Kabuki Desires (Battle Cards) (The Social Workshop)


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She has stored seed, cultivated weeds, and created sculptural installations and dances based on them. This course examines the Western fascination with the moving body in different cultural environments and throughout colonial and postcolonial historical periods until the present time. It will begin by investigating early images and artistic representation of the body in motion captured by European ethnographers at the turn of the 19th century, and continue tracing it to current trends of contemporary culture.

The goal of this course is to develop a critical understanding of the culture built around the body as subject as well as a marker of otherness. This course will offer students an opportunity to study and articulate, intellectually and physically, the legibility of bodies in motion within different cultural landscapes. It will offer insight into personal and cultural identity, stimulating an expanded recognition and appreciation of difference.

This course offers students the opportunity to explore simultaneously their intellect in class viewing, readings and discussions , as well as in the presentation of their own version of ethnographic research and representation based on a topic of their choice discussed with instructor. Students will engage weekly with exercises and assignments based on course material.

This course explores the pictorial articulation of individual human likeness and its fiction in the public forum. The art of portraiture has survived its own origins in myth making and archetype building. The human image, or icon, forever landmarks the voices, textures, physicality, spirituality, symbols, politics, aesthetic concerns and military contexts, religious rituals, government, calendar ceremonies, daily functions, heroic acts and social disorders of diverse cultures throughout recorded history. It is the history of creation, the story of romance, the mark of progress, the record of royalty and the profile of democracy.

It is the revolution of fine art and a catalyst of discipline. Imaging the individual in the public eye is the story of humankind. This course bridges the worlds of the oral and written mythologies which inhabit and empower us and the creative manifestation conscious and unconscious of these ancient archetypes into contemporary art, media and design. Students will critically rethink the implied and material presence of portraiture in everyday life. Students will gain practical knowledge and insight into the origins and potential power of the archetypes which permeate our collective unconscious.

Today, many documentarians consider themselves working within a well-defined human rights framework where images and film are used to raise awareness about social injustice. On the far edge of this movement, however, there are writers, photographers and filmmakers whose work calls attention to the traditional documentary ethics of bearing witness but whose modes of representation blur the lines between fact and fiction.

This body of work is more open-ended to interpretation and multiple readings, which also include more personal themes such as loss and melancholy, the ephemeral nature of time and memory, nostalgia and change. We will study several different kinds of visual poetics such as combining documentary photos with literature, artists working with archives and found images, the personal essay film, ethnographic poetics, photo reportage and new media visual storytelling, mixed media and public projections. Some of the writers and artists we will study include Alfredo Jaar, W.

We will study the impact of Cuban cultural policy dictated by Fidel Castro in and in through documents of the period, which determined the course of Cuban arts for decades. In this most recent work, political criticism, Cuban history and deconstructive techniques collide, reflecting the multiple layers of Cuban culture and its continuing development today. This course provides students interested in exploring their artistic field of study in community settings or providing community service through the arts, with a foundation for working with small and large group structures in community settings.

Cultural and ethnic issues and an overview of population needs will be discussed in relation to entering into and engaging community groups in the creative process. Climate change, fossil fuels, lack of drinking water, over-population, GMOs, pollution, and the corporate campaign to discredit science are among the most critical problems of our time. How can artists, citizen-scientists, and storytellers intervene in conversations regarding life- threatening issues? How can we create works which will further important conversations and have the potential to activate change?

Green World explores contemporary environmental issues with the goal of guiding artists to create informed, responsible works of positive social change. This course is open to all NYU students with an interest in the social, scientific, activist, or artistic interest in these issues and debates. It is intended for students who have completed Green World I and are interested in a deeper dive into their area of research begun in that class. This lecture course is designed for students who are interested in developing a deeper understanding of the forces that contribute to a changing planet and in investigating the impact of a radically changing biosphere on their lives and on their communities.

This class will include one required weekend field trip to Black Rock Forest Consortium to observe and participate in the activities of an ecological field research station. Thesis: All art uses technology. Technology is not art. This course is an exploration of the relationship between art and technology over time with an emphasis on work of the late 20th century and the dawn of the 21st century. During class we will examine recurring artistic concepts and consider how technology interprets the expression of these ideas.

