Dancing with Memories is a children's picture book about living well with dementia. Lucy lives with dementia - she wishes she didn't, but she does. S She is full of life and determination and although less competent than before, Lucy but can still do a lot. "My brain has changed", she says, "but I am still Lucy." Lucy knows her brain doesn't work like it used to, but doesn't always understand the implications. This leads to adventures and challenges. One adventure happens the day of her granddaughter's wedding. Lucy is to be picked up for the wedding by her daughter but decides to make her own way on the bus. Lucy becomes lost and confused on her way to the wedding. She is in danger of missing the wedding altogether! After a frustrating few hours, she finds her way home through the kindness and attentiveness of people in her community, including ten-year-old Reuben and his kelpie, Rejy. Lucy does make it to her granddaughter's wedding. Dancing with Memories focuses on wellbeing rather than deficit. It re-envisions what's possible by enjoying people living with dementia, more than fixating on what is lost. It is generative, not despairing; it informs and empowers. It centres on a community aware of the respectful support people living with dementia need and deserve - a dementia-friendly community, where people take time to notice, listen and act. Supported by Professor Ralph Martins' Q&A and Maggie Beer's healthy lunchboxes, Dancing with Memories provides a platform to raise awareness, alleviate fears and facilitate conversation with children around brain health. It highlights the importance of a life-long healthy diet and lifestyle, and empowers children to engage with hope and intent in the growing social challenge of dementia.

This book focuses on the myriad ways that people collectively remember or forget shared pasts through popular dance. In dance classes, nightclubs, family celebrations, tourist performances, on television, film, music video and the internet, cultural memories are shared and transformed by dancing bodies adapting yesterday’s steps to today’s concerns. The book gathers emerging and seasoned scholarly voices from a wide range of geographical and disciplinary perspectives to discuss cultural remembering and forgetting in diverse popular dance contexts. The contributors ask: how are Afro-diasporic memories invoked in popular dance classes? How are popular dance genealogies manipulated and reclaimed? What is at stake for the nation in the nationalizing of folk and popular dances? And how does mediated dancing transmit memory as feelings or affects? The book reveals popular dance to be vital to cultural processes of remembering and forgetting, allowing participants to pivot between alternative pasts, presents and futures.

Challenging conventional understandings of time and memory, Christopher T. Nelson examines how contemporary Okinawans have contested, appropriated, and transformed the burdens and possibilities of the past. Nelson explores the work of a circle of Okinawan storytellers, ethnographers, musicians, and dancers deeply engaged with the legacies of a brutal Japanese colonial era, the almost unimaginable devastation of the Pacific War, and a long American military occupation that still casts its shadow over the islands. The ethnographic research that Nelson conducted in Okinawa in the late 1990s—and his broader effort to understand Okinawans’ critical and creative struggles—was inspired by his first visit to the islands in 1985 as a lieutenant in the U.S. Marine Corps. Nelson analyzes the practices of specific performers, showing how memories are recalled, bodies remade, and actions rethought as Okinawans work through fragments of the past in order to reconstruct the fabric of everyday life. Artists such as the popular Okinawan actor and storyteller Fujiki Hayato weave together genres including Japanese stand-up comedy, Okinawan celebratory rituals, and ethnographic studies of war memory, encouraging their audiences to imagine other ways to live in the modern world. Nelson looks at the efforts of performers and activists to wrest the Okinawan past from romantic representations of idyllic rural life in the Japanese media and reactionary appropriations of traditional values by conservative politicians. In his consideration of eisā, the traditional dance for the dead, Nelson finds a practice that reaches beyond the expected boundaries of mourning and commemoration, as the living and the dead come together to create a moment in which a new world might be built from the ruins of the old.

The day has finally come, the first day of dance class. With shoes packed snug in her bag, we watch as mom and daughter head to the studio for an afternoon filled with ballet, tap, and jazz. A classroom of new friends awaits as we watch our little girl's feet take center stage, moving to the rhythm of the music. Boasting with self-confidence and pride, a new star is beginning to discover her shine as she falls in love with the way her body seamlessly moves to the sound of the beat. Inspired by author Nia Sioux's own love for the dance floor, this beautifully enriched story is all about dance and discovery. Highlighting the diverse and accepting culture within the world of the arts, this book is a simple story centered around the all-important message of inclusion.

As her grandmother’s health declines, a young girl begins to lovingly take the lead in their cozy shared autumn traditions. Poetic prose paired with evocative illustrations by Mexican illustrator Claudia Navarro make for a beautiful celebration of life and a gentle introduction to the death of a loved one.

This memoir of Native American teacher, writer and artist Warren Petoskey spans centuries and lights up shadowy corners of American history with important memories of Indian culture and survival. Warren's family connects with many key episodes in Indian history, including the tragedy of boarding schools that imprisoned thousands of Indian children as well as the traumatic effects of alcohol abuse and bigotry. He writes honestly about the impact of these tragedies, and continually returns to Indian traditions as the deepest healing resources for native peoples. He writes about the wisdom that comes from practices such as fishing, hunting and sharing poetry. This memoir is an essential voice in the chorus of Indian leaders testifying to major chapters of American history largely missing from most narratives of our nation's past.

“I am here. You will never be alone. We are dancing for you.” So begins Cutcha Risling Baldy’s deeply personal account of the revitalization of the women’s coming-of-age ceremony for the Hoopa Valley Tribe. At the end of the twentieth century, the tribe’s Flower Dance had not been fully practiced for decades. The women of the tribe, recognizing the critical importance of the tradition, undertook its revitalization using the memories of elders and medicine women and details found in museum archives, anthropological records, and oral histories. Deeply rooted in Indigenous knowledge, Risling Baldy brings us the voices of people transformed by cultural revitalization, including the accounts of young women who have participated in the Flower Dance. Using a framework of Native feminisms, she locates this revival within a broad context of decolonizing praxis and considers how this renaissance of women’s coming-of-age ceremonies confounds ethnographic depictions of Native women; challenges anthropological theories about menstruation, gender, and coming-of-age; and addresses gender inequality and gender violence within Native communities.