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“Ursula Le Guin at her best . . . This is an important collection of eloquent, elegant pieces by one of our most acclaimed contemporary writers.” —Elizabeth Hand, The Washington Post Book World “I have decided that the trouble with print is, it never changes its mind,” writes Ursula K. Le Guin in her introduction to Dancing at the Edge of the World. But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind—strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading. “If you are tired of being able to predict what a writer will say next, if you are bored stiff with minimalism, if you want excess and risk and intelligence and pure orneriness, try Le Guin.” —Mary Mackey, San Francisco Chronicle
"It was thanks to its cabarets that Old Shanghai was called the `Paris of the Orient.' No one has studied the rise and fall of those cabarets more extensively than Andrew Field. His book is packed with fascinating information and attests on every page to his understanding of Shanghai's history." LYNN PAN, author of Sons of the Yellow Emperor --
We human beings confront our greatest challenges in moments of extraordinary change, as we are experiencing in response to a global pandemic and recession, dramatic shifts in our governance, living and working environments. In such moments, we are called upon to build new skills for observing our worlds and constructing new practices. New worlds emerge as new ways of listening, observing and acting become visible. Mobilize! Dancing in the World is about the practice of building new practices. New practices, in effect new ways of dancing in the world, bring new worlds. In our schools of business and administration people learn about management (keeping things stable), leadership (creating new instabilities), innovation (creating new stuff), and 'change management, ' which is about keeping the ship afloat while in the midst of change. Building new practices requires skill in each of these disciplines. Yet it is not the same as, nor can it be replaced by, any one or all of them together. The stark simplicity and pragmatism the reader will find in this book have altered worlds, enterprises, and the lives of countless people. This and subsequent volumes in the Mobilize! series are written for those responsible for the future of our enterprises.For more than 40 years Chauncey Bell has led design and development projects spanning diverse industries from computers, digital networking, semiconductors, wholesale and retail banking, utilities, finance, manufacturing, and the public sector.The reader will find here maps and practical structures for observing, acting, and building skills and sensibilities for leading and participating in a wide range of programs, institutions, and worlds
How can we create more inclusive spaces in the field of dance? This book presents a framework for dance practitioners and researchers working in diverse dance cultures to navigate academia and the professional dance field. The framework is based on the idea of "cultural confluences," conjuring up an image of bodies of water meeting and flowing into and past one another, migrating through what the authors refer to as the mainstream and non-mainstream. These streams are fluid categories that are associated with power, privilege, and the ability (or inability) to absorb other cultural forms in shared dance spaces. In reflective interludes and dialogues, Emoghene and Spanos consider the effects of migration on their own individual experiences in dance to understand what it means to carry culture through the body in various spaces. Through an analysis of language, aesthetic values, spaces, creative processes, and archival research practices, the book offers a collaborative model for communicating the value that marginalized dance communities bring to the field. This book will be of great interest to students, scholars, and arts administrators in dance.
From Buenos Aires to Paris to New Orleans, Mike and Barbara Bivona have traveled and danced throughout the world. And in this memoir and travelogue, these two dance aficionados share their adventures and experiences. Ballroom dancers for more than twenty years, the Bivonas have traveled extensively while honing their dancing skills and meeting fellow dancers. Dancing Around the World with Mike and Barbara Bivona provides detailed accounts of their experiences in Argentina, Paris, Hawaii, Italy, the Catskill Mountains of New York, the Caribbean, and South Florida, as well as other destinations. This account not only includes dancing details, but also shares the history and flavor of the exciting locales they have visited. Augmented with photographs, Dancing Around the World with Mike and Barbara Bivona also includes background information on the art of ballroom dancing, a few dance lessons, biographies of select dancers who have performed on the television show Dancing with the Stars, current ballroom dancing philosophy, and information about the intellectual benefits gained from dancing.
Drawing upon a unique and untapped reservoir of newspapers, magazines, novels, government documents, photographs and illustrations, this book traces the origin, pinnacle, and ultimate demise of a commercial dance industry in Shanghai between the end of the First World War and the early years of the People's Republic of China. Delving deep into the world of cabarets, nightclubs, and elite ballrooms that arose in the city in the 1920s and peaked in the 1930s, the book assesses how and why Chinese society incorporated and transformed this westernized world of leisure and entertainment to suit its own tastes and interests. Focusing on the jazzage nightlife of the city in its "golden age," the book examines issues of colonialism and modernity, urban space, sociability and sexuality, and modern Chinese national identity formation in a tumultuous era of war and revolution.
Maxis book is an honest account of the whole Exotic Dance scene, good and bad, written by an insider who loves being an Exotic Dancer and isnt ashamed of her art, her life or her world. Its funny, wry, and candid and includes an excellent history of Exotic Dancing that goes back to Neolithic times.
Dancing the World Smaller examines international dance performances in New York City in the 1940s as sites in which dance artists and audiences contested what it meant to practice globalism in mid-twentieth-century America. Debates over globalism in dance proxied larger cultural struggles over how to realize diversity while honoring difference.