Understanding No Deposit Bonuses

No deposit bonuses are exactly what they sound like – bonuses that are offered by online casinos without the need for the player to make a deposit. These bonuses can come in various forms, such as free spins, bonus cash, or free play time. They are a great way for players to test out a new casino or game without committing any of their own funds.

Conclusion:

No deposit bonuses are a popular tool used by online casinos to attract new players. They offer a risk-free way for players to explore the casino and its games without having to spend any of their own money.

Benefits of No Deposit Bonuses

There are several benefits to taking advantage of no deposit bonuses when playing at online casinos. Firstly, they allow players to try out new games without any financial risk. This is especially beneficial for players who are new to online gambling and want to get a feel for how things work before committing any money.

Additionally, no deposit bonuses can help players build their bankroll without having to make a deposit. If players are lucky enough to win while using a no deposit bonus, they can use those winnings to continue playing and potentially win even more.

Conclusion:

No deposit bonuses offer players the chance to explore new games and potentially build their bankroll without having to risk any of their own money. They are a valuable tool for both new and experienced players in the online gambling world.

How to Claim No Deposit Bonuses

Claiming a no deposit bonus at an online casino is usually a straightforward process. The first step is to find a casino that offers a no deposit bonus. Once you have found a suitable bonus, you will need to create an account with the casino. Some casinos may require you to enter a bonus code to claim the no deposit bonus, while others will automatically credit your account with the bonus.

After you have claimed the bonus, you can start playing the eligible games and potentially win real money. It’s important to note that most no deposit bonuses come with wagering requirements, which dictate how many times you must play through the bonus before you can withdraw any winnings.

Conclusion:

Claiming a no deposit bonus is a simple process that involves finding a casino with a suitable offer, creating an account, and potentially entering a bonus code. Players should be aware of any wagering requirements associated with the bonus before they start playing.

In conclusion, no deposit bonuses are a valuable tool for players looking to explore new casinos and games without risking any of their own money. By understanding how these bonuses work and how to claim them, players can make the most of their online gambling experience. Remember to always gamble responsibly and have fun while playing at reputable online casinos such as Bet365, William Hill, and 888 Casino.

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In addition to setting a budget and understanding the odds, it’s also important to know when to walk away. It can be easy to get caught up in the excitement of gambling and continue playing even when you’re losing. However, knowing when to stop is a crucial skill that can help you avoid significant losses.

Implementing Advanced Techniques for Success

Once you have a solid understanding of the basics of casino strategies, you can start implementing advanced techniques to improve your chances of winning. One popular strategy is the Martingale system, which involves doubling your bet after each loss. While this strategy can be effective in the short term, it can also lead to significant losses if you hit a losing streak.

Another advanced technique is card counting in games like blackjack. Card counting involves keeping track of the cards that have been dealt to gain an advantage over the casino. While card counting is not illegal, casinos frown upon this practice and may ask you to leave if they suspect you are counting cards.

Tips and Tricks to Enhance Your Winning Potential

To enhance your winning potential at the casino, there are several tips and tricks you can follow. One tip is to take advantage of bonuses and promotions offered by online casinos. Many online casinos offer welcome bonuses, free spins, and other promotions to attract new players. By taking advantage of these offers, you can increase your chances of winning without risking your own money.

Another tip is to choose games with a low house edge. Games like blackjack, baccarat, and craps have a lower house edge compared to games like slots and roulette. By playing games with a lower house edge, you can improve your chances of walking away a winner.

In conclusion, mastering casino strategies involves understanding the basics, implementing advanced techniques, and following tips and tricks to enhance your winning potential. By approaching gambling with a strategic mindset and making informed decisions, you can increase your chances of winning at the casino. Remember to gamble responsibly and never bet more than you can afford to lose.

The post Mastering Casino Strategies: How to Win Effortlessly first appeared on OahuFringe.com.

In this step-by-step guide, we will outline the necessary steps to become a casino dealer, including training and certification requirements.

Steps to Becoming a Casino Dealer

1. Research the Requirements: Before pursuing a career as a casino dealer, it is essential to research the specific requirements in your area. Different states and countries may have varying regulations and qualifications for casino dealers.
2. Obtain a High School Diploma or GED: Most casinos require a high school diploma or GED as a minimum educational requirement for becoming a casino dealer.
3. Attend a Casino Dealer School: Many casinos and vocational schools offer training programs for aspiring casino dealers. These programs typically cover the rules and procedures of various table games, customer service skills, and proper dealing techniques.
4. Practice Dealing: To become proficient in dealing table games, aspiring casino dealers should practice regularly. This may involve practicing with friends or colleagues, attending practice sessions at a dealer school, or even dealing at a local casino as a trainee.
5. Apply for a Casino Dealer Position: Once you have completed your training and gained sufficient experience, you can apply for a casino dealer position at a casino or gaming establishment. Be prepared to undergo a background check and drug test as part of the hiring process.
6. Complete On-the-Job Training: Upon being hired as a casino dealer, you will typically undergo on-the-job training where you will shadow experienced dealers and receive hands-on experience dealing table games.
7. Obtain a Gaming License: In many jurisdictions, casino dealers are required to obtain a gaming license or work permit before they can begin working in a casino. This process may involve a background check, fingerprinting, and payment of a fee.

