cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.25549/dancestry-c105-766
title: The New England Folk Festival 1986, Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

description: Documentation of the New England Folk Festival Association's 1986 festival, including:, Tony Parkes: Elegant Squares and Contras, Mary Lea: Interview, Tod Whittemore: Interview, Jam Session; Documentation of the New England Folk Festival Association's 1986 festival, including:, Tod Whittemore conducting Festival Orchestra, New England Dancing, Interview: Tod Whittemore, Yodel workshop, Tod Whittemore, Family Dance, Barbara Butenhof, Interview: Robin Rogers-Brown, Muddy River Rapper, Commonwealth Vintage Dancers: Tango, Cafeteria (Food etc.), Morris Dancers in Cafeteria; Documentation of the New England Folk Festival Association's 1986 festival, including:, Jitterbugging Couple, Marianne Taylor/Waltz + Pivot Dancing, Morris Processional and Dancing; Documentation of the New England Folk Festival Association's 1986 festival, including:, Morris dancing, Morris interviews, Latvian dancers (?), Irish dancers, Polish sequence, International dancing, Interview/Quilt Craftsperson; Documentation of the New England Folk Festival Association's 1986 festival, including:, Turkish dancer, Clogging, Peter Barnes - Interview, Jamming, Latvian dancing, Marianne Taylor - Interview, Ron Fishman - Interview; Documentation of the New England Folk Festival Association's 1986 festival, including:, Scottish dancers, Marianne Taylor, Dale Thomas - Interview, Ted Sanella - Calling, Spring Burrington - Puppet Concert, Tony Saletan - Interview, Rotenberg Family - Interview, Irish girls
DOI: 10.25549/dancestry-c105-770
title: The New England Folk Festival 1986, Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

description: Documentation of the New England Folk Festival Association's 1986 festival, including:, Tony Parkes: Elegant Squares and Contras, Mary Lea: Interview, Tod Whittemore: Interview, Jam Session; Documentation of the New England Folk Festival Association's 1986 festival, including:, Tod Whittemore conducting Festival Orchestra, New England Dancing, Interview: Tod Whittemore, Yodel workshop, Tod Whittemore, Family Dance, Barbara Butenhof, Interview: Robin Rogers-Brown, Muddy River Rapper, Commonwealth Vintage Dancers: Tango, Cafeteria (Food etc.), Morris Dancers in Cafeteria; Documentation of the New England Folk Festival Association's 1986 festival, including:, Jitterbugging Couple, Marianne Taylor/Waltz + Pivot Dancing, Morris Processional and Dancing; Documentation of the New England Folk Festival Association's 1986 festival, including:, Morris dancing, Morris interviews, Latvian dancers (?), Irish dancers, Polish sequence, International dancing, Interview/Quilt Craftsperson; Documentation of the New England Folk Festival Association's 1986 festival, including:, Turkish dancer, Clogging, Peter Barnes - Interview, Jamming, Latvian dancing, Marianne Taylor - Interview, Ron Fishman - Interview; Documentation of the New England Folk Festival Association's 1986 festival, including:, Scottish dancers, Marianne Taylor, Dale Thomas - Interview, Ted Sanella - Calling, Spring Burrington - Puppet Concert, Tony Saletan - Interview, Rotenberg Family - Interview, Irish girls
DOI: 10.25549/dancestry-c105-71
title: Dance Heritage Video Archive

description: With generous support from The Andrew W. Mellon Foundation (https://mellon.org/), the USC Libraries (https://libraries.usc.edu) and the USC Glorya Kaufman School of Dance (https://kaufman.usc.edu) created the Dance History Video Archive (DHVA) collection. The collection preserves culturally significant recordings that document global and U.S. dance traditions, creative work by outstanding choreographers and performers, and performances that helped to advance the art form.The DHVA collection continues the work begun by the Dance Heritage Coalition’s Dance Preservation and Digitization Project to address the challenges faced by dance artists, choreographers, performers, and companies in preserving a record of their work and helping to share it as broadly as possible with global and U.S. audiences and scholars.Over a 15-year period, the Dance Heritage Coalition assembled more than 1,200 important dance performances digitized at hubs in New York, San Francisco, and Washington, D.C. Thanks to generous support from The Andrew W. Mellon Foundation, those recordings were migrated to their new permanent home in the USC Digital Library during the summer of 2018.The USC Libraries will make the DHVA collection available as broadly as reasonably possible within contractual and legal limits for educational research, study, and teaching.The collection includes video recordings with certain rights restrictions that require limited access. To inquire about gaining access to these materials, contact (dhva@usc.edu) dance preservation and digital projects librarian Javier Garibay.In the coming years, the USC Libraries and the USC Glorya Kaufman School of Dance will continue to build and enhance the features of this culturally significant digital collection documenting the artistry and diversity of human movement traditions.
DOI: 10.25549/dancestry-c105-480
title: Ze'eva Cohen Solo Repertory Concert Dance Umbrella: Escape and The End from “Rooms”; Mothers of Israel; Songs

