM signals can be received from Sydney and Newcastle  As a result, Umina Beach is located within the most saturated radio market in Australia 
As of August 2010, there was no launch date known for Digital Radio services for the Central Coast 

Sports fields
Umina Oval, located at the southern end of Melbourne Avenue, is the home ground for four pitch team sports: Soccer, Rugby league, Cricket and Tennis McEvoy Oval, located at the western end of McEvoy Avenue, is used for Track and Field Athletics, Touch Football and Cricket 

Sports clubs
Club Umina RSL Bowls Club is located in Melbourne Avenue, Umina Beach, within the Club Umina complex  Membership is available to ex and existing Servicemen of the Australian Defence Force and its allies who are financial members of both Club Umina and either Full or Associate Members of Merrylands RSL Club Sub-Branch 
Ocean Beach Malibu Club 
Ocean Beach Surf Life Saving Club is located at the southern end of Trafalgar Avenue, Umina Beach 
Ocean Beach Surfers Association 
Umina Beach "Bunnies" Rugby League Football Club is based at Umina Oval and play on the Col Gooley Field  The club is affiliated with the Central Coast Division of Country Rugby League (refer also to Country Rugby League) within the New South Wales Rugby League  The Bunnies team sheet has included Australian Kangaroos experience: Mark Geyer in 1993 and Cliff Lyons as Captain-Coach in 2001 
Umina Boardriders 
Umina "Bunnies" Junior Rugby League Football Club is based at Umina Oval and play on the Col Gooley Field  The club is affiliated with the Central Coast Division Junior Rugby League which is part of the Central Coast Division of Country Rugby League (refer also to Country Rugby League) within the New South Wales Rugby League 
Umina Beach "Bunnies" Netball Club are emotionally linked to Umina Junior Rugby League Football Club and do not have a physical presence in Umina Beach  The club conducts committee meetings at Woy Woy Leagues Club, Blackwall Road, Woy Woy, has a postal address in Ettalong Beach and plays in the Woy Woy Peninsula Netball Associations competition, located in Lagoon Street, Ettalong Beach 
Umina Beach Surf Life Saving Club is located at the southern end of Ocean Beach Road, Umina Beach 
Umina "Devils" Cricket Club is based at Umina Oval and has 2 cricket fields  The main cricket field, Field 1, is located on the eastern side of the oval, on Col Gooley Field, and has multiple grass pitches  Field 2 is located on the western side of the oval and has one artificial cricket pitch  The club caters for both senior and junior players from 5 years of age 
The Umina cup is an annual father's vs sons soccer game at Umina beach holiday park  This game has been played 4 times and has been won by the sons all 4 times  The most famous ground is sand field as there has been 3 of the 4 games played their 
Umina United "Eagles" Soccer Club is based at Umina Oval  The club caters for both senior and junior players from 5 years of age  The club is affiliated with Central Coast Football 
Woy Woy Peninsula Little Athletics Centre is based at McEvoy Oval   The club is affiliated with Central Coast Little Athletics  The club caters for junior athletes from 6 years of age Umina Beach is known as the home of "Upball"

Community Groups
Umina Community Group– The Umina Community Group is committed to improving Umina Beach by providing a unified voice to lobby the Central Coast Council and government bodies  Umina Beach is a growing community, along with its many visitors, this means improvements to local infrastructure and services in Umina Beach and Ocean Beach are essential to allow Umina Beach to thrive as a modern coastal community 
Umina Beach Men's Shed– The Men's Shed is a place where members of the community of all different life experiences come together at their own pace, share skills, swap ideas, solve problems and be involved in projects for the benefit of the community 

Notable residents
Belinda Emmett (1974–2006), actress and singer, grew up in Umina Beach
Mark Geyer (born 1967), rugby league player and radio host
James Harrison OAM (born 1936), Anti-D Vaccine blood donor
Dane Searls (1988–2011), BMX rider
Eric Worrell MBE (1924–1987), zoologist and writer
Passage 6:
Shelly Beach, New South Wales
Shelly Beach is a coastal suburb of the Central Coast region of New South Wales, Australia, located east of Tuggerah Lake and bordering the Pacific Ocean south of The Entrance  It is part of the Central Coast Council local government area  It is 66 km south of Newcastle & 93 km north of Sydney   Shelly Beach is considered one of the most popular surfing beaches on the Central Coast 
Shelly Beach Golf Club (previously Tuggerah Lakes Gold Club) is an 18-hole golf course located at the eastern end of Shelly Beach Road, overlooking Shelly Beach  It was formally established in 1930, originally being located at Killarney Vale until 1954 when it moved to its present location 
Within the suburb there is the Shelly Beach Surf Club and the Shelly Beach Fossils soccer club 

Transportation
Red Bus Services operates routes through Shelly Beach (11, 12, 21, 22, 23)   Bus 21 operates from The Entrance North to Gosford regularly 

Notable people
Nikki Garrett – golfer
Banjo Paterson – poet

Accommodation
Shelly Beach Cabins
Bluewater Resort
Sun Valley Tourist Park
Passage 7:
Magenta, New South Wales
Magenta () is a coastal location of the Central Coast region of New South Wales, Australia  It is part of the Central Coast Council local government area, and contains a significant portion of the Wyrrabalong National Park 
Magenta is a relatively new area to be developed for residence, with the suburb gazetted in 1991  Previously it was the location for rutile mining and as the garbage tip for The Entrance, New South Wales  The location is traversed south–north by Wilfred Barrett Drive linking The Entrance and Toukley, named after a Wyong Shire President  The road was designated part of the Central Coast Highway in 2006 

Magenta Shores
The Magenta Shores Golf Resort consists of an 18-hole golf course, private housing and a resort 
Passage 8:
Gorokan, New South Wales
Gorokan is a suburb of the Central Coast region of New South Wales, Australia  It is part of the Central Coast Council local government area  The word "Gorokan" means "The Morning Dawn" from the language of the Awabakal (an Aboriginal tribe)  There are two schools in the area, Gorokan Public School and Gorokan High School  Electricity was first brought to the area as a part of a £42,000 programme for electricity reticulation under the Brisbane Water County Council 
Located on the shores of Lake Tuggerah, Gorokan has long been a holiday destination with the Quoy family first buying land in the area in 1923 where they built and rented a series of holiday homes  Other families such as the Gedlings (by way of Gordon and Margaret Gedling) built a holiday house on the Gorokan waterfront in 1956 
Passage 9:
Kulnura, New South Wales
Kulnura () is a suburb of the Central Coast region of New South Wales, Australia, located north of Mangrove Mountain along George Downes Drive  It is within Central Coast Council local government area  Kulnura's name is an Aboriginal word meaning "in sight of the sea" or "up in the clouds", it was named in 1914 by a meeting of the early pioneers Messrs Archibold, Collins, Gatley, Penn, Young, Williams and Gibson  Its population of approximately 600 people rely mostly on the town's fruit and cattle industries for income, however many commute to regional centres of Gosford, Wyong and even to Sydney for work  It is also home to the biggest catchment area on the Central Coast, Mangrove Creek Dam which has a capacity of 190 000 ML, and has a free tourist kiosk on the site   "Mangrove Mountain Bottlers Pty Ltd" bottle still water at their plant at Kulnura, as well as for private label mass-retailers, such as 7–11 
Another one of Kulnura's attractions is the Paintball Place, which holds paintball skirmishes for people over 16 

