The poets of North-East India, though belonging to diverse spaces, cultures, languages and religions, share a common bond. It is a sensibility defined by a deep connection with the land; the overarching presence of nature in their lives; the predominance of myths and tribal folklore; and the search for an identity. All this informs their poetry and gives it a unique flavour. Much of the distinctiveness of their work is also the consequence of contemporary events, often marked by violence. Like its title poem The Dancing Earth , the anthology too, is a celebration of this life, in all its unpredictable variety, richness and contradictions. So while Thangjam Ibopishak writes I Want to be Killed By an Indian Bullet and Chandrakanta Murasingh speaks of a minister with neither inside nor outside , there are also Temsula Ao s poems about her stone-people ancestors; Mamang Dai s portraits of swift rivers and primeval forests; and the Shillong poets with their mist-shrouded pine slopes, red cherries and gridlocked streets.
The essays in this dynamic compilation are a testament to dance as a healing art. Widely interdisciplinary in nature and written by women dancers from around the world, they illustrate a rich array of dance practices, cultures, and disciplines and show how this expressive therapy can be both empowering and exhilarating. The women’s narratives all share a deep appreciation for the connection between mental, spiritual, and physical dimensions, offering dance as a transformative power of renewing and rebuilding that bond. Both personal and professional, the stories weave a vivid tapestry of lived experiences and insights, balance, and a community healed by dance.
When Tonia meets Branko, an alien who was sent to earth to bring a female back to his planet, her life is forever changed as their unusual relationship develops over one magical summer. Reprint.
This first anthology devoted to Native American writings from the Pacific Northwest gathers the work of thirty-four artists who testify to the vibrancy of its native cultures. The 137 selections--prose as well as poetry--represent works of such well-known authors as James Welch, Duane Niatum, and Mary TallMountain, and also showcase many lesser-known writers at the start of their careers.
This book argues that contemporary dance, imagined to have a global belonging, is vitiated by euro-white constructions of risk and currency that remain at its core. Differently, the book reimagines contemporary dance along a “South-South” axis, as a poly-centric, justice-oriented, aesthetic-temporal category, with intersectional understandings of difference as a central organizing principle. Placing alterity and heat, generated via multiple pathways, at its center, it foregrounds the work of South-South artists, who push against constructions of “tradition” and white-centered aesthetic imperatives, to reinvent their choreographic toolkit and respond to urgent questions of their times. In recasting the grounds for a different “global stage,” the argument widens its scope to indicate how dance-making both indexes current contextual inequities and broader relations of social, economic, political, and cultural power, and inaugurates future dimensions of justice. Winner of the 2022 Oscar G. Brockett Prize for Dance Research
The vital role of dance in enacting the embodied experiences of Indigenous peoples In Dancing Indigenous Worlds, Jacqueline Shea Murphy brings contemporary Indigenous dance makers into the spotlight, putting critical dance studies and Indigenous studies in conversation with one another in fresh and exciting new ways. Exploring Indigenous dance from North America and Aotearoa (New Zealand), she shows how dance artists communicate Indigenous ways of being, as well as generate a political force, engaging Indigenous understandings and histories. Following specific dance works over time, Shea Murphy interweaves analysis, personal narrative, and written contributions from multiple dance artists, demonstrating dance’s crucial work in asserting and enacting Indigenous worldviews and the embodied experiences of Indigenous peoples. As Shea Murphy asserts, these dance-making practices can not only disrupt the structures that European colonization feeds upon and strives to maintain, but they can also recalibrate contemporary dance. Based on more than twenty years of relationship building and research, Shea Murphy’s work contributes to growing, and largely underreported, discourses on decolonizing dance studies, and the geopolitical, gendered, racial, and relational meanings that dance theorizes and negotiates. She also includes discussions about the ethics of writing about Indigenous knowledge and peoples as a non-Indigenous scholar, and models approaches for doing so within structures of ongoing reciprocal, respectful, responsible action.
Original tales inspired by Native American and Norwegian folklore that highlight the wisdom of the divine natural world • Shares unique stories about Earth Medicine and animal magic, inspired by the author’s unusual Native American (Hopi) and Norwegian upbringing • Interwoven with ancient teachings and everyday practical applications of Earth Medicine, such as grounding and dream interpretation • Each tale is beautifully illustrated with the author’s original art, which promotes spiritual understanding and the power of the Earth’s healing properties • Paper with French flaps Drawing on both her Native American (Hopi) heritage and her Norwegian upbringing, renowned mystic and intuitive healer Sonja Grace shares original wisdom tales, received through her heart and soul, to take you on a journey into the magic of Raven and Bear and the healing power of Earth Medicine. Featuring Sonja’s distinctive and beautiful artwork, each story is embedded with ancient teachings to inspire you to live closer to the Earth. The fables include powerful examples of animal magic and everyday, practical applications of Earth Medicine, such as simple energy exercises, dream interpretations, Earth Medicine prayers and meditations, and using medicinal plants to manage negative energies. As background to the stories, Sonja reveals parallels between Norse mythology and Native American traditions and explores the symbology of animals and the recurring central theme of the tension between light and darkness. In Norse myth, the great god Odin, for instance, is often accompanied by Ravens. These birds are considered manifestations of the Valkyries, the goddesses who brought brave soldiers to Valhalla, while in Native American traditions, the Raven is viewed as a trickster or messenger, a magical creature with the ability to shapeshift into a human or animal, yet also portrayed as a hero overcoming adversity. The Bear on the other hand can embody the healer who grounds our energy and removes illness or can represent the inner part of us that has faith. In one fable, Sonja brings Bear to life as a mythical creature singing songs to bring in the light, reflecting the powerful lesson that by using our voice and speaking the truth we can hold darkness at bay. Throughout all of the stories, Raven and Bear teach us to be responsible for our actions and develop spiritual accountability. By sharing these tales of Earth Medicine, Sonja offers not only a path of reconnection with the Earth but also medicine for the soul. She shows how the Earth works in unity within herself and provides a warehouse of knowledge for all who live upon her.