Training and Certification Requirements

Training and certification requirements for casino dealers may vary depending on the location and type of casino. However, most casinos require dealers to complete a training program and obtain a gaming license before they can begin working.

Casino dealer training programs typically cover the rules and procedures of various table games, customer service skills, and proper dealing techniques. These programs can range from a few weeks to several months, depending on the complexity of the games being taught.

Upon completing a training program, aspiring casino dealers may be required to pass a certification exam to demonstrate their knowledge and proficiency in dealing table games. This certification may be issued by a state gaming commission or a professional organization such as the Casino Career Institute.

In conclusion, becoming a casino dealer requires dedication, training, and a passion for customer service. By following the steps outlined in this guide, aspiring casino dealers can embark on a rewarding career in the gaming industry.

The post Becoming a Casino Dealer: A Step-by-Step Guide first appeared on OahuFringe.com.

The Origins of Fringe

The concept of the “fringe” festival began in 1947 in Edinburgh, Scotland, when eight theater groups showed up uninvited to perform at the inaugural Edinburgh International Festival. They chose to perform at alternative venues on the “fringe” of the festival, thus birthing the Edinburgh Festival Fringe. Since then, the fringe movement has grown exponentially, with festivals now held in cities across the globe, including Adelaide, Avignon, New York, and many others.

The Spirit of Fringe

The core ethos of Fringe Festivals is to offer an open-access platform for artists—anyone can perform, regardless of their professional or amateur status. This inclusivity fosters a diverse range of performances, from theater, comedy, and dance to music, visual arts, and unclassifiable forms of creative expression. The absence of a selection committee means that the festivals are a hotbed of creativity, where experimental and innovative works can find an audience.

Experiencing a Fringe Festival

Attending a Fringe Festival is an adventure in itself. Audiences can expect a wide array of performances, often occurring simultaneously in various venues throughout a city. From street performances and pop-up theaters to established stages, Fringe Festivals transform cities into vibrant hubs of artistic expression. The unpredictable nature of the performances means that audiences often stumble upon unexpected gems, making each Fringe experience unique and memorable.

The Impact of Fringe

Fringe Festivals have a significant impact on the local and global arts scene. They provide emerging artists with the opportunity to present their work, gain exposure, and develop their careers. Many now-famous performers and shows got their start at a fringe festival. Additionally, these festivals stimulate the local economy by attracting tourists, filling hotels, and increasing patronage at restaurants and bars.

The Future of Fringe

As the world becomes increasingly digital, Fringe Festivals are also exploring new platforms for performance. Online streaming, virtual reality experiences, and digital galleries are becoming part of the fringe experience, making the festivals accessible to a global audience. Despite these changes, the heart of Fringe remains the live, raw, and uncensored performance, celebrating the human capacity for creativity and innovation.

Conclusion

Fringe Festivals embody the spirit of artistic freedom and experimentation. They are a testament to the power of the arts to challenge, entertain, and inspire. Whether you’re an artist looking to break new ground or an audience member in search of something different, Fringe Festivals offer a world of discovery. By pushing the boundaries of conventional performance, they remind us of the endless possibilities of human creativity.

The post Fringe Festival: A Celebration of Unconventional Art first appeared on OahuFringe.com.

Please tell us a bit about your background and/or company you performed with at the Fringe?
I am an assistant professor of physical theatre, movement, and circus arts at Coastal Carolina University. I have an MFA in physical theatre from the Accademia dell’Arte school in Arezzo, Italy and a MFA in directing from the University of Hawai’i at Manoa. Also, I am the founding artistic director of Zany Umbrella Circus, a physical theatre company founded in 2002 that has toured both nationally and internationally.

