Liturgical dance is a way to present, reflect, instruct, learn, study, and share religious beliefs with one's self, within one's worship community, and with one's God. Such a belief is confirmed and witnessed within a variety of religious settings throughout the world from the beginning of time to this present age. However, there is a vacuum of resources that connect liturgical dance within the Christian context as a tool for religious learning within the field of religious education. With the continual rise of liturgical dance as an artistic form of expression, this book proposes that liturgical dance offers unique attributes conducive to the teaching and learning of faith and to faith formation. Kathleen S. Turner shows how liturgical dance is religious education in two very important ways: first, by addressing the power and potential liturgical dance has in nourishing the faith life of Christian congregants through means that are both educative and reflective; and second, by giving examples of how liturgical dance can be implemented as a religious-education tool within the teaching life of the church.

Liturgical dance is a way to present, reflect, instruct, learn, study, and share religious beliefs with one’s self, within one’s worship community, and with one’s God. Such a belief is confirmed and witnessed within a variety of religious settings throughout the world from the beginning of time to this present age. However, there is a vacuum of resources that connect liturgical dance within the Christian context as a tool for religious learning within the field of religious education. With the continual rise of liturgical dance as an artistic form of expression, this book proposes that liturgical dance offers unique attributes conducive to the teaching and learning of faith and to faith formation. Kathleen S. Turner shows how liturgical dance is religious education in two very important ways: first, by addressing the power and potential liturgical dance has in nourishing the faith life of Christian congregants through means that are both educative and reflective; and second, by giving examples of how liturgical dance can be implemented as a religious-education tool within the teaching life of the church.

In a poignant account reminiscent of The Autobiography of Helen Keller and Christy Brown's My Left Foot, Carolyn Martin recalls how she slowly proved to herself and those around her that she had both intelligence and human worth, despite a severe physical handicap.

Asserts that the 1870 and 1890 Ghost Dance movements were deliberate efforts by American Indians to accomplish a demographic revitalization following their virtual demographic collapse. Correlates tribal participation with Indian population levels before and after the movements.