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Mark Nwagwu’s My Eyes Dance is a novel of character and a novel of ideas. The character around whom most of the action accretes is Chioma Ijeoma, and the ideas surrounding most of the themes are about African ancestor worship and its attendant idea of totemism. Chioma, a great grand daughter of Pa Akadike of Okeosisi becomes the carrier of the ancestral genes by receiving an ancestral ‘walking stick’ that has a mind of its own and tries to influence Chioma’s actions at important moments in her life. The totem becomes Chioma’s alter ego, the projection of her life-drive which keeps her in contact with her profession and her society.
In the ruins of an old parking garage, there is an effigy lashed to a pillar. To anyone else, the remains of the woman with the goat skull head is a warning. To a lonely young boy looking for escape, it is a god of salvation. At its feet lay tattered old notebooks, scattered stories, tales of strange encounters, of broken people and monstrous things, and of corrupt hearts and evil minds. In order to complete his transfiguration, the boy must read these stories, but he has no idea the fate that awaits him. WE LIVE INSIDE YOUR EYES is the much anticipated new collection from Bram Stoker Award-winning horror author Kealan Patrick Burke, featuring previously uncollected stories and a brand new tale written especially for this collection, the short story "You Have Nothing to Fear From Me". With an introduction and story notes by the author.
Through the Eyes of a Dancer compiles the writings of noted dance critic and editor Wendy Perron. In pieces for The SoHo Weekly News, Village Voice, The New York Times, and Dance Magazine, Perron limns the larger aesthetic and theoretical shifts in the dance world since the 1960s. She surveys a wide range of styles and genres, from downtown experimental performance to ballets at the Metropolitan Opera House. In opinion pieces, interviews, reviews, brief memoirs, blog posts, and contemplations on the choreographic process, she gives readers an up-close, personalized look at dancing as an art form. Dancers, choreographers, teachers, college dance students—and anyone interested in the intersection between dance and journalism—will find Perron's probing and insightful writings inspiring. Through the Eyes of a Dancer is a nuanced microcosm of dance's recent globalization and modernization that also provides an opportunity for new dancers to look back on the traditions and styles that preceded their own.
Holly and Heather share their story and help to walk the reader through the painful yet necessary healing process for when life deals us its harshest blows. Dancing on my ashes soothes and empathizes with the broken heart, while sharing the truth of scripture, and the hope that comes from the heart of God.
This is a book about the body and movement, about imagination and health. It is a collage of stories, voices and activities from artists, patients and health practitioners who work in the growing field of arts in health. The arts have long played a role in medicine and there is a substantial body of evidence of the potency of arts practice in strengthening a person1s resources and capacity for well-being. While the work described here is sourced in the body and movement, it is not written only for people with a dance background. Being able to listen creatively to the body offers much in how we are able to look after ourselves. Practitioners from many backgrounds come into this field of work and will find something of interest in this text. As benefits a book dealing with the arts and the imagination, it sets out to inspire rather than to teach, to offer windows into practice, and to convey something of what it is like to work in this field.
