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Ghost Detectives: The Missing Dancer by Emily Mason Pdf
Ghost Detective: The Lost Dancer is brilliant for younger fans of the spy series The Gallagher Girls and also paranormal fiction. Girls of 9+ will love the gentle romance, school friendships and thrilling detective case to be solved. The perfect series for aspiring tweens. Some ghosts are haunted by their past . . . When Abi, Sarah , Hannah and Grace are visited by the ghost of a littl lost girl trying to dance one last time so that her spirit can rest, they jump at the chance to help. But this Ghost Detective case seems to be shrouded in secrets and everywhere they look, people get upset. With clues runing out, can the Ghost Detectives solve the mystery of the missing dancer? Emily Mason is an exciting new Irish author. Her previous book Ghost Detective: The Lost Bride was her debut novel for Puffin. Emily has been a bookworm since she was little. She is now an editor and author but has yet to see any ghosts herself...
The Case of the Missing Morris Dancer by Cathy Ace Pdf
The Women of the WISE Enquiries Agency are back in a witty and intriguing new mystery. The Anwen Morris Dancers are to play a pivotal role in the imminent nuptials of Henry, eighteenth Duke of Chellingworth. But it looks as though the wedding plans might go awry unless Mavis, Annie, Carol and Christine can help Althea, the Dowager Duchess, by finding a missing Morris man and a set of ancient and valuable artefacts in time for her son’s wedding. Anwen-by-Wye might look like an idyllic Welsh village where family values reign and traditions still mean something in a modern world, but what will the WISE women find when they peer behind the respectable net curtains?
When Abi, Sarah and Hannah are visited by the ghost of a little girl whose soul can't rest until she performs one last time, they jump at the chance to help. But this Ghost Detective case seems to be shrouded in secrets.
Wave Dancer is Missing! by M. J. Carr,Jan Carr Pdf
Because of her love for dancing, Wave Dancer fails to follow directions in the school contest, gets herself into trouble, and must be rescued by her team.
Musical Theatre at the Court of Louis XIV by Rebecca Harris-Warrick,Carol G. Marsh Pdf
Le Mariage de la Grosse Cathos, a short ballet performed at the court of Louis XIV, is of major importance to the study of French Baroque dance. This facsimile reproduction of the entire manuscript is accompanied by a comprehensive study of the work itself and the context in which it was created and performed. Dated 1688, it provides a wealth of new and detailed information on numerous aspects of theatrical dance. It differs from the known choreographic sources in many respects, the two most important being the completeness of all its components--choreography, music, and text--and the use of a previously unknown dance notation system.
This is the story of a young boy who wants to be a professional dancer. Surmounting the inevitable obstacles of parental rejection and the advice of guidance counselors, with stakes set against one starting training as late as seventeen, he ventures to New York City in hopes of dancing in West Side Story. Instead, he discovers his true love is Classical Ballet, not Broadway. In his first year with the Joffrey Ballet, he is drafted into the US Army. Changing from dance tights to M-16 rifles, he encounters one of the more remarkable periods of his young life. Miraculously avoiding assignment in Vietnam, he returns to the ballet career that then takes him to twenty-five countries on five continents. Along the way he meets and marries his favorite ballerina, Linda DeBona, and together, they dance the great classical repertoire on the world’s stages, meeting and working with many of the great names in music and dance. Upon becoming a father and changing careers, he sees new opportunities. In his work as an insurance broker, he is able to give back to his former profession in the form of creating a disability insurance product for dancers: a first for the insurance industry and for the professional dance world. A new stage has been set, this time with the audience across the table. Finally, he finds his way back to dance by developing the health club industry’s first adult ballet class. He is back in his element reminding one and all that he is first and Always a Dancer.
The Skill of Our Hands by Steven Brust,Skyler White Pdf
"Secret societies, immortality, murder mysteries and Las Vegas all in one book? Shut up and take my money." —John Scalzi on The Incrementalists The Incrementalists are a secret society of two hundred people—an unbroken lineage reaching back forty thousand years. They cheat death, share lives and memories, and communicate with one another across nations and time. They have an epic history, an almost magical memory, and a very modest mission: to make the world better, a little bit at a time. Now Phil, the Incrementalist whose personality has stayed stable through more incarnations than anyone else’s, has been shot dead. They’ll bring him back—but first they need to know what happened. Their investigation will lead down unexpected paths in Arizona, and bring them up against corruption, racism, and brutality in high and low places alike. But the key may lay in one of Phil’s previous lives, in “Bleeding Kansas” in the late 1850s—and the fate of the passionate abolitionist we remember as John Brown. Steven Brust and Skyler White's The Skill of Our Hands is the thrilling and thought-provoking follow-up to their critically acclaimed The Incrementalists. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
In Choreographing in Color , J. Lorenzo Perillo investigates the development of Filipino popular dance and performance since the late 20th century. Drawing from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers, Perillo shifts attention away from the predominant Philippine neoliberal and U.S. imperialist emphasis on Filipinos as superb mimics, heroic migrants, model minorities, subservient wives, and natural dancers and instead asks: what does it mean for Filipinos to navigate the violent forces of empire and neoliberalism with street dance and Hip-Hop? Employing critical race, feminist, and performance studies, Perillo analyzes the conditions of possibility that gave rise to Filipino dance phenomena across viral, migrant, theatrical, competitive, and diplomatic performance in the Philippines and diaspora. Advocating for serious engagements with the dancing body, Perillo rethinks a staple of Hip-Hop's regulation, the "euphemism," as a mode of social critique for understanding how folks have engaged with both racial histories of colonialism and gendered labor migration. Figures of euphemism - the zombie, hero, robot, and judge - constitute a way of seeing Filipino Hip-Hop as contiguous with a multi-racial repertoire of imperial crossing, thus uncovering the ways Black dance intersects Filipino racialization and reframing the ongoing, contested underdog relationship between Filipinos and U.S. global power. Choreographing in Color therefore reveals how the Filipino dancing body has come to be, paradoxically, both globally recognized and indiscernible.
