The Tenth Edition of Dance a While continues the 65-year legacy of a textbook that has proven to be the standard of all recreational dance resources. The authors have poured decades of experience and knowledge onto its pages, providing a wealth of direction on American, square, contra, international, and social dance. Each chapter is packed with expertly written instruction, coupled with clear and detailed diagrams and informative history, to provide students with well-rounded training on over 260 individual dances. The book also contains a music CD to allow for convenience when practicing outside of the classroom, helping to make it an invaluable resource for students of dance at all levels.

It all started with a silly prank, a play and a dance - a love so enduring, so indestructible that it would survive against all odds. Elizabeth Sorrill is the junior matron at Foxton's élite School for Boys. Blessed with the kind of beauty others only dream about, her attractions prove irresistible to Alexander Belmayne, the seventeen-year-old son of the Lord Chief Justice. But their passionate affair is shortlived as bitter lies and scandal force them apart. Angry and frustrated at Oxford, Alexander thrives on his reputation as a heartbreaker, until Bohemian beauty Jessica Poynter draws him into a fast life of glittering excess and depravity in London's high society. But when a chance meeting brings Alexander and Elizabeth together again, their passionate reunion leads to a breathtaking crime fired by an overwhelming obsession - a hatred so violent it knows no limits...

Unlike her previous eight Murder Mystery-Romance novels — this book is strictly Fiction — Romance. She started writing right after her 77th birthday. To-date she has nine novels published. Ilsa’ Revenge Marcello & Me Love of Two Sisters Biarritz Beach/Resurrection of a Divorced Woman Love on a Farm Love Reigns Till Death Second Time is Magic Biaritz Beach on West Coast Love is Definitely Greek to Me

Examining the extraordinary influence of Darwin's theory of evolution on French thought from 1875 to 1910, Rae Beth Gordon argues for a reconsideration of modernism both in time and in place that situates its beginnings in the French café-concert aesthetic. Gordon weaves the history of medical science, ethnology, and popular culture into a groundbreaking exploration of the cultural implications of gesture in dance performances at late-nineteenth-century Parisian café-concerts and music halls. While art historians have studied the ties between primitivism and modernism, their convergence in fin-de-siècle popular entertainment has been largely overlooked. Gordon argues that while the impact of Darwinism was unprecedented in science, it was no less present in popular culture through the popular press and popular entertainment, where it constituted a kind of "evolutionist aesthetic" on display in the café-concert, circus, and music-hall as well as in the spectator's reception of the representations on the stage. Modernity in these sites, Gordon contends, was composed by the convergence of contemporary medical theory with representations of the primitive, staged in entertainments that ranged from the can-can, Missing Links, and epileptic singers to the Cake-Walk. Her anthropology of gesture uncovers in these dislocations of the human form an aesthetic of disorder a half century before the eruptions of Dada and Surrealism.

This anthology addresses the modern musical culture of interwar Osaka and its surrounding Hanshin region. Modernity as experienced in this locale, with its particular historical, geographic and demographic character, and its established traditions of music and performance, gave rise to configurations of the new, the traditional and the hybrid that were distinct from their Tokyo counterparts. The Taisho and early Showa periods, from 1912 to the early 1940s, saw profound changes in Japanese musical life. Consumption of both traditional Japanese and Western music was transformed as public concert performances, music journalism, and music marketing permeated daily life. The new bourgeoisie saw Western music, particularly the piano and its repertoire, as the symbol of a desirable and increasingly affordable modernity. Orchestras and opera troupes were established, which in turn created a need for professional conductors, and both jazz and a range of hybrid popular music styles became viable bases for musical livelihood. Recording technology proliferated; by the early 1930s, record players and SP discs were no longer luxury commodities, radio broadcasts reached all levels of society, and ’talkies’ with music soundtracks were avidly consumed. With the perceived need for music that suited 'modern life', the seeds for the pre-eminent position of Euro-American music in post-Second-World war Japan were sown. At the same time many indigenous musical genres continued to thrive, but were hardly immune to the effects of modernization; in exploring new musical media and techniques drawn from Western music, performer-composers initiated profound changes in composition and performance practice within traditional genres. This volume is the first to draw together research on the interwar musical culture of the Osaka region and addresses comprehensively both Western and non-Western musical practices and genres, questions the common perception of their being wholly separate domains

Includes abstracts of magazine articles and "Book reviews".