'One of the greats' - Lucy Caldwell 'Comic brilliance' - Sinéad Gleeson 'Ingenious' - The Irish Times 'Daring, funny, heartbreaking' - Observer Following the prize-winning Sweet Home, Wendy Erskine's Belfast is once again illuminated. Meet Drew Lord Haig, called on to sing an obscure hit from his youth at a paramilitary event. Meet Max as he recalls an eventful journey to a Christian film festival. And Mrs Dallesandro who dreams of being a teenager again as she sits in a tanning salon on her wedding anniversary. In these stories, Erskine's characters' wishes and hopes often fall short of their grasp. Brilliantly drawn, Dance Move is about the hugeness of life as seen through glimpses of the everyday. 'A masterpiece' - David Keenan 'Wendy Erskine's debut, Sweet Home, was pitch perfect . . . Dance Move is equally brilliant' - The Daily Mail 'Erskine's stories open slight, but they contain more than it seems possible for short stories to contain' - Keith Ridgway As Read on BBC Radio 4 Shortlisted for the Edge Hill Prize Shortlisted for the An Post Irish Book Awards Short Story of the Year

Capturing centuries of rhythmic wisdom just in time for Saturday night, this must-have compendium features the illustrated, step-by-step moves for 100 hot-blooded hipshakers sure to please veteran groove-machines as well as those with two left feet.

Blondell Cummings: Dance as Moving Pictures is the first monograph dedicated to the pivotal work of African American choreographer and video artist Blondell Cummings. The book accompanies an exhibition of the same name co-organized by the Getty Research Institute and Art + Practice, on view at Art + Practice in Los Angeles from September 18, 2021 through February 19, 2022.A foundational figure in dance, Cummings bridged postmodern dance experimentation and Black cultural traditions. Through her unique movement vocabulary, which she called "moving pictures," Cummings combined the visual imagery of photography and the kinetic energy of movement in order to explore the emotional details of daily rituals and the intimacy of Black home life. In her most well-known work Chicken Soup (1981), Cummings remembered the family kitchen as a basis for her choreography; the dance was designated an American Masterpiece by the National Endowment for the Arts in 2006. This book draws from Cummings's personal archive and includes performance ephemera and numerous images from digitized recordings of Cummings's performances and dance films; newly commissioned essays by Samada Aranke, Thomas F. DeFrantz, and Tara Aisha Willis; remembrances by Marjani Forté-Saunders, Ishmael Houston-Jones, Meredith Monk, Elizabeth Streb, Edisa Weeks, and Jawole Willa Jo Zollar; a 1995 interview with Cummings by Veta Goler; and transcripts from Cummings's appearances at Jacob's Pillow and the Wexner Center for the Arts. Bringing together reprints, an extended biography, a chronology of her work, rarely seen documentation, and new research, this book begins to contextualize Cummings's practice at the intersection of dance, moving image, and art histories.

Josephine loves to dance. The emus show her how to point her toes. The eagles teach her how to soar to the music of the wind. Then the ballet comes to the sleepy town of Shaggy Gully and Josephine learns that there's another way to dance. This is how Josephine wants to dance, but will her dream ever come true?

The Art and Science of Dance/Movement Therapy offers both a broad understanding and an in-depth view of how and where dance therapy can be used to produce change. The chapters go beyond the basics that characterize much of the literature on dance/movement therapy, and each of the topics covered offers a theoretical perspective followed by case studies that emphasize the techniques used in the varied settings. Several different theoretical points of view are presented in the chapters, illuminating the different paths through which dance can be approached in therapy.

This book demonstrates the use of dance/movement therapy to directly counteract social injustices and promote healing in international settings. It also demonstrates the potential for dance/movement therapy in prevention and wellness in clinical and community settings. The use of improvisational and creative dance is presented throughout the book as a tremendously clear, strong and powerful inroad to healing in every setting. The chapters in this book do not directly address social justice in dance/movement therapy, but rather provide provoking social justice related positions. This call for a provoking re-examination of the definition of dance/movement therapy is fitting as we—as a community—challenge our identity as dance/movement therapists, educators, supervisors and as human beings who have internalized oppression in various forms through our many identifiers and the unique intersections of those identifiers. The editors and authors posit that social justice cannot be fully addressed by focusing solely on the social issues. Rather, we must be aware of where and how the social issues come into the individual(s), the setting, and the therapy process itself. Chapter “‘Breaking Free': One Adolescent Woman's Recovery from Dating Violence Through Creative Dance" is available open access under a Creative Commons Attribution 4.0 International license via link.springer.com.