Josephine loves to dance. The emus show her how to point her toes. The eagles teach her how to soar to the music of the wind. Then the ballet comes to the sleepy town of Shaggy Gully and Josephine learns that there's another way to dance. This is how Josephine wants to dance, but will her dream ever come true?

Dance of the Kangaroos (The Riot shall not be Televised) is a collection of 42 poems on the socio-political and economic realities of a people polarised by bitter colonial experiences. Through the use of metaphor and other literary devices, closely knitted by an apprehensive sense of a first witness, the poems highlight experiences of oppression, marginalization, social justice and human rights abuse. Dance of the Kangaroos takes the reader on a journey that unveils the realities and challenges of postcolonial African society. It is one where the superior class have taken up the colonial whip and induced their subordinates to re-stage a colonial parody under indigénat, a policy used by the French in colonial Africa. Mbutoh draws on words and expressions from his African background and his knowledge of his people’s colonial experiences to make each poem unique.

A History of Ancient Chinese Music and Dance describes the history of music and dance in ancient China in the past five thousand years in the forms of poems, music and dance. It includes court music and dance, music and dance in drama and folk music and dance. It covers historical and professional knowledge such as music, dance, poetry and drama. The book consists of eleven chapters, from ancient times to the Ming Dynasty and the Qing Dynasty. In each chapter, there are historical background, music and dance works, people, events, and related poetry and images. The Yellow Emperor created tonality for wind instruments. Emperor Yao and Emperor Shun invented musical instruments qin and se. Duke of Zhou made system of rites and music. Apart from these, music, dance and acrobatics in the Qin Dynasty and the Han Dynasty, grand compositions in the Tang Dynasty and the Song Dynasty and music and dance in drama in the Ming Dynasty and the Qing Dynasty can all lead us to the long developing process of ancient music and dance. The book was the Project of 2003 National Tenth Five-Year Plan for Art Science in China. It was co-funded by the National Publishing Fund and “China Classics International” of the General Administration of Press and Publication.

It has been widely accepted that the 10th-century liturgical plays developed naturally as a religious entity from the Mass. This approach is critiqued in The Origin of Medieval Drama where Leonard Goldstein places the development of the plays within the socio-economic context of the period, most notably the rapid rise of feudalism. Goldstein argues that the plays were a response by the Church to a decline in faith brought on by the burdens of feudalism on the peasantry. However, instead of revitalising faith, the plays which sought to assure the peasantry of their salvation actually represented and therefore reinforced the emerging private property relation. In looking at the origins of ancient Greek drama where scholars have concentrated more on social and cultural issues, Goldstein develops a Marxist model for the origins of medieval drama.

Despite the recognized importance of cultural diversity in understanding the modern world, the emerging science of cognitive psychology has relied far more on experimental psychology, neurobiology, and computer science than on cultural anthropology for its models of how we think. In this exciting new book, anthropologist Bradd Shore has created the first study linking multi-culturalism to cognitive psychology, exploring the complex relationship between culture in public institutions and in mental representations. In so doing, he answers in a completely new way the age old question of whether humans are basically the same psychologically, independent of cultures, or basically diverse because of cultural differences. The first half of the book emphasizes cultural models, from Australian Aboriginal rituals and Samoan comedy skits, to more familiar terrain, including a study of baseball as a cultural model for Americans. Along the way, the author sheds new and novel light on many familiar institutions, from educational curricula and shopping malls to modular furniture and cyberpunk fiction. These observations are then linked to theoretical developments in linguistics, semiotics, and neuroscience, creating a bold new approach to understanding the role of culture in everyday meaning making. The author argues that culture must be considered an intrinsic component of the human mind to a degree that most psychologists and even many anthropologists have not recognized. This new position of cultural models will make absorbing reading for psychologists, anthropologists, linguists, and philosophers, and to anyone interested in the issues of cultural diversity, multiculturalism, or cognitive science in general.