"the Faroe Islands, there is a comparable counting Christmas song. The gifts include: one feather, two geese, three sides of meat, four sheep, five cows, six oxen, seven dishes, eight ponies, nine banners, ten barrels, eleven goats, twelve men, thirteen hides, fourteen rounds of cheese and fifteen deer. These were illustrated in 1994 by local cartoonist Óli Petersen (born 1936) on a series of two stamps issued by the Faroese Philatelic Office. ""Les Douze Mois"" (""The Twelve Months"") (also known as ""La Perdriole""—""The Partridge"") is another similar cumulative verse from France that has been likened to ""The Twelve Days of"
"first time since their inception the popularity of Tillers went into decline until the formation of the Sixties Tiller Girls. Towards the end of 1988 a former Tiller Girl, Sandy Jones, received a surprise call from a friend, George May, who was working on a production named ""Joy to the World"", to be staged at the Albert Hall in London. He wanted the Tiller Girls to take part in ""The Twelve Days of Christmas"" song as the ""nine ladies dancing."" Sandy made eight phone calls to original Tiller Girls from the 50s and 60s, and all eight immediately agreed, with"
"and descend to the floor below, followed by twelve goddesses, descending three by three, to the music of the satyrs. Each goddess is followed by a torchbearer, dressed in white with gold stars. The dozen aristocrats parade to the Temple of Peace as the Graces sing; the main dances ensue. The performance featured Anne of Denmark, the queen consort of King James I, and eleven of the queen's ladies in waiting. They were attired as classical goddesses and danced in the masque; the Queen, curiously, did not take the obvious role of Juno, queen of the gods, but rather Pallas"
"and her eleven disciples all dance, then each witch testifies her crimes and outrages to her mistress, before they fall once again into ""a magical dance, full of preposterous change and gesticulation."" Their antics are interrupted and dispelled by the intrusion of the masque proper: the House of Fame is displayed, with twelve virtuous Queens, their apotheosis being ""Bel-Anna."" In addition to Anne, the roles of the Queens were filled by eleven ladies of the court: In this and the masques that followed at Court, the characters in the masque proper were generally ""personated"" by members of the Court; but"
"women imprisoned by the Japanese. The exact number of concerts remain unclear; but it is estimated as three or four. However, the number of vocal compositions consist of 30. The most famous of the concerts is the December 27, 1943 concert which has been dubbed the “Christmas Concert”. At the concert Chambers served as conductor, Dryburgh sang, and Ena Murray, Chambers younger sister, is listed as producer and performer. The repertoire selected for the program is not agreed upon. However, “Largo” from Dvorkak’s New World is a known selection. The act of performing did pose a risk because at times"
"garments and one in a long white dress. Dancers for the premiere were: Graham, as the woman in white, Kitty Reese, Louise Creston, Irene Emery, Ethel Rudy, Lillian Ray, Hortense Bunsick, Sylvia Wasserstrom, Mary Rivoire, Ruth White, Lillian Shapero, Virginia Briton, Sylvia Rosenstein, Evelyn Sabin, Betty Macdonald and Rosina Savelli. The ballet is approximately five minutes long. The music consists of ten percussive bars, a verse and chorus, repeated seven times. It begins with a harsh, martial-sounding chord, which then subsides into the simple melody. As the scene opens, the women in black are arranged in a semi-circle angled inward"
"dedicated to Queen Henrietta Maria, followed a month later. (It had originally been scheduled for mid-January but was delayed by an illness of the Queen – a ""soreness"" in one of her eyes.) The Queen was intimately involved in the creation of the masque; she appeared and danced in it, along with fourteen of her ladies in waiting. (One of the fourteen was Lucy Hay, Countess of Carlisle.) The role of Circe in the masque was filled by a Frenchwoman, identified in the text as ""Madame Coniack;"" this may have been Elizabeth Coignet, a gentlewoman of the Queen's court. A"
"most of the cast nearly withdrew from the production, but eventually relented and continued with the rehearsals. However Wittich, who was 37 with a somewhat matronly figure (Strauss referred to her as ""Auntie Wittich""), flatly refused to perform Salome's Dance of the Seven Veils or to kiss the severed head of John the Baptist. Her oft-quoted remark to Strauss in this respect was: ""I won't do it; I'm a decent woman."" In the end, the opening night on 9 December 1905 was a triumph with the singers taking 38 curtain calls. A ballerina from the Dresden company performed the Dance"
