Dr. Nonyelum Chibuzo Mba is from Nigeria. She is a Lecturer in the Department of English and Literary Studies, University of Abuja, Abuja. She has a PhD in Feminism (Womanism) and Gender Discourse in African Literature in English. Her other qualifications are an MA in English Literature; a BA (Ed) English, NCE; a Diploma in Computer Science (Data Processing), Postgraduate Diploma in Journalism, WASC, and GCE O-Level. In addition to The Maiden Dance, Dr. N. C. Mba is the author of Basic Study in Fiction, Literature of Black Diaspora, A Survey of the Twentieth Century American Literature, and Escapade (a novel). She has published several articles in various journals, contributed to books, and has a number of works in progress, including collections of short stories, poems, and drama. She is a member of several professional and other associations.

The King and the Maiden is an intriguing story of the Ibibio culture and traditions. Ekaette, the central character in the book, grew up in the village but later spent a greater part of her years outside her place of birth. Despite leaving the village for so many years to study abroad, she was disturbed by her childhood desire. On her return, she becomes a heroine to the people and a nightmare to some group of men as she inspired the young and elderly people in the village. For her fame, she was hunted by a council of elders who saw her closeness to the people as a threat to their influence on the people and the king. At one point, she became helpless when intimidation started coming from the dreaded masquerade with the backing of the council of chiefs as the highest governing council in the village. They are feared by everybody in the village. As nobody could intervene on her behalf, she went into hiding when she discovered her life was in danger. But when a group of people took to the street, this set the stage for the resilient women union and the dreaded council of elders.

Inspired by the tales of Cinderella, as well as Psyche and Eros, A Dance with the Fae Prince is perfect for fans of A Court of Silver Flames and An Enchantment of Ravens, featuring a a slow-burn romance and sizzling steaminess.[Bokinfo].

In dance, the choreographer creates, the dancer performs and the viewer observes. This work is a handbook for the viewer. By presenting historical and artistic perspectives of dance, dance events are made more approachable and appreciation for the art form is heightened. The choreographic components of body language, content, structure, music, design and interpretation are included. Also discussed is the development of critical reaction over time. Examples are drawn from Western theatrical dance and worldwide cultural variations. Terms are explained throughout the text, and an extensive bibliography gives sources in print and on tape for further study. Instructors considering this book for use in a course may request an examination copy here.

Ihara Saikaku "wrote of the lowest class in the Tokugawa world -- the townsmen who were rising in wealth and power but not in official status."--Back cover.

“Who am I? I’m a man; an American, a father, a teacher, but most of all, I am a person who knows how the arts can change lives, because they transformed mine. I was a dancer.” In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations. He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”). We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky; and Pierre Vladimiroff, Pavlova’s partner. D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”). D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.

This is the story of the National Ballet of Canada – the people, the determination, and how at sixty it is still creating new work while still representing the classics. Passion to Dance is the story of the National Ballet of Canada – the people who dreamt the company into existence, the determination needed to keep it afloat, the bumps on the road to its success, and above all, its passion for dance as a living, evolving art form. From catch-as-catch-can beginnings – borrowed quarters, tiny stages, enormous dreams the National Ballet has emerged as one of North America’s foremost dance troupes. The company at sixty is a company of its time, engaged in creating challenging new work, yet committed to maintaining the classics of the past, favourites like Swan Lake, The Nutcracker,and The Sleeping Beauty. One hundred and fifty photographs from the company’s archives illustrate this definitive history, filled with eyewitness accounts, backstage glimpses, and fascinating detail. This is a record of one of Canada’s boldest cultural experiments, a book to enjoy now and keep forever.