How to develop an activist relation toward a foreign country placed in a diplomatic blockade with little to no visiting access and in face of a continuous flow of hyperbolic content about the country by the mainstream news media? This course answers this question in the case of Iran through investigating and developing an artistic and critical encounter with the rich and complex cinematic and moving image resources and archives of and about Iran that have emerged since the World War II, the Cold War, the Islamic republic in the aftermath of the anti-imperialist revolution in , and recent wave of cyberdemocracy after the disputed election in The course pays particular attention to an ethical conceptualization of "diplomacy" in its understanding of both the collective and individual dimensions as instrumental toward understanding of the course of democracy in Iran through art activism.

By experiencing a variety of cinematic movements and film archives in small and large groups, we travel through two sharply contrasting sociopolitical eras before and after the revolution of We study artistic negotiations and analyze formal cinematic techniques and problematics of gender, ethnic, and racial representations through national framework.

We draw from online and offline archival resources of philanthropic foundations, US National Archives, YouTube and digitized videos of documentary and fiction formats including video journalism and televisual commercials. While some films have been available commercially, a large volume of the media presented in class is rarely available in public.

The course is organized primarily as workshop sessions of film and media analysis, brief lectures, and discussions of reading assignments. Course readings include a concise combination of primary archives, memoirs, historical surveys of Iranian cinema, introductory theories of art activism and public sphere, and important case studies of more recent digital media activism. Theoretical readings are chosen as historicized articles in narrative format in order to contextualize digital technologies and environments and to help students relate to culturally and historically unfamiliar situations.

In an increasingly multicultural, multilingual, transnational yet increasingly divided world, what insights do the works of these architects of the imagination offer to narrowly defined strata of Eastern culture? How do they add to the ongoing dialogue between East and West—on cultural translation, migration, the refugee crisis, conflict and love? How do they help us pose fundamental questions? Each week we explore a global urban space and those creating there. As a starting historical point, the course examines their migration or exile, and the current cultural context they are creating in.

Central to this class is exploring the diversity and complexity of their aesthetics and stylistics, the unique artistic voyage they take us on, the ways their creative productions address social issues, and the richness and intricacies of these societies. In our cross-disciplinary and cross-border conversations, we also examine how urban life and the cityscape create imaginative spaces, and the unique language these artists are originating on the page and screen. In this class we will study and engage language as a live organism, literature as a site for encounter and unearthing.

We will read poems, plays and nonfiction by contemporary American and Anglophone writers globally whose works are changing culture, eradicating invisibility and building new languages. The works we read will put into question conventional labels and terminologies, enter new spaces of human and literary ecologies. This course will explore the self and the world; imagination, language, society and action.

The City and the Writer: New York City is a laboratory for studying New York City, works written about it, as well as creating new works inspired by it. New works—poems, short stories, short plays or films—that will serve as a map for possible journeys as they reinvent and talk back to centuries of debates on immigration and space, culture and literature.

A cross-disciplinary and cross-border conversation that examines how urban life and the cityscape create imaginative spaces, and the way words create cities. How does the city shape the form of writing and language? How has literature challenged certain theories on space, and narratives constructed around urban identities?

We will explore different neighborhoods and their histories and meet different inventors. Students get the unique opportunity to meet numerous residents, from theater makers, designers, architects, artists, filmmakers, feminists, actors, comedians, chefs and bodega owners. Discussions will revolve around private and public spaces, ruins and constructions, traditions and modernity, memory and hyphenated identities, literature and society.

The class will integrate film, photography, painting among other medias, to enrich the visual study of NYC. Every block in NYC is a different film set; this class offers students the opportunity to be part of the magic and to create their own story here. This course will be composed of lectures, slide shows, screenings, readings, field trips, field assignments, written reactions, discussion and blogs, as well as visits from guest speakers and artists designed to expose students to the key concepts and fundamental theories of urban studies, public art and the urban-inspired works of many great artists and writers based in New York City.

The instructor seeks to combine the critical and theoretical with the experiential and personal in order to lead students to a deeper and more fruitful relationship with their city, the arts and themselves. This course will explore why and how dance is a vital participant in cultural practices around the world. Looking back through the perspective of present research, we will examine how dance is inherently a reflection of the culture it represents. A wide overview of dance will be covered, beginning with temple devotion in India, to its inclusion in the rituals of Bali, the Noh and Kabuki theatrical traditions of Japan, the rites of passage and ancestor worship in the Ashanti, Yoruba, and Dogon tribes of Africa, in Aboriginal Australian ceremonies, and in the rituals of Native American tribes.

In addition to written texts and video documentation, we will review examples of related art forms such as visual arts, music, and drama. Traversing Europe, the Americas, and Asia, this course investigates the various social, political, and historical contexts that have contributed to the evolution of dance, and conversely, explores the ways that performers and choreographers have utilized the medium of dance to reflect their personal concerns back to society in powerful ways.

