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Ballet Manguinhos' administrative director, Carine Lopes, describes the group’s return as “tears, enthusiasm, anxiety, and the desire to assert the dance as resistance art.” Ballet Manguinhos carried out mass testing campaigns in the Manguinhos favela complex and collected food to help students and their families. (...) She is a resident of Mandela’s Favela and a Ballet Manguinhos’ student for six years. “The dance expresses what I feel. Thanks to it, I could meet new people and visit new places.
Language:English
Score: 809540.04 - https://www.un.org/ar/coronavi...let-pirouettes-during-pandemic
Data Source: un
Ballet Manguinhos' administrative director, Carine Lopes, describes the group’s return as “tears, enthusiasm, anxiety, and the desire to assert the dance as resistance art.” Ballet Manguinhos carried out mass testing campaigns in the Manguinhos favela complex and collected food to help students and their families. (...) She is a resident of Mandela’s Favela and a Ballet Manguinhos’ student for six years. “The dance expresses what I feel. Thanks to it, I could meet new people and visit new places.
Language:English
Score: 809540.04 - https://www.un.org/zh/coronavi...let-pirouettes-during-pandemic
Data Source: un
UNIC Windhoek, Namibia To mark the International Day of Commemoration in memory of the victims of the Holocaust, UNIC Windhoek in cooperation with UNESCO Namibia, and Windhoek High School, organised a programme on 12 February at Windhoek High School. OYO Dance Troupe opened the event with a dance that raised the issue of the mass atrocities inflicted on the Herero and Nama at the turn of the twentieth century, and the relevance of this history to young Namibians. OYO Dance Troupe perfrormce during Holocaust remembrance programme organized by UNIC Windhoek.
Language:English
Score: 339409.72 - https://www.un.org/en/holocaustremembrance/observance/2019
Data Source: un
Ballet Manguinhos' administrative director, Carine Lopes, describes the group’s return as “tears, enthusiasm, anxiety, and the desire to assert the dance as resistance art.” Ballet Manguinhos carried out mass testing campaigns in the Manguinhos favela complex and collected food to help students and their families. (...) She is a resident of Mandela’s Favela and a Ballet Manguinhos’ student for six years. “The dance expresses what I feel. Thanks to it, I could meet new people and visit new places.
Language:English
Score: 809540.04 - https://www.un.org/hi/coronavi...let-pirouettes-during-pandemic
Data Source: un
Ballet Manguinhos' administrative director, Carine Lopes, describes the group’s return as “tears, enthusiasm, anxiety, and the desire to assert the dance as resistance art.” Ballet Manguinhos carried out mass testing campaigns in the Manguinhos favela complex and collected food to help students and their families. (...) She is a resident of Mandela’s Favela and a Ballet Manguinhos’ student for six years. “The dance expresses what I feel. Thanks to it, I could meet new people and visit new places.
Language:English
Score: 809540.04 - https://www.un.org/sw/coronavi...let-pirouettes-during-pandemic
Data Source: un
Ballet Manguinhos' administrative director, Carine Lopes, describes the group’s return as “tears, enthusiasm, anxiety, and the desire to assert the dance as resistance art.” Ballet Manguinhos carried out mass testing campaigns in the Manguinhos favela complex and collected food to help students and their families. (...) She is a resident of Mandela’s Favela and a Ballet Manguinhos’ student for six years. “The dance expresses what I feel. Thanks to it, I could meet new people and visit new places.
Language:English
Score: 809540.04 - https://www.un.org/ru/coronavi...let-pirouettes-during-pandemic
Data Source: un
Her “Proud Mary” was 175 percent longer than the original, and John Fogerty didn’t even dance. She became a star with Ike Turner in her 20s, escaped his abuse in her 30s, fought her way up the pop charts in her 40s, toured the world through her 60s, and now she would like to sleep in. (...) “I don’t sing. I don’t dance. I don’t dress up,” she told me. Even her wig — “a critical part of the Tina Turner look,” as she wrote in her recent memoir — has relaxed from its formerly perpendicular posture into a saucy shag.
Language:English
Score: 825872.7 - https://www.un.org/sites/www.u...15th_sjtc_english_original.pdf
Data Source: un
Ballet Manguinhos' administrative director, Carine Lopes, describes the group’s return as “tears, enthusiasm, anxiety, and the desire to assert the dance as resistance art.” Ballet Manguinhos carried out mass testing campaigns in the Manguinhos favela complex and collected food to help students and their families. (...) She is a resident of Mandela’s Favela and a Ballet Manguinhos’ student for six years. “The dance expresses what I feel. Thanks to it, I could meet new people and visit new places.
Language:English
Score: 809540.04 - https://www.un.org/fr/coronavi...let-pirouettes-during-pandemic
Data Source: un
untitled V PROTOCOL ADDITIONAL TO THE GENEVA CONVENTIONS OF 12 AUGUST 1949, AND RELATING TO THE PROTECTION OF VICTIMS OF INTERNATIONAL ARMED CONFLICTS (PROTOCOL I), OF 8 JUNE 1977 Preamble
Language:English
Score: 82456.35 - https://www.un.org/en/genocide...city-crimes/Doc.34_AP-I-EN.pdf
Data Source: un