description: Produced by Dance Umbrella at the Eden Express Theater, Second Avenue, March 1978, Tape Series: Dance Umbrella Concert: 1 of 3; 2 of 3; 3 of 3
DOI: 10.25549/dancestry-c105-477
title: Ze'eva Cohen Solo Repertory Adelphi Solo Concert: Dances for Isadora and Song and Dance; Mothers of Israel

description: Solo Dance Repertory Concert at Adelphia University, June 1980;, Tape Series: Adelphi University Performance: 1 of 2; 2 of 2
DOI: 10.25549/dancestry-c105-488
title: Ze'eva Cohen Solo Repertory Concert Tufts University: 32 Variations in C Minor and Songs; Mothers of Israel

description: Tufts University Performance 4/7/1978;, Tape Series: Tufts University Performance: 1 of 2; 2 of 2
DOI: 10.25549/dancestry-c105-542
title: Dance Heritage Video Archive

description: With generous support from The Andrew W. Mellon Foundation (https://mellon.org/), the USC Libraries (https://libraries.usc.edu) and the USC Glorya Kaufman School of Dance (https://kaufman.usc.edu) created the Dance History Video Archive (DHVA) collection. The collection preserves culturally significant recordings that document global and U.S. dance traditions, creative work by outstanding choreographers and performers, and performances that helped to advance the art form.The DHVA collection continues the work begun by the Dance Heritage Coalition’s Dance Preservation and Digitization Project to address the challenges faced by dance artists, choreographers, performers, and companies in preserving a record of their work and helping to share it as broadly as possible with global and U.S. audiences and scholars.Over a 15-year period, the Dance Heritage Coalition assembled more than 1,200 important dance performances digitized at hubs in New York, San Francisco, and Washington, D.C. Thanks to generous support from The Andrew W. Mellon Foundation, those recordings were migrated to their new permanent home in the USC Digital Library during the summer of 2018.The USC Libraries will make the DHVA collection available as broadly as reasonably possible within contractual and legal limits for educational research, study, and teaching.The collection includes video recordings with certain rights restrictions that require limited access. To inquire about gaining access to these materials, contact (dhva@usc.edu) dance preservation and digital projects librarian Javier Garibay.In the coming years, the USC Libraries and the USC Glorya Kaufman School of Dance will continue to build and enhance the features of this culturally significant digital collection documenting the artistry and diversity of human movement traditions.
DOI: 10.25549/dancestry-c105-536
title: Dance Heritage Video Archive

description: With generous support from The Andrew W. Mellon Foundation (https://mellon.org/), the USC Libraries (https://libraries.usc.edu) and the USC Glorya Kaufman School of Dance (https://kaufman.usc.edu) created the Dance History Video Archive (DHVA) collection. The collection preserves culturally significant recordings that document global and U.S. dance traditions, creative work by outstanding choreographers and performers, and performances that helped to advance the art form.The DHVA collection continues the work begun by the Dance Heritage Coalition’s Dance Preservation and Digitization Project to address the challenges faced by dance artists, choreographers, performers, and companies in preserving a record of their work and helping to share it as broadly as possible with global and U.S. audiences and scholars.Over a 15-year period, the Dance Heritage Coalition assembled more than 1,200 important dance performances digitized at hubs in New York, San Francisco, and Washington, D.C. Thanks to generous support from The Andrew W. Mellon Foundation, those recordings were migrated to their new permanent home in the USC Digital Library during the summer of 2018.The USC Libraries will make the DHVA collection available as broadly as reasonably possible within contractual and legal limits for educational research, study, and teaching.The collection includes video recordings with certain rights restrictions that require limited access. To inquire about gaining access to these materials, contact (dhva@usc.edu) dance preservation and digital projects librarian Javier Garibay.In the coming years, the USC Libraries and the USC Glorya Kaufman School of Dance will continue to build and enhance the features of this culturally significant digital collection documenting the artistry and diversity of human movement traditions.
DOI: 10.25549/dancestry-c105-780
title: NEFFA 1986 17

