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Tagged with: Blackbaud Justgiving Technology 215 total views, 1 views today 216 total views, 2 views today AddThis Sharing ButtonsShare to TwitterTwitterShare to FacebookFacebookShare to LinkedInLinkedInShare to EmailEmailShare to WhatsAppWhatsAppShare to MessengerMessengerShare to MoreAddThis14 Blackbaud’s fundraising CRM solution eTapestry now integrates with online social giving platform, JustGiving, it has announced.The new integration aims to increase efficiency, with eTapestry connected to JustGiving to enable data from individual fundraising pages to flow into the system automatically overnight, including consent information. It collects data from the person who creates the page, as well as from the donors giving to it, with a specific category for anonymous donors. Events created in eTapestry will also prompt fundraisers to set up their own page in JustGiving. Blackbaud’s eTapestry now integrates with JustGiving Lianne McGrory, Blackbaud Europe Managing Director, said: “We are excited to bring this powerful integration to our customers. Since bringing JustGiving into the Blackbaud family last year, we’ve been working hard to unlock its full potential when working with our solutions, and we’re thrilled for our customers that the integration with eTapestry has launched this week.” AddThis Sharing ButtonsShare to TwitterTwitterShare to FacebookFacebookShare to LinkedInLinkedInShare to EmailEmailShare to WhatsAppWhatsAppShare to MessengerMessengerShare to MoreAddThis14 Melanie May | 11 October 2018 | News About Melanie May Melanie May is a journalist and copywriter specialising in writing both for and about the charity and marketing services sectors since 2001. She can be reached via www.thepurplepim.com.
Man in serious condition after sustaining head injuries in Derry A man is in a critical condition in hospital after he sustained head injuries in the Grafton Street area of Derry in the early hours of yesterday morning.The 43 year old man was taken to hospital for treatment to his injuries at around 12:45am yesterday morning.Police say his condition is critical but stable.Police are appealing to anyone who was in the Grafton Street area in the early hours of yesterday morning and who may be able to assist with inquires to contact Detectives in Strand Road. By News Highland – March 27, 2019 WhatsApp WhatsApp Renewed calls for full-time Garda in Kilmacrennan Pinterest Community Enhancement Programme open for applications Google+ RELATED ARTICLESMORE FROM AUTHOR Twitter Pinterest Facebook Google+ Twitter Important message for people attending LUH’s INR clinic Previous articleOver €150,000 announced for disadvantaged communities in DonegalNext articleJohn Quigg departs Derry City News Highland News Publicans in Republic watching closely as North reopens further Loganair’s new Derry – Liverpool air service takes off from CODA Facebook Arranmore progress and potential flagged as population grows
by Emma WhipdayPicture the scene. Paris, 1912. Hundreds of spectators are seated in the Théâtre du Châtelet to watch a new Russian ballet scored by Debussy. Onstage, a beautiful Russian boy of twenty-two, dressed as a faun, masturbates through his golden tights. He presses up against a silken scarf, stolen from a ballerina dressed as a nymph. Applause is intermingled with boos, hisses and gasps, as the management hurriedly drop the curtain. Vaslav Nijinsky’s unforgettable performance changed the face of ballet forever. He was publicly denounced for obscenity, but defended by foremost artists of the day, from Rodin to Proust, in a scandal that shook Paris.Sadly, this occurrence has been largely forgotten. The image of ballet in the popular press is epitomised by Darcy Bussel; that of pretty girls prancing about in tutus. Billy Elliot is another name that springs to mind, but the portrait of northern-boy-made-good fails to challenge the stereotypes that the word ‘ballet’ evokes. The most radical element of ballet portrayed in the film is (gasp) the all-male cast of Swan Lake.Which is not to say that Billy Elliot got it wrong. It’s simply that the film showed so small a part of the picture. Every art has its mould-breakers, from James Joyce and Virginia Woolf, to Picasso, Dali and, more recently, Tracey Emin. The scandal surrounding Emin’s condom-strewn installation My Bed was nothing compared to that prompted by Nijinsky’s on-stage masturbation in L’après-Midi d’un Faune: why then do innovations in all other arts remain prominent in the public consciousness, whilst those in the ballet world are largely forgotten? The above example might suggest that this scandal in the ballet world was due to its gratuitous sexual element; many would say the same of Emin’s My Bed. Yet the incident was in fact just one small