Dancing Bare

Poetry which writes about the fear and wonder of being human. Each poem has a refreshingly sparse, direct-to-the-point character... edgy cutting verse.

At a young age, Sandy Lewis and Mark Matthews were gifted with psychic powers. Together, they now form a team of covert government operatives that can easily infiltrate any crime ring. As their abilities have developed, they have become further and further immersed as in their roles as agents. Their newest case takes them to the world of a Colombian drug cartel. Their job is to get close to the syndicate’s don, discover his secrets, and bring him down. Sandy will pose as a go-go dancer in a gentleman’s club frequented by the don; Mark, operating as a DEA agent, will go undercover to keep Sandy safe. Soon, however, they realize they might be in over their heads. The true nature of the don shocks them. They are no longer battling drugs; it appears they are facing an international terrorist attack. Sandy and Mark are the only people with the knowledge and psychic skills to stop the horrific destruction that has been planned. In this the sequel to The Bee Charmer, a young couple pursuing criminals using their mind bending psychic powers become immersed in the danger of international terrorism.

A comprehensive handbook to one of the most satisfying forms of exercise available to women shows readers how to turn this ancient dance technique into a workout, covering the physical as well as spiritual dimensions of belly dancing. Original.

The Modernist World is an accessible yet cutting edge volume which redraws the boundaries and connections among interdisciplinary and transnational modernisms. The 61 new essays address literature, visual arts, theatre, dance, architecture, music, film, and intellectual currents. The book also examines modernist histories and practices around the globe, including East and Southeast Asia, South Asia, Sub-Saharan Africa, Australia and Oceania, Europe, Latin America, the Middle East and the Arab World, as well as the United States and Canada. A detailed introduction provides an overview of the scholarly terrain, and highlights different themes and concerns that emerge in the volume. The Modernist World is essential reading for those new to the subject as well as more advanced scholars in the area – offering clear introductions alongside new and refreshing insights.

Reading this book is like falling through a faultline, as we respond to poesis, both as poetry and as thought creation. Margaret Somerville attended the 1984 Pine Gap Women's Peace Camp where urban women and Aboriginal women demonstrated against military bases. As she moved through the landscape of this and other very different places, she recorded her interactions: with Aboriginal women in the desert in the mountains and at home, and with white women in the tropics and at home. It is a thoughtful challenge of all that we think. She concludes with reflections on the architecture of love.

This is an extraordinary autobiography of a young girl growing up in Iran. The daughter of an English Christian mother and an Iranian Zoroastrian father, Nesta Ramazani sketches her personal life story against the backdrop of a society marked by the fusion of Iranian, Islamic, and Western cultures, and by the efforts of an authoritarian state to force modernization on a traditional society. Within this multicultural tapestry of personal, cultural, and national life, the author portrays how she came to love Persian and Western music, poetry, and dance. But translating this love into practice seemed an insurmountable task until an American woman pioneered the establishment of the first indigenous Iranian ballet company. As a member of this troupe, the author violated convention, performing first in her native land and then traveling abroad to exhibit this beautiful synthesis of Persian/Western forms to foreign audiences. The significance of this work transcends an autobiography penned by an Iranian woman—still a taboo in traditional Iranian society—it is a unique microcosm of today’s universal quest for a dialogue among civilizations. Ramazani’s story will appeal not only to students of Iran, the Middle East, and women’s studies, but also to general readers.

The Nazis burned books and banned much modern art. However, few people know the fascinating story of German modern dance, which was the great exception. Modern expressive dance found favor with the regime and especially with the infamous Dr. Joseph Goebbels, the Minister of Propaganda. How modern artists collaborated with Nazism reveals an important aspect of modernism, uncovers the bizarre bureaucracy which controlled culture and tells the histories of great figures who became enthusiastic Nazis and lied about it later. The book offers three perspectives: the dancer Lilian Karina writes her very vivid personal story of dancing in interwar Germany; the dance historian Marion Kant gives a systematic account of the interaction of modern dance and the totalitarian state, and a documentary appendix provides a glimpse into the twisted reality created by Nazi racism, pedantic bureaucrats and artistic ambition.

