“What do you mean, he’s asked how much I am?” asked a stunned Eden Collinsworth upon learning that a Chinese businessman had inquired if she were available for purchase. Despite this precarious introduction to China, no country has fascinated Collinsworth more during a career that has moved her around the world. Convinced that—despite the nation’s status as a world leader—the Chinese are still socially uncomfortable with their Western counterparts, she collaborated with a major Chinese publisher to produce a bestselling Western etiquette guide. Now, in these pages, Collinsworth tells the unforgettable story of the year she spent living among the Chinese while writing a book featuring advice on such topics as the rules of the handshake, making sense of foreigners, and behavior that is considered universally rude. Informative, hilarious, and thought-provoking, I Stand Corrected is at once an entertaining memoir and essential reading for those looking to understand the mores of the rapidly changing—and increasingly important—nation that is China.

A fascinating fusion of memoir, manners, and cultural history from a successful businesswoman well versed in the unique challenges of working in contemporary China. During the course of a career that has, quite literarily, moved her around the world, no country has fascinated Eden Collinsworth more than China, where she has borne witness to its profound transformation. After numerous experiences there that might best be called "unusual" by Western standards, she concluded that despite China's growing status as a world economy, businessmen in mainland China were fundamentally uncomfortable in the company of their Western counterparts. This realization spawned an idea to work collaboratively with a major Chinese publisher on a Western etiquette guide, which went on to became a bestseller and prompted a branch of China's Ministry of Education to suggest that she create a curriculum for the school system. In I Stand Corrected, Collinsworth tells the entertaining and insightful story of the year she spent living among the Chinese while writing a book featuring advice on such topics as the non-negotiable issue of personal hygiene, the rules of the handshake, and making sense of foreigners. Scrutinizing the kind of etiquette that has guided her own business career, one which has unfolded in predominately male company, Collinsworth creates a counterpart that explains Chinese practices and reveals much about our own Western culture. At the same time, I Stand Corrected is a wry but self-effacing reflection on the peripatetic career she led while single-handedly raising her son, and here she details the often madcap attempts to strike a balance that was right for them both.

This story started out as a reminder of the hike my family and I had shared. From the first night out away from all the noise of the day to day life to the hour to hour frustration of the insects who invaded our lives. Between the beauty of the waterfalls and our ability to share the lives of the creatures who resided there, to the situations each of us were placed in for example mud holes and roots that covered the ground in every size and shape, I believe the entire family was able to find a peace and closeness that had been missing for a while. I hope that everyone that reads this book will find out what I have. There is nothing like spending a few days out in the wilderness with the ability to find solace and an understanding of just how important it is to appreciate the beauty that surrounds us every day within every inch of nature contained within our borders. Along with that fact please take the time to show your family just how important they are. This was the main reason I decided to go on this hike. Good or bad it was one of the best vacations I had ever taken. I hope each person enjoys reading this story as much as I did actually partaking in it. Enjoy

The Methuen Drama Handbook of Interculturalism and Performance explores ground-breaking new directions and critical discourse in the field of intercultural theatre and performance while surveying key debates concerning interculturalism as an aesthetic and ethical series of encounters in theatre and performance from the 1960s onwards. The handbook's global coverage challenges understandings of intercultural theatre and performance that continue to prioritise case studies emerging primarily from the West and executed by elite artists. By building on a growing field of scholarship on intercultural theatre and performance that examines minoritarian and grassroots work, the volume offers an alternative and multi-vocal view of what interculturalism might offer as a theoretical keyword to the future of theatre and performance studies, while also contributing an energized reassessment of the vociferous debates that have long accompanied its critical and practical usage in a performance context. By exploring anew what happens when interculturalism and performance intersect as embodied practice, The Methuen Drama Handbook of Interculturalism and Performance offers new perspectives on a seminal theoretical concept still as useful as it is controversial. Featuring a series of indispensable research tools, including a fully annotated bibliography, this is the essential scholarly handbook for anyone working in intercultural theatre and performance, and performance studies.

Are you ready to confront the issues of your past that you have tried to cover up? It's time to shatter the secrecy of sin that has given power to your feelings of guilt and shame. The enemy would have you believe that you are the only one who has experienced what you have gone through; that you are hopeless and helpless; or that God is disappointed in you. That could not be further from the truth! God loves you unconditionally. You are about to embark upon a journey from hurt to healing, from misery to ministry, and from pain to purpose. As you witness the author's transformation through narration and poetry, you too will discover who you really are and give voice to your silent screams. You will be inspired to dream again and encouraged to fulfill your destiny.

In the aftermath of state-perpetrated injustice, a façade of peace can suddenly give way, and in South Africa and the Democratic Republic of Congo, post-apartheid and postcolonial framings of change have exceeded their limits. Performance and the Afterlives of Injustice reveals how the voices and visions of artists can help us see what otherwise evades perception. Embodied performance in South Africa has particular potency because apartheid was so centrally focused on the body: classifying bodies into racial categories, legislating where certain bodies could move and which bathrooms and drinking fountains certain bodies could use, and how different bodies carried meaning. The book considers key works by contemporary performing artists Brett Bailey, Faustin Linyekula, Gregory Maqoma, Mamela Nyamza, Robyn Orlin, Jay Pather, and Sello Pesa, artists imagining new forms and helping audiences see the contemporary moment as it is: an important intervention in countries long predicated on denial. They are also helping to conjure, anticipate, and dream a world that is otherwise. The book will be of particular interest to scholars of African studies, black performance, dance studies, transitional justice, as well as theater and performance studies.