Artistic movements, choreographers, and dancers examined will include Vaudevillian tropes; the impact of the Industrial Revolution on ballet; sexual manipulation in the roles of Nijinsky; the political work of early modern dancers; WW I and II and its aftermath in the German Ausdruckstanz of Mary Wigman, Kurt Jooss, and in Japanese Butoh; the propagandist ballets of the Chinese Cultural Revolution; exploration of the commonplace in the psychological dance-theater of Antony Tudor and Pina Bausch; the anthropological research of black choreographers Katherine Dunham and Pearl Primus; exploration of Postmodern rebellion of the Judson Dance Theater; and the response of choreographers and performance artists to the Culture Wars and the AIDS crisis.

Students will pursue extended research, view performance videos and documentaries, and be expected to write and talk about dance. Part studio and part seminar, The Dancing Body focuses on the practice and history of movement and choreography in the context of Modern Dance and Performance Art in the second half of the 20th century.

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The goal of this class is to generate an artistic environment where students develop collaborative relationships throughout the creative process individually as well as collectively. This is an introduction to the dances and rhythms from Africa and the African Diaspora.

There will be an emphasis on specific West African movements that have been transported and transplanted to the Americas. Class will consist of an extensive warm-up, including floor work, stretching, and isolation exercises that utilize elements of the Katherine Dunham isolation technique. This course is an introduction to the fundamental concepts of Modern Dance technique that focuses on the dynamic rapport between body-mind knowledge and expression.

In movement, students will become more aware and organized in their bodies. Through structured improvisation and teamwork approaches students will learn to dance from the inside out, exercise choice with imagination and work together as an ensemble. Ultimately, students will gain an appreciation for the expressive capacity of the body, recognizing shared, unifying attributes and those that are unique and intrinsic to each individual.

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The thorough warm up places an emphasis on breath and proper placement for safe practices and well being. It includes floor work, stretching and strength exercises and patterns that incorporate elements of Bartenieff Fundamentals. All levels are welcome. No previous dance experience is required.

The purpose of this course is to enable the student to gain a heightened awareness, appreciation, and knowledge of dance through movement and performance. We focus on the foundations of dance such as control, aesthetics, alignment, development of strength and flexibility, dynamics, athleticism, musicality, use of space, development of learning strategies within a group context, and personal, artistic expression.

Through individual and collective kinesthetic participation in unfamiliar patterns, related, but not limited to China, West Africa, United States, and Japan, the student is physically and conceptually challenged and informed. Using these learned dances as inspiration, students go on to re interpret, improvise and choreograph their own variations on dance forms in their class assignments.

Dance experience is not necessary. This course is an introduction to the fundamentals of classical ballet technique. Looking into the evolution of ballet from the time of Louis XIV through the present, students will explore the different styles of training and performance presentation through the use of images, video, practice and discussions. Reading assignments will be provided to explain how social changes have affected the development of ballet technique and choreography.

Table of contents

A thorough warm-up will be given in each class. The technical content will vary according to the skill level of the class and the individual dancer. Through the instruction of proper alignment and dynamic imagery, students will learn how to dance safely and improve their technical skills effectively. The course is designed to help students develop a clean and precise technical base for ballet dancing. Through practice and application, students will understand the unique structure of their own bodies and expand their awareness of self and others.

They will discover new technical capabilities regarding flexibility, strength, coordination, balance and their comprehension of the ballet form in relation to music, space, time and energy. Eventually students will experience how the mind, body and breath come together to produce greater freedom in movement. Discussions will examine how this informs personal interactions in everyday life. Students are encouraged to study the different styles of ballet and ballet performers around the world. This is an introduction to the dances and rhythms from different styles that comprise Hip-Hop dance today.

The first stage of the course will explore the wide array of styles that comprise and influence Hip-Hop movement. This course will not only introduce steps, but investigate root moves and historical context that shaped contemporary Hip-Hop today. During the course, students will also discuss the current and emerging trends of the genre. As an ever-evolving dance, this class will focus on budding dance styles, such as Flexing, Lite feet and Finger Tuts, comparing and contrasting those to case studies of past styles that emerged, or re-emerged to become heavily popularized such as Gliding, Krumping and Waacking.

Additionally students will explore the globalized nature of Hip-Hop. To see the full evolution, students will see how other cultures have embraced and left their mark street styles, and how international dance battles and competitions have emerged, ultimately changing the landscape of Hip-Hop dance. Over the course of study students will begin to realize the complexity, the history and the varying opinions focused around Hip-Hop.

