Living Dande

Plain and simple, to the pint, helpful for meal planning, with lots of healthful suggestions. There are so many obvious reasons dandelions are so prevalent, available for our use in nature. They are not here just to tick us off, they're there for a reason. If the universe provides for the birds why would it not for us! I have compiled over 200 tasty recipes you can use in everyday life. Dandelions help increase metabolism, boost your immune system, offer body detoxification for overall health improvement. Dandelions are still free. You should go green, everybody else is. Environmentally this makes good sense. Grocery bills would be cheaper. You could clear your garden and yard, without chemicals and actually use them for something good. Don't forget they reseed. Fresh local, picked and cleaned, put in the crisper of your fridge. Ready to use in your favorite recipes, or mix in with your modern greens.In these recipes you will find a variety of vegetarian and meat alternative protein, and ways to use the whole plant. Dandelions suppress cravings, level blood sugar, ease starvation, increase libido, reverse again by increasing nutrients. Dandelions assist with elimination, detoxification and its a natural diuretic. The stem of the dandelion is like celery, stringy, and it balls up like a pot scratcher and when it passes through the small intestine, it works to clean it. Dandelions aid in prevention and elimination of many ailments and diseases. health and wellness is a global issue. My grandfather used to say if you haven't got your health you don't have anything.

The role of the hybrid artist-educator in schools and communities over the past fifty years has evolved significantly. Although education reform and political pressures during the last five decades have frequently interrupted steady and sustained arts education programming in the United States-especially in theatre and dance-the teaching artist today performs an important role in numerous educational contexts. Over the past fifteen years, the work of teaching artists has received growing professional attention and research: the Association of Teaching Artists (ATA) was founded in 1998 to support, advocate for, strengthen and serve the teaching artist profession. This volume, focused on teaching artists in dance and theatre disciplines, expands this developing area of inquiry and reveals topographies for teaching in and through these arts disciplines that have, until this text, been examined separately. Directed toward the last decade's growth and professionalization, the book asks: where and how is teaching artistry in dance and theatre happening? What is guiding, supporting, or complicating the work of teaching artists in dance and theatre arts today? What training and preparation do teaching artists receive? How do teaching artists effectively address the cultural diversity of the communities they serve? What are the political and economic influences that impact the work and delivery of teaching artistry? What has been learned on a large scale about the hybrid lives and work of teaching artists in dance and theatre arts? In sum, what is the status of the teaching artist today? This book examines pedagogical, artistic, and professional issues for two performing arts disciplines by using the voices and experiences of each form's practitioners and those who prepare them.

Life expectancy worldwide increased by thirty years in the twentieth century. Even so, many soon-to-be retirees dont expect to live decades beyond eighty. They typically havent thought much about what their lives will be like after retirement, except to be glad to be done with rising at the break of dawn, punching time clocks, and fighting crowds on lanes or trains. But after two or three years of retirement, the days become dull, and their bodies become listless. In contrast, other retirees engaged with the world are seeking out fulfilling projects and programs. These people are looking for things to doways to use their newfound years to fulfill old dreams. Once they did, they did not describe life as a half full (or half empty) bucket; they needed two buckets to hold the summation of their lives! These are the people who inspired the writing of Dance until the Music Stops. With personal experiences, research, anecdotes, insights, and humor, author Esther C. Gropper developed this guide to help seniors enjoy their retirement and learn the whats what of extended life.

This book contains inspirational insights gleaned from Hozuhnis varied world experiences about applying the powers of awareness and positive intention to the stress and challenges of modern life, along with practical instructions for using the ancient art of exotic belly dance for creative transformation of body, mind and spirit. It includes stepby- step instructions, enlightening interpretations, and many delightful illustrations. Particularly unique are the authors correlations of esoteric systems such as the energy chakras and the Chinese placement art of Feng Shui with expressive dance.

This volume brings a critical lens to dance and culture within North East India. Through case studies, first-hand accounts, and interviews, it explores unique folk dances of Indigenous communities of North East India that reflect diverse journeys, lifestyles, and connections within their ethnic groups, marking almost every ritual and festival. Dance for people of North East India, as elsewhere, is also a way of declaring, establishing, celebrating, and asserting humans' relationship with nature. The book draws attention to the origins and special circumstances of dances from North East India. It discusses a range of important folk-dance forms alongside classical dance forms in North East India, with a focus on Sattriya dance. The chapters examine how these dance forms play an important role in the region’s socio-cultural, economic, and political life, intertwining religion and the arts through music, dance, and drama. Further, they also explore how folk dance cultures in North East India have never been relegated to the background, never considered secondary, aesthetically, or otherwise, but have become expressions of political and cultural identity. An evocative work, this volume will be of interest to students and researchers of pedagogy, choreography, community dance practice, theatre and performance studies, social and cultural studies, aesthetics, interdisciplinary arts, and more. It will be an invaluable resource for artists and practitioners working in dance schools and communities.

The book is a wide-ranging collection of essays on Indian classical dance, which include writings on dance appreciation, the criticism, theory and philosophy of dance, as well as some historical and light controversial articles. Also included is a seminal and unique monograph on the contribution of Sanjukta Panigrahi to the development of Odissi. The book approaches the subject from an internationalist point of view and opens up new possibilities for the appreciation of Indian dance in the context of a global intercultural critique. In addition, it is beautifully illustrated with a number of photographs captured by Arun Kumar. It will enrich and provide new ways of understanding for classical Indian dance, both for the dance community and for the general reader.

This book contributes to the growing scientific literature on ‘intangible cultural heritage’ – determined by UNESCO to be particularly worthy of safeguarding and transmission – by advancing a theoretical-analytical framework for the (in)tangible cultural heritage of dance. By exploring the potential of the ‘intangible materiality’ of dance practice the book argues that implementing the concept of a ‘performative dance-archive’ creates a new analytic field: research in praxis. The concept of the ‘performative dance-archive’ draws out the potential for safeguarding and transmission of dance heritage, but also the challenges of the opposition between living heritage and the codifying of cultural inventories. This book uses the formal and contextual transformation of Argentine tango and German modern dance to discuss this ambiguity of intangible heritage and how the “performative dance-archive” creates a cognitive, empractical approach to determine, archive, and distribute dance knowledge. This is a timely methodological intervention in the context of the increasing importance of the intangible cultural heritage. It enables us to re-revise the concept of (im)materiality and the specific knowledges within cultural practice as a necessary fundamental category for research-processes and societal growth. This book is directed both to researchers in the field of intangible cultural heritage and to practitioners and researchers searching for new ways of investigating methods and perspectives to understand 'immaterial materialities'.

Burridge and Svendler Nielsen bring together many perspectives from around the world on dancing experiences through life of senior artists and educators, whether as professionals working with community dance groups, in education or for recreation and well-being. Broadening our understanding of the burgeoning sector of maturing dances and dancers, this book incorporates a range of theoretical approaches with an emphasis on cultural and experiential dimensions. It includes examples of how artists, community practitioners, teachers, policy makers and academics work to better understand, promote and create new ways of thinking and working in the field of dance performance, education and well-being. Each section of the book includes a mixture of chapters based on research and case narratives focusing on practitioners’ experience, as well as conversations between world-renowned mature dance artists and choreographers. It features an eclectic mix of lived experiences, wisdom, deep knowledge and reflection. The book is a valuable resource for students of performing arts, pedagogy, choreography, community dance practice, social and cultural studies, aesthetics, interdisciplinary arts, dance therapy and more. Artists working across generations and in communities can also find useful inspiration for their continued dance practice.