part in a movement which was revolutionary in its effect on the way ballet was perceived. It involved not just ballet itself but music, art and costume design; it was to influence areas as diverse as film, fashion and the culture of celebrity. Any account of those involved reads like a Who’s Who of the foremost artists, composers and dancers of the period, including Picasso, Bakst, Debussy, Ravel, Stravinsky, Nijinsky and Pavlova. The movement itself was entirely orchestrated by one man: a Russian exile called Diaghilev.When Serge Diaghilev arrived at the University of St. Petersburg, his fellow students found him ‘provincial’. Not for long, however; the eighteen-year-old soon found himself at the centre of a group of artists and composers, all striving to establish themselves in the arts world, and all dreaming of greatness. Perhaps surprisingly, ballet was not Diaghilev’s principal interest. His first ambition was to be a composer, but he lacked the talent. Instead, he turned to art, editing the magazine Mir Iskusstva from 1889 until 1904. It was during these years that he developed the traits which were to bring him such cataclysmic success: a flair for public relations, the ability to surround himself with an entourage of like-minded individuals, a perfectionist eye for detail and a talent for discovering unknowns. His next project involved exhibiting a collection of Russian art, firstly in St. Petersburg, then later in Paris. This prompted something of a Russian revival; Russia had largely gone out of fashion. Diaghilev’s next step was to organize a season of Russian opera and ballet, to keep the public interested. The Ballet Russes was born, and proved so popular that the opera was soon dropped from the repertoire.For the next few years, the Ballet Russes was the height of fashion, and Diaghilev discovered such huge talents as composer Stravinsky and dancer/choreographer Nijinsky. He also pioneered huge advances in set and costume design. Bakst, who collaborated with Diaghilev on Mir Iskusstva, designed costumes for Cléopâtre, Scheherazade and Le Spectre de la Rose which influenced the fashions that appeared in the windows of Harvey Nichols; after a tendency towards monochrome, clashing, jewel-like colours suddenly became the vogue. Meanwhile, Picasso was introduced to Diaghilev by his friend Jean Cocteau, who wanted Diaghilev to stage a ballet representing ‘the best in Parisian modernism’. Any of the ballets which Picasso designed the sets for, from Parade to Le Train Bleu, could hold claim to that title. Each part of the meticulously planned performances was ‘modern’ to the extreme.It wouldn’t be an over-exaggeration to say that, to all intents and purposes, Diaghilev was the Ballet Russes. So much so, that when Diaghilev died, the company immediately fell apart, consumed by its creditors. This was in part due to Diaghilev’s close relationships with the stars. He not only mentored Nijinsky, persuading him to choreograph; he was also his lover, from their first meeting until Nijinsky’s secret marriage to one of the touring dancers. When Diaghilev learned of the marriage, he fired him from the company, and Nijinsky gradually disintegrated into mental illness. Some blame Diaghilev, believing it was his jealousy and possessiveness that drove his lover away. Others blame Nijinsky’s wife for seducing him in the first place. Whatever the truth of it, Nijinsky spent the remainder of his life in mental hospitals, and never danced again.Diaghilev also adored the dancer Massine, who became the principal, and replaced Nijinsky as choreographer. When Diaghilev suspected Massine of loving a woman, he had the woman followed, and even briefly kidnapped her. Yet despite his jealousy and possessiveness, Diaghilev had a charisma that inspired huge loyalty in those around him. His vision was so powerful that, even after his death and the dispersion of his company, the Ballet Russes was reformed in Monte Carlo, with the help of Massine. The company employed a new generation of dancers, many of them the daughters of Russian immigrants, whilst resurrecting the set and costume designs used by the original Ballet Russes, and performing many of the ballets from their repertoire. Strangely enough, the aspects of the movement most widely remembered are those that would make the tabloids today. On YouTube, you can find a clip from the 1980 Hebert Ross film Nijinsky, depicting a reconstruction of the dance which ends in Nijinsky’s onstage masturbation. The clip ends with a sentence worthy of any headline: ‘You’ve just masturbated in front of all Paris!’ Another scandal which revolved around Nijinsky was his early refusal to wear the ‘modesty skirt’ then mandatory for male dancers. Instead he wore only the rather revealing tights. This was 1911, and the audience included such eminent figures as the Tsar’s mother. Nijinsky was immediately fired from the company. The company was the Imperial Russian Ballet, one of the most illustrious in the world; and the role which Nijinsky forsook for the sake of his costume was that of ‘Albrecht’ in Giselle, his first principal role. He later complained, ‘I was made to suffer for my modernity’. The scandal set a precedent; forty-nine years later, Rudolph Nureyev, a ‘ballet celebrity’ to rival Nijinsky, wore a short jacket with sheer tights in order that the audience might better see the ‘line’ of his body. However, the single most talked-about event in the world of ballet had little to do with revealing costumes. Two of Diaghilev’s most talented protégées were Nijinsky and Stravinsky, and in 1913, the Théâtre des Champs-Élysées witnessed the performance of The Rite of Spring, choreographed by Nijinsky, scored by Stravinsky. It was the most controversial ballet of all time.Many of the movements were the antithesis of classical ballet. Ballet dancers are trained to be ‘turned out’; that is, when they stand with their feet together, their heels must be touching, and their toes must be facing in almost opposite directions. In The Rite of Spring, however, Nijinsky decided that, to produce the right effect, the dancers had to be ‘turned in’. Indeed, the dancers had to un-learn almost every technique that had formed the basis of their balletic educations. Feet weren’t pointed, arms were stiff rather than relaxed, and many of the movements were clumsy rather than delicate. This new style took the dancers 120 rehearsals to perfect, and resulted in many injuries.Of course, even classical ballet is a dangerous art. The majority of dancers have to stop dancing as they hit their thirties, and many have foot and ankle trouble, and even hip replacements, in later life. Ballet, despite its beauty, puts the body under a strain that it wasn’t designed for. What’s more, it requires a level of fitness that would rival that of most professional athletes. Perhaps this explains the fascination with the idea of dancing to death. This motif appears in many ballets, perhaps most famously in Giselle, where the spirits of women betrayed in love dance their errant lovers to their graves. These death-dances are no doubt arduous, but they appear effortless, and the audience does not fear for the safety of those attempting them. Nijinsky, however, plays with that convention, in creating a ballet that shows a manic and frenzied dance to the death, with the dancer attempting it looking both pained and exhausted. The premise is that the dancer is chosen as a sacrifice to the god of spring, and Nijinsky’s choreography exploits this idea to its full and gruesome effect.The strange contortions into which Nijinsky forced the human body were as shocking – and influential – as the innovations in set and costume. Yet it was not these elements alone that caused the controversy, but rather the combination of the almost bestial nature of the dance with Stravinsky’s unearthly score, the likes of which had never before been experienced. Stravinsky’s rhythms were irregular and his chords discordant. What’s more, this was the first score ever to utilize percussion as a section of the orchestra in its own right. The result was the most ground-breaking ballet ever created.To call the reaction of the audience a riot is not an exaggeration. The strife between those who supported the ballet and those who deplored it was so strong that fist-fights were started in the aisles. The resulting pandemonium was so loud that the dancers could not hear the orchestra, and Nijinsky was forced to stand in the wings, counting loudly to ensure the dancers kept in time. Many people left, but the chaos continued; eventually the police got involved, but even they were unable to restore order. Nijinsky and Stravinsky were distraught, but Diaghilev was reportedly delighted: he could not have hoped for better publicity. There has never been a scandal to rival this in the ballet world; even the arts world in general, never short of scandals, would find it hard to compete.Diaghilev’s Ballet Russes became a catalyst for change in almost every form of art. It spawned countless copies, and was the inspiration for numerous films, television dramas, books, memoirs, documentaries, and even songs, making an indelible mark on modern culture. It became the hallmark for rebellion against convention and tradition, though those who later broke boundaries in mediums like sculpture, popular music and film may not remember or credit it. So when you think of ballet, by all means think of tutus, pointe shoes, and Darcey Bussel. Classical ballet has its merits, and I for one would not disparage it. Just don’t forget that there was once a time when ballet changed the world.
