Resume Enterprise Risk Management a Case Sudy - 848 Words

Key Issue UGG (United Grain Growers) started implementing enterprise rise management by forming a risk management committee. This committee then met with a representative from Willis Risk Solution, a unit of Willis Group Ltd. UGG hired Willis Risk Solution to identify and qualitatively rank the firms major risk. This process identified 47 exposure areas and got the top six risks: 1. Environmental Liability 2. The effect of weather on grain volume 3. Counterparty Risk 4. Credit Risk 5. Commodity price and basis risk 6. Inventory Risk The analysis conducted by Willis Risk Solution led to the conclusion that, of the six risks originally identified, UGG’s main source of unmanaged risk was from the weather.†¦show more content†¦A contract could be tailored on a number dimension to meet the specific needs of buyer such as average temperature, rainfall, snowfall, a heat index, or the number of heating or cooling degree days. The payoff structure could resemble a put option, a call option, a swap, or combinations of these structures. 3. Insurance Contracts This contract can be done by buying the premium of weather insurance to cover weather risk.. Currently, UGG purchased a number of different insurance policies for various traditional risk exposures. Each policy had its own retention level and its own coverage limit. By integrating it various coverages under one policy, UGG could replace the individual deductibles and limits with an overall annual aggregate deductible and limit that would apply to all or a subset of losses, including grain volume losses. The main idea of this solution is by bundling all the risk faced by the UGG with insurance so that the price of premium will be low. To make clearly the solution here the table of advantages and disadvantages of those solutions: Table 1: the advantages and disadvantages of the solution Solution | Advantages | Disadvantages | Retention | * not having to pay the cost of shifting the risk to someone else | * Planned capital expenditures* Increased leverage; * Protect reputation | Weather Derivative | * From the figure 27.5 a weather derivative can be seen that the weather derivative

Art History Study Guide - 3003 Words

Periods and their Artists * Chapter 3 Egypt * Old Kingdom (2700-2190 BCE) * Imhotep – Stepped Pyramid of Djoser * Chapter 5 Ancient Greece * Archaic (600-480 BCE) * Andokides Painter –Achilles and Ajax * Ergotimos –[and Kleitius] Fracois Vase * Euphronios –Death of Sarpedon * Exekias –Achilles and Ajax; Suicide of Ajax; Dionysis in a Boat * Polykleitos –Doryphoros * Classical (480-320 BCE) * Kalikrates –Temple of Athena Nike; [ and Iktinos] Parthenon * Lysippos -Apoxyomenos * Mnesikles –Propylaia, Erechtheion[Porch of the Maidens] * Myron –Diskobolos * Phidias –Acropolis; 3 Seated Goddesses E. Ped.†¦show more content†¦James Led to Execution; Dead Christ * Masaccio –Tribute Money/ Expulsion in the [and Masolono, Filippino Lippi] Brancacci Chapel; Trinity with Virgin, St. John the Evangelist, and Donors * Michelozzo –Palazzo Medici Ricardi * Perugino –Delivery of the Keys to St. Peter , Sistine Chapel * Pollaiuolo –Hercules and Antaeus; Battle of the Ten Nudes * Robbia, Luca della –Madonna and Child with Lilies, Orsanmichele * Rosselino –Tomb of Leonardo Bruni, Santa Croce * Signorelli –Damned Cast into Hell * Uccello –Battle of San Romano * Verrocchio –David; Bartolommeo Colleoni * Chapter 22 Italy (16th century) * High Renaissance (1500-1550) * Bellini, Giovanni –San Zaccaria Altarpiece; [and Titian] Feast of the Gods * Bramante –St. Peter’s, Rome; Tempieto * Correggio -Assumption * Da Vinci –Virgin (Madonna) of the Rocks; Virgin and Child with St. Anne and Infant St. John; Last Supper, Refectory; Mona Lisa * del Sarto, Andrea –Madonna of the Harpies * Giorgione –Pastoral Symphony; The Tempest * Michelangelo –Pieta/Dome, St. Peter’s, Rome; Bacchus; David; Moses, tomb of Julius II; Bound Slave; Prisoner; Sistine Chapel Ceiling: Creation of Adam, Creation of Eve, Tem ptation, Expulsion, Erythraean Sibyl, Prophet Jeremiah, Last Judgment; Dani Tondo (aka Holy Family); Tomb ofShow MoreRelated Role Model of the West Essay1539 Words   |  7 Pagessuch great nations has been much attributed to the great role model, ancient Greeks for their many contributions, such as architecture, fine arts, education, philosophy, and mostly for their form of democracy and ways of government. 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Dance Captain Free Essays

The Dance Captain is a member of the company who maintains the artistic standards of all Choreography and/or musical staging in a production. The Dance Captain shall always work in tandem with the Stage Manager in conveying and maintaining the creative intentions of the production. The Dance Captain is a member of the company who maintains the artistic standards of all choreography and/or musical staging in a production. We will write a custom essay sample on Dance Captain or any similar topic only for you Order Now The Dance Captain shall always work in tandem with the Stage Manager in conveying and maintaining the creative intentions of the Artistic Staff. The Advisory Committee on Chorus Affairs (ACCA), in conjunction with the Dance Captain Subcommittee, is issuing these suggested guidelines to assist the Dance Captains in their assigned position. 