In this course, New York City — from its celebrated urban expanse to its lesser-known gems — will be our studio and our stage. There is no better way to experience the city than by immersing your body and your art into its many diverse landscapes. Site-Specific to Immersive Dance Theater: Choreographing for Unconventional Formats and Spaces is a research-to-practice course reconsidering the function, philosophy and reality of an evolving stage, choreographic process, and performing body.

Not only is New York a conduit for local to international dance and theater, but it is also a safe space for artists to resist the norm and re-imagine models for making. This course provides foundational training for students who are interested in investigating the field of performative and collaborative arts and will serve as an entry point for NYU students interested in movement and physically based acting. This course provides a foundation for understanding and practicing the craft of the actor. Beginning with theater games and improvisations, class participants will be challenged to explore and stretch their physical and emotional ways of expression and the scope of their imaginations.

Students will begin to work with scripted material in the second half of the course and will learn basic script analysis to support their work with text as they integrate earlier exercises into presentation of scripted material. Not open to Tisch drama majors. Building on Acting I: Introduction to the Actor's Craft, this class provides students with techniques and skills designed to help them make the transition from theater games, improvisation and basic text work to detailed scene study. After beginning with ensemble building exercises to create a safe and supportive environment conducive to bold, creative exploration, the class will focus on methods of script analysis; playing actions; particularizing emotional meanings; ways to make creative choices while respecting the playwright's intent, and how to balance spontaneity with precision and aspects of character development.

The goal of the class is to enable students to make the journey from text analysis to a full, immediate and inventive embodiment of the given circumstances, character adjustments and dramatic action. Scenes will be drawn from a wide range of dramatic material. This course is for actors who want to explore and cultivate their filmic talents and for directors who want to create performances that exploit the potential of the camera. Part one of the course reviews the fundamentals of the acting process. Through exercises, improvisations and scene work, techniques and criteria for performances are established.

In part two, students work before the camera. In the third part of the course, scenes are rehearsed, lit, framed, and taped in a series of camera set-ups. Each student in the course receives a tape of his or her major project suitable, after basic editing, as a work sample or audition piece. Throughout the course of the semester, students will work on a monologue and a scene for action-based acting and character work.

Students will be expected to prepare and rehearse material outside of class and will be paired for a final assignment of preparing a Shakespeare scene for rehearsal and presentation in class. Monologue and scene suggestions will be provided from a list handed out by the instructor. Open to all students of all levels of experience. Not open to Tisch Drama Majors. This class explores the acting of comedy through theater games that focus on comedic techniques such as quick change, neurosis, obsession, shift of status, body part out of control, etc. If drama holds a mirror up to life, comedy holds up a magnifying glass.

The boldness of choice and degree of commitment demanded by comedy are what make it so difficult to perform, especially because bold choices must be supported by psychological truth. Characters' objectives, obsessions, needs and phobias are what compel them to act in comical ways; if actors don't find the pain and truth of these catalysts, their behavior becomes silly, and the comedy, shtick. The exercises employed in this course many of which have their roots in commedia dell'arte help participants to free their bodies and voices, allowing them to commit both boldly and truthfully, and will be used to analyze and bring to life comedic text from television, to movies and theater.

This is a creative workshop designed for playwrights who yearn to act and actors who have an itch to write. It is designed for a select, diverse student body, ready to challenge and stretch the physical and emotional instrument of the actor. The studio is dedicated to developing the actor's entire instrument-the body, the voice, and the imagination. In scene study classes the student discovers the importance of text analysis and staying in the moment, and the need for selecting strong objectives, formidable obstacles, varied actions, and meaningful personalizations.

The Alexander technique and teachings of Linklater is used in voice production. The movement component includes yoga, circus, and the teachings of Laban. The Open Arts Acting Studio is a six component acting conservatory that focuses on the entire actor's instrument body, voice and imagination. If you have enrolled in any college-level acting class or you have equivalent experience, be in touch with the Director of the Acting Studio, Angela Pietropinto ap13 nyu.

This course explores the ecology of artistic creation in the "downtown" New York scene. New venues, performance forms and modes of expression and distribution are attracting audiences to unconventional experiences in "the cracks of the city. A survey of American musical theatre, with an emphasis on its significant and unique contribution to US popular culture. Through theatre games, structured improvisation, and beginning scene work, students will exercise their imaginations, learn how to work as an ensemble, and develop a sense of their bodies as expressive instruments.