"designed by Austrian fashion designer Helmut Lang (in 2006, Minogue donated this costume to the Arts Centre Melbourne museum, where it is displayed in the Kylie Minogue Collection). Shots of the dancers in kaleidoscopic arrangements are intercut. A few seconds later, Minogue and a man dance together alone in a hall. Their dance ends with the man slowly laying Minogue down on the floor and leaving. Twelve women in golden and pastel pink dresses are seen dancing on a dark brown floor, which is revealed to be Minogue's hat as the camera pans out. She proceeds to wave to a"
"""the English Girls"" in the score, but soon popularly dubbed the ""Florodora Girls"". They consisted of a ""sextette of tall, gorgeous damsels, clad in pink walking costumes, black picture hats and carrying frilly parasols [who] swished onto the stage and captivated New York for no other reason than they were utterly stunning."" More than 70 women, each 5 ft. 4 in. (about 1.63 m) tall and weighing in at 130 lb (59 kg) played these roles in the first run of the play. The pretty girls were also the object of a great deal of popular adoration, and many male"
"up to 500 twirling couples and each dance was registered on a card. Three dances cost a dollar and the girls were only paid 8 cents per dance. The earliest customers would secure their preferred dancers and also got seats nearest to the dancing girls. The girls were usually local or hailed from Hong Kong, Thailand and the Philippines. The girls were not call-girls; no naughty business was expected or allowed by their male partners. Watchful bouncers would ensure that such decorum was followed and they would not hesitate to throw out any trouble-makers or drunks found in the premises."
"intemperate and antisocial as she is, does belong to the Nijinsky family. Nijinska took the role of the hostess of the house party. The ballet's libretto has ""a romantic theme rather than a specific plot; the characters are dancers."" The hostess is ""a lady no longer young, but very wealthy and elegant."" Her guests are younger: twelve girls and three boys. The ballet has eight parts, each with a different dance music. The young guests flirt, appear to take no notice, or play dance games in a setting filled with social satire and ambiguous sexuality. The hostess, dressed in yellow,"
"escorts (sometimes 7) as a court. The escorts hold flowers (usually roses) and the ladies carry candles. As the ' dances the waltz with her father, she blows out one candle, then picks up one rose. This continues until she has blown out all the candles and picked up all the roses. The 14 candles blown out represent her 14 previous years, and with each she makes a wish. When the time comes to cut the cake, the ' will blow out her last candle, thus completing her 15 wishes. The flowers are given to her mother. The celebration begins"
"chic to have anything so obvious"". Not only did the ballet have no plot: its characters were not given names, although commentators have frequently invented them. The original programme listed the scenes and participants thus: Companies such as the Royal Ballet that have revived Nijinska's ballet have maintained the anonymity of the characters. Although not labelled in Nijinska's production, the main characters have come to be known by descriptive titles. They are: The tableau is danced by the twelve female members of the ""corps de ballet"", dressed in identical pink frocks and ostrich-feathered head-dresses. They form lines, circles, groups, and"
"group, but the building caught on fire a month before the show. After the death of Moss, Sir Alfred Butt was chosen as the impresario and it was staged in 1912. This was a lavish occasion, and his London Palace Theatre was lavishly decorated, complete with some 3 million rose petals. Top performers included Vesta Tilley, Sir George Robey, David Devant, Anna Pavlova, Harry Lauder and Cecilia Loftus. The organisers did not invite Marie Lloyd, because of a professional dispute. Her act was deemed too risqué and her three public, unsuccessful marriages were thought to make her unfit to perform"
"open it up to a circus element (scene), so there's a – so there's quite a journey that goes on, on stage for my audience and as a performer. But it all does have a tie together, so it all kind of makes sense. You really just got to come see the show, all right. It's so much fun to put on and we have a blast with it"". On the stage were at least 600 moving lights and 820 pounds of confetti. Jamie King was hired as the tour director. On her team there were at least 20 members,"
"kiss you"". The theatrical finale featured the girls popping out of Christmas present boxes in Santa coats to croon an almost jazzy version of ""Winter Wonderland"". The encore was their current single ""My Heart Takes Over"" as the stage slowly rotated and the snow gently fell. Performing to an packed-out arena, The Saturdays belted out a range of their hits from their four albums with a few added extras for their All Fired Up tour. A limited number of VIP tickets were released for each venue. The £100 package included a meet and greet with the girls, a premium ticket"