1. Maintaining Artistic Standards and Technique of Original Production a. Review musical staging and choreography, give notes and/or schedule brush-up rehearsals (in coordination with the Stage Manager). Maintain all musical staging and choreography in the original style, intent, technique and energy level. (Note: All rehearsals are called by the Stage Manager as per allotted hours set forth in the contract). . Maintain original spacing and positions in musical numbers. c. Make sure condition of stage, rehearsal and/or audition space is safe and suitable for musical staging and/or choreography for rehearsals and performances. d. Within a reasonable period of time after show is set, the Dance Captain shall learn all choreography and musical staging. e. In cases of complaints or differences of opinion between cast members concerning choreography and/or musical staging, the Dance Captain shall make the decision. f. The Dance Captain may not be required to block non-musical scenes. . Responsibilities to Understudies and Swings a. assist the Stage Manager and choreographer, or their assistants, in the assignment of understudies and swings for numbers and important bits of business in musical staging and/or choreography. b. See that understudies and swings are prepared to perform assignments in musical numbers. 3. Responsibilities for Replacements a. Audition replacement Actors in regards to musical staging and/or choreography when required. b. Teach chorus or principal replacements choreography and staging of musical numbers. . Rehearse replacement with cast members involved in musical numbers prior to their first performance. d. Apprise Actors of possible technical problems they may encounter, such as quick change set-ups, involvement with set 1changes or use of props in c oordination and cooperation with Stage Manager. Work environment. Dance is exhausting. In fact, dancers have one of the highest rates of nonfatal on-the-job injury. Many dancers, as a result, stop performing by their late thirties because of the physical demands on the body. Nevertheless, some continue to work in the field as choreographers, artistic directors, and dance teachers and coaches, while a small number may move into administrative positions, such as company managers. A few celebrated dancers, however, continue performing most of their lives. Many dance companies’ tour for part of the year to supplement a limited performance schedule at home. Dancers who perform in musical productions and other family entertainment spend much of their time on the road; others work in nightclubs or on cruise ships. Most dance performances are in the evening, whereas rehearsals and practice usually take place during the day. As a result, dancers often work very long and late hours. Generally, dancers and choreographers work in modern and temperature-controlled facilities; however, some studios may be older and less comfortable. Dancers generally need long-term on-the-job training to be successful. Most dancers begin formal training at an early age—between 5 and 15—and many have their first professional audition by age 17 or 18. Some earn a bachelor’s degree or attend dance school, although neither is required. Becoming a choreographer usually requires years of experience. Education and training; Training varies with the type of dance and is a continuous part of all dancers’ careers. Many believe that dancers should start with a good foundation in classical technique before selecting a particular style. Ballet training for girls usually begins between the ages of 5 to 8 with a private teacher or through an independent ballet school, with more serious training beginning between the ages of 10 and 12. Boys often begin their ballet training between the ages of 10 and 15. Students who demonstrate potential in their early teens may seek out more intensive and advanced professional training. At about this time, students should begin to focus their training on a particular style and decide whether to pursue additional training through a dance company’s school or a college dance program. Leading dance school companies often have summer training programs from which they select candidates for admission to their regular full-time training programs. Formal training for modern and culturally specific dances often begins later than training in ballet; however, many folk dance forms are taught to very young children. As a result, a good number of dancers have their first professional auditions by age 17 or 18. A college education is not essential for employment as a professional dancer; however, many dancers obtain degrees in unrelated fields to prepare themselves for careers after dance. The completion of a college program in dance and education is usually essential to qualify to teach dance in college, high school, or elementary school. Colleges and conservatories sometimes require graduate degrees but may accept performance experience. A college background is not necessary for teaching dance or choreography in local recreational programs. Studio schools prefer teachers to have experience as performers. Dancers generally need long-term on-the-job training to be successful. Most dancers begin formal training at an early age—between 5 and 15—and many have their first professional audition by age 17 or 18. Some earn a bachelor’s degree or attend dance school, although neither is required. Becoming a choreographer usually requires years of experience. There are