A combination of eloquent, down-to-earth essays and short stories, "The Dance House" features tales that are based on incidents or events which took place on the Rosebud Sioux Indian Reservation in South Dakota.
Sissy Fletcher, the preacher's daughter, disappeared on the night of the Rodeo Dance ten years ago and has been missing ever since. Until now, that is—a team drilling an oil well has made a grisly discovery in an isolated pasture. Seeing as how it's an election year, finding her killer is a bigger priority than it might usually be in sleepy Washington County, Texas, where not much ever happens anyway. Though it's becoming clear that the town isn't quite as sleepy as it seems. Martin Fletcher, Sissy's brother, seems to believe he's on a mission from God to raise hell in Washington County. He and his partner, Dud Hughes, aim to start small, with armed robbery, and work their way up to bigger things, but an inquiry into his sister's death threatens to draw a little more attention his way than he wants just now. As the mood begins to the shift in the town, three men put their heads together to work the case: ex-Texas Ranger Jeremiah Spur, who is retired but can't get the thrill of the chase out of his blood; the current sheriff, Dewey Sharpe, who just may not be as dumb as he looks; and Deputy Clyde Thomas, an African-American ex-Dallas cop who is probably the savviest of the bunch. All in all, James Hime's TheNight of the Dance, is a terrifically original, jaunty, and action-packed debut from a writer to watch.
In the Lower Ninth Ward of New Orleans, Ronald W. Lewis has assembled a museum to the various worlds he inhabits. Built in 2003, the House of Dance & Feathers represents many New Orleans societies: Mardi Gras Indians, Social Aid and Pleasure Clubs, Bone Gangs, and Parade Krewes. More than just a catalogue of the artifacts in the museum, this full-color book is a detailed map of these worlds as experienced by Ronald W. Lewis.
Bestselling author Harriet Lerner focuses on the challenge and the importance of being able to express one's "authentic voice" in intimate relationships. The key problem in relationships, particularly over time, is that people begin to lose their voice. Despite decades of assertiveness training and lots of good advice about communicating with clarity, timing, and tact, women and men find that their greatest complaints in marriage and other intimate relationships are that they are not being heard, that they cannot affect the other person, that fights go nowhere, that conflict brings only pain. Although an intimate, long-term relationship offers the greatest possibilities for knowing the other person and being known, these relationships are also fertile ground for silence and frustration when it comes to articulating a true self. And yet giving voice to this self is at the center of having both a relationship and a self. Much as she did in THE MOTHER DANCE, Lerner will approach this rich subject with tales from her personal life and clinical work, inspiring and teaching readers to speak their own truths to the most important people in their lives.
The renowned classic and New York Times bestseller that has transformed the lives of millions of readers, dramatically changing how women and men view relationships. Anger is something we feel. It exists for a reason and always deserves our respect and attention. We all have a right to everything we feel—and certainly our anger is no exception. "Anger is a signal and one worth listening to," writes Dr. Harriet Lerner in her renowned classic that has transformed the lives of millions of readers. While anger deserves our attention and respect, women still learn to silence our anger, to deny it entirely, or to vent it in a way that leaves us feeling helpless and powerless. In this engaging and eminently wise book, Dr. Lerner teaches both women and men to identify the true sources of anger and to use it as a powerful vehicle for creating lasting change. For decades, this book has helped millions of readers learn how to turn their anger into a constructive force for reshaping their lives. With a new introduction by the author, The Dance of Anger is ready to lead the next generation.
This anthology of treasures from the oral literature of Native California, assembled by an editor admirably sensitive to language, culture, and history, will delight scholars and general readers alike. Herbert Luthin's generous selection of stories, anecdotes, myths, reminiscences, and songs is drawn from a wide sampling of California's many Native cultures, and although a few pieces are familiar classics, most are published here for the first time, in fresh literary translations. The translators, whether professional linguists or Native scholars and storytellers, are all acknowledged experts in their respective languages, and their introductions to each selection provide welcome cultural and biographical context. Augmenting and enhancing the book are Luthin's engaging, informative essays on topics that range from California's Native languages and oral-literary traditions to critical issues in performance, translation, and the history of California literary ethnography.
“The ways in which we can redress the past are many and varied,” writes Jean Barman, “and it is up to each of us to act as best we can.” The seventeen essays collected here, originally published between 1996 and 2013, make a valuable contribution toward this laudable goal. With a wide range of source material, from archival and documentary sources to oral histories, Barman pieces together stories of individuals and groups disadvantaged in white settler society because of their gender, race and/or social class. Working to recognize past actors that have been underrepresented in mainstream histories, Barman’s focus is BC on “the cusp of contact.” The essays in this collection include fascinating, though largely forgotten, life stories of the frontier—that space between contact and settlement, where, for a brief moment, anything seemed possible. This volume, featuring over thirty archival photographs and illustrations, makes these important and very readable essays accessible to a broader audience for the first time.
As both colonizer and colonized (sometimes even simultaneously), women were uniquely positioned at the axis of the colonial encounter � the so-called "contact zone" � between Aboriginals and newcomers. Aboriginal women shaped identities for themselves in both worlds. By recognizing the necessity to "perform," they enchanted and educated white audiences across Canada. On the other side of the coin, newcomers imposed increasing regulation on Aboriginal women's bodies. Contact Zones provides insight into the ubiquity and persistence of colonial discourse. What bodies belonged inside the nation, who were outsiders, and who transgressed the rules � these are the questions at the heart of this provocative book.
All people, in no matter what culture, must be able to place their music firmly in the context of the totality of their beliefs, experiences, and activities, for without such ties, music cannot exist. This means that there must be a body of theory connected with any music system - not necessarily a theory of the structure of music sound, although that may be present as well, but rather a theory of what music is, what it does, and how it is coordinated with the total environment, both natural and cultural, in which human beings move.The Flathead Indians of Western Montana (just over 26,000 in number as of the 2000 census) inhabit a reservation consisting of 632,516 acres of land in the Jocko and Flathead Valleys and the Camas Prairie country, which lie roughly between Evaro and Kalispell, Montana. The reservation is bounded on the east by the Mission Range, on the west by the Cabinet National Forest, on the south by the Lolo National Forest, and on the north by an arbitrary line, approximately bisecting Flathead Lake about twenty-four miles south of Kalispell. The area is one of the richest agricultural regions in Montana, and fish and game are abundant. The Flathead are engaged in stocking, timbering, and various agricultural enterprises.For the Flathead, the most important single fact about music and its relationship to the total world is its origin in the supernatural sphere. All true and proper songs, particularly in the past, owe their origin to a variety of contacts experienced by humans with beings which, though a part of this world, are superhuman and the source of both individual and tribal powers and skills. Thus a sharp distinction is drawn by the Flathead between what they call "make-up" and all other songs. Merriam's pioneering work in the relationship of ethnography and musicology remains a primary source in this field in anthropology.
A major ethnographic work by a distinguished anthropologist contains detailed information on the social structures, homes, foods, crafts, religious beliefs, and folkways of California's diverse tribes