Gov. Wolf: Investing $15 Million to Expand Access to High-Quality Affordable Child Care, Reduce Waiting Lists
Gov. Wolf: Investing $15 Million to Expand Access to High-Quality Affordable Child Care, Reduce Waiting Lists SHARE Email Facebook Twitter December 04, 2019 Government That Works, Human Services, Press Release Governor Tom Wolf today announced the award of $15 million to expand access to high-quality, affordable child care to more than 900 infants and toddlers around Pennsylvania. The investment comes from the 2019-2020 budget, which included the $15 million investment in federal funds to expand access to high-quality care and reduce the subsidized child care waiting list.“Investing in early education and the future of our youngest learners – and the future of our commonwealth – is a top priority for my administration,” said Gov. Wolf. “The first few years of a child’s life have a profound influence on brain development and growth. My administration continues to invest in early education to expand access to quality programs so children can have the opportunity to excel – helping children start school ready to become life-long learners.”Pennsylvania’s subsidized child care program, Child Care Works, helps families with incomes below 200 percent of the Federal Poverty Income Guideline access high-quality child care through financial assistance. This supports the family’s ability to work and go to school while their children spend time in early learning environments that support their development and school readiness.This investment supports eligible, low-income Pennsylvania families who have young children, specifically families with a parent or parents who are working or pursuing training opportunities, such as vocational or job-specific training, pursuing 2-year or 4-year post-secondary degree programs, internships, English as a second language programs, apprenticeships, and more.This initiative is a part of Gov. Wolf’s Statewide Workforce, Education, and Accountability Program (SWEAP) that seeks to support working Pennsylvanians through expanded opportunities for workforce development, skills training, and supports like child care that help Pennsylvanians from birth to retirement.Funding will be distributed through the Early Learning Resource Centers (ELRCs) around Pennsylvania for STAR 3 and 4 programs. Adding more infant and toddler slots will reduce the time infants and toddlers spend on the Child Care Works waiting lists and ensures providers have the resources, supports, and fiscal stability to achieve and maintain high-quality services. It also strengthens and maintains continuity of care for infants and toddlers in STAR 3 and 4 programs with a seamless transition to existing pre-kindergarten slots within those same programs.“The cost of child care and access to early learning programs can be a significant barrier for low-income families – often limiting their ability to go to work knowing their children are safe and cared for,” said Department of Human Services Secretary Teresa Miller. “By investing in child care opportunities, parents can confidently enter the workforce knowing their child is receiving high-quality care and early learning support. Access to care also creates lifelong impacts to break down the intergenerational cycle of poverty for the future of families across the commonwealth for years to come.”Education is a top priority for Gov. Wolf. In addition to the $15 million in federal funds to reduce waiting lists for high-quality child care, the fiscal year 2019-2020 budget provides $5 million to expand home-visiting programs for pregnant women and at-risk infants and toddlers, and $5 million for wrap-around services so parents can attend college or other training to get skills for family-sustaining jobs. The budget also provided $30 million to expand Pennsylvania’s Pre-K Counts and Head Start Supplemental Assistance Program.For more information on child care and early child development opportunities in Pennsylvania, visit www.findchildcare.pa.gov.