The first authoritative history of tap dancing, one of the great art forms—along with jazz and musical comedy—created in America. Finalist for the National Book Critics Circle Award in Nonfiction Winner of Anisfield-Wolf Book Award An Economist Best Book of 2015 What the Eye Hears offers an authoritative account of the great American art of tap dancing. Brian Seibert, a dance critic for The New York Times, begins by exploring tap’s origins as a hybrid of the jig and clog dancing and dances brought from Africa by slaves. He tracks tap’s transfer to the stage through blackface minstrelsy and charts its growth as a cousin to jazz in the vaudeville circuits. Seibert chronicles tap’s spread to ubiquity on Broadway and in Hollywood, analyzes its decline after World War II, and celebrates its rediscovery and reinvention by new generations of American and international performers. In the process, we discover how the history of tap dancing is central to any meaningful account of American popular culture. This is a story with a huge cast of characters, from Master Juba through Bill Robinson and Shirley Temple, Fred Astaire and Ginger Rogers, and Gene Kelly and Paul Draper to Gregory Hines and Savion Glover. Seibert traces the stylistic development of tap through individual practitioners and illuminates the cultural exchange between blacks and whites, the interplay of imitation and theft, as well as the moving story of African Americans in show business, wielding enormous influence as they grapple with the pain and pride of a complicated legacy. What the Eye Hears teaches us to see and hear the entire history of tap in its every step. “Tap is America’s great contribution to dance, and Brian Seibert’s book gives us—at last!—a full-scale (and lively) history of its roots, its development, and its glorious achievements. An essential book!” —Robert Gottlieb, dance critic for The New York Observer and editor of Reading Dance “What the Eye Hears not only tells you all you wanted to know about tap dancing; it tells you what you never realized you needed to know. . . . And he recounts all this in an easygoing style, providing vibrant descriptions of the dancing itself and illuminating commentary by those masters who could make a floor sing.” —Deborah Jowitt, author of Jerome Robbins: His Life, His Theater, His Dance and Time and the Dancing Image
Quarrymen dig, so I opened my bloodline and did just that. And I exhumed all the words I could not say. Or face. The epiphany to excavate myself came one morning around 4 a.m., when I typically have my most honest moments. It was not a bolt of lightning but rather a spark. In the receding silky darkness, I laid in dynamite, struck a match, and blasted my comfortable and confining crypt to hell, a trail of teeth, shards, and shrapnel, my result. And I kept digging, frantically. I was living a subterranean life—the faces, the voices, the eyes, and their heavy breathing jangled angry, a mountain of pennies in my lungs. Breathing was labor.The practice of burying me was methodical, mechanical. The only exchanges I was having were with myself. I was a cluttered labyrinth with no distinguishable door nor window, a seamless box, nested in countless boxes, fashioned by my careful hands, padlocked, and plunged into a hole, paved shut. Like a hoarders’ heaven (haven), I collected and stacked and cataloged exchanges, unwritten letters, tender tidings, retorts, tirades, confessions, and gory screeds. A lifetime’s worth, or so it seemed. And now I rise, each page of this book a slug of new air. Fresh, above ground.
In these essays, dancers and scholars from around the world carefully consider the transformation of an improvised folk form from North Africa and the Middle East into a popular global dance practice. They explore the differences between the solo improvisational forms of North Africa and the Middle East, often referred to as raqs sharki, which are part of family celebrations, and the numerous globalized versions of this dance form, belly dance, derived from the movement vocabulary of North Africa and the Middle East but with a variety of performance styles distinct from its site of origin. Local versions of belly dance have grown and changed along with the role that dance plays in the community. The global evolution of belly dance is an inspiring example of the interplay of imagination, the internet and the social forces of local communities. All royalties are being donated to Women for Women International, an organization dedicated to supporting women survivors of war through economic, health, and social education programs. The contributors are proud to provide continuing sponsorship to such a worthwhile and necessary cause.
This is a brilliant and revelatory first novel by a woman who is both an Arab and an American, who speaks with both voices and understands both worlds. Through the narratives of four cousins at the brink of maturity, Laila Halaby immerses her readers in the lives, friendships, and loves of girls struggling with national, ethnic, and sexual identities. Mawal is the stable one, living steeped in the security of Palestinian traditions in the West Bank. Hala is torn between two worlds-in love in Jordan, drawn back to the world she has come to love in Arizona. Khadija is terrified by the sexual freedom of her American friends, but scarred, both literally and figuratively, by her father's abusive behavior. Soraya is lost in trying to forge an acceptable life in a foreign yet familiar land, in love with her own uncle, and unable to navigate the fast culture of California youth. Interweaving their stories, allowing us to see each cousin from multiple points of view, Halaby creates a compelling and entirely original story, a window into the rich and complicated Arab world.
Laurie Berkner, “the queen of children’s music” (People), pairs the lyrics of her infectious hit song with Ben Clanton’s whimsical illustrations in this groovy and adorable picture book—a must-have for fans of Laurie, dancing, and all things monstrous! I’m the biggest monster that you’ve ever seen! My eyes are purple and my teeth are green. I’m big and I’m scary, you know what I mean? And this is what I like to do… Boogie away those bedtime fears and embrace your inner monster with Monster Boogie, based on Laurie Berkner’s irresistibly fun song and featuring lively, playful artwork by Ben Clanton! I do the monster boogie. So can you! Rraaaahhh!