Image: Weatherford and Saudi Aramco ink five-year corporate procurement agreement. Photo: courtesy of Patrick Moore/Freeimages.com. Weatherford International plc (OTC-PINK: WFTIQ), one of the largest multinational oilfield service companies, has announced the signing of a five-year Corporate Procurement Agreement with Saudi Aramco to deliver cementation, completions, liners, solid expandables and casing exit technologies. The agreement establishes a foundation for future collaboration between Weatherford and Saudi Aramco, built on the forefront of oilfield technology and unsurpassed value.Weatherford Vice President, Saudi Arabia, Jim Hollingsworth said, “Weatherford is energized by the opportunity afforded by Saudi Aramco to deploy our revolutionary technology in the Kingdom, which will save rig time and associated costs, while also maximizing production in one of the world’s most challenging environments.” Hollingsworth added, “This agreement sets the stage for future collaboration and will unlock both game-changing technology and tremendous value. Weatherford is excited to work with Saudi Aramco now and long into the future to lead in technology innovation and development.”Mohammed Shammary, Vice President, Procurement and Supply Chain Management, Saudi Aramco, said, “We look forward to working with Weatherford to develop breakthrough energy technologies and reinforce our position in oil and gas exploration and production. Their robust product portfolio aligns with our goal to safely achieve production while supporting the sustainable development of the Kingdom.” Source: Company Press Release The agreement establishes a foundation for future collaboration between Weatherford and Saudi Aramco, built on the forefront of oilfield technology and unsurpassed value
It all resonated deeply with Casel, who is Afro Latinx. She began spending more time watching dancers train at Funk University, the training ground for “Noise/Funk.” “I would just, like, peek through the window or hang out by the door,” she says. Eventually, she was invited in, and her tap education began in earnest.“Yeah, I was obsessed,” she says with a laugh. She practiced all of the time, spending hours perfecting a single combination. One day, on the way home from school, she passed a construction site that was discarding large plywood boards. “I asked the contractor, ‘Are you going to use that?’ He cut it for me, and I literally hauled a 4-by-4 piece of plywood on my toes all the way down into the 5 train station, all the way up to the Bronx, and that was my practice board for many, many years.”Her dedication to the form landed her a spot in Glover’s NYOT (Not Your Ordinary Tappers), as the troupe’s sole female member. Casel was often surprised by the responses she provoked: “They would say, ‘Get it, girl! You’re doing everything they do!’ Their fascination with my gender was perplexing.” It opened her eyes to a troubling absence in tap. “I knew about Ginger Rogers, Eleanor Powell, Ruby Keeler, and all of those women back in Hollywood,” she says. “But where were the ones who looked like me?”She set out to find them — and did. Through a Village Voice reporter, Casel learned about a dissertation by a Temple University graduate student about black women in tap, and she got the number of someone who connected her with Jeni LeGon, the first black woman to go solo as a tap dancer. She flew out to California to meet her.It became clear to Casel that the canon was missing a crucial volume. “I found that women in tap history had been horrifically overlooked and omitted,” she says. Not wanting to be left behind herself, she began to build narrative into her improvisations: stories about her love of music or her family history (how, in Puerto Rico, her great-grandmother stitched handkerchiefs for 25 cents a dozen, and her grandfather cut sugar cane). Eventually, “Diary of a Tap Dancer” was born. She developed a seven-minute piece titled “While I Have the Floor” into a full-length one-woman show, premiering it at Spoleto Festival USA — her first time reintroducing pioneers like LeGon and Lois Bright to audiences.,Casel had taken control of the narrative.At Radcliffe, she is working on what she calls V.5 of “Diary of a Tap Dancer.”“I’ve decided to put my time here to really shine a light on those women,” she says. “I know that there’s very limited information on them anyway, but I can give some context with my own journey as a tap dancer, as a woman, as a woman of color, and maybe fill in some gaps.”Ayodele means “joy” in Yoruba. That joy is certainly evident in her art, and it’s helping her spread not only the tap gospel, but also a message of acceptance and inclusion. “I’m going to be unpacking this for a while, this idea of identity, and expression, and art and society, and social justice,” says Casel. “I think this is a lifelong exploration, for me.”