District
Kulnura extends from the intersection of Bloodtree Road and George Downes Drive in the south, to the Great Northern Road in the north, to include the Mangrove Creek reservoir in the west, to down Bumble Hill Road in the east and to Red Hill Road in the southeast  Map of Kulnura in Google Maps
Kulnura General Store-café, petrol station and a bottle shop are located just opposite Kulnura Hall at the intersection of Greta Road with George Downes Drive 
Kulnura's One Stop convenience store is also a popular resting place for passing motorcyclists and tourists 
Kulnura Public School is situated at 9 Williams Road 

Festival
Every year Kulnura is host to the Bloodtree Festival, which is a celebration of life in the Mangrove Mountain area  It has been running for the past five years at Kulnura Oval, adjacent to Kulnura Hall 
Passage 10:
Microwave Jenny
Microwave Jenny is an Australian pop/folk/jazz duet that consists of Tessa Nuku on vocals and Brendon Boney on guitar and vocals  They both have Indigenous backgrounds with Brendon having been born and raised in Wagga Wagga, and Tessa having been born in Ulladulla, New South Wales before moving to and growing up in Umina Beach, New South Wales Brendon was the singing voice for the character Willie in film Bran Nue Dae  The phrase 'Microwave Jenny' comes from the 1997 film The Castle  The duo are married and have a daughter  Brendon has a solo alternative, hip/hop project called The Magpie Swoop 

Live performance
The band play live in multiple formats either as an Acoustic Duet, Trio, Quartet or full band  The duo feature heavily on the Australian music festival circuit with notable live performances including Bluesfest, Woodford Folk Festival, Peats Ridge Festival and Nannup Music Festival They also supported Thirsty Merc on their 2011 national tour of Australia 

Influences
Microwave Jenny have cited James Taylor, Janis Ian, Bill Withers and Van Morrison as musical influences 

Awards and nominations
They were recipients of the 2009 Peter Garrett Breathrough Grant  Brendon won an APRA Professional Development Award in 2011 for his songwriting and composing  In 2009, Microwave Jenny was nominated for a Deadly Award for Most Promising New Artist but did not win 

Discography
They have released two EPs

Summer
1  "Mellow" – 3:59
2  "Mr Man in the Moon" – 3:47
3  "I'll Never Learn" – 5:02
4  "Summer" – 3:35

Crazy, Crazy Things
1  "Stuck on the Moon" – 3:06
2  "Homemade Lemonade" – 3:52
3  "Lyin" – 3:18
4  Locked in the Closet" – 3:54
Context 3:  He appeared briefly at the end of the 2000 film Billy Elliot as the adult version of the title character, who is seen performing the role of the Swan  A DVD recording of the Swan Lake with Cooper and the original cast was issued in 1996 and can be seen on Youtube com  Excerpts from Swan Lake (Bourne) appeared on the 1998 Royal Variety TV program and he repeated his Swan/Stranger role for the TV audience  His performance in the Billy Elliot film and in the Swan Lake (Bourne) DVD inspired at least one of the boys playing Billy Elliot in the stage production to join New Adventures in the hopes of performing The Swan role  In 2003 Cooper once again played the Swan/Stranger when AMP toured in Japan, and there was enormous enthusiasm for his performance and he acquired a large number of new fans 
In 1997 Cooper was invited by Bourne to take part in the initial planning of AMP's next show, Cinderella  This version of the dance took place in London during the Blitz, but used the same Prokofiev music as the classic version Cinderella (Prokofiev)  Cooper helped to create and performed the role of Pilot (the Prince analog) in the initial 1997 London run and also played the Angel (the Godmother analog), and Sarah Wildor was his partner when she played the title role 
The production was also performed in Los Angeles in 1999 

Freelance dancer and choreographer
In 1998 Cooper worked with the Scottish Ballet to choreograph Just Scratching the Surface  He also performed the Hoffmann role in their production of Tales of Hoffmann  Since then he has gone on to choreograph for other ballet companies and for musical theatre 
Cooper appeared as a dancer and choreographer at the Exeter Festival for 3 years, heading evenings of dance co-produced with Iain Webb  In 2002 Cooper and Sarah Wildor presented a tribute to Sir Kenneth MacMillan at Exeter and in Japan  The Adam Cooper Company represented the UK at the Washington International Ballet Festival in 2003 performing a revival of Sir Kenneth MacMillan's Sea of Troubles Cooper has frequently danced as a guest artist with the Royal Ballet since leaving the company, performing lead roles in Romeo and Juliet, Ondine and Onegin  and others  In 2002 he created the role of Badger in William Tuckett's Wind in the Willows  In 2004 created the title role in Tuckett's The Soldier's Tale, which he reprised in 2005 and later performed in Japan in 2009 and 2015 In 2005 he realized a long-held vision with his own production of Les Liaisons dangereuses, a mixture of theater and dance  Co-directed and designed by Lez Brotherston, the production was choreographed by Cooper and he also played the lead role of Viscomte de Valmont  The piece premiered in Japan early in the year before a summer season at Sadler's Wells, with a cast which included Simon Cooper and Sarah Wildor In 2009 Cooper joined Russell Maliphant to dance in Maliphant's 2:4:10 contemporary dance program- an evening of works celebrating Maliphant's 10 years as a choreographer 