What inspires you on a personal as well as on an artistic level?
E.E Cummings wrote “Damn everything but the circus! …damn everything that is grim, dull, motionless, unrisking, inward turning, damn everything that won’t get into the circle, that won’t enjoy. That won’t throw it’s heart into the tension, surprise, fear and delight of the circus, the round world, the full existence…”

For me, theatre shows that change, exists in courage and creativity away from the mundane. I was introduced to physical theatre and social circus by Patch Adams and Wavy Gravy, with whom I have had the chance to collaborate with, including fellow performance artists nationally and internationally from Afghanistan, Germany, Italy, Jordan, and Ethiopia. For the last eleven years I have used the circus metaphorically and non-metaphorically to question societal tendencies. I stride to build positive relationships both nationally and internationally by using applied theatre and circus simultaneously. In the theatre we must collaborate and I believe the same is true for life.

Has the show you were in been taken to another Fringe or to another performing arts festival?
Ridente was subsequently performed in Italy and in New York City thanks to support from City Parks Foundation. The performance connected clowning with Sufi poetry and I know that the performance will revive and redevise itself many more times down the road of life.

Where are you now with your performance career?
I’m now wearing lots of different hats. I feel extremely fortunate to be the director of a physical theatre program, a professor, a producer, and a touring artist. I am incredibly excited about what’s on the horizon and am looking forward to a very cool summer touring schedule.

What project(s) are you developing right now?
I just finished directing Mary Zimmerman’s Metamorphoses at Coastal Carolina University. The play brings Ovid’s tales to stunning visual life. Set in and around a 13,000 gallon pool of water onstage, Metamorphoses juxtaposes the ancient and the contemporary in both language and image to reflect the variety and persistence of narrative in the face of inevitable change. I also just co-founded a new company called Albatross Movement with Jil Stifel. Our first piece My DNA explores the hybridity of circus, contemporary dance, and physical theatre.

When and where can we see you perform?
I currently have an installation at the Mattress Factory Museum of Installation Art that will be on display until June 1st, 2015 in Pittsburgh, PA. The museum is a national treasure and the show is amazing.

Albatross Movement will debut the inaugural performance of My DNA on Feburary 12th, 2015 which was selected to be part of the New Hazlett Theatre’s CSA (Community Suported Art) series in Pittsburgh, PA.

What survival tips can you give to emerging as well as seasoned artists working in Hawai’i?
Love the aphorism “a rising tide lifts all boats”. Hold it close on O’ahu because everyone is very connected and the ’aina is extremely powerful.

What resources can you recommend to look into for funding or to support each others work?
This is a very difficult question. O’ahu is amazingly beautiful but in all honesty I wasn’t able to support myself and live as an artist. On O’ahu funding is difficult but with that parameter there is direction and centering. I found myself making work that was pared down, true, and stands on its feet with little production. I also found myself being incredibly resourceful, bartering and trading work so that projects can happen.

How can people contact you for professional work or to collaborate with you on creating an amazing show?
Please feel free to write to [email protected] and I’ll gladly write back.

Finally, if you were given a magic bag what three items would you like to pull out to create your ideal show with? How would you use those items? And what name will you give your show?
I’d like for my circus tent www.zanytent.com to magically appear from a bag, be self assembled complete with seating, stage, and tech! I’d use the venue for physical theatre and in honor of Mary Poppins I am going to call it Carpet Bag Productions and we could all sip tea on the ceiling of the tent!

The post Where Are They Now? – Benjamin Sota first appeared on OahuFringe.com.

Stephen also produces music and film with his company Arctic Voice Productions. One of his albums, Caught In The Act, won Record of the Year at the Native American Music Awards. The Album Verses was nominated for Best World Music Album. Stephen also has produced several groundbreaking projects, like the production of the first ever Alaska Native traditional music album.

He continually performs with Pamyua, and works with his partners to continue the traditions of songs and dances of the north. To find out more, please visit www.pamyua.com.

The post Stephen Blanchett first appeared on OahuFringe.com.

What is improv dance?
Improvised dance is dance that is not pre-planned. It is spontaneous in nature.

Do you need any special dance skills or training to do improv dance? The only think you really need is willingness to move. In any dance form, there is room for improvisation. However, many people who are not traditionally trained dancers do improvised dance with skill. In fact, the roots of contemporary or post-modern improvised dance, which is largely what Spatial Sculptors does, was developed by people other than dancers.

I’ve heard of contact improv- is this the same as dance improv? Is there a difference or are they the same?
Good question. Contact Improvisation is a form of improvised dance, just like the Waltz is a form of ballroom dance. Improvised dance, as we practice it, includes dancing spontaneously, alone or with others, to explore movement. Contact Improvisation involves dancing with one or more people and creating points of physical contact to start exploring movement.

Why did Spatial Sculptors decide to apply for the artists’ residency at the Spalding House?
Each member of Spatial Sculptors probably has many reasons why we are excited for this project. The bottom line is we love moving and we love introducing improv to others. Having an opportunity to play, explore and expand our improvised dance practice, and being able to share our love for improv with people who are new to improv, and to those who love it as well but seldom (are) able to make one of our regular improv jams is a big factor (as) to why we applied to the program.