description: Documentation of the New England Folk Festival Association's 1986 festival, including performances by the students of the Hansen Keohane School of Irish Dance and the Royal Scottish Country Dance Society.
DOI: 10.25549/dancestry-c105-768
title: The New England Folk Festival 1986, Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

description: Documentation of the New England Folk Festival Association's 1986 festival, including:, Tony Parkes: Elegant Squares and Contras, Mary Lea: Interview, Tod Whittemore: Interview, Jam Session; Documentation of the New England Folk Festival Association's 1986 festival, including:, Tod Whittemore conducting Festival Orchestra, New England Dancing, Interview: Tod Whittemore, Yodel workshop, Tod Whittemore, Family Dance, Barbara Butenhof, Interview: Robin Rogers-Brown, Muddy River Rapper, Commonwealth Vintage Dancers: Tango, Cafeteria (Food etc.), Morris Dancers in Cafeteria; Documentation of the New England Folk Festival Association's 1986 festival, including:, Jitterbugging Couple, Marianne Taylor/Waltz + Pivot Dancing, Morris Processional and Dancing; Documentation of the New England Folk Festival Association's 1986 festival, including:, Morris dancing, Morris interviews, Latvian dancers (?), Irish dancers, Polish sequence, International dancing, Interview/Quilt Craftsperson; Documentation of the New England Folk Festival Association's 1986 festival, including:, Turkish dancer, Clogging, Peter Barnes - Interview, Jamming, Latvian dancing, Marianne Taylor - Interview, Ron Fishman - Interview; Documentation of the New England Folk Festival Association's 1986 festival, including:, Scottish dancers, Marianne Taylor, Dale Thomas - Interview, Ted Sanella - Calling, Spring Burrington - Puppet Concert, Tony Saletan - Interview, Rotenberg Family - Interview, Irish girls
DOI: 10.25549/dancestry-c105-1349
title: FLAG (homage to Jasper Johns) – Queens Museum – 8/8/08

description: A site-specific dance video installation and multimedia stage work that combines contemporary dance with visual art, prosaic architecture, and technology, produced and choreographed by Andrea Haenggi and performed by members of AMDat at the Queens Museum in NYC, NY on August 8, 2008., , Following description pulled from a youtube clip of an excerpt of the performance: During Haenggi's choreographic residency with her company AMDaT this summer at the Queens Museum, she explored the difference between a dance and a piece of visual art. She questioned: What is the value they have in the world: the kinetic live-performance a one time experience in relation of a pictorial image that can be bought and sold. The residency concluded with a performance on August 8th as part of QMA"s Passport Fridays event series. During the choreographed live-performance Haenggi directed dancers Oceane McCord, Candice Schnurr and Uta Takemura as they changed from being dancers to becoming art tools. Haenggi used the dancers' body shapes as templates for the creation of an art work -- attaching dollar bills to an empty canvas to create a post-modern version of the American Flag., The choreographic residency was presented by the Queens Museum of Art and Topaz Arts, Inc.
DOI: 10.25549/dancestry-c105-48
title: Dance Heritage Video Archive

description: With generous support from The Andrew W. Mellon Foundation (https://mellon.org/), the USC Libraries (https://libraries.usc.edu) and the USC Glorya Kaufman School of Dance (https://kaufman.usc.edu) created the Dance History Video Archive (DHVA) collection. The collection preserves culturally significant recordings that document global and U.S. dance traditions, creative work by outstanding choreographers and performers, and performances that helped to advance the art form.The DHVA collection continues the work begun by the Dance Heritage Coalition’s Dance Preservation and Digitization Project to address the challenges faced by dance artists, choreographers, performers, and companies in preserving a record of their work and helping to share it as broadly as possible with global and U.S. audiences and scholars.Over a 15-year period, the Dance Heritage Coalition assembled more than 1,200 important dance performances digitized at hubs in New York, San Francisco, and Washington, D.C. Thanks to generous support from The Andrew W. Mellon Foundation, those recordings were migrated to their new permanent home in the USC Digital Library during the summer of 2018.The USC Libraries will make the DHVA collection available as broadly as reasonably possible within contractual and legal limits for educational research, study, and teaching.The collection includes video recordings with certain rights restrictions that require limited access. To inquire about gaining access to these materials, contact (dhva@usc.edu) dance preservation and digital projects librarian Javier Garibay.In the coming years, the USC Libraries and the USC Glorya Kaufman School of Dance will continue to build and enhance the features of this culturally significant digital collection documenting the artistry and diversity of human movement traditions.
DOI: 10.25549/dancestry-c105-139
title: American Tap Dance Orchestra – 10/5/90 – Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

