I've always felt like an outsider, trapped in a world where I didn't belong. Until the Summer Solstice, I didn't know how true that was. When four mysterious fae males corner me in the street, they bring terrifying news: I'm not human. I'm a changeling, a fae swapped at birth. Under their powerful yet infuriating guidance, I return to Otherworld to train at their academy and determine to which of the four faerie courts I belong. But there's something much more dangerous than the four fae vying for my attention. A strange dark magic looms on the horizon, the bloodthirsty courts are plotting for power, and changelings are dying. My only choice is to fight back and try not to lose my life...or my heart.
Butoh, also known as "dance of darkness," is a postmodern dance form that began in Japan as an effort to recover the primal body or "the body that has not been robbed," as butoh founder Tatsumi Hijikata put it. Butoh has become increasingly popular in the United States and throughout the world, diversifying its aesthetic while at the same time asserting the power of its spiritual foundations. Dancing into Darkness is Sondra Horton Fraleigh's chronological diary of her deepening understanding of and appreciation for this art form as she moves from a position of aesthetic response as an audience member to that of assimilation as a student of Zen and butoh. Fraleigh witnesses her own artistic and personal transformation through essays, poems, interviews, and reflections spanning twelve years of study, much of it in Japan. Numerous performance photographs and original calligraphy by Fraleigh's Zen teacher, Shodo Akane, illuminate her words.
Approaching the avant-garde Japanese performance art form of butoh from a cross-cultural, gender studies, and scientific perspective, award-winning artist and teacher Vangeline brings a fresh look at this postmodern dance form.Butoh, a performance art form that grew out of the Japanese avant-garde scene of the 1950s, has traveled from east to west over the last 60 years, growing in popularity as it evolves. With origins in modern dance, French mime, and the surrealist movement, this fascinating postmodern dance genre is often thought of as mysterious and is frequently misunderstood. Through twenty years of research, interviews with some of the world's top practitioners, historical documents, and rare photographs, Vangeline shines light on this "dance of darkness." New revelations include the under-represented role of women in the development of the form, the connection between butoh and neuroscience, and the cross-cultural perspective of international influences on the evolution of the dance. Butoh: Cradling Empty Space will appeal to dance students, teachers, performance art scholars, somatic healers, and anyone interested in choreography, theater, and Japanese history, culture and art.The book includes rare photographs, helpful graphics, a detailed bibliography and footnotes, and resources for additional information."[A] handbook for the butoh practitioner, the (art) historian, the dance critic, and the curious reader. Encompassing, and reconciling, problems of movement, gender, race and universality, Cradling Empty Space guides the reader through the many possibilities of butoh."-Alice Baldock, Faculty of History, University of Oxford, from the ForewordPraise for Vangeline's choreography and dance work:"Captivating." -New York Times "[She] moves with the clockwork deliberation of a practiced Japanese Butoh artist."-Los Angeles Times
In her remarkable book, Sondra Horton Fraleigh examines and describes dance through her consciousness of dance as an art, through the experience of dancing, and through the existential and phenomenological literature on the lived body. She describes, with performance photographs, specific imagery in dance masterworks by Doris Humphrey, Anna Sokolow, Viola Farber, Nina Weiner, and Garth Fagan.
The Routledge Companion to Butoh Performance provides a comprehensive introduction to and analysis of the global art form butoh. Originating in Japan in the 1960s, butoh was a major innovation in twentieth century dance and performance, and it continues to shape-shift around the world. Taking inspiration from the Japanese avant-garde, Surrealism, Happenings, and authors such as Genet and Artaud, its influence can be seen throughout contemporary performing arts, music, and visual art practices. This Companion places the form in historical context, documents its development in Japan and its spread around the world, and brings together the theory and the practice of this compelling dance. The interdisciplinarity evident in the volume reflects the depth and the breadth of butoh, and the editors bring specially commissioned essays by leading scholars and dancers together with translations of important early texts.
A mysterious traveler intervenes in an epic holy war in this “impressive, challenging debut” of the critically acclaimed fantasy epic (Publishers Weekly, starred review). The first book in R. Scott Bakker's Prince of Nothing series introduces readers to a strikingly original and engrossingly vivid new world. With its language and classes of people, its cities, religions, mysteries, taboos, and rituals, The Darkness That Comes Before has drawn comparison to J.R.R. Tolkien’s The Lord of the Rings and Frank Herbert’s Dune. Bakker’s Eärwa is a world scarred by an apocalyptic past, evoking a time both two thousand years past and two thousand years into the future. As untold thousands gather for a crusade, two men and two women are ensnared by a mysterious traveler, Anasûrimbor Kellhus—part warrior, part philosopher, part sorcerous, charismatic presence—from lands long thought dead. The Darkness That Comes Before is a history of this great holy war, and like all histories, the survivors write its conclusion.
In Butoh Ethan Hoffman creates virtually a new genre of photographic theater and gives us an invaluable contribution to the literature of contemporary dance and theater. 100 full-color photographs.
Zarek's Point of View: Dark-Hunter: A soulless guardian who stands between mankind and those who would see mankind destroyed. Yeah, right. The only part of that Code of Honor I got was eternity and solitude. Insanity: A condition many say I suffer from after being alone for so long. But I don't suffer from my insanity-I enjoy every minute of it. Trust: I can't trust anyone...not even myself. The only thing I trust in is my ability to do the wrong thing in any situation and to hurt anyone who gets in my way. Truth: I endured a lifetime as a Roman slave, and 900 years as an exiled Dark-Hunter. Now I'm tired of enduring. I want the truth about what happened the night I was exiled-I have nothing to lose and everything to gain. Astrid (Greek, meaning star): An exceptional woman who can see straight to the truth. Brave and strong, she is a point of light in the darkness. She touches me and I tremble. She smiles and my cold heart shatters. Zarek: They say even the most damned man can be forgiven. I never believed that until the night Astrid opened her door to me and made this feral beast want to be human again. Made me want to love and be loved. But how can an ex-slave whose soul is owned by a Greek goddess ever dream of touching, let alone holding, a fiery star?
Abandoned as a toddler in Nazi Germany, American-born Eleanor Isaacson survived bombings, starvation, Russian occupation, and a stint as a child smuggler -- all before reaching her teens. Escaping just as the Iron Curtain clashed shut, Eleanor soon discovered that "the land of the free" held as much pain and rejection as the life she'd escaped. Deafness and solitude would become the catalyst leading to glorious womanhood, the love of her life, and the beauty of dance. In the process, she would discover that the "invisible Friend" whose presence alone had kept a lost child sane had other names -- heavenly Father, loving God, Prince of Peace. A true story too implausible for fiction with every element of a big screen epic -- war, danger, starvation, villaims, romance, rags-to-riches triumph -- along with the most delightful of heroines.
So often we allow our worship to be dictated by our circumstances. The truth is, our worship should be dictated by who God is. Sometimes our lives take different turns than what we had planned. Our dreams get shattered, our plans get altered, and life looks nothing like what we had hoped it would. We find ourselves surrounded by the darkness of despair. Its in these moments where we learn how to worship. In, A Dance In the Dark, Stacy takes you on a journey to the heart of worship through her compelling story of her personal struggles with infertility. She learned that worship happened when she chose to honor God in the midst of her pain. Hidden beneath these lowest places, these darkest valleys, are His treasures awaiting to be found. Hidden beneath the rubble and ashes in our lives we find the greatest treasure of all -- His heart. The question is, how do we uncover these treasures? How do we find Him in the midst of it all? How do we uncover His heart in the worst of times? We uncover them through our worship. We uncover them when we dance. Are YOU ready to dance?
