When my monkey dances she makes me smile! My smile gets so big, as big as a mile! When I teach my monkey how to dance I am proud to say, she is my student, I wouldnt have it any other way!!!

A record of the First International Women Playwrights Conference, edited to bring out the highlights of discussions. With index, bibliographies of playwrights, and appendix.

In Howard Roger Garis's book 'Jacko and Jumpo Kinkytail (The Funny Monkey Boys)', readers are introduced to the adventurous and mischievous monkey brothers, Jacko and Jumpo. The book, written in a light-hearted and humorous tone, follows the playful antics of these lovable characters as they navigate the jungle and get into all sorts of delightful trouble. Garis's engaging storytelling and vivid descriptions bring the world of Jacko and Jumpo to life, making it a delightful read for both children and adults alike. Set in a literary context that emphasizes the importance of friendship, fun, and forgiveness, 'Jacko and Jumpo Kinkytail' is a charming tale that will warm the hearts of its readers. Howard Roger Garis, known for his popular children's books, drew inspiration for this story from his love of animals and his desire to create imaginative and entertaining stories for young readers. His background as a journalist and storyteller shines through in the captivating narrative and engaging dialogue found in 'Jacko and Jumpo Kinkytail'. I highly recommend 'Jacko and Jumpo Kinkytail (The Funny Monkey Boys)' to anyone looking for a delightful and heartwarming story that will transport them to a whimsical world full of fun and adventure. Garis's timeless tale is sure to bring joy and laughter to readers of all ages.

This book celebrates and documents the resurgence of dance in Cambodia after the fall of the Khmer Rouge and the infamous Pol Pot regime. It honours the remarkable commitment of the few remaining masters of the art of dance who are reviving and preserving the famous classical dances, as well as the courage and resolution of young artists who are imaginatively pursuing their passion to forge new paths in contemporary dance. n 2003, Cambodian classical dance was awarded world heritage status by UNESCO – this confirmed the importance, and perhaps the burden, of the task of preservation. This volume includes contributions from the royal family, eminent writers and commentators and the dancers themselves. Monuments and reminders of the Killing Fields abound in the city of Phnom Penh. Nearly 2 million Cambodians, including many artists, perished during the killings or died of starvation and disease during the Khmer Rouge years. Today, the dancers, both young and old, move towards the future while respecting and honouring the past. This volume documents their journey.

This groundbreaking volume of critical essays about popular entertainments brings together the work of eighteen established, emerging, and independent scholars with backgrounds in Archives, Theatre and Performance, Music, and Historical Studies, currently working across five continents. The first of its kind to examine popular entertainments from a global and multi-disciplinary perspective, this collection examines a broad cross-section of historical and contemporary popular entertainment forms from Australia, England, Japan, North America, and South Africa, and considers their social, cultural and political significance. Despite the vibrant, complex, and ubiquitous nature of popular entertainments, the field has suffered from a lack of sustained academic attention. Nevertheless, popular entertainments have a global reach and a transnational significance at odds with the fact that the meaning and definition of both ‘popular’ and ‘entertainment’ remain widely contested. Since the late-nineteenth century, class-based prejudices in Western culture have championed the superiority of art and literature over the dubious and fleeting pleasures of ‘entertainment.’ Similarly, the term ‘popular’ has carried pejorative connotations, indicating something common and outside the conventional and highbrow productions of the purpose-built theatre house or concert hall. Irrespective of whether ‘popular’ is code for a cultural product with a folk origin, or a term indicating the mass appeal of a cultural product, this volume’s re-assessment of popular entertainments from a global perspective is timely. The performance research embodied in this volume was first discussed at A World of Popular Entertainments International Conference (University of Newcastle, Australia, 2009) in response to a multi-disciplinary call for scholars to explore a variety of topics relevant to the study of popular entertainments.

Reprint of the original, first published in 1871.