All techniques covered have been developed by the most celebrated 20th century theorists, such as Stanislavski, Grotowski, and Bogart, and are the same theories that underlie the training of the Tisch undergraduate acting conservatory.


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No prior experience necessary. Students are required to complete pages of a full length screenplay. The students study story structure, conflict, and character, in conjunction with the screening and study of several films and screenplays. The emphasis will be on visual storytelling and developing a strong and distinctive screenwriting voice. All students must come to the first class with two ideas for full-length screenplays.

A continuation of the training presented in Fundamentals of Developing the Screenplay. Required work in the class includes extensive scene work. Guided by their screenwriting instructor, students will complete the screenplay begun in Fundamentals of Developing the Screenplay and then do a rewrite or they may begin, complete, and rewrite a new full-length screenplay. The focus in this class will be on story structure and development and the completion of a full-length screenplay. If you plan to do a new work, you must come to the first class with three ideas for full-length screenplays.

Each idea can be described in one or two paragraphs. An introductory course on the basic techniques employed in writing a play. Students read selected plays to enhance discussions of structuring a dramatic piece of writing. The course addresses actors writing material for themselves and focuses on character and dialogue as well as examining scene work, outlining, and the completion of a first draft of a one-act play. Harsh words, perhaps--but it is in the process of revision that the real writing begins.

This course is a continuation of the principles learned in Playwriting Practicum I, with a special focus on the workshopping and developmental process of a new work for the stage. Class discussions and exercises will examine methods for improving dialogue, crafting satisfying reversals, generating material, enriching characters while maintaining consistency, as well as advanced structural considerations of the 3-act form.

A sustained analysis of methods of critiquing—both self and others—is an ongoing concern of the course. Students will emerge with a revised one-act or full-length play. Enrollment prerequisite includes Playwriting Practicum I, a submitted writing sample and permission of the instructor. The course will require the completion of a polished draft while introducing students to the rigors of professional standards through weekly story goals.

We tell stories drawn from our lives all the time, but we sometimes fail to consider the themes and ideas that connect those stories with themselves and with each other; that failure robs us in turn of the opportunity to understand better both the world and ourselves. A team-taught workshop that encourages composers, lyricists, and book writers to find their own voices and learn to merge their unique artistic visions with those of other collaborative artists to create exciting new songs in a theatrical context.


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Rotating teams write and present a series of projects culminating in a short musical theatre work to be presented at the end of the semester by Broadway actors. Theatre songwriting craft, issues of communication between artists of different disciplines, and storytelling through music and text are emphasized. Great musical theatre works of the 20th century are read and discussed to support the students' examination of their own creative process. Poets, playwrights, and writers from other genres, and composers from a wide variety of stylistic background ranging from pop to classical-country, hip-hop, rap, and jazz to fusion, are welcome to participate.

Anatomical reference and safety using materials is also addressed. Students receive their own specially designed makeup kit with all materials necessary to complete all in-class assignments. No artistic background required. This course expands upon Special Effects Makeup I in an even more rigorous and challenging hands-on workshop environment.

It is designed for students who have already successfully completed Special Effects Makeup I and wish to further develop and build upon the skills and techniques learned in the class for their own film productions, photo shoots, or fine art projects.

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Students will receive all materials and tools necessary to complete each in-class assignment. NOTE: this class uses latex. Please contact the instructor if you have latex allergies. This practical workshop is designed to introduce students to the techniques and theory of developing and producing short film ideas that are shot on digital video and edited digitally on computer using Adobe Premiere Pro software.

The course centers on learning elements of visual storytelling through a spectrum of aesthetic approaches. Working in crews of four, students learn directing, shooting, and editing skills as they each direct three short videos three to five minutes in length. This course is specifically designed to fulfill the major requirements in production of students not majoring in film and therefore, students who need to fulfill this requirement are given registration priority.

Fundamentals of Documentary Filmmaking I is an intensive 14 week course combining lectures and creative workshops to introduce students to documentary film production, basic film production tools, and basic film grammar. Students work together in crews to research, discover, design, pre-produce, shoot and direct short documentary film exercises and a final short Observational documentary Film. No pre-arranged interviews, or prepared recreations are used.

Only a directional camera microphone is employed to acquire diegetic sound while observing and filming real life activity. It is similar in structure and technical scope to the existing Fundamentals of Filmmaking I course - which is a narrative based course. Fundamentals of Documentary Filmmaking I will also serve as an introductory film production course for other NYU students who may have an interest in non-fiction, documentary film production courses.