“I’m happy people are listening, but they’re only listening because I’m talking, you know?” Combining dance with a look at the social and cultural history of the genre Dancer Amirah Sackett brings her mash-up style to Harvard Ayodele Casel doesn’t just tap. She swings.And although she’s worked hard to make her Latin-infused brand of percussive dance look cool and easy, this tap evangelist wants everyone to know that hoofing, for her, involves more than fast feet: There are many stories behind the virtuosity, and a deep connection to the African American experience.“I want folks — the world — to look at this art form and its practitioners and give them the same respect and consideration they give to ballet and modern dance,” says Casel, the 2019–2020 Frances B. Cashin Fellow at Radcliffe.Growing up, Casel, 44, was a brawler. “They called me Muhammad Ali,” she says. “And I wanted to fight boys, in particular.” Perhaps not the most auspicious start, but that attitude would stick — and serve her well. Tap has always been a male-dominated art, but as an aspiring dancer, she never shied from the improvisational ring. “The guys were dancing at a high level: They were confident, and their expression was dynamic and impassioned, which could be very intimidating,” says Casel. “Some of the women were timid and hesitant. I’m like, ‘Oh, yeah, just make room. I’m coming in.’”A theater major at New York University, she took her first tap class as a sophomore. As a kid growing up in Puerto Rico and the Bronx, she had always been transfixed by the likes of Fred and Ginger in the Golden Age of tap, but this was different. After a dancer named Baakari Wilder introduced her to the world of hoofing, it became an obsession. “Up until then, the training that I’d had at NYU was really basic canon vocabulary,” she says. “Baakari taught me that this is way bigger than just the step. This is an art form that carries a history and a legacy of black people” — on par with jazz.These were the heady days of the tap revival of the mid-1990s. The choreographer Savion Glover had become a star, and “Bring in ’da Noise, Bring in ’da Funk” — the Glover-choreographed hit musical revue that used tap to illuminate black history — had just opened on Broadway. “I’ve decided to put my time here to really shine a light on those women. I know that there’s very limited information on them anyway, but I can give some context with my own journey … and maybe fill in some gaps.” — Ayodele Casel All the right moves Hip-hop steps up Related Flowing together With twisting and floating movements, Harvard Gaga dance course teaches students and community members to listen to their bodies
The Trojans fell to No. 8 Oregon State 63-53 on Friday night, marking the end of the team’s Pac-12 tournament play. Despite rallying several times, the Trojans were unable to outmatch the 3-point shooting to overcome an early deficit.Oregon State opened the game with a 7-run to jump out to an 8-2 lead within the first three minutes of the game. Despite several strong plays from junior Kristen Simon and sophomore Sadie Edwards, the Trojans were unable to keep up the scoring pace and fell behind 18-8. USC chipped away at that lead several times — bringing the score within 6 several times — but consistent 3 shots from Oregon State disrupted the Trojans’ rhythm. But the end of the quarter saw the Trojans bounce back, when freshman Aliyah Mazyck sparked an offensive surge. Edwards finished the half with a converted 3-point play, cutting the deficit to only 6 points.Despite carrying that momentum into the locker room, Oregon State came back with dominating offense to start the second half. After knocking down two 3s and another bucket, the Beavers took a 44-33 lead and held onto it for the rest of the half. Like the first half, the Trojans were able to chip away at Oregon State’s lead, bringing it down to seven or eight points on a few occasions, but it wasn’t enough to keep up against the high-powered Beavers’ shooting.At the end of the game, Oregon State dropped nine 3s against the Trojans’ three and held USC’s leading scorer Temi Fagbenle to only 10 points and six rebounds. Without Fagbenle producing her normal amount of points, Edwards stepped up to deliver 20 points. As a total, the Trojans shot only 38 percent against Oregon State’s 53 percent. The disparity in effectiveness from the floor was the ultimate downfall for the Trojans, as they ended their run in the tournament and fell to 19-13 overall against the highly-ranked Oregon State squad.