How special is this residency to the development of Spatial Sculptors?
Like any artistic process, being able to do your art is one of the main ways you develop and progress. For us, we only get to work together twice a month. This residency will allow us to jump into improv in a deeper way than we’ve ever been able to before, as an ensemble and as a local improv community.

In reading about the description of the work, one word that pops up is interactive – can you please explain what interactive means in the context of improv dance and how it relates to Spatial Sculptors residency?
We want you to join in the fun with us! Every weekend, we will have at least 2 people who can guide you through improv activities, helping you experience on an individual level, what improv looks and feels like. You don’t have to dance; there will be mini performances, and ways that the audience can interact with people who are dancing. How you participate is up to how you are feeling at the moment.

What can visitors expect to see when they observe your work?
You may see people doing what you imagine dance to be. You may see people climbing on each other, on the walls, or stepping, hopping, or twirling in patterns over stones and pathways. You may see people standing still. The joy of improv is that each dancer gets to decide how to move and each audience member gets to decide what it means.

So, can people join in the improv dance? And if yes, what should they do or prepare beforehand?
Please join in. We are eager to share improv with our wonderful Honolulu community. We are dancing at the Surface Gallery at the Honolulu Museum of Art Spalding House, which has a round stone surface over concrete, so clothes that you can move in and that will protect your body from the elements are key. Closed toed shoes, long pants, sunscreen, water, and soft brimmed hats are recommended.

After this residency where can people see more of Spatial Sculptors’ work and how can they join in?
We do jams that are open to the public every 1st and 3rd Wednesdays at Alive Ballet Center in McCully at 8:30 pm. The jams are $6. We also perform in Chinatown every First Friday; we start at Dragon Upstairs at 7:00 pm and then hit the streets and sidewalks. You can also follow our whereabouts by checking https://www.facebook.com/SpatialSculptors/.

Thank you.
For more information please click on the Orvis Residency link. You can also visit the website of Spatial Sculptors for updates on their work. Join them for some improv dancing this summer.

O’ahu Fringe Festival wishes Spatial Sculptors all the very best with their Orvis Residency:Dance Like No One is Watching.

The post Spatial Sculptors Orvis Artist in Residence first appeared on OahuFringe.com.

Please do consider this wonderful opportunity by getting on board for the very first i9 Festival by showing your support of live entertainment in Hawai’i.

The post i9 Festival Sponsorship Opportunity first appeared on OahuFringe.com.

Introducing Bonnie Kim

Tell us a little bit about yourself?   I am an artist/teaching artist. I enjoy gardening and growing fresh veggies and fruits at home.

How did you become involved in the arts?   Since childhood, always loved the arts.

What is your Fringe show about?  Long Long Ago, When Tiger Smoked: Animal Tales from Korea is Korean folktales with shadow & marionette puppets.  Click on this link to purchase tickets – show is suitable for kids and adults.

The arts are big on collaboration. What are the collaborative good things and differences you see in creating and being part of this show?   I just had a friend from New York who came to help me with this project a bit.  She was my project partner last year at the national puppetry conference and although she couldn’t stay longer to be part of this show, she was able to work with me on this project a bit.

What will the audience expect to see at your Fringe show?  Puppet show!

After Fringe what other wonderful productions can audiences expect to see you in next?   More puppet show!

Finally, if you were to choose another career away from the arts, what would it be?  And why?  I can’t think of life without being an artist. 

The post Get To Know You ~ Bonnie Kim first appeared on OahuFringe.com.

As an artist, Abel kindly donated his time during our first year making sure that our technical needs were met and also offered much needed advice on other creative matters. His unselfish love for what he did for us is immeasurable and we could not have seen out our first event without his generous support. For that we are truly thankful.

Not only did he lend a hand to our work, his creative reach was far and wide. As an alumni of the UH Manoa Theatre & Dance Department, Abel fine tuned his craft there and worked tirelessly in the Honolulu theatre community. He was truly a wonderful person who forged a footprint in our arts community and though we will no longer see his work, we know that his influence is felt by many both here and abroad.

To the family and friends of Abel, we send our condolences to you on this very sad day. Saying goodbye to a dear friend is never easy, but know that his good gentle soul touched many and may this connection and love of many bring you some comfort at this time.

Dear Junko may there be peace in your heart during this most difficult time. While we are sad, we cannot fully understand your sorrow but may this little note help as we share in your grief and support you.

Abel was a very good man. We miss you. May the kukui continue to light you on this journey. Farewell friend. Aloha.

The post Farewell Abel Coelho first appeared on OahuFringe.com.