Marie Dancing

The life, dreams, and struggles of the fourteen-year-old dancer who posed for Degas's most famous sculpture

Under glittering lights in the Louvre palace, the French court ballets danced by Queen Marie de M?dicis prior to Henri IV's assassination in 1610 attracted thousands of spectators ranging from pickpockets to ambassadors from across Europe. Drawing on newly discovered primary sources as well as theories and methodologies derived from literary studies, political history, musicology, dance studies, and women's and gender studies, Dancing Queen traces how Marie's ballets authorized her incipient political authority through innovative verbal and visual imagery, avant-garde musical developments, and ceremonial arrangements of objects and bodies in space. Making use of women's "semi-official" status as political agents, Marie's ballets also manipulated the subtle social and cultural codes of international courtly society in order to more deftly navigate rivalries and alliances both at home and abroad. At times the queen's productions could challenge Henri IV's immediate interests, contesting the influence enjoyed by his mistresses or giving space to implied critiques of official foreign policy, for example. Such defenses of Marie's own position, though, took shape as part of a larger governmental program designed to promote the French consort queen's political authority not in its own right but as a means of maintaining power for the new Bourbon monarchy in the event of Henri IV's untimely death.

No matter what the faith or season of the year, all human beings seek everyday epiphanies; occasions when we can experience the sacred and the beautiful in the absolute ordinary. In doing so, we come to an awakening that we cannot afford to throw away even one more "unimportant" day by not noticing the wonder of it all. Sometimes, we just forget to take the time to honestly see our world; most times actually. Some of the simplest things that make us feel alive, and more importantly loved, are right at our fingertips or just outside our backdoor and we constantly seem to either ignore or miss them: A good morning kiss. The first real day of spring every year. An unexpected call from your significant other to just say I love you. The appreciative wag of your dogs tail when you give him his favorite treat. The scent of a newly opened rose bud. The hug your grandchild gives you when he runs across the yard when he first sees you. However, Bonnie Pike seems to notice all of these things and more. She has the wonderful talent to put into words those feelings and emotions of life with all of its loves as well as its pains This is Bonnie's third volume of poetry. Her prior volumes "Survive The Shadowstalker; A Poetic Journey Through Abuse",was released in 2002 and "Shadows Of Love, was released in 2011. In this compilation of poetry, Bonnie takes you through the natural order of life which she has gleaned through her love of her adopted home state of AZ. Do you want to come and play, and dance, and dream? Then meet Bonnie at the Superstition Mountain, just off the Apache Trail, and she will show you the way. Come and dance with the spirits of shadowplay.

The private and performance lives of five female dancers in Western dance history

Marie-Galante is a small island situated in the Caribbean to the south of Guadeloupe. The majority of Marie-Galantais are descendants of the slave era, though a few French settlers also occupy the island. Along with its neighbours Guadeloupe and Martinique, Marie-Galante forms an official d?rtement of France. Marie-Galante historically has never been an independent polity. Marie-Galantais express sentiments of being 'deux fois colonis? or twice colonized, concomitant with their sense of insularity from a global organization of place. Dr Ron Emoff translates this pervasive sense of displacement into the concept of the 'non-nation'. Musical practices on the island provide Marie-Galantais with a means of re-connecting with other significant distant places. Many Marie-Galantais display a 'split-subjectivity', embracing an African heritage, a French association and a Caribbean regionalism. This book is unique, in part, with regard to its treatment of a particular mode of self-consciousness, expressed musically, on a virtually forgotten Caribbean island. The book also combines literary, narrative, historical and musical sources to theorize a postcolonial subsurreal in the French Antilles. The focus of the book is upon kadril dance and gwo ka drumming, two prevalent musical practices on the island with which Marie-Galantais construct unique perceptions of self in relation, specifically, to Africa and France. Based on several extended periods of ethnographic research, the book evokes unique Marie-Galantais views on tradition, historicity, esclavage, nationalism (and its absence) and the local significance of occupying a globally out-of-the-way place. The book will be of interest not only to ethnomusicologists, but also to those interested in cultural and linguistic anthropology, postcolonial studies, performance studies, folklore and Caribbean studies.

Europe Dancing examines the dance cultures and movements which have developed in Europe since the Second World War. Nine countries are represented in this unique collaboration between European dance scholars. The contributors chart the art form, and discuss the outside influences which have shaped it. This comprehensive book explores: * questions of identity within individual countries, within Europe, and in relation to the USA * the East/West cultural division * the development of state subsidy for dance * the rise of contemporary dance as an 'alternative' genre * the implications for dance of political, economic and social change. Useful historical charts are included to trace significant dance and political events throughout the twentieth century in each country. Never before has this information been gathered together in one place. This book is essential reading for everyone interested in dance and its growth and development in recent years.

Here is the vibrant, colorful, high-stepping story of tap -- the first comprehensive, fully documented history of a uniquely American art form, exploring all aspects of the intricate musical and social exchange that evolved from Afro-Irish percussive step dances like the jig, gioube, buck-and-wing, and juba to the work of such contemporary tap luminaries as Gregory Hines, Brenda Bufalino, Dianne Walker, and Savion Glover. In Tap Dancing America, Constance Valis Hill, herself an accomplished jazz tap dancer, choreographer, and performance scholar, begins with a dramatic account of a buck dance challenge between Bill "Bojangles" Robinson and Harry Swinton at Brooklyn's Bijou Theatre, on March 30, 1900, and proceeds decade by decade through the 20th century to the present day. She vividly describes tap's musical styles and steps -- from buck-and-wing and ragtime stepping at the turn of the century; jazz tapping to the rhythms of hot jazz, swing, and bebop in the '20s, '30s and '40s; to hip-hop-inflected hitting and hoofing in heels (high and low) from the 1990s right up to today. Tap was long considered "a man's game," and Hill's is the first history to highlight such outstanding female dancers as Ada Overton Walker, Kitty O'Neill, and Alice Whitman, at the turn of the 20th century, as well as the pioneering women composers of the tap renaissance, in the 70s and 80s, and the hard-hitting rhythm-tapping women of the millennium such as Chloe Arnold, Ayodele Casel, Michelle Dorrance, and Dormeshia Sumbry Edwards. Written with uncanny foresight, the book features dancers who have become international touring artists and have performed on Broadway, won Emmy and Tony Awards, and received the prestigious Dance Magazine, Adele and Fred Astaire, and Jacob's Pillow Dance awards. Presented with all the verve and grace of tap itself and drawing on eyewitness accounts of early performances as well as interviews with today's greatest tappers, Tap Dancing America fills a major gap in American dance history and places tap firmly center stage.

". . . known as ‘The Poet Priestess of the Spirit of New Orleans’ Bloody Mary is a true spokeswoman of her hometown . . .” —Southern Women Magazine In 15 compelling chapters, Bloody Mary shares with readers her experiences with the ghosts and haunted happenings of New Orleans. Among the tales of the supernatural are: A visit to a haunted sanitarium A meeting with Julie the Ghost of Forbidden Love The story of Madame La Laurie, La Vampyra Meetings with Jean Lafitte, the Gentleman Pirate Encounters with the ghosts in New Orleans graveyards Each chapter ends with “Afterlife Lessons and Warnings” that help readers navigate the seen and the unseen worlds. What makes these stories particularly engaging is Bloody Mary herself. She is not only a psychic investigator, she is also a psychic healer offering healing and kindness to spirits that walk the earth and also helping readers find spiritual lessons in encounters with the spirit world.