"Dancing at the Dead Sea is a powerful narrative on the critically important topic of the world's environmental hotspots. This is not a pessimistic tirade, but instead a factual commentary that will convince many, written by a gifted writer with an independent mind. I recommend this book without reservation." Richard Leakey Alanna Mitchell, winner of the Global Reuters IUCN media award for excellence in environmental reporting, embarks on an incredible worldwide cultural and environmental odyssey, zeroing in on environmental hotspots and examines how we can live, even flourish, without destroying the planet. One hundred and fifty years after the publication of The Origin of Species, Mitchell retraces the development of evolutionary theory, grappling with Richard Leakey's contention that the extinction of the human species is well under way. How and why are we human beings shortening our time on Earth? Travelling to the last living Eden, Madagascar, Mitchell is witness to the destruction of all but 10 percent of the original forest, not due to industrial activity but woodcutting by a primitive society still dependent on fire as its main energy resource. She then moves on to the badlands of Alberta, where she draws on the theory of world-famous paleontologist Philip Currie and the extinction of dinosaurs to gain insight on humanitys own impending suicide. Travel to the Azraq Oasis in Jordan, the meeting place of Africa, Asia and Europe, the mythical Galapagos Islands, seemingly unspoiled, but not immune to degradation, the far north and the Arctic desert of Banks Island, one of the first places on Earth where climate change with global impact is visible. Like the work of Wade Davis or books such as Krakatoa by Simon Winchester and Four Wings and a Prayer by Sue Halpern, Dancing at the Dead Sea intertwines scientific theory with travel adventure and history, creating a dramatic, fresh narrative voice examining not the origin, but the ultimate fate of the human species. (April 2004)

Through mysticism and mythology, this book offers an original perspective for those interested in a mythic and mystical approach to Judaism and to women of diverse spiritual and religious communities, who, awakening in consciousness, seek authenticity in the feminine experience.

This book explores the origins of Butoh in post-war Japan through orality and transmission, in conjunction with an embodied research approach. The book is a gathering of seminal artistic voices – Yoshito Ohno, Natsu Nakajima, Yukio Waguri, Moe Yamamoto, Masaki Iwana, Ko Murobushi, Yukio Suzuki, Takao Kawaguchi, Yuko Kaseki, and the philosopher, Kuniichi Uno. These conversations happened during an extended research trip I made to Japan to understand the context and circumstances that engendered Butoh. Alongside these exchanges are my reflections on Butoh’s complex history. These are primarily informed by my pedagogical and performance encounters with the artists I met during this time, rather than a theoretical analysis. Through the words of these dancers, I investigate Butoh’s tendency to evade categorization. Butoh’s artistic legacy of bodily rebellion, plurality of authorship, and fluidity of form seems prescient and feels more relevant in contemporary times than ever before. This book is intended as a practitioner's guide for dancers, artists, students, and scholars with an interest in non-Western dance and dance history, postmodern performance, and Japanese arts and culture.

Butoh, also known as "dance of darkness," is a postmodern dance form that began in Japan as an effort to recover the primal body or "the body that has not been robbed," as butoh founder Tatsumi Hijikata put it. Butoh has become increasingly popular in the United States and throughout the world, diversifying its aesthetic while at the same time asserting the power of its spiritual foundations. Dancing into Darkness is Sondra Horton Fraleigh's chronological diary of her deepening understanding of and appreciation for this art form as she moves from a position of aesthetic response as an audience member to that of assimilation as a student of Zen and butoh. Fraleigh witnesses her own artistic and personal transformation through essays, poems, interviews, and reflections spanning twelve years of study, much of it in Japan. Numerous performance photographs and original calligraphy by Fraleigh's Zen teacher, Shodo Akane, illuminate her words.

We can no longer cope with our waste. Every hour in the UK we throw away enough rubbish to fill the Albert hall - a statistic quoted so often that perhaps we've stopped imagining what it means. And every year the flow accelerates. This is the story of our rubbish - from the first human bowel movement to the littering of outer space. With a hankerchief to his nose, Girling picks through our fridge mountain, our crumbling sewers, trading waste, packaging waste, hazardous industrial waste... it is a mucky saga of carelessness, greed and opportunism, wasted opportunity and official bungling. But Rubbish! is also a plea for us to consider other kinds of waste: the trashing of our landscape, the unstoppable floods of junk that clog our mailboxes, litter the skies and foul the airwaves... Rubbish! may not be a conventional battle cry but this is unmistakably a call to arms - not just for the three 'R's - reduce, re-use, recycle - but for us to fight for new ideas, brave initiative rather than reliance on old systems that are crumbling before our eyes.

In The Wise Body: Conversations with Experienced Dancers, UK choreographers Jacky Lansley and Fergus Early interview twelve distinguished dancers from diverse backgrounds and disciplines who continue to enjoy exceptionally long performing careers. They discuss early training, memorable performing experiences, the things that sustain them, and the pleasures and challenges of being ‘older’ dancers in a profession in which youth is often idolized. The contributors include Philippe Priasso, Lisa Nelson, La Tati, Julyen Hamilton, Yoshito Ohno, Steve Paxton, Will Gaines, Jane Dudley, Pauline de Groot, and Bisakha Sarker. Taken as a whole, the interviews, with their long and international perspective, invite a radical reappraisal of the development of modern and postmodern dance and their varied cultural starting points give rise to serious questions about the meaning of dance as an art form.