A poet's essay, an essay for a room, for the mouth, the hand, the ear.

This volume documents one of the treasures of Big Dance Theater's original performances, supplemented by a series of interviews.

"Poignant and exquisite"--The Los Angeles Review of Books "An inspiring and powerful book"--Booklist "A genuinely absorbing read"--Kirkus "Revelatory, honest, and wondrous."--Chanel Miller, author of Know My Name A lyrical and meditative memoir on the damage we inflict in the pursuit of perfection, the pain of losing our dreams, and the power of letting go of both. With a promising career in classical ballet ahead of her, Ellen O'Connell Whittet was devastated when a misstep in rehearsal caused a career-ending injury. Ballet was the love of her life. She lived for her moments under the glare of the stage-lights--gliding through the air, pretending however fleetingly to effortlessly defy gravity. Yet with a debilitating injury forcing her to reconsider her future, she also began to reconsider what she had taken for granted in her past. Beneath every perfect arabesque was a foot, disfigured by pointe shoes, stuffed--taped and bleeding--into a pink, silk slipper. Behind her ballerina's body was a young girl starving herself into a fragile collection of limbs. Within her love of ballet was a hatred of herself for struggling to achieve the perfection it demanded of her. In this raw and redemptive debut memoir, Ellen O'Connell Whittet explores the silent suffering of the ballerina--and finds it emblematic of the violence that women quietly shoulder every day. For O'Connell Whittet, letting go of one meant confronting the other--only then was it possible to truly take flight.

This second edition of the classic text directs dance teachers through what they need to know to teach creative dance from pre-K through adult levels in a variety of settings. It includes a sequential curriculum, lesson plans, editable forms, and teacher strategies created by master teacher Anne Green Gilbert.

Zen is dhyana; in China it became ch’an. And then from China it had to be taken to Japan, because in China also it soon became impossible to find a man who was ready to receive it. This Kakua brought it from China to Japan. Just as Bodhidharma took it from India to China, Kakua brought it from China to Japan.