many advantages to being a dancer a dancer’s life is no 9 to 5 job. Some days you may work just three or four hours, and others you will be dancing until the late hours. Your schedule will depend on the type of job you have booked. In between set gigs, you will also be working by attending auditions, as well as participating in workshops to continue learning new dances techniques. Staying In Shape In order to be a successful dancer, your body must be in superb shape. Alternate between different dance styles and stretching routines to tone muscles in all areas of the body. This will keep your body flexible to avoid pulling or spraining joints and muscles. Changing up your routine will also keep it from becoming monotonous, and open you up to new choreographic styles, as well. Being able to work out as a part of your profession will benefit your health even after you retire from the field. Travel Opportunities, Travel is one of the top perks of dance field. Travel allows you to see new places, experience new foods and cultures, and meet interesting new people. Many dance troupes get the chance to travel around the U. S. and even internationally if they are part of a company. Food and lodging are typically covered, so you won’t need to cover these sorts of expenses. Working for Yourself; Being a dancer is largely a freelance job, since many dancers work for several companies on a part-time basis. This means that you work when you want to work, and you can take a break when you need to, provided you have the resources to do so. If you prefer to receive a steady paycheck, opening up your own dance studio may be the right path. You can choose the dance style you want to teach, be it ballet, tap, jazz, modern, or even ballroom or hip-hop. You will also be able to select the hours of operation and the method for enrolling students. Opening your own studio will also give you the chance to choreograph your own dance routines and pass the art form down to others to enjoy. In spite of these advantages there are also many challenges to working in the dance industry. Median hourly wages of dancers were $12. 22 in May 2008. The middle 50 percent earned between $8. 03 and $18. 82. The lowest 10 percent earned less than $7. 28, and the highest 10 percent earned more than $27. 26. Annual wage data for dancers were not available, because the wide variation in the number of hours worked by dancers and the short-term nature of many jobs—which may last for 1 day or 1 week—make it rare for dancers to have guaranteed employment that exceeds a few months. Median annual wages of salaried choreographers were $38,520 in May 2008. The middle 50 percent earned between $25,320 and $55,360. The lowest 10 percent earned less than $17,880, and the highest 10 percent earned more than $67,160. Median annual wages were $37,570 in â€Å"other schools and instruction,† the North American Industry Classification System category that includes dance studios and schools. Dancers who were on tour usually received an additional allowance for room and board, as well as extra compensation for overtime. Earnings from dancing are usually low because employment is irregular. Dancers often supplement their income by working as guest artists with other dance companies, teaching dance, or taking jobs unrelated to the field. Earnings of dancers at some of the largest companies and in commercial settings are governed by union contracts. Some dancers in major opera ballet, classical ballet, and modern dance corps belong to the American Guild of Musical Artists, Inc. of the AFL-CIO; those who appear on live or videotaped television programs belong to the American Federation of Television and Radio Artists; those who erform in films and on television belong to the Screen Actors Guild; and those in musical theater are members of the Actors’ Equity Association. The unions and producers sign basic agreements specifying minimum salary rates, hours of work, benefits, and other conditions of employment. However, the contract each dancer signs with the producer of the show may be more favorable than the basic agreement. Most salaried dancers and choreographers c overed by union contracts receive some paid sick leave and various health and pension benefits, including extended sick pay and family-leave benefits provided by their unions. Employers contribute toward these benefits. Dancers and choreographers not covered by union contracts usually do not enjoy such benefits. I selected this career because I believe that a career as a dance captain can be very challenging and I always ready for new challenges. I am also very concerned about being health and a career as a dancer will allow me to do what I love and keep my body healthy. I find this career to be very enjoyable because of the joy that dance can bring to others and myself and that is why I would like to be a dancer. Dance captain How to cite Dance Captain, Papers

Ancient Egyptian and Mesopotamian Civilization free essay sample

