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This study of the Wounded Knee trials demonstrates the impact that legal institutions and the media have on political dissent. Sayer draws on court records, news reports, and interviews to show how both the defense and the prosecution had to respond continually to legal constraints, media coverage, and political events outside the courtroom.
Most of us don't like the word law, or anything resembling it. For the Old Testament people, however, law was something to revere, something to dance with.
This collection is the first book to focus on the intersection of dance, disability, and the law. Bringing together a range of writers from different disciplines, it considers the question of how we value, validate, and speak about diversity in performance practice, with a specific focus on the experience of differently-abled dance artists within the changing world of the arts in the United Kingdom. Contributors address the legal frameworks that support or inhibit the work of disabled dancers and explore factors that affect their full participation, including those related to policy, arts funding, dance criticism, and audience reception.
In a world where No one tells me what to do and I am my own authority, the Ten Commandments quickly find their way to the trash heap. For most of us, the words surrounding law--rule, restriction, regulation, requirement, code, commandment, covenant, must, ought, shall, will--are simply not our favorite words to hear. They are parental words, court words, conflict words. We use them only when we have to; otherwise, we willingly hold them at a distance.But the Old Testament people of God had a different take on law. They took their copy of the law their God had given them, clutched it to their chests, and danced with it. They observed it daily in their relationships and required their young to memorize it. And when a copy of the law had grown ragged and old, they had a special ceremony to retire it. They buried it with all the dignity of a beloved grandparent's body.In Dancing with the Law, author Dan Boone challenges us to, like the ancient people of God, look at law as a sacred gift that points the way to the life God intended. Through his earnest exploration of the Ten Commandments, he offers us a new perspective on law--one that makes us dance with freedom, liberty, and the gift of life.
Describes Diaz's daring undercover effort to stop New York City kingpin Leroy "Nicky" Barnes, describing his infiltration of the dangerous drug operation and sharing details from other front-page cases
Choreographing Copyright is a new historical and cultural analysis of U.S. dance-makers' investment in intellectual property rights. Stretching from the late nineteenth century to the early twenty-first, the book reconstructs efforts to win copyright protection for choreography and teases out their raced and gendered politics, showing how dancers have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power. A number of the artists featured in the book are well-known in the history of American dance, including Loie Fuller, Hanya Holm, and Martha Graham, Agnes de Mille, and George Balanchine. But the book also uncovers a host of marginalized figures--from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane--who were equally interested in positioning themselves as subjects rather than objects of property. Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into the raced and gendered hierarchies that govern the theatrical marketplace, white women's historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the tension between dance's ephemerality and its reproducibility.
We become ourselves through life's encounters: this is the premise of Dancing with Whales, a memoir in fifty-five episodes. The title essay tells how, at age 16, Betsy Burr met a pod of California gray whales surging onto a lonely beach, and danced among them. Over time she learned that rich encounters are everywhere, if we're open to possibilities. Come adventuring with her and see!
Dances and balls appear throughout world literature as venues for young people to meet, flirt, and form relationships, as any reader of Pride and Prejudice, War and Peace, or Romeo and Juliet can attest. The popularity of social dance transcends class, gender, ethnic, and national boundaries. In the context of nineteenth- and twentieth-century Jewish culture, dance offers crucial insights into debates about emancipation and acculturation. While traditional Jewish law prohibits men and women from dancing together, Jewish mixed-sex dancing was understood as the very sign of modernity––and the ultimate boundary transgression. Writers of modern Jewish literature deployed dance scenes as a charged and complex arena for understanding the limits of acculturation, the dangers of ethnic mixing, and the implications of shifting gender norms and marriage patterns, while simultaneously entertaining their readers. In this pioneering study, Sonia Gollance examines the specific literary qualities of dance scenes, while also paying close attention to the broader social implications of Jewish engagement with dance. Combining cultural history with literary analysis and drawing connections to contemporary representations of Jewish social dance, Gollance illustrates how mixed-sex dancing functions as a flexible metaphor for the concerns of Jewish communities in the face of cultural transitions.