The Copeland Collection of 134 Chinese and Japanese ceramic figures, perhaps the most important assemblage of its kind still in private hands, is recognized internationally for the superb quality of its many rare forms. Acquired by Mrs. Lammot du Pont Copeland over the past fifty years, each of these beautifully modeled human and animal figures testifies to the unerring eye of a premiere collector.The majority of these figures are of porcelain, produced during the late seventeenth to the late eighteenth centuries, principally for export to the West. Each individual piece displays the meticulous artistry, the marvelous enameling, and the animation and wit characteristic of this remarkably innovative period in ceramic history However modest in scale, many are important works of art.--Amazon.com.
This text reassesses the legacy of one of America's best-loved composers at a pivotal moment - as his life and work shift from the realm of personal memory to that of history. The collection of 17 essays explores the stages of cultural change on which Aaron Copeland's long life unfolded.
Instant New York Times bestselling series opener inspired by prima ballerina and author Misty Copeland's own early experiences in ballet. From prima ballerina and New York Times bestselling author Misty Copeland comes the story of a young Misty, who discovers her love of dance through the ballet Coppélia--a story about a toymaker who devises a villainous plan to bring a doll to life. Misty is so captivated by the tale and its heroine, Swanilda, she decides to audition for the role. But she's never danced ballet before; in fact, this is the very first day of her very first dance class! Though Misty is excited, she's also nervous. But as she learns from her fellow bunheads, she makes wonderful friends who encourage her to do her very best. Misty's nerves quickly fall away, and with a little teamwork, the bunheads put on a show to remember. Featuring the stunning artwork of newcomer Setor Fiadzigbey, Bunheads is an inspiring tale for anyone looking for the courage to try something new.
7 Optimistic Women Walk Various Roads to Reach Their Dreams Connected to nature and carefree of heart seven historical women would prefer to travel through life without shoes, especially if giving away their only pair would comfort someone else in need. Will these women of faith change their ways under society’s pressures and the lure of romance? Barefoot Hearts by Lori Copeland Edgar’s Cove, Arkansas, 1876 Annie Lawson was perfectly content with her life on the banks of the muddy Mississippi—or so she thought until the man of her dreams, Doctor Gabe Jones, agreed to temporarily fill a void in Edgar’s Cove—but it turned out the void was in Annie’s heart. Could a simple baseball score decide the answer to a lifetime dream? Castles in the Sand by CJ Dunham Victoria, Vancouver Island, 1899 Carefree Jennie Farrow befriends an orphaned baby seal and a crusty old fisherman. When the seal brings gifts from the sea, they recognize something from a missing boat and set out to find the wreck. A man found on a beach has no memory, and Jennie helps to nurse him back to health. But what will become of a budding love when his wealthy family come and whisk him away? A Teacher’s Heart by Cynthia Hickey Ozark Mountains, 1932 Small Town teacher Mary Jo Stevens yearns to make a difference in her community. As a Demonstration Agent for the Arkansas Welfare Department, Bill Wright travels to every hill and hollow in the Ozarks to teach men and women how to make the best of their situations. But he needs the assistance of someone like Mary Jo. Can she trust an outsider who thinks he knows best? Between the Moments by Maureen Lang Kansas, 1879 Everyone in town knows Eddie Tucker who lived with the Apache for seven years as a child and now keeps to himself—until Mary Elliot arrives in town. As the daughter of missionaries, Mary rejects her grandfather’s wealth, preferring to spend time with the poor. The two outsiders have much in common, but will Mary’s family and Eddie’s deep wounds keep them apart? Promise Me Sunday by Cathy Liggett Boston, 1890 Adeline McClain’s mother always preached “to thine own self be true.” But when Adeline is orphaned and brought East to live with well-to-do relatives, being herself—caring, down-to-earth, and often barefoot—is getting her into trouble. When it comes to love, could Adeline’s eccentricities cause Everett Brighton to have to choose between Adeline or his inheritance? Lady Slipper by Kelly Long Pennsylvanian Appalachia, 1922 Local resident Fern Summerson agrees to help a young missionary distribute shoes to her people, but the journey becomes fraught with tension as Jacob Reynold falls in love with his guide and discovers that her connection with nature is more beautiful than any well shod foot. Hope’s Horizon by Carolyn Zane Oregon Trail, 1843 Hope Dawson agrees to become engaged to an older man in order to relieve her family of one more mouth to feed. But on the Trail, she is forced to walk while Julius and his mother ride in the wagon. Fellow traveler, William Bradshaw sees her plight, but can he help without losing his heart?