description: A dance performance choreographed and performed by members of the American Tap Dance Foundation (formerly the American Tap Dance Orchestra) on October 5, 1990. (Part 1 is a piece created by Susannah Appelbaum and Karmen Jelincich, titled Hold Your Screws).
DOI: 10.5281/zenodo.17546956
title: Data for "Coarsening of fluvial sediments after the Gorkha Earthquake 2015, Nepal."

description: The data are supplementary material to:David Puhl, Jens M. Turowski, Christoff Andermann, Michael Dietze, Kristen L. Cook, Gen Li, Basanta R.Adhikari (submitted), Coarsening of fluvial sediments after the Gorkha Earthquake 2015, Nepal, JGREarth Surface, DOI to be added

 

Sampling Method:

The samples were collected from the surface of sediment sources during two field campaigns in the Bhotekoshi catchment in 2016 and 2018. Samples from 2016 were sieved in the field down to 600 µm.  

 

Analytical procedure:

Samples were filtered onsite through a 0.22 µm PES filter using a head pressure filtration chamber. Each sample is composed of 6 sequential 500ml water samples that were combined before filtering. Samples were rinsed off the filter paper at the GFZ Sedimentary Laboratory SedLab and oven dried by 40°C and weighted. 40°C drying temperature was chosen to not degraded organic compounds contained in the suspended sediment load in order to preserve the sample for further analysis. Suspendedsediment concentration was derived by dividing the bulk weight with the 3 liters sample volume. The samples were analyzed for grainsize distribution by laser diffraction, requiring <1g of a representative sample aliquot. The aliquots were treated with 10% H2O2 for oxidation of organic materials and 10% HCl for 48 hours to remove the calcium carbonate fraction. Thus, only the pure mineral composition of the sample was analyzed. Prior to measurement the sample material was dispersed with sodiumpyrophosphate for 24 h and placed in an ultrasonic bath for 15 minutes. Grain size measurements were conducted by laser diffraction using a Horiba-Retsch Laser Particle Size Analyzer LA-950. This machine measures in a range from 0.011 μm to 2500 μm over 92 classes. To prevent coalescence of grains samples were again treated by ultrasonic excitation within the analytical device for 10 seconds directly before each measurement. Measurements were repeated 10 times with each 2000 sensor acquisitions. The diffraction measures were evaluated using a Mie scatter model (refraction index: 1.55 and absorption index: 1.33).

 

Data processing:

The laser diffraction measures were evaluated using a Mie scatter model (refraction index: 1.55 and absorption index: 1.33). The 10 repeat measurements were totaled for mean and median values. 

 

File description:

landslide_2016.csv

Column 1: sample name

Column 2-93: Grain size classes from 0.011 to 2500 µm

Column 94-96: location

Column 98: Mineralogy

 

grainsize_sample 2018.csv

Column 1: sample name

Column 2-93: Grain size classes from 0.011 to 2500 µm

Column 94: checkplace*

Column 95-96: location

Column 97: Mineralogy

* The column "checkplace" indicates "f" for fluvial deposits, "d" for debris flow deposits, and "l" for landslide deposits.
DOI: 10.5281/zenodo.17546955
title: Data for "Coarsening of fluvial sediments after the Gorkha Earthquake 2015, Nepal."

description: The data are supplementary material to:David Puhl, Jens M. Turowski, Christoff Andermann, Michael Dietze, Kristen L. Cook, Gen Li, Basanta R.Adhikari (submitted), Coarsening of fluvial sediments after the Gorkha Earthquake 2015, Nepal, JGREarth Surface, DOI to be added

 

Sampling Method:

The samples were collected from the surface of sediment sources during two field campaigns in the Bhotekoshi catchment in 2016 and 2018. Samples from 2016 were sieved in the field down to 600 µm.  

