Fat Girls Don T Dance

Blending theatre, storytelling and killer moves, spoken word artist Maria Ferguson explores her relationship with the F-word (food) with the help of her first love (dance). Questioning how we all look at size, Fat Girls Don't Dance takes us in to the world of performance, where three meals a day is up for compromise and skinny sells well. NB: There will be cake

A fifth grade class, repelled by the overweight new student who has serious home problems, finally learns to accept her.

George Plimpton's follow-up to Paper Lion, one of his personal favorites among his classic books -- repackaged and including a foreword from Steve Almond and never-before-seen content from the Plimpton archives. In Mad Ducks and Bears, George Plimpton's engaging companion to Paper Lion, Plimpton focuses on two of the most entertaining and roguish linemen and former teammates -- Alex Karras ("Mad Ducks") and John Gordy ("Bears"), both of whom went on to achieve brilliant post-football success. A more reflective, less madcap book than Plimpton's other work, Mad Ducks and Bears is no less truthful and searching. In this fond exploration of football's values and follies, Plimpton rejoins his two teammates to discuss their careers in this brutal but captivating game. The result is an astute exploration into the fascinating lives and motivations of the players at home, in the locker room, and on the field.

Marina has spent most of her adult life on a diet. And although big girls aren't supposed to cry, in Marina's experience, they don't have much fun either. But when scientist David Sandhurst invites her to enrol in a test for a miracle weight-loss drug, Marina thinks her prayers have been answered. Soon enough, Marina discovers that she's losing those excess pounds and gaining confidence. She's waving goodbye to her hips and hello to an exciting social life - and a whole new set of problems . . .

In Guinea’s capital city of Conakry, dance is everywhere. Most neighborhoods boast at least one dance troupe, and members of those troupes animate the city’s major rites of passage and social events. In Infinite Repertoire, Adrienne Cohen shows how dance became such a prominent—even infrastructural—feature of city life in Guinea, and tells a surprising story of the rise of creative practice under a political regime known for its authoritarianism and violent excesses. Guinea’s socialist state, which was in power from 1958 to 1984, used staged African dance or “ballet” strategically as a political tool, in part by tapping into indigenous conceptualizations of artisans as powerful figures capable of transforming the social fabric through their manipulation of vital energy. Far from dying with the socialist revolution, Guinean ballet continued to thrive in Conakry after economic liberalization in the 1980s, with its connection to transformative power retrofitted for a market economy and a rapidly expanding city. Infinite Repertoire follows young dancers and percussionists in Conakry as they invest in the present—using their bodies to build a creative urban environment and to perform and redefine social norms and political subjectivities passed down from the socialist generation before them. Cohen’s inventive ethnography weaves the political with the aesthetic, placing dance at the center of a story about dramatic political change and youthful resourcefulness in one of the least-studied cities on the African continent.

Thoughts I've been carrying around for 45 years have finally come out in a constructive fashion.

“Essex Girl: a young working-class woman from the Essex area, typically considered as being unintelligent, materialistic, devoid of taste and sexually promiscuous.” – Collins English Dictionary Kirsty is a sixteen-year-old girl growing up in '00s Brentwood. She likes WKD, Elton John, Pie & Mash and Charlie Red body spray. She's on a quest to win Sexy Ricky's heart and pass her GCSEs. She also has a secret to tell you. One she can't tell anyone else. Follow Kirsty's story through the house parties and Irish pubs of Essex. From West Ham matches to choir practice, pre-drinks to registration, she will tell you what it's really like to be an Essex Girl.

Spoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK – its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique. Drawing together a wide range of authors including scholars, critics, and practitioners, each chapter gives a new perspective on performance poetics. The six sections of the book cover the essential elements of understanding the form and discuss how this key aspect of contemporary performance can be analysed stylistically, how its development fits into the context of performance in the UK, the ways in which its performers reach and engage with their audiences, and its place in the education system. Each chapter is a case study of one key aspect, example, or context of spoken word performance, combining to make the most wide-ranging account of this form of performance currently available. This is a crucial and ground-breaking companion for those studying or teaching spoken word performance, as well as scholars and researchers across the fields of theatre and performance studies, literary studies, and cultural studies.