And Then We Danced

“Captivating…equal parts memoir and cultural history, Henry Alford seamlessly interweaves heartwarming and hilarious anecdotes about his deep dive into all things dance” (Misty Copeland, The New York Times Book Review). When Henry Alford wrote about his experience with a Zumba class for The New York Times, little did he realize that it was the start of something much bigger. Dance would grow and take on many roles for Henry: exercise, stress reliever, confidence builder, an excuse to travel, a source of ongoing wonder, and—when he dances with Alzheimer’s patients—even a kind of community service. Tackling a wide range of forms (including ballet, hip-hop, jazz, ballroom, tap, contact improvisation, Zumba, swing), Alford’s grand tour takes us through the works and careers of luminaries ranging from Bob Fosse to George Balanchine, Twyla Tharp to Arthur Murray. Rich in insight and humor, Alford mines both personal experience and fascinating cultural history to offer a witty and ultimately moving portrait of how dance can express all things human. And Then We Danced “is in one sense a celebration of hoofer in all its wonder and variety, from abandon to refinement. But it is also history, investigation, memoir, and even, in its smart, sly way, self-help…very funny, but more, it is joyful—a dance all its own” (Vanity Fair).

The Grace of God and the extraordinary world of modern medicine, as well as love, hope and strength made our miracle possible. Each year, we would recall exactly what we were doing when the phone rang that morning. We would reminisce over each incident, right up to the time when the surgery doors swung closed behind him. It was all so remarkable; we never wanted to forget even the smallest detail. And Then We Danced will tell you how two people loved more deeply, drawing from each other's strength as their shared hope became a reality. Along with the miracle, however, came new challenges. Three years after Zann lost her mother to lung disease, she realized it was that experience that would help her prepare for a brand-new challenge. Her husband, who had also been diagnosed with lung disease, began to consider a lung transplant. She knew that, as the primary care giver, she would need an outlet to record the events that would transform their lives. She would need time for quite reflection, so she began writing in a journal. Over the years, Zann wrote hundreds of pages dealing with the treatment, its crises and successes, as well as the ordinary family and social events that fill up our lives, which she shares through her book. Zann currently spends her free time writing, as well as volunteering with Carolina Donor Services and Lung Transplant Patient Support groups. Her professional career includes finance and health insurance.

A gay-rights pioneer shares his stories, from Stonewall to dancing with his husband at the White House, in a memoir full of “funny anecdotes and heart” (Publishers Weekly). On December 11, 1973, Mark Segal disrupted a live broadcast of the CBS Evening News when he sat on the desk directly between the camera and news anchor Walter Cronkite, yelling, “Gays protest CBS prejudice!” He was wrestled to the studio floor by the stagehands on live national television, thus ending LGBT invisibility. But this one victory left many more battles to fight, and creativity was required to find a way to challenge stereotypes. Mark Segal's job, as he saw it, was to show the nation who gay people are: our sons, daughters, fathers, and mothers. This is a memoir of one man’s role in modern LGBT history, from being on the scene of the Stonewall riots, to getting kicked off a 1970s TV show for dancing with another man—and then, decades later, dancing with his husband at a White House event for Gay Pride. “[Segal] vividly describes his firsthand experience as a teenager inside the Stonewall bar during the historic riots, his participation with the Gay Liberation Front, and amusing encounters with Elton John and Patti LaBelle....A jovial yet passionately delivered self-portrait inspiring awareness about LGBT history from one of the movement's true pioneers.”—Kirkus Reviews “The stories are interesting, unexpected, and witty.”—Library Journal “Much this book focuses on his work, but the more telling pages are filled with love gained and lost, raising other people’s children, finding himself, and aging in the gay community. A must-read.”—The Advocate

A reckoning with one of our most beloved art forms, whose past and present are shaped by gender, racial, and class inequities—and a look inside the fight for its future Every day, in dance studios all across America, legions of little children line up at the barre to take ballet class. This time in the studio shapes their lives, instilling lessons about gender, power, bodies, and their place in the world both in and outside of dance. In Turning Pointe, journalist Chloe Angyal captures the intense love for ballet that so many dancers feel, while also grappling with its devastating shortcomings: the power imbalance of an art form performed mostly by women, but dominated by men; the impossible standards of beauty and thinness; and the racism that keeps so many people of color out of ballet. As the rigid traditions of ballet grow increasingly out of step with the modern world, a new generation of dancers is confronting these issues head on, in the studio and on stage. For ballet to survive the twenty-first century and forge a path into a more socially just future, this reckoning is essential.

An eight-year-old is sent to live in a community of widows in India, and finds a new purpose there, in a novel by “a writer of enormous talent” (Newsday). Set in 1938, against the backdrop of Gandhi’s rise to power, Water follows the life of eight-year-old Chuyia, abandoned at a widow’s ashram after the death of her elderly husband. There, she must live in penitence until her death. Unwilling to accept her fate, she becomes a catalyst for change in the widows’ lives. When her friend Kalyani, a beautiful widow-prostitute, falls in love with a young, upper-class Gandhian idealist, the forbidden affair boldly defies Hindu tradition and threatens to undermine the ashram’s delicate balance of power. This riveting look at the lives of widows in colonial India is ultimately a haunting and lyrical story of love, faith, and redemption. “Sidhwa’s humor and compassion glow in Water.” —Houston Chronicle “A deeply moving story, elegantly told, with all the assurance of a master.” —M.G. Vassanji, author of The In-Between World of Vikram Lall

Beauty is Experience is a collaboration between dancer/writer Emmaly Wiederholt and photographer Gregory Bartning. For more than two years, they collected interviews and photographs of dancers over age 50 along the West Coast. Spanning from Los Angeles and the San Francisco Bay Area to Portland and Seattle, the culmination includes over 50 interviews with dancers ranging in age from 50 to 95, and ranging in practice from ballet and Argentine tango to African and contact improvisation.

Bounded by the Great War on one side and by the looming shadow of the Second World War on the other, the inter-war period has characteristically been portrayed as a time of great and unrelenting depression. In Martin Pugh's lively and thought-provoking book, however, the acclaimed historian vividly shows how the British people reacted to the privations of wartime by indulging in leisure and entertainment activities of all kinds - from dancing and cinema going to smoking, football pools and paid holidays. He explodes the myths of a nation of unwed women, revealing that in the 1930s the institution of marriage was reaching its heyday, and points to a rise in real incomes, improvements in diet and health and the spread of cheap luxuries. The result is an extraordinary, engaging work of history that presents us with a fresh perspective and brings out both the strangeness and the familiarity of this point in time.

The Winter We Danced is a vivid collection of writing, poetry, lyrics, art and images from the many diverse voices that make up the past, present, and future of the Idle No More movement. Calling for pathways into healthy, just, equitable and sustainable communities while drawing on a wide-ranging body of narratives, journalism, editorials and creative pieces, this collection consolidates some of the most powerful, creative and insightful moments from the winter we danced and gestures towards next steps in an on-going movement for justice and Indigenous self-determination.