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From growing up in the Simpson family to life with O.J. and Nicole, to the days, weeks, and months before and after the murders, this is a true insider's story that only a close family member could tell. Includes 16 pages of never-before-published photos.
With a political agenda foregrounding collaborative practice to promote ethical relations, these individually and joint written essays and interviews discuss dances often with visual art, theatre, film and music, drawing on continental philosophy to explore notions of space, time, identity, sensation, memory and ethics.
This pamphlet discusses the legislative regulation of public dance halls in twenty-eight states. Some of the regulations undertaken by the states include restrictions on attendance, hours of operation, supervision, and regulation of the physical and social conditions of the hall. The author also discusses some of the regulations and ordinances of 100 cities including one from Lincoln, Nebraska that required patrons to keep their bodies at least six inches apart.
This four-volume set LNCS 6761-6764 constitutes the refereed proceedings of the 14th International Conference on Human-Computer Interaction, HCII 2011, held in Orlando, FL, USA in July 2011, jointly with 8 other thematically similar conferences. The revised papers presented were carefully reviewed and selected from numerous submissions. The papers accepted for presentation thoroughly cover the entire field of Human-Computer Interaction, addressing major advances in knowledge and effective use of computers in a variety of application areas. The papers of this volume are organized in topical sections on touch-based and haptic interaction, gaze and gesture-based interaction, voice, natural language and dialogue, novel interaction techniques and devices, and avatars and embodied interaction.
The step-dancing of the Scotch Gaels in Nova Scotia is the last living example of a form of dance that waned following the great emigrations to Canada that ended in 1845. The Scotch Gael has been reported as loving dance, but step-dancing in Scotland had all but disappeared by 1945. One must look to Gaelic Nova Scotia, Cape Breton, and Antigonish County, to find this tradition. Gaelic Cape Breton Step-Dancing, the first study of its kind, gives this art form and the people and culture associated with it the prominence they have long deserved. Gaelic Scotland’s cultural record is by and large pre-literate, and references to dance have had to be sought in Gaelic songs, many of which were transcribed on paper by those who knew their culture might be lost with the decline of their language. The improved Scottish culture depended proudly on the teaching of dancing and the literate learning and transmission of music in accompaniment. Relying on fieldwork in Nova Scotia, and on mentions of dance in Gaelic song and verse in Scotland and Nova Scotia, John Gibson traces the historical roots of step-dancing, particularly the older forms of dancing originating in the Gaelic–speaking Scottish Highlands. He also places the current tradition as a development and part of the much larger British and European percussive dance tradition. With insight collected through written sources, tales, songs, manuscripts, book references, interviews, and conversations, Gaelic Cape Breton Step-Dancing brings an important aspect of Gaelic history to the forefront of cultural debate.
A guide to general dancing skills accompanies sequential photographs and foot-pattern diagrams illustrating the fundamentals of the fox-trot, waltz, cha-cha, tango, polka, and other popular ballroom dances.
Dancing from the Heart is the first study of gender, globalization, and expressive culture in the Cook Islands. It demonstrates how dance in particular plays a key role in articulating the overlapping local, regional, and transnational agendas of Cook Islanders. Kalissa Alexeyeff reconfigures conventional views of globalization’s impact on indigenous communities, moving beyond diagnoses of cultural erosion and contamination to a grounded exploration of creative agency and vital cultural production. Central to the study is a rich and textured ethnographic account of contemporary Cook Islands dance practice. Based on fieldwork, in-depth interviews, and archival research, it offers an engrossing analysis of how Cook Islands social life is generated through expressive practices. Dance is explored in a variety of settings, including beauty pageants, tourist venues, nightclubs and community celebrations at home and within Cook Islands communities abroad. Contemporary Cook Islands dance practices are also shaped by competing ideas about the past. Debates about precolonial traditions, missionization, and colonialism pervade discussions about dance and expressive culture. Alexeyeff shows how the politics of tradition reflect the competing moral, political, personal, and economic practices of postcolonial Cook Islanders. Throughout the work the stories and voices of individuals are brought to the fore. Their views are juxtaposed with scholarship on tradition, modernity, and social dynamics. Engaging and accessible, Dancing from the Heart illuminates specific and intimate aspects of Cook Islands social life while, at the same time, addressing fundamental questions within anthropology and indigenous, performance, and postcolonial studies.