From New York Times bestselling and award-winning author and American Ballet Theatre principal dancer Misty Copeland comes an illustrated nonfiction collection celebrating dancers of color who have influenced her on and off the stage. As a young girl living in a motel with her mother and her five siblings, Misty Copeland didn’t have a lot of exposure to ballet or prominent dancers. She was sixteen when she saw a black ballerina on a magazine cover for the first time. The experience emboldened Misty and told her that she wasn’t alone—and her dream wasn’t impossible. In the years since, Misty has only learned more about the trailblazing women who made her own success possible by pushing back against repression and racism with their talent and tenacity. Misty brings these women’s stories to a new generation of readers and gives them the recognition they deserve. With an introduction from Misty about the legacy these women have had on dance and on her career itself, this book delves into the lives and careers of women of color who fundamentally changed the landscape of American ballet from the early 20th century to today.
A Kirkus Reviews Best Nonfiction Book of 2021 A provocative interpretation of why classical music in America "stayed white"—how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvorák prophesied a “great and noble school” of American classical music based on the “negro melodies” he had excitedly discovered since arriving in the United States a year before. But while Black music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvorák’s lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin’s Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Bernstein, he looks back to literary figures—Emerson, Melville, and Twain—to ponder how American music can connect with a “usable past.” The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvorák’s Prophecy arrives in the midst of an important conversation about race in America—a conversation that is taking place in music schools and concert halls as well as capitols and boardrooms. As George Shirley writes in his foreword to the book, “We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of American classical music than what we have known before. It is more diverse and more equitable. And it is more truthful.”
Poetry. Copeland's TRANSCENDENTAL TELEMARKETER contains beautiful lyrics of emotion and meditation, but it also contains rants against war and violence, and all the while it swings us from the U.S. to Japan to Afghanistan, from Islam to Buddhism to Christianity It's compelling, playful, and well-crafted.--William Allegrezza Beth Copeland's poems are music. She combines powerful alliteration ('following blue rivers of blood / flowing back to the heart') with unobtrusive rhyme ('silver wolves / howl, owls hoot'). Occasional use of form seems to grow from the poem. Asia influences Copeland's writing; as in Japanese poetry, nature imagery becomes philosophy. Fresh juxtapositions 'explode like poppies from the barrels of guns.' Color commands our vision: 'the violet wave of light around the Japanese iris.' We hear, mystically, 'the Earth's vibrations / converge in a single note.' Read this book several times--each visit will uncover a different layer.--Anne-Adele Wight Beth Copeland's TRANSCENDENTAL TELEMARKETER lifts language beyond its typical meanings, lets it 'whirl like a spinning top set loose on the sidewalk, ' until language and meaning split--the way the 'I' does in the poems -- 'I break in two: one girl stays on the bed while the other one floats to the ceiling to watch.' With rare prowess, Copeland crafts these poems, delivering 'the equator in that Ouija world, ' 'death' as a 'potent aphrodisiac.'--Debrah Morkun
Life and friendship seen through the lens of the civil rights and racial justice movements, you might expect it to be stories of mistreatment based on race. But that is only the backdrop. Growing up in 1950s and '60s they went on to college and success in their respective professions.
Upset that her New Mexico school can only afford music and art teachers in alternate years, fourth-grader Saige works with her grandmother, Mimi, to plan a fundraiser but when Mimi has an accident, Saige relies on new friend Gabi to help.
