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Books on the topic 'Dancing sea'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Dancing on the waves: [a wartime Wren at sea]. Little Hatherden, Near Andover: Benchmark Press, 2000.

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2

Mitchell, Alanna. Dancing at the Dead Sea: Tracking the world's environmental hotspots. Toronto: Key Porter Books, 2004.

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3

Matsen, Bradford. Planet ocean: A story of life, the sea, and dancing to the fossil record. Berkeley, CA: Ten Speed Press, 1994.

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4

Dancing the seas. London: Hodder Children's, 2002.

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5

Dirty dancing?: An ethnography of lap dancing. Abingdon: Willan Pub., 2010.

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6

Brown, Leah. Dancing with the wind. Greensboro, NC: Tudor Publishers, 2003.

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7

Rojas, Mario. El que sae, sae: Crónica personal de la Cueca Brava. Santiago, Chile: Ocho Libros Editores, 2012.

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8

Moylan, Terry. The pipers set and otherdances. 2nd ed. Dublin: Na Piobairi Uilleann, 1987.

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9

Moylan, Terry. The pipers set and other dances. 2nd ed. Dublin: Na Piobairi Uilleann, 1987.

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10

Dancing to different tunes: Sexuality and its misconceptions. Belfast: Blackstaff Press, 1996.

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11

Dancing women: Female bodies on stage. London: Routledge, 1998.

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12

Esphyr, Slobodkina. Billie. [United States]: E. Slobodkina, 1987.

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13

Tomko, Linda J. Dancing class: Gender, ethnicity, and social divides in American Dance, 1890-1920. Bloomington: Indiana University Press, 1999.

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14

Gerlach, Cecil Carrie, ed. Dancing for the devil: One woman's dramatic and divine rescue from the sex industry. Thorndike, Maine: Center Point Large Print, 2014.

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15

Dancing with goddesses: Archetypes, poetry, and empowerment. Bloomington: Indiana University Press, 1994.

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16

Dancing after the whirlwind: Feminist reflections on sex, denial, and spiritual transformation. Boston, Mass: Beacon Press, 1997.

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17

Gerlach, Cecil Carrie, ed. Dancing for the devil: One woman's dramatic and divine rescue from the sex industry, a memoir. New York: Howard Books, 2014.

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18

Dancing theology in fetish boots: Essays in honour of Marcella Althaus-Reid. London: SCM Press, 2010.

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19

Dancing for dollars and paying for love: The relationships between exotic dancers and their regulars. New York: Palgrave Macmillan, 2005.

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20

Dancing from the heart: Movement, gender, and Cook Islands globalization. Honolulu: University of Hawaii Press, 2009.

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21

Dancing across borders: The American fascination with exotic dance forms. Jefferson, NC: McFarland & Co., 2008.

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22

I put a spell on you: Dancing women from Salome to Madonna. London: Saqi Books, 2003.

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23

Punt, pass & point! Kansas City, Mo: Landmark Editions, 1992.

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24

Bon'odori: Rankō no minzokugaku. Tōkyō: Sakuhinsha, 2011.

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25

ill, Brewer Paul 1950, ed. Robert and the practical jokes. Chicago: Cricket Books, 2006.

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26

Abby, Carter, ed. Baseball ballerina. New York: Random House, 1992.

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27

ill, Carter Abby, ed. Baseball ballerina. New York: Random House, 1992.

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28

Cristaldi, Kathryn. Baseball ballerina. New York: Random House, 2003.

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29

Goldberg, Whoopi. Perfectly prima. New York: Disney/Jump at the Sun Books, 2010.

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30

Hŭi, Hong, ed. Saengyuksin kwa sŏngmusul. Sŏul: Tongmunsŏn, 1998.

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31

1934-, Sim U.-sŏng, ed. Chosŏn misulsa. Sŏul: Tongmunsŏn, 2003.

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32

Chosŏn yŏnʾgŭksa. Sŏul: Tongmunsŏn, 2003.

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33

Mitchell, Alanna. Dancing at the Dead Sea. Eden Books,Transworld, 2005.

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34

Bassett, Theda Lucille. Sea of Cortez Dancing: Poetry About Baja California. DMT Publishing, 2002.

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35

Hill, Catherine. Dancing in the Sea: Once the Hijack Was Over. Mainstream Publishing, 2005.

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36

Dancing in the Sea: Once The Hijack Was Over. Mainstream Publishing, 2005.