Many ancient civilizations developed as a result of the Neolithic Revolution, or the turning point in which the utilization of systematic agriculture created societies. Two civilizations, Ancient Egypt and Mesopotamia, both transformed into civilizations by changing from nomadic hunter-gatherers to agriculture and trade civilizations. Both civilizations were created as a result of the same revolution, but they still differ in numerous ways. Egypt and Mesopotamia had similarities and differences in religion, social and political structure, and geography. These variations shaped the two civilizations into completely contrasting societies. The religion of Egypt greatly differs from that of Mesopotamia, yet it is also similar. First of all, the ancient Egyptians believed in an afterlife and resurrection for all people, whereas the Mesopotamians believed in only a world of darkness after death. Both Mesopotamia and Egypt were polytheistic civilizations, meaning that they both believed in multiple gods or deities. Ancient Mesopotamian religion is associated with biblical mythology. We will write a custom essay sample on Ancient Egyptian and Mesopotamian Civilization or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Egypt and Mesopotamia had drawings and artwork to represent and worship their gods. They each believed in prayer as a form of interaction with their gods. Since Egyptians did believe in an afterlife, they performed a process known as mummification to preserve the bodies of the people who passed. The priests would remove organs, preserve the body, and bury them in tombs along with the items one would need in the afterlife. Not all Egyptians were mummified. Only the wealthy or important people were mummified in hopes that they had the afterlife they deserved. The religions of these civilizations developed differently. Social and political structure of a civilization can vary depending on religion, economy, and the technology available to the people. Egyptian social structure resembles Mesopotamian social and political structure because they are both able to be thought of as a pyramid; the least important, poorer subjects are at the base of the pyramid, the commoners and average people are in the middle, and the kings, priests, or pharaoh belong at the top, except there was no middle class for Egypt. There was a Pharaoh and its subjects. Egyptians had pharaohs, while Mesopotamia had Kings and priests. Egypt had priests, but they were not higher than the pharaoh. Priests were able to speak to the gods, teach, and go through with the process of mummification. Pharaohs were said to be very god-like and after their death, become a god. In Mesopotamia, the priests were the highest in means of communication with the gods. Kings were trusted to protect and better the kingdom or empire. Mesopotamia would raid hill peoples for potential slaves and Egypt would keep prisoners of war as slaves. Slaves did not have rights, but in Mesopotamia they were still treated as a whole being, like the commoners and were the lowest possible class of the two civilizations. The Egyptians had a centralized government with a Pharaoh as the ruler, and its subjects serving them. The Pharaohs has one main servant that is in power to make small decisions in the case of the Pharaohs request. They are called vizers and somewhat resemble having the privileges that a prime minister would. In Mesopotamia, they have a king and either a city-state government or an aristocracy, meaning the wealthy individuals and families are more powerful that the commoners. Peasants are able to own land in Mesopotamia, but they must provide a portion of their harvest of wheat or barley to pay a tax for their land. Egypt and Mesopotamia had similar form of empowerment, and their governments were also somewhat similar. The geography of Egypt and the geography of Mesopotamia directly affects the development of the two civilizations. Egypt is located in northern Africa and one river, the Nile, runs through it. The Nile river was a geographically asset to the Egyptians, with fertile silt and soil lining its banks. They called this black land, which they used for farming. The Nile occasionally flooded, but it was predictable and the Egyptians learned to control the flooding to use it to their advantage. They created irrigation systems that utilized the floods. Egypts early civilizations did not expand very far from the Nile river because of what they called red soil. Red soil is the barren desert, which provided a natural blockade from other invasive armies. The desert did not have arable land and was of no real use to the Egyptians. They were relatively isolated due to the surrounding desert, but the desert did provide glass and precious metals for trade. Mesopotamia was amongst two rivers, the Euphrates and the Tigris. Mesopotamia has a Greek making of between the rivers. The rivers were unpredictable when it came to flooding and were thought of as signs from god. When the Mesopotamians experienced a flood, they believed it was due to upsetting the gods. The rivers run through present-day Iraq and the Euphrates runs through a portion of Syria. The southern region of Mesopotamia was marshy wetland due to the flooding of the rivers, and the northern region of Mesopotamia was hills and plains. Contact and communications without outside civilizations near Mesopotamia as important to them. The resources and geographic location of these areas allowed for their development and growth into civilizations. Mesopotamia and Egypt are civilizations that grew on completely different continents under diverse conditions. The Neolithic Revolution allowed for the change in lifestyles of Egypt and Mesopotamia. These conditions affected their beliefs and growth. The two are similar and different in their ideas and religion, structure, and geographic location.