"of fifteen operas, four of them new, in just under five weeks, in itself provided plenty of variety. The remaining operas were ""Die Walküre"", ""Aida"", ""La Bohème"", ""Carmen"", ""Lohengrin"", ""Madama Butterfly"", ""Faust"" and ""La traviata"". The artists were mostly British, with two returning Australian singers, Lalla Miranda and Julia Caroli. The company also included the British tenor John Coates and Britain's leading dramatic soprano, Agnes Nicholls. There was a total of 163 people in the party (plus a three-year-old child for ""Butterfly""), including the permanent orchestra of 55 and a chorus of 60, and there were three conductors: Ernst Knoch"
"Christmas party scene. Tchaikovsky was proud of the celesta's effect, and wanted its music performed quickly for the public, before he could be ""scooped."" Although the original ballet is only about 85 minutes long if performed without applause or an intermission, and therefore much shorter than either ""Swan Lake"" or ""The Sleeping Beauty"", some modern staged performances have omitted or re-ordered some of the music, or inserted selections from elsewhere, thus adding to the confusion over the suites. In fact, most of the very famous versions of the ballet have had the order of the dances slightly re-arranged, if they"
"staged for ten dancers, six women and four men. The piece takes its title from the Dylan Thomas poem of the same name, a dark reflection on human suffering and grief. The story is inspired by the lives of the ""doom-eager"" Brontë sisters: Emily, Charlotte and Anne and the women's struggle for self-fulfillment within the era's limitations of convention and tradition. Some viewers also interpret the ballet as the tale of a love triangle, perhaps the one at the heart of ""Wuthering Heights"", or one involving Emily or Graham. The account of repressed passions takes place in the gloomy interior"
"at Glen Haven Memorial Park in Sylmar, California, a Los Angeles suburb. Vera-Ellen Vera-Ellen (born Vera-Ellen Westmeier Rohe; February 16, 1921 – August 30, 1981) was an American dancer and actress. She is principally celebrated for her performances with partners Fred Astaire, Gene Kelly, Danny Kaye, and Donald O'Connor. She is best known for her starring roles in ""On the Town"" with Kelly and ""White Christmas"" (1954) with Kaye. Vera-Ellen Westmeier Rohe was born in Norwood, Ohio (a suburb of Cincinnati), to Martin F. Rohe, a piano dealer, and Alma Catherine Westmeier, both descended from German immigrants. Her hyphenated name"
"four small runways onto the circular centre piece of the stage which could be raised up and rotated. Above the main stage, in addition to stage lights, there were Christmas-type features such as a fake ice pillar. During the whole show the girls would move from the main stage to the circular one in the centre on the main stage. The show was divided into three sections: ""Forever Spice"", ""Supergirls"", and ""It's Christmas!"". The concert starts out with a musical intro composed by Nathan McCree. The girls then made their entrance on the small stage and performed ""Spice Up Your"
"(as the Palace Girls or Sunshine Girls), the Blackpool Winter Gardens, on New York's Broadway, where Tiller had a dance school, and at hundreds of other theatres throughout Europe and the United States. The Tiller Girls performed a 'Tap and Kick' routine, which was originally called 'Fancy-Dancing' but today is known as 'Precision Dancing'. The routines may consist of straight lines or geometric figures. Siegfried Kracauer stated in 1923, ""These 76 energetic women dance about in geometric shapes: the regularity of their patterns is cheered by the masses, themselves arranged by the stands in tier upon ordered tier."" In certain"
"night until a young shoemaker's apprentice discovers that she is joined by eleven other princesses in the revels. The spell is broken, and the apprentice marries the princess. In the Paderborn version, it is three princesses who dance nightly. This version introduces the ruse of the soldier disposing of the drugged wine and pretending to be asleep. Victorian editors disliked the ""do or die"" aspect imposed upon those willing to discover the Princesses' whereabouts, and found ways to avoid it. The candidates who failed simply vanished without explanation instead of being sent to their deaths. Andrew Lang's version has the"
"Kracauer stated in 1923 'These 76 energetic women dance about in geometric shapes: ""The regularity of their patterns is cheered by the masses, themselves arranged by the stands in tier upon ordered tier'. In certain shows a Tiller line-up could be as many as 32 girls who were selected for uniform height and weight. In 1923 the Stage play Nifties of 1923 feature the twelve Tiller Girls. The Tiller schools remained open and run by Doris Alloway, Barbara Aitken and R.J. Smith. In 1973 the Tiller school was taken over by the impresario Robert Luff, with Barbara Aitken remaining as"