Musical theatre
2002 to 2010
In Cooper's first venture into the musical theatre he was both the choreographer and actor (playing the lead role of Junior Dolan) in On Your Toes  In 2002 it played at Leicester Haymarket, and was in transferred in 2003 to the Royal Festival in the West End of London  Sarah Wildor joined the production in 2003 to play the role of Vera Baronova  He was lauded by both the critics and the audience for his contributions and was rewarded with the Critics' Circle National Dance Award for Best Choreography and Most Popular Dancer  In 2004 the production also had a successful tour in Japan In 2002 Cooper provided the choreography for the Swedish production of Garbo-the Musical  Cooper also played the lead role of Don Lockwood and choreographed Paul Kerryson's Singin' in the Rain in 2004 at Sadler's Wells Theatre, Leicester Haymarket, and was nominated for Critic's Circle Award for Choreography of a Musical  He was nominated for a Laurence Olivier Award for his choreography of the 2004 Grand Hotel for The Donmar Warehouse  The production won the 2005 Olivier Award in the category of Outstanding Musical Production In 2005, Cooper and Wildor performed a two-person play, Wallflowering, at the Seven Oaks Playhouse  Their roles were primarily dialogue with intermittent bits of ballroom dancing  Following this, he designed the choreography for the revival of Promises, Promises at Sheffield's Crucible Theatre In 2006 Cooper appeared alongside Neil Morrissey and Patrick Swayze playing Sky Masterson in Guys and Dolls at The Piccadilly Theatre, London and in 2007 he provided the musical staging for Side by Side by Sondheim for The Venue Theatre, London 2008 saw Cooper's return to the stage, creating the role of Ramon in Zorro the Musical for the UK tour  He also played the Tin Man in the Royal Festival Hall's summer staging of the musical The Wizard of Oz, after which he turned his attention back to choreography  First, he choreographed Carousel for director Lindsay Posner which had a very successful UK tour and West End run at the Savoy Theatre  Then Cooper was asked by Paul Kerryson to direct and choreograph the first new show, Simply Cinderella, at the brand new Curve Theatre, Leicester In 2009 Cooper unveiled Shall We Dance at Sadler's Wells, an ambitious all-dance show based on Richard Rodgers' songs  For this production he was the box-office star, director, creator, librettist and choreographer  Later that year, he provided choreography for Lindsay Posner's production of the Donizetti opera Roberto Devereux at the Holland Park Theatre, Kensington, London Cooper co-starred in the touring stage version of Irving Berlin's White Christmas during the Christmas season in 2009 2010 and 2011  He played the role of Phil Davis 

2011 to the present
Cooper was the above-the-title star playing the role of Don Lockwood in Jonathan Church's highly successful 2011–2013 production of Singin' in the Rain, with choreography by Andrew Wright  Its first sold-out run was at the Chichester Festival Theatre and then a longer run at West End's Palace Theatre  He also performed the iconic Singin' in the Rain scene on the 2011 Royal Variety Performance TV show  The stage show was nominated for the Best Musical Revival and several other Laurence Olivier and other awards  A cast recording of Singin' in the Rain was issued in 2012  Good Mornin' was performed at the 2012 Olivier Awards Ceremony  The show, starring Cooper, played in Japan for three weeks of November 2014 In 2013 Cooper choreographed Matthew White's well-received production of Candide at the Menier Chocolate Factory  Reviewer Sam Smith wrote "Adam Cooper's choreography is racy, and the production finds a particular affinity with the 'Surrealism' of the piece " In late 2013 Cooper was invited to Denmark to choreograph Daniel Bohr's Danish language version of Evita at the Det Ny Teater (The New Theater) in Copenhagen  The show premiered in January 2014  For Evita, Adam Cooper created a choreography with continuous tango elements merged into the rest of the dance Cooper provided the "energetic" 60's choreography for Sunny Afternoon Musical at the Hampstead Theatre in London  The show ran from April to end of May in 2014 and then in October 2014 it transferred to The Harold Pinter Theatre (formerly The Comedy Theatre) 
at the West End  Its run was extended several times due to its popularity with the audience and positive critical reviews  It was nominated for numerous awards and won 4 Olivier Awards in 2015  Details are at Sunny Afternoon 
Cooper had another opportunity to present a stage version of Les Liaisons dangereuses (Gefährliche Liebschaften) in 2015   He choreographed and co-directed with Josef E  Köpplinger a German musical version of the novel with a newly commissioned book, lyrics and score for the itinerant Staatstheater am Gärtnerplatz company in Munich, Germany 
In 2019, Cooper appeared in the UK Tour of New Adventures' The Red Shoes, playing the role of Boris Lermontov 

Films and TV
The Soldier's Tale (2010) TV Movie (The Soldier)
Bourne to Dance (2001) TV Movie (himself)
Billy Elliot (2000) Arts Council of England, BBC Films, Working Title Films (Billy, Aged 25)
Madame Bovary (2000) TV Movie (Vicomte)
The Sandman (2000) Channel 4 TV Movie
Jason and the Argonauts (2000) Hallmark Entertainment & Panfilm TV Movie (Eros)
Dance Ballerina Dance (1998) BBC2 TV (himself)
Swan Lake (Bourne) (1998) PBS Great Performances TV Series with Adventures in Motion Pictures (Swan/Stranger)
Royal Variety Performance TV Show (1998) Excerpts from Swan Lake (Bourne) (Swan/Stranger)
The South Bank show: Matthew Bourne's Adventures in Motion Pictures (1997) TV Documentary (himself)
Swan Lake (Bourne) (1996) BBC/NVC with Adventures in Motion Pictures (Swan/Stranger)
Mayerling (ballet) (1994) BBC with the Royal Ballet (Hungarian officer)
Gala Tribute to Tchaikovsky (1993) TV Special (Principal Dancer)
Winter Dreams (1992) BBC TV with the Royal Ballet (Staff Captain Vassily Vasilyevich Solyony)
La Bayadère, The Sleeping Beauty (ballet), Winter Gala with Royal Ballet for BBC TV
Prince of the Pagodas (1990) with the Royal Ballet
Merry Wives of Windsor (1982) BBC TV (fairy)

Other
(2000) National Portrait Gallery (London), portrait of Adam Cooper by Stuart Pearson Wrightoil on gesso on oak panel, NPG 6542
(2014) Imperial Classical Ballet Faculty Patrons, Adam Cooper and Sarah Wildor

