Back in Husaquahr, the other world, after a brief sojourn on Earth, Joe expected to pick up his life and go on, pretty much the same. He should have known better. To begin with, the evil Dark Baron had managed to escape and had teamed up in the far North with the Master of the Dead. Alone, either was a disaster; together, they were potential catastrophe. There were also some changes for which Joe wasn't prepared. He'd accepted the fact that his beloved Tiana now had the body of an exotic dancer. But then he discovered that she was a slave with a growing slave mindset - and would always be a slave. Worst of all, Joe discovered that there had been some highly unwelcome changes in him. In all literal truth, he could no longer call his soul his own - because it wasn't!
When Kent Nerburn received a letter from Jennifer, a young woman questioning her calling to spend her life in the arts, the writer and artist was struck by how closely her questions mirrored the doubts and yearnings of his own youth. Nerburn resolved that he would write his own letter: a letter of welcome and encouragement to all young artists setting out on the same strange and magical journey, sharing the wisdom of a life spent working in the arts. From struggles with money and the bitterness of rejection, to spiritual questions of inspiration and authenticity, Dancing With the Gods offers insight, solace and courage to help young artists on the winding road to artistic fulfilment. Tender and joyous, it is a celebration of art's power to transform the darkest of human experience and give voice to the grandest of human hopes.
BEYOND THE SEA OF DREAMS Life had not been kind to Joe and Marge. Now, according to the strangers who met them on a road that wasn't there, they were due to die in nineteen minutes, eighteen seconds. But the ferryboat that waited to take them across the Sea of Dreams could bring them to a new and perhaps better life. There lay a world where fairies still danced by moonlight and sorcery became real. Joe could become a mighty-thewed barbarian warrior. Marge could be beautiful and find her magical self. But there was much more than they realised to this strange land. This was a world where Hell still strove to win its ancient war and demon princes sent men into battles of dark magic. It was a world where Joe and Marge must somehow prevent the coming of Armageddon.
This book explores cosmological concepts and ritual actions of the Ga people of southeastern Ghana through case studies of calendrical agricultural rites, social status transition rites, and redressive rites. Based on fieldwork in the 1960s, the essays present descriptive analyses of verbal and non-verbal ritual action.
In Husaquahr, the world of magic beyond the Sea of Dreams, the battle had been won. All seemed peaceful. But Throckmorton P. Ruddygore, master sorcerer, knew better. Far to the south, on the River of Dancing Gods, the Dark Baron plotted with a Demon Prince to wage the final war that would bring about Armageddon. Someone had to make the dangerous trip into the unknown to spy on the conspirators. And so Ruddygore called again on the services of his erstwhile human helpers- Joe, who had become a superbarbarian hero with an enchanted sword, and Marge, now changed to a flying fairy woman. But could two fragile people from the Earth Prime - even with some magic ingredients- survive in this new, bitter struggle to good versus evil?
In this final volume of the Dancing Gods series, Ruddygore and his heroes must face an ancient evil seeping forth from the Sea of Dreams. Long dormant evil is rising to challenge reality as we know it and it will destroy Earth and the magical world of Husaguahr if left to its own devices. The Rules require the Great McGuffin to challenge and stop the evil forces, but McGuffini is lost in Hell and Ruddygore must, once again, depend on the skills Marge and Joe (and Joe's estranged son, Irving).
Throckmorton P. Ruddygore, master wizard, had troubles again - but this time, they were partly of his own making. He'd finally beaten the Dark Baron, stripped him of all magical power, and exiled him from Husaquahr to Earth. But he hadn't counted on the Baron's using a computer there to create even more effective spells. Of course, the Baron couldn't use those spells. But the forces of Hell soon sent him a second-rank wizard who could - and a demon in the cellar to amplify the spells' power. And now the Baron was developing a scheme which would surely result in Armageddon before its time! So once again Marge the fairy and Joe the barbarian were called on to do the dirty work. They had to return to their home world and somehow stop the Baron - if they could...
Time Travel and Tai Chi Chuan are some of the stories involved in this novel. It is short enough for teenagers and children, but long enough for adults to be able to be read in a fair amount of time.
Here is the vibrant, colorful, high-stepping story of tap -- the first comprehensive, fully documented history of a uniquely American art form, exploring all aspects of the intricate musical and social exchange that evolved from Afro-Irish percussive step dances like the jig, gioube, buck-and-wing, and juba to the work of such contemporary tap luminaries as Gregory Hines, Brenda Bufalino, Dianne Walker, and Savion Glover. In Tap Dancing America, Constance Valis Hill, herself an accomplished jazz tap dancer, choreographer, and performance scholar, begins with a dramatic account of a buck dance challenge between Bill "Bojangles" Robinson and Harry Swinton at Brooklyn's Bijou Theatre, on March 30, 1900, and proceeds decade by decade through the 20th century to the present day. She vividly describes tap's musical styles and steps -- from buck-and-wing and ragtime stepping at the turn of the century; jazz tapping to the rhythms of hot jazz, swing, and bebop in the '20s, '30s and '40s; to hip-hop-inflected hitting and hoofing in heels (high and low) from the 1990s right up to today. Tap was long considered "a man's game," and Hill's is the first history to highlight such outstanding female dancers as Ada Overton Walker, Kitty O'Neill, and Alice Whitman, at the turn of the 20th century, as well as the pioneering women composers of the tap renaissance, in the 70s and 80s, and the hard-hitting rhythm-tapping women of the millennium such as Chloe Arnold, Ayodele Casel, Michelle Dorrance, and Dormeshia Sumbry Edwards. Written with uncanny foresight, the book features dancers who have become international touring artists and have performed on Broadway, won Emmy and Tony Awards, and received the prestigious Dance Magazine, Adele and Fred Astaire, and Jacob's Pillow Dance awards. Presented with all the verve and grace of tap itself and drawing on eyewitness accounts of early performances as well as interviews with today's greatest tappers, Tap Dancing America fills a major gap in American dance history and places tap firmly center stage.
