Political parties, interest groups, and candidate campaigns all pursue similar goals in presidential elections: each entity attempts to mobilize voters. However, the regulatory environment often prevents these groups from coordinating their efforts. With participants playing by new rules mandated by the Bipartisan Campaign Reform Act, the 2004 presidential election included previously unseen configurations and alliances between political actors. In some campaign situations, the resulting 'dance' was carefully choreographed. In others, dancers stepped on each other's toes. In still others, participants could only eye each other across the floor. Dancing without Partners intensively analyzes the relationships among candidates, political parties, and interest groups under the BCRA's new regulations in the 2004 election cycle in five battleground states. The chapters assess the ways in which the rules of the game have changed the game itself_and also how they haven't. The result is a book that will be invaluable to researchers and students of presidential elections.

A guide to general dancing skills accompanies sequential photographs and foot-pattern diagrams illustrating the fundamentals of the fox-trot, waltz, cha-cha, tango, polka, and other popular ballroom dances.

With this one-of-a-kind book, dance instructors will develop the confidence and professionalism to quickly and easily go from being a good teacher to a great one, and gain the skills needed to skyrocket their careers.

Beginning Musical Theatre Dance introduces students to basic musical theatre dance techniques from a variety of genres, forms, and styles and explains how to put them into practice for performance on stage. Part of Human Kinetics’ Interactive Dance Series, the text and web resource offer students what they need to know about auditions, rehearsals, performing, and caring for themselves so they can have a successful experience in a musical theatre dance course. Designed for students enrolled in introductory musical theatre dance courses, the text contains photos and descriptions of basic warm-up exercises, center work, steps from a variety of dance genres used in musical theatre dance, partnering, and lifts. For those new to dance, the text provides an orientation to the structure of a musical theatre dance class and includes information on meeting class expectations, dressing appropriately, preparing mentally and physically, maintaining proper nutrition and hydration, and avoiding injury. The accompanying web resource presents more than 60 instructional video clips to help students practice and review musical theatre dance forms, techniques, and adaptations. A glossary builds students’ fluency in the vocabulary of musical theatre dance terminology, adaptations of steps, and styles. Each chapter contains learning features to support students’ knowledge, including experiences, e-journal assignments, web links, and interactive quizzes. (The web resource is included with all new print books and some ebooks. For ebook formats that don’t provide access, the web resource is available separately.) To dance on the musical theatre stage, students need to know how the world of musical theatre works; the expectations they must meet; and how to audition, rehearse, perform, and care for themselves. Beginning Musical Theatre Dance will arm them with the practical information as well as the historical background they need for success. Beginning Musical Theatre Dance is part of Human Kinetics’ Interactive Dance Series. The series incudes resources for ballet, tap, modern dance, and jazz that support introductory technique courses taught through dance, physical education, and fine arts departments. Each student-friendly text includes a web resource offering video clips of dance instruction, learning aids, assignments, and activities. The Interactive Dance Series offers students a guide to learning, performing, and viewing dance.

Have you been feeling creatively stagnant or distanced from dance? Meet your new rectangular dance partner. A whisper from the creative muses. "The Artist's Way" in dance form. A calling to get back to dance and get back to YOU. Because starting to dance - again or for the first time - is often easier said than done. (Cue the intimidation, body image issues, time constraints, etc.) But dancing regularly is a proven source of happiness and healing, and for many it's a way to revive a lost part of our souls. This book is meant to be danced with, alone in your room to start, with a series of inspiring stories and directive prompts that you can do anytime. No more need for excuses or endlessly searching for the perfect class... make your bedroom your dance studio and DANCE WITH THIS BOOK. Side effects may include: making more space for yourself, reconnecting to your body, boosting your creative energy, releasing stress and stuck emotions, and feeling less alone. No leotards or expensive leggings required.

If God is all-knowing and all-powerful, can he in any way be vulnerable to his creation? Can God be in control of anything at all if he is not constantly in control of everything? John Sanders says yes to both of these questions. In The God Who Risks defends his answer with a careful and challenging argument. He first builds his case on an in-depth reading of the Old and New Testaments. Then Sanders probes philosophical, historical and systematic theology for further support. And he completes his defense with considerations drawn from practical theology. The God Who Risks is a profound and often inspiring presentation of "relational theism"--an understanding of providence in which "a personal God enters into genuine give-and-take relations with his creatures." With this book Sanders not only contributes to serious theological discussion but also enlightens pastors and laypersons who struggle with questions about suffering, evil and human free will.

Arguably the world's most popular partnered social dance form, salsa's significance extends well beyond the Latino communities which gave birth to it. The growing international and cross-cultural appeal of this Latin dance form, which celebrates its mixed origins in the Caribbean and in Spanish Harlem, offers a rich site for examining issues of cultural hybridity and commodification in the context of global migration. Salsa consists of countless dance dialects enjoyed by varied communities in different locales. In short, there is not one dance called salsa, but many. Spinning Mambo into Salsa, a history of salsa dance, focuses on its evolution in three major hubs for international commercial export-New York, Los Angeles, and Miami. The book examines how commercialized salsa dance in the 1990s departed from earlier practices of Latin dance, especially 1950s mambo. Topics covered include generational differences between Palladium Era mambo and modern salsa; mid-century antecedents to modern salsa in Cuba and Puerto Rico; tension between salsa as commercial vs. cultural practice; regional differences in New York, Los Angeles, and Miami; the role of the Web in salsa commerce; and adaptations of social Latin dance for stage performance. Throughout the book, salsa dance history is linked to histories of salsa music, exposing how increased separation of the dance from its musical inspiration has precipitated major shifts in Latin dance practice. As a whole, the book dispels the belief that one version is more authentic than another by showing how competing styles came into existence and contention. Based on over 100 oral history interviews, archival research, ethnographic participant observation, and analysis of Web content and commerce, the book is rich with quotes from practitioners and detailed movement description.