Awards
(1988) Ursula Moreton Choreographic Competition
(1989) Professional Level Prize @ Prix de Lausanne
(1996) Time Out Award for Best Performance in AMP's Swan Lake
(1997) Evening Standard Award for his performance as The Swan in AMP's Swan Lake
(1997) Drama League Award for Best Performance as The Swan in AMP's Swan Lake (Los Angeles Season)
(1999) Astaire Award for outstanding Male Dancer for his performance as The Swan in AMP's Swan Lake
(1999) Nominated for Best Actor in a Musical Tony Award for the Broadway Season of Swan Lake
(2002) Nominated for Best Male Dancer by the Critics' Circle National Dance Awards for his performances with the Royal Ballet and On Your Toes 
(2003) Critics' Circle National Dance Awards for Best Choreography for On Your Toes
(2003) Critics' Circle National Dance Awards for Most Popular Dancer 
(2003) Nominated for Whatsonstage com Theatregoers' Choice Awards – for Best Choreographer and Best Actor in a Musical for On Your Toes
(2004) Nominated by Critics' Circle National Dance Awards for Best Choreography (Musical Theater) for Singin' in the Rain
(2005) Nominated for What's Onstage Award for choreography of the 2004 Grand Hotel for The Donmar Warehouse 
(2005) Nominated for a Laurence Olivier Award for choreography of the 2004 Grand Hotel for The Donmar Warehouse 
(2013) Nominated for What's Onstage Award as Best Actor in a Musical for Singin in the Rain
Passage 4:
The Nutcracker (1993 film)
The Nutcracker, also known as George Balanchine's The Nutcracker, is a 1993 American Christmas musical film based on Peter Martins's stage production and directed by Emile Ardolino  It stars Darci Kistler, Damian Woetzel, Kyra Nichols, Bart Robinson Cook, Macaulay Culkin, Jessica Lynn Cohen, Wendy Whelan, Margaret Tracey, Gen Horiuchi, Tom Gold, and the New York City Ballet 
The film was released by Warner Bros  under their Warner Bros  Family Entertainment label on November 24, 1993, four days after director Ardolino died  It received mixed reviews and was a box office failure, grossing only $2 million 

Plot
The film follows the traditional plot of the Nutcracker 

Act I
Scene 1: The Stahlbaum Home

It is Christmas Eve  Family and friends have gathered in the parlor to decorate the beautiful Christmas tree in preparation for the party  Once it is finished, the children are sent for  They stare in awe at it sparkling with candles and decorations 
The party begins  A march is played  Presents are given out to the children  Suddenly, as the owl-topped grandmother clock strikes eight, a mysterious figure enters the room  It is Herr Drosselmeyer, a local councilman, magician, and Marie's godfather  He is also a talented toymaker who has brought gifts for the children, including four lifelike dolls who dance to the delight of all  He then has them put away for safekeeping 
Marie and her brother, Fritz, are sad to see the dolls being taken away, but Drosselmeyer has yet another toy for them: a wooden nutcracker carved in the shape of a little man  The other children ignore it, but Marie immediately takes a liking to it  Fritz, however, breaks it, and she is heartbroken 
During the night, after everyone else has gone to bed, Marie returns to the parlor to check on her beloved nutcracker  As she reaches the little bed she put it on, the clock strikes midnight and she looks up to see Drosselmeyer perched atop it  Suddenly, mice begin to fill the room and the Christmas tree begins to grow to dizzying heights  The nutcracker also grows to life size  Marie finds herself in the midst of a battle between an army of gingerbread soldiers and the mice, led by their king  They begin to eat the soldiers 
The nutcracker appears to lead the soldiers, who are joined by tin soldiers, and dolls who serve as doctors to carry away the wounded  As the Mouse King advances on the still-wounded nutcracker, Marie throws her slipper at him, distracting him long enough for the nutcracker to stab him Scene 2: A Pine Forest
The mice retreat and the nutcracker is transformed into a handsome Prince  He leads Marie through the moonlit night to a pine forest in which the snowflakes come to life and dance around them, beckoning them on to his kingdom as the first act ends 

Act II
Scene 1: The Land of Sweets

Marie and the Prince travel to the beautiful Land of Sweets, ruled by the Sugar Plum Fairy in the Prince's place until his return  He recounts for her how he had been saved from the Mouse King by Marie and transformed back into himself 
In honor of the young heroine, a celebration of sweets from around the world is produced: chocolate from Spain, coffee from Arabia, tea from China, and candy canes from Russia all dance for their amusement; Danish shepherdesses perform on their flutes; Mother Ginger has her children, the Polichinelles, emerge from under her enormous hoop skirt to dance; a string of beautiful flowers perform a waltz  To conclude the night, the Sugar Plum Fairy and her Cavalier perform a dance A final waltz is performed by all the sweets, after which the Sugar Plum Fairy ushers Marie and the Prince down from their throne  He bows to her, she kisses Marie goodbye, and leads them to a reindeer-drawn sleigh  It takes off as they wave goodbye to all the subjects who wave back 

Cast
Darci Kistler as The Sugar Plum Fairy
Damian Woetzel as The Sugar Plum Fairy's Cavalier
Kyra Nichols as Dewdrop
Wendy Whelan as Coffee
Margaret Tracey as Marzipan
Gen Horiuchi as Tea
Tom Gold as Candy Cane
Lourdes López as Hot Chocolate
Nilas Martins as Hot Chocolate
William Otto as Mother Ginger
Peter Reznick as Fritz
Karin von Aroldingen as Grandparent
Edward Bigelow as Grandparent
Heather Watts as Frau Stahlbaum
Robert LaFosse as Dr  Stahlbaum
Bart Robinson Cook as Herr Drosselmeyer
Jessica Lynn Cohen as Marie Stahlbaum
Macaulay Culkin as The Nutcracker/Prince/Drosselmeyer's Nephew
Kevin Kline as Narrator
Katrina Killian as Harlequin
Roma Sosenko as Columbine
Michael Byars as Soldier
Robert D  Lyon as Mouse King
Maureen C  McFadden Devlin as Drummer

Reception
Critical response
The film received generally mixed reviews from critics  Based on eight reviews, it holds a rotten rating of 50% on review aggregator Rotten Tomatoes, with an average rating of 6/10  The film was criticized by James Berardinelli for not capturing the excitement of a live performance; he wrote that it "opts to present a relatively mundane version of the stage production   utilizing almost none of the advantages offered by the (film) medium " Roger Ebert of the Chicago Sun-Times was mixed on it, and gave it 2 out of 4 stars criticizing it for not adapting the dance for a film audience and also its casting of Culkin who, he writes, "seems peripheral to all of the action, sort of like a celebrity guest or visiting royalty, nodding benevolently from the corners of shots " In The Washington Post, Lucy Linfield echoed Ebert's criticism of Culkin, stating that "it's not so much that he can't act or dance; more important, the kid seems to have forgotten how to smile   all little Mac can muster is a surly grimace " She praised the dancing, however, as "strong, fresh and in perfect sync" and Kistler's Sugar Plum Fairy as "the Balanchinean ideal of a romantic, seemingly fragile beauty combined with a technique of almost startling strength, speed and knifelike precision " The New York Times' Stephen Holden also criticized Culkin, calling his performance the film's "only serious flaw", but praised the cinematography as "very scrupulous in the way it establishes a mood of participatory excitement, then draws back far enough so that the classic ballet sequences choreographed by Balanchine and staged by Peter Martins can be seen in their full glory "