"U.S. Graham began work on the ballet shortly after she and Horst returned from a trip to New Mexico, her imagination sparked by ceremonial dances of the native peoples. The dance is divided into three sections: ""Hymn to the Virgin"", ""Crucifixus"" and ""Hosannah"". In the original staging, Graham danced the role of The Virgin with the other cast members as celebrants. In each section, the Virgin enters and leaves the stage with the women in blue. Each section ends with the chorus encircling the Mary figure. Dance critic John Martin described the ballet as ""the ritual integrity of a religious"
"either 2012 or 2013 at the age of 102. Ziegfeld girl Ziegfeld Girls were the chorus girls and show girls from Florenz Ziegfeld's theatrical Broadway revue spectaculars known as the ""Ziegfeld Follies"" (1907–1931), in New York City, which were based on the Folies Bergère of Paris. The term is often used too broadly. For example, Marion Davies was not a Ziegfeld Girl; she was a featured player in the 1916 edition of the Follies and not a chorus girl or show girl. These showgirls followed on the heels of the ""Florodora girls"", who had started to ""loosen the corset"" of"
"Young Ladies"". There were also two men known as Doreen and Henrietta. The officer was asked if they were present in the court to which he replied ""Doreen, no. Henrietta, yes."" to general laughter from the defendants. No evidence was offered against seventy-six of the defendants and they were allowed to go, leaving the two principals and 25 other defendants who were ordered to appear for trial on 5 September 1934. By the time of the trial at the Old Bailey there were 22 defendants, including three women. Neave denied the suggestion that there was indecent dancing at the club."
"by eight young ladies aged 15 to 20. The four lace flounces were designed by Miss Tucker and executed by Messrs. John Tucker and Co. of Branscombe, near Sidmouth; a matching lace veil, train trimming and handkerchief were also made. The pattern of the lace depicted cornucopias filled with English roses, Irish shamrocks and Scottish thistles. Princess Alexandra wore a wreath of orange blossom and myrtle, and carried a bouquet of orange blossoms, white rosebuds, lily of the valley, orchids, and myrtle. Her jewelry consisted of a pearl necklace, earrings and brooch given by the Prince of Wales; an opal"
"by King James. The number of court ladies included was increased from the twelve in ""Blackness"" to sixteen. In addition to Queen Anne, the participants were the Countesses of Arundel, Bedford, Derby, and Montgomery, and the Ladies Chichester, Walsingham, Windsor, Anne Clifford, Elizabeth Girrard, Elizabeth Guilford, Elizabeth Hatton, Mary Neville, Katherine Petre, Anne Winter, and Arbella Stuart. Gossip held that the women chosen were largely Roman Catholic. The masquers wore costumes of orange-tawny and silver or sea-green and silver; the torchbearers were dressed as Cupids; the presenters of the masque were styled as Januarius, Boreas, Vulturnus, and Thamesis, and the"
"These dances were of the same type with dancers hand-in-hand and a leader who sang the ballad. In Denmark, old ballads mention a closed Ring dance which can open into a Chain dance. A fresco in Ørslev church in Zealand from about 1400 shows nine people, men and women, dancing in a line. The leader and some others in the chain carry bouquets of flowers. Dances could be for men and women, or for men alone, or women alone. In the case of women's dances, however, there may have been a man who acted as the leader. Two dances specifically"
"Lise, Colas and eight women with eight ribbons. Ashton also included Petipa's original mimed sequence known as ""When I'm Married"", a passage that was performed by all of the great ballerinas of old when they danced the role of Lise. He was taught this passage by Tamara Karsavina, former Ballerina of the St. Petersburg Imperial Theatres and the Original Ballet Russe. She had in turn learned it from her teacher Pavel Gerdt, once the Imperial Ballet's leading male dancer who partnered all of the great ballerinas of the late 19th century and early 20th century in the role of Lise,"
"on their culture. The tomb is named after the dancing women which appear on the frescoes in the tomb. The panels with the frescoes are now exhibited in the Naples National Archaeological Museum, inv. 9353. The tomb has a semichamber design. Its six painted panels depict thirty or more dancing women, moving from left to right with arms interlocked as though they were dancing a circle around the interior of the tomb. They are dressed in chitons and cloaks and have brightly colored veils on their head. There are three men in the group, distinguished by their white clothes. One"