Born into a family of successful playwrights and producers, Agnes de Mille was determined to be an actress. Then one day she witnessed the Russian ballet dancer Anna Pavlova, and her life was altered forever. Hypnotized by Pavlova’s beauty, in that moment de Mille dedicated herself to dance. Her memoir records with lighthearted humor and wisdom not only the difficulties she faced—the resistance of her parents, the sacrifices of her training—but also the frontier atmosphere of early Hollywood and New York and London during the Depression. “This is the story of an American dancer,” writes de Mille, “a spoiled egocentric wealthy girl, who learned with difficulty to become a worker, to set and meet standards, to brace a Victorian sensibility to contemporary roughhousing, and who, with happy good fortune, participated by the side of great colleagues in a renaissance of the most ancient and magical of all the arts.”

Barry Shears is a native of Glace Bay, Cape Breton, Nova Scotia, and an acknowledged expert on the history of traditional piping in Nova Scotia and its intrinsic connection to the Gaelic language, music and culture. An award-winning musician, Barry has performed at concerts and festivals throughout North America, as well as in Scotland and Europe. He has previously published several books of bagpipe music and history.

This poetic and uplifting picture book illustrated by the #1 New York Times bestselling illustrator of We Are the Gardeners by Joanna Gaines follows a young girl born with cerebral palsy as she pursues her dream of becoming a dancer. Like many young girls, Eva longs to dance. But unlike many would-be dancers, Eva has cerebral palsy. She doesn’t know what dance looks like for someone who uses a wheelchair. Then Eva learns of a place that has created a class for dancers of all abilities. Her first movements in the studio are tentative, but with the encouragement of her instructor and fellow students, Eva becomes more confident. Eva knows she’s found a place where she belongs. At last her dream of dancing has come true.

“The most successful novelist on Planet Earth” (Washington Post), #1 New York Times bestselling author Nora Roberts choreographs a passionate novel of the O’Hurleys featuring a woman following the rhythm of her heart to capture the man of her dreams in Dance to the Piper. Dancer Maddy O’Hurley conjures magic from the music that guides her movements across Broadway stages, bringing her standing ovations after every performance. Reed Valentine is a music mogul who hears moneymaking opportunities between the notes of every popular and beloved song. And when Maddy is featured in Reed’s newest musical, he becomes captivated by her beauty and grace onstage—and off—as she shows him how to truly listen and feel the melody of the love growing between them.

The work is the result of over thirty years of oral fieldwork among the last Gaels in Cape Breton, for whom piping fit unself-consciously into community life, as well as an exhaustive synthesis of Scottish archival and secondary sources. Reflecting the invaluable memories of now-deceased new world Gaelic lore-bearers, John Gibson shows that traditional community piping in both the old and new world Gàihealtachlan was, and for a long time remained, the same, exposing the distortions introduced by the tendency to interpret the written record from the perspective of modern, post-eighteenth-century bagpiping. Following up the argument in his previous book, Traditional Gaelic Bagpiping, 1745-1945, Gibson traces the shift from tradition to modernism in the old world through detailed genealogies, focusing on how the social function of the Scottish piper changed and step-dance piping progressively disappeared. Old and New World Highland Bagpiping will stir controversy and debate in the piping world while providing reminders of the value of oral history and the importance of describing cultural phenomena with great care and detail.

Piper Mackenzie loved being a photographer for a small town magazine. Until one day she fell victim to cutbacks and crashed into Mr. Blue Eyes on the way out the door. All the way home, she couldn't stop thinking about his broad shoulders and teasing grin. When she runs into him again in a nightclub, she decides it must be fate and takes him for the ride of her life before moving home to her family farm. She never expected to see Mr. Blue Eyes again. She never expected to discover that he works for her family. She definitely didn't expect to find out that he's the father of her cousin's son. She vows to herself to have nothing more to do with him, despite his irresistible charms. Being with him might tear her family apart if they ever found out. But not being with him might tear her apart.

Scottish Dance Beyond 1805 presents a history of Scottish music and dance over the last 200 years, with a focus on sources originating in Aberdeenshire, when steps could be adapted in any way the dancer pleased. The book explains the major changes in the way that dance was taught and performed by chronicling the shift from individual dancing masters to professional, licensed members of regulatory societies. This ethnographical study assesses how dances such as the Highland Fling have been altered and how standardisation has affected contemporary Highland dance and music, by examining the experience of dancers and pipers. It considers reactions to regulation and standardisation through the introduction to Scotland of percussive step dance and caller-facilitated ceilidh dancing. Today’s Highland dancing is a standardised and international form of dance. This book tells the story of what changed over the last 200 years and why. It unfolds through a series of colourful characters, through the dances they taught and the music they danced to and through the story of one dance in particular, the Highland Fling. It considers how Scottish dance reflected changes in Scottish society and culture. The book will be of interest to scholars and postgraduates in the fields of Dance History, Ethnomusicology, Ethnochoreology, Ethnology and Folklore, Cultural History, Scottish Studies and Scottish Traditional Music as well as to teachers, judges and practitioners of Highland dancing and to those interested in the history of Scottish dance, music and culture.