Box office
During its theatrical run, the film grossed $2,119,994  In North America, it opened at number 16 in its first weekend with $783,721 

See also
List of Christmas films
Passage 5:
Dennis Courtney
Dennis H  Beaulne (born April 30, 1958), better known by his stage name Dennis Courtney, is an American stage director, choreographer, actor and teacher of master classes in auditioning for the theatre  As a director, he is notable for winning the 2008 Israeli National Theatre Prize (Israel's TONY Award equivalent) for his work in the Cameri Theatre production of Fiddler On The Roof, in Tel Aviv  The production closed on January 27, 2016 after a near 8-year run  As an actor, he made his Broadway debut in the 1979 production of Peter Pan with Sandy Duncan and George Rose  Subsequent Broadway/National Tour/Production credits include Shenandoah with John Raitt (1984), Joseph And The Amazing Technicolor Dreamcoat (1984), Roza (1987) and Starlight Express (1989-1990)  He directed and choreographed a production of My Way, for the Riverside Center Theatre in Virginia and It Shoulda Been You starring Kim Zimmer and 8 Track: The Sounds of the 70's for Gretna Theatre in July and August 2016  In early 2017, he directed and choreographed Kiss Me, Kate at Kent State  In March 2017 he directed the pre-Broadway workshop production of The Last Adam, a new musical by George Alex Livings and Jonathan Hickey  He has collaborated with playwright David Brian Colbert on a new play with music about the life of legendary performer, Ethel Waters, entitled Still Waters: The Life of the Legendary Ethel Waters  The play is currently in development 

Personal life
Born Denis Beaulne in Detroit, Michigan to French Canadian parents, Albert Beaulne and Claudette Perron   He took the stage name Dennis Courtney with his first union acting job in 1978   Courtney has 2 siblings - a sister, Rachelle Beaulne McKevlin and a brother, Raymond Beaulne   He also has a step-sister, Lori Hurren Harrell and a step-brother, William Hurren  Dennis' parents divorced in 1967 and both remarried   His mother married Harry Parr and his father married Anna Pasternacki   Harry Parr died in 1986, Anna Pasternacki Beaulne died on December 5, 2011  Albert Beaulne is currently living in Cornelius, NC   Dennis' mother, Claudette, died on June 6, 2010  Dennis has been in a long term relationship with entrepreneur, Grant Wheaton, since 2000  Dennis and Grant became engaged on Christmas Day 2016 and married on July 29, 2017 
He graduated from Anderson High School in Cincinnati, Ohio and studied theatre at the University of Cincinnati   He currently resides in New York City and has homes in Sarasota, Florida and Palm Desert, California 

Notes
External links
Official Website - http://www denniscourtney com
Dennis Courtney (http://ibdb com/person php?id=92973) at the Internet Broadway Database
Dennis Courtney (http://www broadwayworld com/people/Dennis-Courtney/#) at BroadwayWorld com
Passage 6:
Stephen Nicholas (actor)
Stephen Charles Nicholas (born 23 August 1978)  music artist and presenter from Doncaster, South Yorkshire, England 
As an actor Stephens first role was on Sky One's Dream Team, where he played Scott Ward  From there, he filmed the first in the trilogy Goal! (In which he played a Newcastle United Reserves player)  Following this, he moved to Los Angeles, where he played Smith in the feature film Futbaal: The Price of Dreams 
Stephen then returned to the UK to make a Bollywood film called Dhana Dhana Goal with John Abraham 
Stephen then experienced her first opportunity in reality TV with the show Premier League All Stars for Sky One, as well as playing a footballer, he was on-hand to present celebrity gossip and pitch side reports 
He then appeared in Celebrity Most Haunted and Date the Enemy  From there he then went on to star in Goal 3 where he not only acted in the film he also became the football choreographer and choreographed all the football scenes in the film 
Nicholas then starred in the film Damned United where he played Welsh international Alan Durban, the film was filmed in Chesterfield and Leeds and was directed by Oscar winner Tom Hooper and also starred Oscar nominated Michael Sheen 
Stephens next production was the feature film called 'No Way Back Now'about the notorious Manchester district of Moss Side, where Stephen played the lead actor Stuart Gavin  The feature is roughly based on the notorious Gooch gang that terrorised Manchester throughout the years 
The next move for Stephen was pantomime where he was part of the production Aladdin over the Christmas period of 2015 in Doncaster playing Abanaza the main villain which he did until 7 January 2016! 
He Was also in the Feature Film 'Whiteblade' where he will played Thurstan the head Warlord Whiteblade Stephen shot his scenes in August 2016 
In September 2016 Stephen presenting the Sky TV show 'Britz go Bollywood' the show consists of a group of Celebrities being dressed by The best Indian designers, stephen was the main presenter of the show 

Music
Nicholas instigated and was part of a group called U K  Flow  The group was made up of 14 celebrities from television and sport 

Football
Nicholas was a Sunday league footballer at various clubs

Filmography
External links
Official Site
Stephen Nicholas at IMDb
Passage 7:
The Nutcracker (Balanchine)
Choreographer George Balanchine's production of Tchaikovsky's 1892 ballet The Nutcracker has become the most famous stage production of the ballet performed in the U S  (Mikhail Baryshnikov's production is the most famous television version, although it too originated onstage ) It uses the plot of the Alexandre Dumas, père, version of E T



ground_truth: Umina Beach, New South Wales

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who choreographed one who is said to be the last muse for the choreographer and starred in the Nutcracker?