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37

Dancing at the Dead Sea: Tracking the World's Environmental Hotspots. University Of Chicago Press, 2005.

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38

Sea, Sand and Stars: Twenty Years Dancing at the Yard. Yard, 1992.

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39

Dancing on the Waves: A Wartime Wren at Sea (Ulverscroft Nonfiction). Ulverscroft Large Print, 2001.

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40

Matsen, Bradford. Planet Ocean: A Story of Life, the Sea, and Dancing to the Fossil Record. Ten Speed Press, 1995.

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41

Ingraham, J. H. Morris Graeme Or The Cruise Of The Sea Slipper: A Sequel To The Dancing Feather. Kessinger Publishing, 2004.

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42

Dancing to the Beat of the Tide: Growing up by the Sea in the Sixties and Seventies. Troubador Publishing Limited, 2017.

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43

Little, Jean. Dancing the Seas (Dolphin Diaries #8). Turtleback Books Distributed by Demco Media, 2003.

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44

Dancing the Seas (Dolphin Diaries #8). Scholastic Inc., 2003.

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45

Little, Jean. Dancing the Seas (Dolphin Diaries #8). Tandem Library, 2003.

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46

Gollance, Sonia. It Could Lead to Dancing. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613492.001.0001.

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Dances and balls appear throughout literature as a place for young people to meet, flirt, and form relationships: as any reader of Pride and Prejudice, War and Peace, or Romeo and Juliet can attest, dance scenes provide an opportunity for writers to criticize societal expectations about courtship and partner choice, while simultaneously entertaining their readers. In this book, Sonia Gollance examines Jewish mixed-gender dancing in German and Yiddish literature, arguing that dance provides a powerful lens for understanding Jewish acculturation, secularization, and modernization. Gollance examines the specific literary qualities of dance scenes, such as the parallels between dance figures and plot structures, while also paying close attention to the broader social implications of Jewish engagement with dance during in the nineteenth and twentieth centuries. While traditional Jewish dance was among men only (or women only), mixed-sex dancing was the very sign of modernity, and thus a charged and complex arena for understanding the limits of acculturation, the dangers of class mixing, and the role of erotic engagement in modernization. Gollance’s book is organized around the spaces in which mixed dancing would take place: the tavern, the ballroom, the wedding, and the dance hall. Gollance also draws connections between the cultural history of social dance and contemporary popular culture, illustrating how mixed-sex dancing continues to function as a flexible metaphor for the concerns of Jewish communities in the face of cultural transitions.

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47

Bare: On Women, Dancing, Sex, and Power. Knopf, 2002.

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48

Carr, James Revell. “A Wild Sort of Note”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038600.003.0003.

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This chapter addresses Hawaiians' roles in the multicultural environment aboard European and American sailing ships during the nineteenth century, focusing particularly on the expressive culture of American whalers. Whaling ships began regularly calling at Hawaiian ports in 1820, and over the next six decades thousands of Hawaiian men shipped out as whalemen, joining one of the most cosmopolitan workforces in the world. The chapter begins by describing the social conditions aboard American ships that enabled a variety of performing arts to flourish and encouraged intercultural bonding. It then explicates the different styles and contexts of shipboard music starting with the work song tradition known as the sea chantey (or shanty). It describes the recreational music-making activities of sailors, distinct from the work song tradition, providing accounts of Hawaiian singing and dancing aboard ships at sea and in various global ports, and the responses of Euro-American sailors to that music and dance.

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49

Ure, Jean. What If They Saw Me Now? Dell Publishing Company, 1985.

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50

Gotman, Kélina. Monstrous Grace. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0012.

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The first decades of the twentieth century saw a flurry of dance ‘crazes’, from the tango and the Charleston to the jitterbug, increasingly mapped onto the language of blackness. Jazz, cakewalk, and animal dances infused the social and popular culture of American and European cabarets; yet in the literature on dance and public health, twisting, contortions, hopping, and contagious enthusiasm represented the spectre of sexually taboo and ungainly blackness, against which ‘modern’ (white) dancing set itself. The choreographic discourse on modernity after Sigmund Freud conjugated primitive, infantile gestures with the lowest classes, in contrast to the lithe, ‘graceful’ dancing body exemplified by white socialite teachers Irene and Vernon Castle. They, reprising medical opinion, argued that upright dancing exercised in moderation stimulated youthful health. But the fantasy of convulsive primitivism held strong: from the advent of rock ’n’ roll to raves and Burning Man, figures of Dionysian frenzy persist.

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