At age 21, Bendix was shot in a street robbery and paralyzed. This work chronicles the next four decades of his life. There is nothing he is afraid to look at, nothing that unsettles his humane equanimity and philosophic poise, not even when he looks back unflinchingly at the shooting itself that left him able to use only one arm and one leg.

Two veteran business consultants show business people how to manage the personal side of partnerships and choreograph the results they want. Successful partnering, the authors argue, is like dancing--easily learned in six simple steps. Illustrations.

"Kids love to move. But how do we harness all that kinetic energy effectively for math learning? In Math on the Move, Malke Rosenfeld shows how pairing math concepts and whole body movement creates opportunities for students to make sense of math in entirely new ways. Malke shares her experience creating dynamic learning environments by: exploring the use of the body as a thinking tool, highlighting mathematical ideas that are usefully explored with a moving body, providing a range of entry points for learning to facilitate a moving math classroom. ..."--Publisher description.

"The honesty, energy, and directness that have characterized the author's distinguished performing, teaching, and directing career are apparent throughout this new book". Choice

Beginning Musical Theatre Dance introduces students to basic musical theatre dance techniques from a variety of genres, forms, and styles and explains how to put them into practice for performance on stage. Part of Human Kinetics’ Interactive Dance Series, the text and web resource offer students what they need to know about auditions, rehearsals, performing, and caring for themselves so they can have a successful experience in a musical theatre dance course. Designed for students enrolled in introductory musical theatre dance courses, the text contains photos and descriptions of basic warm-up exercises, center work, steps from a variety of dance genres used in musical theatre dance, partnering, and lifts. For those new to dance, the text provides an orientation to the structure of a musical theatre dance class and includes information on meeting class expectations, dressing appropriately, preparing mentally and physically, maintaining proper nutrition and hydration, and avoiding injury. The accompanying web resource presents more than 60 instructional video clips to help students practice and review musical theatre dance forms, techniques, and adaptations. A glossary builds students’ fluency in the vocabulary of musical theatre dance terminology, adaptations of steps, and styles. Each chapter contains learning features to support students’ knowledge, including experiences, e-journal assignments, web links, and interactive quizzes. (The web resource is included with all new print books and some ebooks. For ebook formats that don’t provide access, the web resource is available separately.) To dance on the musical theatre stage, students need to know how the world of musical theatre works; the expectations they must meet; and how to audition, rehearse, perform, and care for themselves. Beginning Musical Theatre Dance will arm them with the practical information as well as the historical background they need for success. Beginning Musical Theatre Dance is part of Human Kinetics’ Interactive Dance Series. The series incudes resources for ballet, tap, modern dance, and jazz that support introductory technique courses taught through dance, physical education, and fine arts departments. Each student-friendly text includes a web resource offering video clips of dance instruction, learning aids, assignments, and activities. The Interactive Dance Series offers students a guide to learning, performing, and viewing dance.

“Who am I? I’m a man; an American, a father, a teacher, but most of all, I am a person who knows how the arts can change lives, because they transformed mine. I was a dancer.” In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations. He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”). We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky; and Pierre Vladimiroff, Pavlova’s partner. D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”). D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.