1968 looks like it'll be a pretty good year for Jaynell Lambert. The town's going to pave the dirt road she lives on, her girly-girl sister, Racine, isn't driving her completely crazy, and Grandpap has just moved in with his new emerald green Cadillac convertible. Jaynell and Grandpap have something special. But why won't Grandpap tell her the reason he visits with the dirt-poor Pickens family on the other side of town? When Jaynell finds out Grandpap's secret, the legacy of an old man transforms a family, and a town. "At once gritty and poetic, stark and sentimental . . . a solid page turner. Holt once again displays her remarkable gift."(School Library Journal, starred review)

The Zuni Mountains have over 360,000 acres of pristine wilderness. The volcanic area of the El Malpais National Monument is riddled with great, black lava flows, caves, and lava tubes. The El Morro National Monument has writings from ancient peoples flowing backward into time, early Spanish explorers, and later American explorers near a precious pool of deep water hidden beneath towering cliffs. Throughout Plateaus, mesas. cliffs, canyons, and small mountain peaks is the pygmy forest of pinon and juniper trees interspersed with pines and towering Ponderosa pines with their red bark and straight trunks. The continental divide rises and falls as it winds its way north to the great Rocky Mountains. A polygot of peoples, Zuni, Pueblo, Navajo, Spanish, and the various ethnicities of Anglos make the Zuni Mountains home. Not all of the poems in this anthology are about the Zuni Mountains. The poets come from different places and different cultures, but the Zuni Mountains are in all the poems in this volume. Some of the poems capture the beauty of New Mexico sunlight that enlightens the human spirit in a way that sunlight in other places does not. Some are caught up by the mourning, laughter, sadness, comedy, tragedy, and endless stories that arise out of individuals living individual lives. Zuni Mountain country is not always an easy country. The trails through ancient volcanic flows frozen into black stone can challenge the most experienced hiker. You can be walking along a ridge and suddenly become aware that a mountain lion is watching you from a sandstone outcropping above your head. But it is a beautiful, wild place where horses can still find grass in green summer meadows and elk and antelope grace Mother Earth with the fluidity of movement and magnificence of the elk's rack of horns. The poetry in this volume arises from the Zuni Mountains, and, as such, is as dynamic, interesting, and beautiful as the country from which it comes."

"Racy scholarship does the Grizzly Bear here with theoretical rigor." —William Lhamon, author of Raising Cain Everybody’s Doin’ It is the eye-opening story of popular music’s seventy-year rise in the brothels, dance halls, and dives of New York City. It traces the birth of popular music, including ragtime and jazz, to convivial meeting places for sex, drink, music, and dance. Whether coming from a single piano player or a small band, live music was a nightly feature in New York’s spirited dives, where men and women, often black and white, mingled freely—to the horror of the elite. This rollicking demimonde drove the development of an energetic dance music that would soon span the world. The Virginia Minstrels, Juba, Stephen Foster, Irving Berlin and his hit “Alexander’s Ragtime Band,” and the Original Dixieland Jass Band all played a part in popularizing startling new sounds. Musicologist Dale Cockrell recreates this ephemeral underground world by mining tabloids, newspapers, court records of police busts, lurid exposés, journals, and the reports of undercover detectives working for social-reform organizations, who were sent in to gather evidence against such low-life places. Everybody’s Doin’ It illuminates the how, why, and where of America’s popular music and its buoyant journey from the dangerous Five Points of downtown to the interracial black and tans of Harlem.

The creation of this work is an invitation to step into the world of the dancer and vicariously experience the passion and motivation for the dance arts. This book’s focus centers on the power and spirituality of the dance told through the life stories of two dance artists, Magda and Gertrud Hahn. This work additionally invites the reader to celebrate the sublime and nuanced inner and outer experiences achieved through dancing. Foremost, in these pages you will accompany two sisters, who faced many challenges throughout their lives, but were sustained and inspired by their love of dance. The Hanova School of Modern Studies in Body Sculpture and the Classical Dance occurred throughout the twentieth century on three continents around the world and may be largely forgotten, but a record of the Hahn sisters’ lives may be seen as one of many important personal narratives to be read in order to understand the history and formation of the modern dance we enjoy today.

Through an analysis both broad and deep of primary and secondary sources, ethnography, iconography and current performance practice, this enquiry undertakes a critical approach to the history of kathak dance and presents new data about hereditary performing artists, gendered contexts and practices, and postcolonial cultural reclamation. The account that emerges places kathak and the Kathaks firmly into the living context of North Indian performing arts.