Coaxing the Spirits to Dance explores the relationship between social life and artistic expression since the nineteenth century in one of the most important art-producing regions of Papua New Guinea. It includes a stunning presentation of hand-carved and hand-painted ancestor boards, masks, drums, skull racks, and personal items. Each society on the Papuan Gulf had its own elaborate traditions of carved, painted, or decorated masks, boards, and hand drums that filled the men's longhouses for use in dances and performances. Today these art objects offer a glimpse into the varied cosmologies and ritual lives of these surprisingly diverse societies before they were changed significantly through their contact with the West.

The reflexive approach and the concept of bimusicality have made possible this in-depth study of the Rada rite, the foundation of the complex and sensationalized religion of Haiti, Vodun. Fleurant returned to his native Haiti to immerse himself in the socio-cultural life of those who practice the religion that was brought to Haiti by the people captured in Africa from the 16th to the 18th centuries. Through total immersion in daily life culture and apprenticeship in the music culture (reflexive approach and concept of bimusicality), the author has accessed information and provided a descriptive analysis heretofore unavailable to scholars. From this privileged position, the author details the complexity, sophistication, and beauty of the ritual, music, and dance. The pioneering works on the music or the dance of Vodun have attempted to cover the whole ritual spectrum. Fleurant contends that the religion is too complex and too sensationalized to be treated in one volume and that each rite should be studied separately and in greater depth. Dancing Spirits examines drum rhythms, song tunes, and texts of the major Rada dances. A model of the Rada ceremony in Bòpo, a community located some ten miles north of Port-au-Prince, serves as a guide to the reader not familiar with Vodun liturgy. The work challenges studies that do not delve deeply enough into this complex religion, and serves as a model for further studies.

When rock and roll was transforming American culture in the 1950s and '60s, East Harlem pulsed with the sounds of mambo and merengue. Instead of Elvis and the Beatles, Marta Moreno Vega grew up worshiping Celia Cruz, Mario Bauza, and Arsenio Rodriguez. Their music could be heard on every radio in El Barrio and from the main stage at the legendary Palladium, where every weekend working-class kids dressed in their sharpest suits and highest heels and became mambo kings and queens. Spanish Harlem was a vibrant and dynamic world, but it was also a place of constant change, where the traditions of Puerto Rican parents clashed with their children's American ideals. A precocious little girl with wildly curly hair, Marta was the baby of the family and the favorite of her elderly abuela, who lived in the apartment down the hall. Abuela Luisa was the spiritual center of the family, an espiritista who smoked cigars and honored the Afro-Caribbean deities who had always protected their family. But it was Marta's brother, Chachito, who taught her the latest dance steps and called her from the pay phone at the Palladium at night so she could listen, huddled beneath the bedcovers, to the seductive rhythms of Tito Puente and his orchestra. In this luminous and lively memoir, Marta Moreno Vega calls forth the spirit of Puerto Rican New York and the music, mysticism, and traditions of a remarkable and quintessentially American childhood.

This book is a study of Salpuri-Chum, a traditional Korean dance for expelling evil spirits. The authors explore the origins and practice of Salpuri-Chum. The ancient Korean people viewed their misfortunes as coming from evil spirits; therefore, they wanted to expel the evil spirits to recover their happiness. The music for Salpuri-Chum is called Sinawi rhythm. It has no sheet music and lacks the concept of metronomic technique. In this rhythm, the dancer becomes a conductor. Salpuri-Chum is an artistic performance that resolves the people’s sorrow. In many cases, it is a form of sublimation. It is also an effort to transform the pain of reality into beauty, based on the Korean people’s characteristic merriment. It presents itself, then, as a form of immanence. Moreover, Salpuri-Chum is unique in its use of a piece of white fabric. The fabric, as a symbol of the Korean people’s ego ideal, signifies Salpuri-Chum’s focus as a dance for resolving their misfortunes.

“Stella Pope Duarte is a writer who will not be stopped. Her story takes its power from a larger love, and the quest here is as pressing as any I’ve read. This is a novel that looks at a rocky, uncertain time, with the intention of helping. It does." — Ron Carlson, author of The Hotel Eden and At the Jim Bridge An inspiring novel about family, the memories of war, and a woman who valiantly rallies herself and those she loves into reconciling with the past Stella Pope Duarte’s strong and musical voice is reminiscent of Laura Esquivel and Alice Hoffman. Let Their Spirits Dance is a moving, spirited story of a family who takes a trip to the Vietnam Memorial thirty years after the war, and whose trip evolves into a spiritual journey, towards healing and redemption. Teresa Ramirez, is a schoolteacher from El Cielito in Arizona. Still haunted by the death of her brother Jesse in the Vietnam War. Her mother cherishes the memory of her son’s words to her as he boarded the plane for Vietnam, when he told her she would hear his voice again. When Teresa’s ailing mother sees a photograph of the Vietnam War Memorial, she makes a vow to touch his name on the Wall, and this begins a journey that changes the lives of Teresa and her family forever. In this powerfully evocative novel, Pope Duarte connects family, friends, and an entire nation with the names on the Wall, honoring the men and women who served in Vietnam as well as those who watched and waited, but never forgot.

When Animals Sing and Spirits Dance is an introduction to the diversity and drama that is the gule wamkulu, the 'great dance, ' of the Chewa people of Malawi. Covering 200 characters bedecked in mask and costume or woven structure, the book reveals not only the physical variety of the characters but also analyzes their songs, dances, and often codified messages that are delivered through word and action. It is through the dancers of the gule wamkulu that the ancestors communicate with the living and give instructions on how to abide by the code of moral conduct, the mwambo. It is also through the great dance that we can glean intimate insight into the values and worldview of the Chewa. Illustrated throughout with color photographs and original artwork, When Animals Sing and Spirits Dance is a lively interpretation of the great dance, told very much in the voice of the Chewa themselves. The songs are interpreted in both Chichewa and English, with appropriate recognition that direct representation is often impossible. The gule wamkulu was declared a masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO in 2005. This book is a worthy entrée to the majesty, spectacle, and spirituality that is the great dance.

When Princess Gul'Agdar of Dhagabad begins studying the ancient magic of the Sacred Dance, she has no idea that this seemingly innocent act is the first step on the treacherous path to immortality, absolute powerNand slavery. Even her beloved Hasan cannot save her this time, as his enemies lure him into the mysterious True Library, destined to trap all-powerful wizards in a magical desert beyond this world.