Dancing Peel

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Annette has a scholarship to a prestigious ballet school, where she is taught by the eminent M. Georges Reinholt. Her sudden success dancing at a film studio forces her to choose between film and ballet.

In the twenty-first century, values of competition underpin the free-market economy and aspirations of individual achievement shape the broader social world. Consequently, ideas of winning and losing, success and failure, judgment and worth, influence the dance that we see and do. Across stage, studio, street, and screen, economies of competition impact bodily aesthetics, choreographic strategies, and danced meanings. In formalized competitions, dancers are judged according to industry standards to accumulate social capital and financial gain. Within the capitalist economy, dancing bodies compete to win positions in prestigious companies, while choreographers hustle to secure funding and attract audiences. On the social dance floor, dancers participate in dance-offs that often include unspoken, but nevertheless complex, rules of bodily engagement. And the media attraction to the drama and spectacle of competition regularly plays out in reality television shows, film documentaries, and Hollywood cinema. Drawing upon a diverse collection of dances across history and geography, The Oxford Handbook of Dance and Competition asks how competition affects the presentation and experience of dance and, in response, how dancing bodies negotiate, critique, and resist the aesthetic and social structures of the competition paradigm.

You are invited to "Dancing Along the Needle’s Thread" with Ellen as she sews the fabric of her life together with a rich array of colourful strands. Inspired by her desire for learning and self-understanding, she weaves a personal tapestry with her mother's harrowing story during wartime Germany and her own challenges and triumphs experienced as a middle-age mother diving into university education in Canada. Leaping forward with insights from her doctoral thesis, Ellen creates another "Gesamtkunstwerk"— a work encompassing a diversity of art forms— to explore the nature of Self. Drawing on dance, drama, mythology, art, poetry, literature, and journals, she rediscovers the joy of expressing her truth later in life. Supported once again by the five-movement framework of Hector's Berlioz's "Fantastic Symphony," she embarks on this new journey accompanied by the imagined personifications of Berlioz, Lewis Carroll, and characters from "Alice in Wonderland." Together, we discover an end is a beginning, and meaning is found in their interwoven threads, as Ellen dips into her storied life not only in pursuit of self-knowledge but also on a mission to realize her potential by helping you find yours.

Peel the Banana (with included music CD?see below) is arranged as a sequence of dances and singing games from many traditions that Paul Rosenberg has found to be popular during his years of leading school residencies, family dances and community celebrations. The book provides detailed instructions for each of the dances on the CD, as well as written music (with chords) for all of the tunes. It presents suggested age group (a number of the dances can be taught to children as young as three), formation and notes on each dance which might include background information, teaching tips or variations to make the dance accessible to less experienced or younger dancers. Also included are simple instructions on how to teach the waltz, a list of enrichment activities for the classroom (including a reading list for schoolchildren) and a glossary describing all the dance movements and terms used in the book. For the CD, George Wilson (fiddle, banjo, bass, guitar, percussive feet), Peter Davis (clarinet, guitar, piano, mandolin, pennywhistle) and Paul Rosenberg (recorder) provide wonderful dance-length music for the 20 dances. The collection includes American dances such as the singing square Marching Through Georgia and the Virginia Reel. Other countries represented through their dances are Russia (Sasha), Israel (Zemer Atik), Germany (Kinderpolka) and Denmark (Seven Jumps). There are also dances from Ireland, Belgium, Quebec, England, plus two African-American singing games. For most tracks Paul calls the dance the first two times through. Children are also included singing on several of the cuts.

The twin boys were separated at a young age. Please Don’t Break an Angel’s Heart will take you through the adventures they each encountered as they strived to reunite