The following are given passages.
Context 3: A  Hoffmann's tale, "The Nutcracker and the Mouse King" (1816)  Its premiere took place on February 2, 1954, at City Center, New York, with costumes by Karinska and sets by Horace Armistead  It has been staged in New York every year since 1954, and many other productions throughout the United States either imitate it, or directly use the Balanchine staging  However, although it is often cited as being the production that made the ballet famous in the U S , it was Willam Christensen's 1944 production for the San Francisco Ballet which first introduced the complete work to the United States 

Staging
In Balanchine's version, the leading roles of Clara (here called Marie) and the Nutcracker/Prince are danced by children, and so their dances are choreographed to be less difficult than the ones performed by the adults  Marie does not dance at all in the second act of this version  The Prince's dancing in Act II is limited to the pantomime that he performs "describing" his defeat of the Mouse King  Instead, Marie and the Prince sit out nearly all of Act II watching other dancers perform for them, and unlike most other versions, neither one of them takes part in the ballet's Final Waltz 
Because Marie and the Nutcracker / Prince are played by children approximately ten years old in the Balanchine Nutcracker, no adult romantic interest between them is even implied, although Marie and Drosselmeyer's nephew, who looks exactly like the Prince, are clearly drawn to each other during the Christmas party  However, the 1958 Playhouse 90 telecast of the Balanchine Nutcracker, which changed Marie's name back to Clara and stated that the Prince was Drosselmeyer's nephew, had narrator June Lockhart saying at the end that "From that day on, Drosselmeyer's nephew is Clara's Prince and Clara is his Princess, and I need not tell you that they lived happily ever after " (But Drosselmeyer's nephew is there when the Nutcracker is broken during the Christmas party, so it is difficult to believe that he is the Nutcracker/ Prince, unless Marie dreams her fantasy adventures, and it is unclear in this version whether she does or not ) Years later, movie critic Stephen Holden, in reviewing the 1993 film version of the Balanchine Nutcracker, referred to Marie as the Prince's sweetheart  And oddly enough, throughout Act II of the 1993 film of Balanchine's version, Marie does wear a veil that resembles a bridal veil 
The Balanchine version uses perhaps more real children than any other version  (In other versions, the children are sometimes played by adult women ) The rôles of Clara and the Nutcracker/ Prince are performed by adults in many other versions, and in these productions of the ballet, there is usually more than a hint of budding romance between the two 
The Journey Through the Snow sequence, in many other productions danced by Clara and the Nutcracker immediately after his transformation into a Prince, is not danced at all in the Balanchine version, although the music is played  Instead, Marie faints and falls on the bed after the battle, and the Nutcracker exits  Marie's bed moves by itself across the stage as the music plays, and at its climax, the Nutcracker reappears and through the use of a stage effect, turns into a Prince  He awakens Marie, places on her head one of the crowns that he took from the dead seven-headed Mouse King, and they exit  (In the 1993 film of Balanchine's Nutcracker, the bed flies through the air rather than simply moving across the stage  This is achieved by visual effects created by Industrial Light & Magic )

On the screen
Balanchine's Nutcracker has since been staged in New York every year, filmed once, and performed live on television three times – although its first television edition, telecast by CBS in 1957 on the TV anthology The Seven Lively Arts, was severely abridged  Some sources say it was complete, but it could not have been because The Seven Lively Arts was only an hour long  This marked the first telecast not only of the Balanchine version but of any staging of the ballet  CBS's Playhouse 90 broadcast a more complete (but still abridged) version of the Balanchine Nutcracker, narrated by actress June Lockhart, who was then starring as the mother in CBS's Lassie, on Christmas Day in 1958; it was the first Nutcracker (and only installment of the entire Playhouse 90 series) broadcast in color  There were only four commercial breaks  This television production starred Balanchine himself as Drosselmeyer, Diana Adams as the Sugar Plum Fairy, Bonnie Bedelia in an early role as Clara, and Robert Maiorano as the Nutcracker/ Prince Excerpts from the Balanchine production were performed several times on various television shows of the time, notably The Bell Telephone Hour and The Ed Sullivan Show The complete Balanchine version was eventually made into a poorly received full-length feature film by Elektra Entertainment and Regency Enterprises  It was distributed and released by Warner Bros  Family Entertainment in 1993, and starred Macaulay Culkin in his only screen ballet rôle, as the Nutcracker, the Prince, and Drosselmeyer's nephew  The film was directed by Emile Ardolino, with narration spoken by Kevin Kline  From the billing in this film, the Prince and the nephew would seem to be two different characters, though that may not have been what the filmmakers intended  Director Ardolino died of AIDS only a few days before the film's release  The other rôles in the film were played by members of the New York City Ballet, including Darci Kistler as the Sugar Plum Fairy, Damian Woetzel as the Fairy's Cavalier, Bart Cook as Drosselmeyer, Jessica Lynn Cohen as Marie (a k a  Clara), and Wendy Whelan as Coffee in the Arabian Dance During the 2011 Christmas season, PBS, for the very first time, presented the complete Balanchine Nutcracker on Live from Lincoln Center, although it was not seen on all PBS affiliates, since the affiliates have a choice of which programs they will air locally  This was not the 1993 film, but the production's latest revival, and the production was telecast by PBS on December 14, 2011  This presentation, directed by Alan Skog, marked the first U S  telecast of the Balanchine version (aside from cable and "on demand" showings of the 1993 theatrical film) in more than fifty years  It was nominated for an Emmy Award in July 2012 

Casts
Original
NYCB revivals
Television
(1958)

Television
(2011)

Theatrical Film Version
(1993)

Music
Balanchine adds to Tchaikovsky's score an entr'acte that the composer wrote for Act II of The Sleeping Beauty, but which is now seldom played in productions of that ballet  In Balanchine's Nutcracker, it is used as a transition between the departure of the guests and the battle with the mice  During this transition, the mother of Marie (as she is usually called in this version) appears in the living room and throws a blanket over the girl, who has crept downstairs and fallen asleep on the sofa; then Drosselmeyer appears, repairs the Nutcracker, and binds the jaw with a handkerchief  In addition, the Dance Of The Sugar Plum Fairy is moved from near the end of Act II to near the beginning of the second act, just after the Sugar Plum Fairy makes her first appearance  To help the musical transition, the tarantella that comes before the dance is cut  In the 1993 film version of the Balanchine version, just as in the telecast of the Baryshnikov one, the Miniature Overture is cut in half, and the opening credits are seen as the overture is heard  The film's final credits feature a reprise of the Trepak and the Waltz of the Flowers 

Footnotes
External links
George Balanchine’s The Nutcracker at the Balanchine Trust website
Passage 8:
Darci Kistler
Darci Kistler (born June 4, 1964) is an American ballerina   She is often said to be the last muse for choreographer George Balanchine 

Early life
Kistler was born in Riverside, California, the fifth child (with four older brothers) of a medical doctor and his wife   Her brothers excelled in amateur wrestling, and she followed them into water-skiing, basketball, football and horseback riding 