 

Analytical procedure:

Samples were filtered onsite through a 0.22 µm PES filter using a head pressure filtration chamber. Each sample is composed of 6 sequential 500ml water samples that were combined before filtering. Samples were rinsed off the filter paper at the GFZ Sedimentary Laboratory SedLab and oven dried by 40°C and weighted. 40°C drying temperature was chosen to not degraded organic compounds contained in the suspended sediment load in order to preserve the sample for further analysis. Suspendedsediment concentration was derived by dividing the bulk weight with the 3 liters sample volume. The samples were analyzed for grainsize distribution by laser diffraction, requiring <1g of a representative sample aliquot. The aliquots were treated with 10% H2O2 for oxidation of organic materials and 10% HCl for 48 hours to remove the calcium carbonate fraction. Thus, only the pure mineral composition of the sample was analyzed. Prior to measurement the sample material was dispersed with sodiumpyrophosphate for 24 h and placed in an ultrasonic bath for 15 minutes. Grain size measurements were conducted by laser diffraction using a Horiba-Retsch Laser Particle Size Analyzer LA-950. This machine measures in a range from 0.011 μm to 2500 μm over 92 classes. To prevent coalescence of grains samples were again treated by ultrasonic excitation within the analytical device for 10 seconds directly before each measurement. Measurements were repeated 10 times with each 2000 sensor acquisitions. The diffraction measures were evaluated using a Mie scatter model (refraction index: 1.55 and absorption index: 1.33).

 

Data processing:

The laser diffraction measures were evaluated using a Mie scatter model (refraction index: 1.55 and absorption index: 1.33). The 10 repeat measurements were totaled for mean and median values. 

 

File description:

landslide_2016.csv

Column 1: sample name

Column 2-93: Grain size classes from 0.011 to 2500 µm

Column 94-96: location

Column 98: Mineralogy

 

grainsize_sample 2018.csv

Column 1: sample name

Column 2-93: Grain size classes from 0.011 to 2500 µm

Column 94: checkplace*

Column 95-96: location

Column 97: Mineralogy

* The column "checkplace" indicates "f" for fluvial deposits, "d" for debris flow deposits, and "l" for landslide deposits.
DOI: 10.25549/dancestry-c105-143
title: American Tap Dance Orchestra – 10/5/90 – Part 1; Part 2; Part 3; Part 4; Part 5; Part 6

description: A dance performance choreographed and performed by members of the American Tap Dance Foundation (formerly the American Tap Dance Orchestra) on October 5, 1990. (Part 1 is a piece created by Susannah Appelbaum and Karmen Jelincich, titled Hold Your Screws).
DOI: 10.25549/dancestry-c105-214
title: Dance Heritage Video Archive

description: With generous support from The Andrew W. Mellon Foundation (https://mellon.org/), the USC Libraries (https://libraries.usc.edu) and the USC Glorya Kaufman School of Dance (https://kaufman.usc.edu) created the Dance History Video Archive (DHVA) collection. The collection preserves culturally significant recordings that document global and U.S. dance traditions, creative work by outstanding choreographers and performers, and performances that helped to advance the art form.The DHVA collection continues the work begun by the Dance Heritage Coalition’s Dance Preservation and Digitization Project to address the challenges faced by dance artists, choreographers, performers, and companies in preserving a record of their work and helping to share it as broadly as possible with global and U.S. audiences and scholars.Over a 15-year period, the Dance Heritage Coalition assembled more than 1,200 important dance performances digitized at hubs in New York, San Francisco, and Washington, D.C. Thanks to generous support from The Andrew W. Mellon Foundation, those recordings were migrated to their new permanent home in the USC Digital Library during the summer of 2018.The USC Libraries will make the DHVA collection available as broadly as reasonably possible within contractual and legal limits for educational research, study, and teaching.The collection includes video recordings with certain rights restrictions that require limited access. To inquire about gaining access to these materials, contact (dhva@usc.edu) dance preservation and digital projects librarian Javier Garibay.In the coming years, the USC Libraries and the USC Glorya Kaufman School of Dance will continue to build and enhance the features of this culturally significant digital collection documenting the artistry and diversity of human movement traditions.