In this groundbreaking work, Claude Calame argues that the songs sung by choruses of young girls in ancient Greek poetry are more than literary texts; rather, they functioned as initiatory rituals in Greek cult practices. Using semiotic and anthropologic theory, Calame reconstructs the religious and social institutions surrounding the songs, demonstrating their function in an aesthetic education that permitted the young girls to achieve the stature of womanhood and to be integrated into the adult civic community. This first English edition includes an updated bibliography.
The Dancing Hand of God: Unveiling the Fullness of God through Apostolic Signs, Wonders, and Miracles combines two purposes in each of its two volumes. This first volume begins the journey that will unveil the qualities of God by telling the story of the life of its author, James Maloney, and by exploring the apostolic witness to God. He likens the approach to discovering “a balance between storytelling and teaching” that helps the reader “to turn the face of a hurting world toward God.” This volume of The Dancing Hand of God explores God’s fullness, fatherhood, otherness, acceptance, burden, glory, rule, and availability. Each of the chapters concludes with an outline that lists the main insights offered by each of the sections in the chapter, making the book useful both for one’s personal reflection and for shared conversation. When you take stock of your spiritual life, you might find yourself confronting a series of challenges, such as loneliness, anxiety, and a lack of godliness. The Dancing Hand of God proposes a remedy for these sources of spiritual sickness: a full-contact embrace in the strong and healing hands of God. By learning from James Maloney’s own journey and his studied explorations of the teachings of the faith, you will find the energy to play your part in unveiling God’s fullness through your working of apostolic signs, wonders, and miracles.
Dancing Bodies of Devotion: Fluid Gestures in Bharata Natyam examines how Bharata Natyam, a traditionally Hindu storytelling dance form, moves across religious boundaries through both incorporating choreography on Buddhist, Christian, Muslim, and Jain themes and the pluralistic identities of participants. Dancers traverse religious boundaries by reformulating an aesthetic foundation based on performative rather than solely textual understandings of rasa, conventionally defined as a formula for how to physically craft emotion on stage. Through the ethnographic case studies of this volume, dancers of Bharata Natyam innovatively demonstrate how the rasa of devotion (bhakti rasa), surprisingly absent from classic dance-related texts, serves as the pivotal framework for expanding on their own interreligious thematic and interpretive possibilities. In contemporary Bharata Natyam, bhakti rasa is not just about enhancing religious experience; instead, these dancers choreographically adapt various religious identities and ideas in order to emphasize pluralistic cultural and ethical dimensions in their work. Through the dancing body, multiple religious and secular interpretations fluidly co-exist.
India is a timeless land of dynamic change and huge diversity. The social and political evolution over the centuries has greatly enriched the Indian culture and has given rise to great traditions and heritage. Its glorious history tells the tales of its prosperity despite destruction due to invasion by outside forces. This prosperity shines all over India especially, in palaces, temples and in many other monuments. More spectacular are the ruins of ancient India, which are still surviving to eagerly tell their stories to the patient listeners. The beauty of the sculptures and temple architecture of India are unparalleled; so are its natural beauty and its wild life. This book presents the travel experience of a couple that visits India to rediscover and explore the glorious vistas of the bygone era. They attempt to unravel the marvels of ancient India by digging inio the history, mythology and legends of every place they visit. This book is essentially a collection of travel stories presented in the fashion of a fiction, but with authentic facts and figures. Starting from the capital New Delhi and the exotic Himalayan towns of Haridwar and Hrishikesh, the travel continues to the colourful state of Orissa and then to the historical wonders and the magnificent sites of Karnataka and finally to the fascinating state of Tamil Nadu that gleams with vibrant spirituality around its countless temples. The reader will roam freely in the ruins, in the palaces and among the gorgeous temples with towering gopurams. The classic account of these travels allows the reader to stand up in a place where the present meets the past bridging time and space and surmounting all barriers, and to behold the most impressive evidence of the creative ability of the human mind.
From the bestselling social commentator and cultural historian comes Barbara Ehrenreich's fascinating exploration of one of humanity's oldest traditions: the celebration of communal joy In the acclaimed Blood Rites, Barbara Ehrenreich delved into the origins of our species' attraction to war. Here, she explores the opposite impulse, one that has been so effectively suppressed that we lack even a term for it: the desire for collective joy, historically expressed in ecstatic revels of feasting, costuming, and dancing. Ehrenreich uncovers the origins of communal celebration in human biology and culture. Although sixteenth-century Europeans viewed mass festivities as foreign and "savage," Ehrenreich shows that they were indigenous to the West, from the ancient Greeks' worship of Dionysus to the medieval practice of Christianity as a "danced religion." Ultimately, church officials drove the festivities into the streets, the prelude to widespread reformation: Protestants criminalized carnival, Wahhabist Muslims battled ecstatic Sufism, European colonizers wiped out native dance rites. The elites' fear that such gatherings would undermine social hierarchies was justified: the festive tradition inspired French revolutionary crowds and uprisings from the Caribbean to the American plains. Yet outbreaks of group revelry persist, as Ehrenreich shows, pointing to the 1960s rock-and-roll rebellion and the more recent "carnivalization" of sports. Original, exhilarating, and deeply optimistic, Dancing in the Streets concludes that we are innately social beings, impelled to share our joy and therefore able to envision, even create, a more peaceable future. "Fascinating . . . An admirably lucid, level-headed history of outbreaks of joy from Dionysus to the Grateful Dead."—Terry Eagleton, The Nation