Down on the ocean floor, deep in the sea, everybody's dancing. Ready? ONE, TWO, THREE! All the underwater creatures are having fun dancing in the deep until Shark crashes the party. But what if he just wants to dance too? Don't miss this beautifully-illustrated, charming tale of differences, common bonds, friendship, and dancing from former Children's Poet Laureate Kenn Nesbitt.

Willie Cormack hates the sea. He sees it in his nightmares, the raging ocean full of the ghosts of drowned fishermen, beckoning to him. But Willie lives on a peninsula on the west coast of Ireland and the sea is all around him. The only way to make a living is from the sea, and Willie is afraid of his future. And then a lone sailor is shipwrecked on the coast in a storm and the tiny community is thrown into turmoil by the stranger who is so suddenly thrust among them. In the atmosphere of bigotry and suspicion that follows, a terrible tragedy seems inevitable unless Willie can meet his own fears face to face and pit himself against the very elements that haunt his dreams. Will Gatti is head of English at a girls' school in Surrey. He taught for a while at a school in Dublin and lived on the west coast of Ireland for a couple of years, which is where he returns every summer, and where he has set Sea Dance, his first novel for OUP, which is now being reissued in a smaller mass-market paperback format.

It's the day of the deep-sea disco, but Marina doesn't know how to dance! Can she learn some groovy mermaid moves in time for the party? Join Marina and her underwater friends on an ocean adventure. With stunning illustrations by James Newman Gray, children are sure to love this fin-tastic tale.

This updated version of Tippett’s 1977, The Deep Sea Canoe, describes a significant but often overlooked aspect of the expansion of Christianity in the South Pacific, that of South Sea Island believers who carried the gospel from one island to another in their deep sea canoes. It is a well-researched study by one who knew the islands and their people, a man known by the Fijians as one who spoke their language.

The Dance of the Sea is a tale of fisherfolk that live in an obscure coastal slum village situated in the southernmost tip of the Indian Subcontinent. It is the place where Sebastian becomes an engineer, rising up among the illiterate ruffian masses that have nerves of steel and a proclivity for ethnocentric violence. Sebastian deserts Gloria after their many trysts climax in a passionate lovemaking among the moonlit coconut grove where both lose their virginity. Gloria lives independently and becomes a rare and multi-faceted personality—a successful painter, an entrepreneur, and a social worker—riding well past Sebastian in fame and wealth. Torn between warring in-laws and his poverty-stricken sister Rebecca, Sebastian takes sides with the in-laws, leaving his sister in a financial predicament. She suffers from the overuse of loan usury to purchase a fishing trawler. Gloria supports Rebecca as much as she can in financial crises. Nature is unkind to them. The tsunami in 2004 wreaks devastating destruction, thousands of fisherfolk die like flies, and their properties return to the depths of the sea. The tsunami ends Gloria’s life as well. The rivalry between mechanised fishing and traditional vallam fishing escalates as arsonists set the fishing trawlers afire, including the one owned by Rebecca. Will Sebastian rescue his sister Rebecca from the aftermath of misfortunes? Will the karma of deserting Gloria haunt Sebastian forever? What is that secret which Gloria has kept undisclosed to Sebastian all along? What shapes the psyche of these Catholic fisherfolk, the faith in religion or sorcery? Reader will discover not only the answers, but also the dark tunnels of suspense and awe-inspiring unique lifestyles of humanity unknown to the rest of the world.

Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.