She’s Gone collects the true stories of five different women living in different decades who all have one thing in common: one moment they were busy living their lives and the next moment … they were gone. From the 1910 disappearance of New York heiress Dorothy Arnold to the 1977 vanishing of teenager Simone Ridinger, author Brunelle details both famous and lesser-known cases that remain unsolved. Board a luxury liner with Agnes Tufverson as she embarks on a European honeymoon before her mysterious 1933 disappearance over the Atlantic; follow Jean Spangler to a famous 1940s Hollywood nightclub as she arrives for a clandestine meeting in a private booth. Due to a strong belief that good girls didn’t disappear, when authorities and family members were presented with missing women in the twentieth century, it was often assumed that they had simply ran away. Most investigations were funded by family members, and when women were found to be the victims of violent crime, they were faulted for placing themselves in dangerous situations. On the rare occasions when authorities investigated cases, they relied on interviews and cash trails in combination with rudimentary forensics such as blood typing and fingerprinting to find missing persons. For those reasons, many of the real stories from this time period have yet to be told. Featuring never-before-seen letters and documents, personal interviews, and genealogical research alongside captivating storytelling, Brunelle delves deep into the lives of those who disappeared and the circumstances surrounding their disappearances. ,
Dance, Modernism, and Modernity by Ramsay Burt,Michael Huxley Pdf
This collection of new essays explores connections between dance, modernism, and modernity by examining the ways in which leading dancers have responded to modernity. Burt and Huxley examine dance examples from a period beginning just before the First World War and extending to the mid-1950s, ranging across not only mainland Europe and the United States but also Africa, the Caribbean, the Pacific Asian region, and the UK. They consider a wide range of artists, including Akarova, Gertrude Colby, Isadora Duncan, Katherine Dunham, Margaret H’Doubler, Hanya Holm, Michio Ito, Kurt Jooss, Wassily Kandinsky, Margaret Morris, Berto Pasuka, Uday Shankar, Antony Tudor, and Mary Wigman. The authors explore dancers’ responses to modernity in various ways, including within the contexts of natural dancing and transnationalism. This collection asks questions about how, in these places and times, dancing developed and responded to the experience of living in modern times, or even came out of an ambivalence about or as a reaction against it. Ideal for students and practitioners of dance and those interested in new modernist studies, Dance, Modernism, and Modernity considers the development of modernism in dance as an interdisciplinary and global phenomenon.
A Dancer's Guide to Getting Work by Jenny Belingy,John Byrne Pdf
If you were born to dance, but are having difficulty with the first steps to stardom, this is the book for you. From finding the right training to getting an agent, from performing in music videos to working on the West End stage, this is a down-to-earth source book of tips that will inspire and encourage beginners and help those already in the profession to take their careers to the next level. Combining years of experience with quotes and advice from many successful names in the business, the authors will help you discover, develop and market your own unique performance style and abilities. With sections on choosing a career path, handling auditions, promoting yourself and managing the business side of your career, this book contains everything you need to achieve your goals.
The Ancient Dancer in the Modern World by Fiona Macintosh Pdf
When the eighteenth-century choreographer Jean-Georges Noverre sought to develop what is now known as modern ballet, he turned to ancient pantomime as his source of inspiration; and when Isadora Duncan and her contemporaries looked for alternatives to the strictures of classical ballet, they looked to ancient Greek vases for models for what they termed 'natural' movement. This is the first book to examine systematically the long history of the impact of ideas about ancient Greek and Roman dance on modern theatrical and choreographic practices. With contributions from eminent classical scholars, dance historians, theatre specialists, modern literary critics, and art historians, as well as from contemporary practitioners, it offers a very wide conspectus on an under-explored but central aspect of classical reception, dance and theatre history, and the history of ideas.
“Who am I? I’m a man; an American, a father, a teacher, but most of all, I am a person who knows how the arts can change lives, because they transformed mine. I was a dancer.” In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations. He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”). We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky; and Pierre Vladimiroff, Pavlova’s partner. D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”). D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.
After solving two mysteries in The Mystery of the Secret Room, the Anderson twins go on a cruise with their parents. After getting settled into their new quarters on the ship, Shelby learns from an elderly English woman that one of the dancers on the ship has gone missing. Shelby informs Daniel, and they visit the English woman, who then asks Shelby and Daniel if they would be willing to look for the missing dancer. Can Shelby and Daniel find the missing dancer before the end of the cruise?