Interested asset managers have until 19 August to apply, disclosing their gross of fees performance to the end of June.Meanwhile, the Royal County of Berkshire Pension Fund has concluded a recent tender for a new scheme actuary.Following the tender, which saw four companies apply, the £1.57bn local authority scheme re-appointed Barnett Waddingham as scheme actuary.Lastly, Ireland’s National Treasury Management Agency (NTMA) is looking to appoint an investment consultant and pension administrator for its €75.9m staff pension fund.The defined benefit scheme – currently 51% invested in equities, with a further 34.3% in bonds, 9.9% in alternatives and 4.2% in property – at the end of 2013 reported a deficit of €3.6m and returned €7.3m from investments.The agency asked that all requests for proposals be submitted by 28 August.The IPE.com news team is unable to answer any further questions about IPE-Quest tender notices to protect the interests of clients conducting the search. To obtain information direct from IPE-Quest, please contact Jayna Vishram on +44 (0) 20 7261 4630 or email [email protected] A Dutch pension fund is tendering a $200m (€150m) small-cap equity mandate, using IPE-Quest.The scheme conducting search QN 1438 said it was looking to invest in US and European core small-cap stocks, with the index-tracking mandate split evenly across the MSCI Europe Small Cap index and its US counterpart.Companies applying should preferably have at least three years’ experience managing similar mandates, and $5bn in assets under management (AUM).However, the fund did not require a minimum AUM for any existing passive small-cap mandates.
Now, it’s Austin Rivers.While Jamal Crawford is rightly credited as the team’s top reserve, Rivers has been just as valuable, averaging 12 points and shooting 44.2 percent from the field.“As much as he’s been important to us offensively,” Doc Rivers said, “we’re going to miss his defense especially, putting him on literally anybody one-to-three. We don’t have that anymore, so hopefully we get it back, shoot, by playoffs.”The most pressing question is what Austin Rivers’ injury means for the Clippers’ hopes of not losing their grasp of the fifth seed. He said as long as he is healthy by Game 1 – regardless of opponent – he’ll be content.“We’re going to win our games,” he said. “We’ll get seeded wherever we get seeded. I just want to be right for Game 1 and I believe I will be. So with that note, obviously, it is frustrating because you don’t want to have anything nagging but at least we have time to get it right.”March madness****Doc Rivers called the March schedule “one of the hardest months I’ve ever seen,” with 18 games, five sets of back-to-backs and four one-game trips.For better or worse, the Clippers survived it.Now, they get to play their final five games over 13 days, giving them ample time for rest and practice.“That’s going to be helpful for us just to practice,” the Clippers coach said. “Even though we won’t go long, we went a whole month without a practice (before Tuesday), so it will be nice to be able to get back on the floor and just work, and try to get our continuity.” Newsroom GuidelinesNews TipsContact UsReport an Error Rivers said he “just felt something jerk, pull a little bit,” in his left leg after his first shot against the Wizards and after a couple more minutes asked out of the game. He is targeting a return in time for Game 1 of a best-of-7 first-round series, which is at least two weeks away.“It’s just another guy out,” Coach Doc Rivers said. “It’s been that way all year, so guys are pretty used to it.”The Clippers have been undone by injuries in the last 15 months, and this season Blake Griffin and Chris Paul have both missed 21 games with injuries that overlapped and left the Clippers without at least one of their stars for a span of two months.Austin Rivers said “people haven’t given (the Clippers) enough credit” for the way the Clippers have overcome injuries this year.“People are always looking for something wrong with our team instead of looking for what’s right,” he said. “Why don’t you look at how many injuries we’ve had and still been able to hold down the ship in the West, and still be a top-five seed in the West without Blake and Chris for a big chunk of games?” PHOENIX>> Austin Rivers shuffled slowly through a corridor of Talking Stick Resort Arena. The reserve will be critical to the Clippers in the playoffs, but it doesn’t look like he’ll be able to help them before then.Rivers will likely be sidelined for the remaining five games of the regular season after suffering a strained left hamstring in Wednesday’s win over Washington.“It’s definitely a little frustrating,” Rivers said, as he watched his teammates warm up prior to tip-off against the Suns. “This is the time of year, if anytime, I want to be healthy. … At least it’s not during the playoffs.”