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This is a collection of spiritually uplifting and sometimes life-wrenching realities within romantic poems, sermons, prayers, prose, and essays that are all crafted and carefully designed to uplift your soul.
The only book of its kind, this anthology of poems about dance puts forward several interrelated ideas: that poetry is itself a form that resembles dance, that the difficulties of writing about dance in prose are avoided in poetry, and that dance is a "language" that crosses cultures and centuries. Selections include Leonard Cohen's "Last Dance at the Four Penny," Babette Deutsche's "Ballet School," Li-Po's "Dancing Girl," Howard Nemerov's "The Dancer's Reply," Arthur Rimbaud's "Gibbet Dance," Anne Sexton's "How We Danced," and Yevgeny Yevtushenko's "Doing the Twist on Nails." Short profiles of the poets and sources for their poems are also included.
Girls Are Coming Out of the Woods is Tishani Doshi's third collection, following two earlier, highly praised collections, Everything Belongs Elsewhere, published by Bloodaxe in 2012, and her debut, Countries of the Body, winner of the Forward Prize for best first collection. Poetry Book Society Recommendation shortlisted for the Ted Hughes Prize.
An irresistible book of poems about dancing that mimic the rhythms of social dances from cha-cha to two-step, by the acclaimed author of Mirror Mirror Marilyn Singer has crafted a vibrant collection of poems celebrating all forms of social dance from samba and salsa to tango and hip-hop. The rhythm of each poem mimics the beat of the dances’ steps. Together with Kristi Valiant’s dynamic illustrations, the poems create a window to all the ways dance enters our lives and exists throughout many cultures. This ingenious collection will inspire readers to get up and move! Included with the e-book is an audio recording of the author reading each poem accompanied by original music.
In her first posthumous work, the revered poet crafts a personal history of Black dance and captures the careers of legendary dancers along with her own rhythmic beginnings. Many learned of Ntozake Shange’s ability to blend movement with words when her acclaimed choreopoem for colored girls who have considered suicide/when the rainbow is enuf made its way to Broadway in 1976, eventually winning an Obie Award the following year. But before she found fame as a writer, poet, performer, dancer, and storyteller, she was an untrained student who found her footing in others’ classrooms. Dance We Do is a tribute to those who taught her and her passion for rhythm, movement, and dance. After 20 years of research, writing, and devotion, Ntozake Shange tells her history of Black dance through a series of portraits of the dancers who trained her, moved with her, and inspired her to share the power of the Black body with her audience. Shange celebrates and honors the contributions of the often unrecognized pioneers who continued the path Katherine Dunham paved through the twentieth century. Dance We Do features a stunning photo insert along with personal interviews with Mickey Davidson, Halifu Osumare, Camille Brown, and Dianne McIntyre. In what is now one of her final works, Ntozake Shange welcomes the reader into the world she loved best.
A Girl Called Rumi, Ari Honarvar’s debut novel, weaves a captivating tale of survival, redemption, and the power of storytelling. Kimia, a successful spiritual advisor whose Iranian childhood continues to haunt her, collides with a mysterious giant bird in her mother’s California garage. She begins reliving her experience as a nine-year-old girl in war-torn Iran, including her friendship with a mystical storyteller who led her through the mythic Seven Valleys of Love. Grappling with her unresolved past, Kimia agrees to accompany her ailing mother back to Iran, only to arrive in the midst of the Green Uprising in the streets. Against the backdrop of the election protests, Kimia begins to unravel the secrets of the night that broke her mother and produced a dangerous enemy. As past and present collide, she must choose between running away again or completing her unfinished journey through the Valley of Death to save her brother.
Krysada Panusith Phounsiri's debut book of original poetry, Dance Among Elephants, is at turns intimate and interrogative, interested in unpacking the many layers of his family's journey from Laos to the United States and around the world. Through the author's photography and poetry, Dance Among Elephants explores the elusive history of the Laotian Diaspora and the challenge of identity politics, ideology, and the music of relationships between families and communities rebuilding their lives. As the Lao mark 40 years in the United States since the end of the conflict in 1975, this energetic new collection dances into its future with profound introspection, elegance, honesty and hope.
A celebration in verse of the silent poetry of dance and the dancer, this anthology features a dizzying range of subjects: Chinese dagger dances and Hindu festival dances, belly dancers and whirling dervishes, high school proms and wedding waltzes, tango, tarantella, flamenco, modern dance, reels and jigs, disco, and ballet. Some of the world’s most famous choreographers and dancers move through the poems gathered here: from Nijinsky and Pavlova to Gene Kelly and Fred Astaire, from Isadora Duncan to George Balanchine and Martha Graham, from Bojangles to Baryshnikov. The work of more than 150 poets—including Shakespeare, Milton, Hafiz, Rumi, Li Po, Rilke, Rimbaud, Lorca, Akhmatova, Whitman, Dickinson, Cummings, Eliot, and Merrill—reflects the grace, the drama, the expressive power, and the sheer joy to be found in dance around the world and through the ages.
Within the newly thriving field of ancient Greek and Roman performance and dance studies, The Anatomy of Dance Discourse offers a fresh and original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period and explores the conceptualization of dance across an array of different texts, from Plutarch and Lucian of Samosata, to the apocryphal Acts of John, Longus, and Apuleius. The volume is divided into two Parts: while the second Part discusses ekphraseis of dance performance in prose and poetry of the Roman imperial period, the first delves more deeply into an examination of how both philosophical and literary treatments of dance interacted with other areas of cultural expression, whether language and poetry, rhetoric and art, or philosophy and religion. Its distinctive contribution lies in this juxtaposition of ancient theorizations of dance and philosophical analyses of the medium with literary depictions of dance scenes and performances, and it attends not only to the highly encoded genre of pantomime, which dominated the stage in the Roman empire, but also to acrobatic, non-representational dances. This twofold nature of dance sparked highly sophisticated reflections on the relationship between dance and meaning in the ancient world, and the volume defends the novel claim that in the imperial period it became more and more palpable that dance, unlike painting or sculpture, could be representational or not a performance of nothing but itself. It argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing, and that its way to cognition and action is physical experience.
The Vacanas Or Free-Verse Lyrics Written By Four Major Saints Of The Great Bhakti Protest Movement Which Originated In The Tenth Century Ad. Composed In Kannada, A Dravidian Language Of South India, The Poems Are Lyrical Expressions Of Love For The God Siva. They Mirror The Urge To Bypass Tradition And Ritual, To Concentrate On The Subject Rather Than The Object Of Worship, And To Express Kinship With All Living Things In Moving Terms. Passionate, Personal, Fiercely Monotheistic, These Free Verses Possess An Appeal, Which Is Timeless And Universal.