Ballet career
At age 4, Kistler received her first tutu and began ballet training that same year  She claimed although she was always athletic, she could never keep to her brothers—so ballet turned out to be one cornerstone she had mastered  After seeing a ballet performance of Rudolf Nureyev and Margot Fonteyn, she decided she wanted to take up ballet herself  She studied with Mary Lynn at Mary Lynn's Ballet Arts and later with Irina Kosmovska in Los Angeles 
In early 1979, Kistler was selected to study at New York City Ballet's School of American Ballet (SAB), where she met George Balanchine  She joined the New York City Ballet (NYCB) corps de ballet in 1980, and was featured in a Time article before the end of the year Kistler was promoted to (NYCB) soloist in 1981 and principal dancer in 1982, the youngest ever at 17 years  Signature roles include Balanchine's Jewels (Diamonds), Agon, Prodigal Son and Symphony in C  She danced the rôle of the Sugarplum Fairy in City Ballet's 1993 film version of The Nutcracker  She eventually wrote her own autobiography "Ballerina: My Story" as a children's book 
Kistler joined the SAB's permanent faculty in 1994 
Throughout her career, she had numerous dance-related injuries, including a broken ankle that sidelined her for three years  She went through several surgeries, including for her back In February 2009, Kistler announced her retirement from New York City Ballet at the end of the 2010 season  Her farewell performance took place on June 27, 2010, and consisted of ballets choreographed by Balanchine and Martins:

Personal life
Kistler married New York City Ballet's balletmaster-in-chief Peter Martins in 1991  In July 1992, Martins was arrested and held for five hours after Kistler phoned the police for help  Kistler filed an affidavit accusing him of assaulting her, pushing and slapping her, and cutting and bruising her arms and legs, leading to a charge of third-degree assault (a misdemeanor)  Kistler dropped the charges a few days later, saying she preferred to resolve the matter without the court's intervention  When she next performed in a ballet two days later, she reportedly wore heavy makeup to conceal bruises she had suffered  Several people who knew the two well claimed it wasn't the first time Martins had hit Kistler Kistler and Martins have one daughter, Talicia Tove Martins, born June 13, 1996 

Jerome Robbins
Ulysses Dove
Red Angels

Robert La Fosse
Danses de Cour

Peter Martins
Featured roles
George Balanchine
Jerome Robbins
Peter Martins
Television
PBS Dance in America
Bournonville Dances William Tell pas de deux
Serenade
PBS Kennedy Center Honors tribute to Alexandra Danilova
Swan Lake pas de deux
PBS Dance in America The Balanchine Celebration
PBS Live from Lincoln Center New York City Ballet's Diamond Project: Ten Years of New Choreography, 2002
Them Twos
PBS Live from Lincoln Center Lincoln Center Celebrates Balanchine 100, 2004
Liebeslieder Walzer
Passage 9:
Gwen Verdon
Gwyneth Evelyn "Gwen" Verdon (January 13, 1925 – October 18, 2000) was an American actress and dancer  She won four Tony Awards for her musical comedy performances, and served as an uncredited choreographer's assistant and specialty dance coach for theater and film  Verdon was a critically acclaimed performer on Broadway in the 1950s, 1960s, and 1970s, having originated many roles in musicals, including Lola in Damn Yankees, the title character in Sweet Charity and Roxie Hart in Chicago  She is also strongly identified with her second husband, director-choreographer Bob Fosse, remembered as the dancer-collaborator-muse for whom he choreographed much of his work and as the guardian of his legacy after his death 

Early life
Verdon was born in Culver City, California, the second child of Gertrude Lilian (née Standring) and Joseph William Verdon, British immigrants to the United States by way of Canada  Her brother was William Farrell Verdon  Her father was an electrician at MGM Studios, and her mother was a former vaudevillian of the Denishawn dance troupe, as well as a dance teacher As a toddler, she suffered from rickets, which left her legs so badly misshapen she was called "Gimpy" by other children and spent her early years in orthopedic boots and rigid leg braces  At age three, her mother enrolled her in dance classes  Further ballet training strengthened her legs and improved her carriage 
By age six, she was dancing on stage  She went on to study multiple dance forms, ranging from tap, jazz, ballroom and flamenco to Balinese  She also studied juggling  At age 11, she appeared as a solo ballerina in the musical romance film The King Steps Out (1936), directed by Josef von Sternberg and starring Grace Moore and Franchot Tone  She attended Hamilton High School in Los Angeles and studied under ballet enthusiast Ernest Belcher  While in high school, she was cast in a revival of Show Boat 
In 1942, Verdon's parents asked her to marry family friend and tabloid reporter James Henaghan after he got her pregnant at 17 years old, and she quit her dancing career to raise their child  In 1945, she appeared as a dancer in the movie musical Blonde From Brooklyn  After her divorce, she entrusted her son Jimmy to the care of her parents 

Career
Early on, Verdon found a job as assistant to choreographer Jack Cole, whose work was respected by both Broadway and Hollywood movie studios  During her five-year employment with Cole, she took small roles in movie musicals as a "specialty dancer"  She also taught dance to stars such as Jane Russell, Fernando Lamas, Lana Turner, Rita Hayworth, Betty Grable and Marilyn Monroe 
Verdon started out on Broadway going from one chorus line to another  Her breakthrough role finally came when choreographer Michael Kidd cast her as the second female lead in Cole Porter's musical Can-Can (1953), starring French prima donna Lilo  Out-of-town reviewers hailed Verdon's interpretation of Eve in the Garden of Eden ballet as a performance that upstaged the show's star, who reputedly demanded Verdon's role be cut to only two featured dance numbers  With her role reduced to little more than an ensemble part, Verdon formally announced her intention to quit by the time the show premiered on Broadway  But her opening-night Garden of Eden performance was so well-received that the audience screamed her name until the startled actress was brought from her dressing room in a towel to take a curtain call  Verdon received a pay increase and her first Tony Award for her performance 
Verdon's biggest critical and commercial success was her following show, George Abbott's Damn Yankees (1955), based on the novel The Year the Yankees Lost the Pennant  The musical ran for 1,019 performances  Verdon won another Tony and went to Hollywood to repeat her role in the 1958 movie version Damn Yankees, famously singing "Whatever Lola Wants"  (Fosse can be seen partnered with her in the original mambo duet "Who's Got the Pain" )
Verdon won another Tony for her performance in the musical New Girl in Town as a hard-luck girl fleeing from her past as a prostitute  She won her fourth Tony for the murder-mystery musical Redhead, Fosse's Broadway debut as a director/choreographer  In 1960, Fosse and Verdon wed 
In 1966, Verdon returned to the stage in the role of Charity in Sweet Charity, which like many of her earlier Broadway triumphs was choreographed and directed by husband Fosse  The show is loosely based on Federico Fellini's screenplay for Nights of Cabiria  It was followed by a movie version starring  Shirley MacLaine as Charity, featuring Ricardo Montalbán, Sammy Davis Jr  and Chita Rivera, with Fosse at the helm of his very first film as director and choreographer  Verdon helped with the choreography  The numbers include the famed "Big Spender", "Rhythm of Life", "If My Friends Could See Me Now", and "I'm a Brass Band"  Verdon also traveled to Berlin to help Fosse with Cabaret, the musical film for which he won an Oscar for Best Director 
Although estranged as a couple, Verdon and Fosse continued to collaborate on projects such as the musical Chicago (1975) (in which she originated the role of murderess Roxie Hart) and the musical Dancin' (1978), as well as Fosse's autobiographical movie All That Jazz (1979)  The helpmate/peer played by Leland Palmer in that film is based on the role Verdon played in Fosse's real life   She also developed a close working relationship with Fosse's partner, Broadway dancer Ann Reinking, and was an instructor for Reinking's musical theatre classes 
After originating the role of Roxie opposite Chita Rivera's Velma Kelly in Chicago, Verdon focused on film acting, playing character roles in movies such as The Cotton Club (1984), Cocoon (1985) and Cocoon: The Return (1988)  She continued to teach dance and musical theater and to act  She received three Emmy Award nominations for appearances on Magnum, P I  (1988), Dream On (1993) and Homicide: Life on the Street (1993)  Verdon appeared as the title character's mother in the Woody Allen movie Alice (1990) and as Ruth in Marvin's Room (1996), co-starring Meryl Streep, Diane Keaton, and Leonardo DiCaprio  In 1999, Verdon served as artistic consultant on a Broadway musical designed to showcase examples of classic Fosse choreography   Called simply Fosse, the revue was conceived and directed by Richard Maltby Jr  and Ann Reinking and choreographed by Reinking and Chet Walker  Verdon's daughter Nicole received a "special thanks" credit  The show won a Tony Award for Best Musical 
In 1997 Verdon appeared in an episode of Walker Texas Ranger as Maisie Whitman  She reprised the role in 1999 
Verdon played Alora in the movie Walking Across Egypt (1999) and appeared in the film Bruno, released in 2000  Verdon received a total of four Tonys, for best featured actress for Can-Can (1953) and best leading actress for Damn Yankees (1955), New Girl in Town (1957) and Redhead (1959)  She also won a Grammy Award for the cast recording of Redhead Verdon was inducted into the American Theater Hall of Fame in 1981  In 1998, she was awarded the National Medal of Arts 