This course will count towards the Documentary minor. Please email Tisch Special Programs at tisch. In this course, students will build upon the visual storytelling skills learned in the prerequisite course, Fundamentals of Filmmaking. Students will be introduced to color cinematography, aesthetics, sound recording, casting and directing actors, production logistics, and editing.

This course is aimed at the film enthusiast who would like to further explore digital filmmaking. Students will have access to a compact lighting and mini mic kit for use on their productions. Students are required to purchase their own portable hard drive to use during the editing process. NOTE: Freshmen may not enroll. Hollywood in your palm.

That is what this combination of lectures, screenings, demonstrations and practical production workshops will offer to the students in this course. In addition to the historical and critical overview of the emergence and exponential growth of global cell phone cinema, students will shoot all footage on cell phones and download them for computerized editing. The final project will be under three minute shorts. Projects will include all genres of film and television: news, mini-documentaries, animation, music videos and narrative shorts.

Completed student projects will be suitable to be posted on the Internet and entered into domestic and international mobile phone film festivals. It is suggested but not compulsory that students bring to the class a cell phone capable of recording video. This course will combine a history of video art and experimental film with practical training in the use of live video performance art technology.

Please RSVP here and direct any inquiries to info kabukibeauty. Drop by Kabuki Spa on Saytruday August 12th for some refreshing lemonaide, cupcakes, and limited time product specials. The first 15 people receive a free gift! Discover your ritual with Kerri Repta from Eminence Organics. Find the perfect products for your skin type. This not a Kabuki prodcued or sponsored event. We are sharing this out of common interest. The views expressed by this event and its advertisers are not those of Kabuki.

Focused on compassionate living, the Mindfulness Living Show will be showcasing everything from green innovations to whole nutrition to local artisans and more! Come out and meet our local vendors, listen to live music, enjoy workshops and seminars and just relax with the community by a warm fire on the patio. Mindfulness Living Show aims to create a unique space by bringing together a whole new look on healthy living - mind, body, planet!

Come by our booth for a complimentary hand massage and sample some of the wonderful all natural skin care products we have. Join us for a sweet evening of tasty treats from some of Hamilton's most delicious local bakeries, restaurants, and confectioners. Alexis will demonstrate how to use all natural make up show us how to adapt our look for a changing face.

At OHSO, we know wellness isn't just about fitness and diet. This event is free of charge and open to the community! Please RSVP here to confirm your attendance or contact via text. We look forward to seeing you there! At Kabuki we are all about self love and finding the beauty within yourself. Tonight we celebrate how amazing YOU are.

Door prizes and give-aways. Win a FREE facial!!

Bring a friend and receive a gift for each friend you bring. Special Musical Guest Norwae. Stock up on your winter skin care! All Eminence Organics products are buy two, get the third half price. Shea Terra Organics are buy two, get the third half price. Body Talk. What Else Is Happening? XO, Alexis. Event details for ticket holders; Please show arrive at sharp. You won't want to miss this super fun event! Learn what blue light is, why we need it, why we don't, and where we get it from Tips on how to limit exposure and combat its negative affects Guided breath and mediation with Yoga Is Yogic eye exercises.

Specialty waters Green tea champagne cocktail toast Shopping and one on one consultation Service and product specials! March 23, 7pm. Annual Holiday Open House November Tons of door prizes and give aways Cocktails and treats All Eminence Organics and Saint Cosmetics products, buy two, get the third half off.

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Kabuki Desires (Battle Cards) (The Social Workshop) Kabuki Desires (Battle Cards) (The Social Workshop)
Kabuki Desires (Battle Cards) (The Social Workshop) Kabuki Desires (Battle Cards) (The Social Workshop)
Kabuki Desires (Battle Cards) (The Social Workshop) Kabuki Desires (Battle Cards) (The Social Workshop)
Kabuki Desires (Battle Cards) (The Social Workshop) Kabuki Desires (Battle Cards) (The Social Workshop)
Kabuki Desires (Battle Cards) (The Social Workshop) Kabuki Desires (Battle Cards) (The Social Workshop)
Kabuki Desires (Battle Cards) (The Social Workshop) Kabuki Desires (Battle Cards) (The Social Workshop)
Kabuki Desires (Battle Cards) (The Social Workshop) Kabuki Desires (Battle Cards) (The Social Workshop)
Kabuki Desires (Battle Cards) (The Social Workshop) Kabuki Desires (Battle Cards) (The Social Workshop)

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