Personal life
Verdon was married twice and had two children  She married tabloid reporter James Archibald Henaghan in 1942  They had a son, Jim, the following year and divorced in 1947  In 1960, Verdon married choreographer Bob Fosse  They had a daughter, Nicole, in 1963  Fosse's extramarital affairs put a strain on their marriage, and by 1971, Verdon and Fosse were separated, but never divorced  She was involved in relationships with actor Scott Brady and actor Jerry Lanning, son of Roberta Sherwood  Verdon was with Fosse when he suffered a fatal heart attack at the Willard Hotel in Washington, D C , in September 1987 Verdon was a cat fancier, having up to six cats at one time, with the pets carrying names such as "Feets Fosse", "Junie Moon", and "Tidbits Tumbler Fosse" Verdon was a mental health-care advocate; later in life, she openly spoke about the positive effects of mental-health counseling  Along with teaching dance as a form of therapy, she sat on the board of directors for the New York Postgraduate Center for Mental Health, and actively raised funds to support mental health-care research 

Popular culture
Fosse/Verdon is an 8-part American miniseries starring Sam Rockwell as Fosse and Michelle Williams as Verdon  The series, which tells the story of the couple's troubled personal and professional relationship, is based on the biography Fosse by Sam Wasson  It premiered in eight parts on April 9, 2019, on FX  At the 71st Primetime Emmy Awards, Fosse/Verdon received seventeen nominations, including Outstanding Limited Series and acting nominations for Rockwell, Williams, and Margaret Qualley (as Ann Reinking)  Williams won the Emmy for Outstanding Actress in a Limited Series 

Death and legacy
Verdon died from a heart attack on October 18, 2000, aged 75, at her daughter's home in Woodstock, Vermont  Later that night, at 8 pm, all marquee lights on Broadway were dimmed in a tribute to Verdon 

Work
Stage
Film
Television
Music
In 1956, Verdon released an album titled The Girl I Left Home For  The album includes her covers of popular jazz standards of the time 

Awards and nominations
† Tied with co-star Thelma Ritter
 
†† Tied with Ethel Merman for Gypsy

††† Shared with Bob Fosse
Passage 10:
Mansi Aggarwal
Mansi Aggarwal is an Indian filmmaker, writer, producer and choreographer who has written, directed, produced films and choreographed songs in Indian film industry  She is best known for choreographing the song, "Bharat Mata ki Jai", from the movie Shanghai that starred actor Emraan Hashmi - the song gained a lot of popularity and became a hit in India  She has worked with path breaking actors - Priyanka Chopra in Mary Kom, Rajkumar Rao in Kai Po Che, and with Abhay Deol in the movie Dev D She has been nominated for the Filmfare award for the song "Bharat Mata ki Jai" from Shanghai starring the actor Emraan Hashmi, the song was loved by the audience and became popular in India  The song "Suno na Sangmarmar" from the movie Youngistaan was also nominated for Stardust and Filmfare awards She also choreographed commercials for big brands like Nykaa, Biba, Zandu Balm, etc  She was published as the youngest choreographer in the eminent magazine Femina   In 2018, she made her debut as a writer-director with her first short film The Handbag, which was posted on ‘Humara Movie’ YouTube channel  She came with her second film Raani, which got selected for Lift Off Global Networks, London and was also screened at the Darbhanga International Film Festival  It was a finalist at the Golden Jury International Film Festival and won the Best Actor award at the same  Raani released on Disney Hotstar and is streaming on MX Player  The films The Handbag and Raani were produced under the banner Yin Yang Films 

Early life and career
Mansi was born on 10 June 1984 and raised in Delhi where she also took training in Indian classical dance, Kathak  Her Kathak training started when she was only 7 years old and she later became a Visharad (graduate) in the dance form  She studied Economics at Hansraj College in Delhi University and after finishing her graduation she opened her dance institute in Delhi—Mansi Dance Creations Her career in Bollywood movies started when she was first spotted by the film director, Anurag Kashyap, during a dance performance in Delhi  Anurag offered her to choreograph the critically acclaimed film, Gulaal  However, the movie got delayed and Mansi shifted her focus to academics until Anurag came to her for the second time with the proposal of choreographing Abhay Deol-starrer, Dev D Mansi is married to cinematographer Arindam Bhattacharjee 

Choreography in Indian Film Industry
Mansi has choreographed the following Bollywood movies:

Filmography as Director, Producer and Writer



ground_truth: George Balanchine