Sassy worries that her too-large feet, too-long legs, and even her big mouth will keep her from her dream of becoming a star ballerina. So for now she's just dancing in the wings, watching from behind the curtain, and hoping that one day it will be her turn to shimmer in the spotlight. When the director of an important dance festival comes to audition her class, Sassy's first attempts to get his attention are, well, a little wobbly. But Sassy just knows, somehow, that this is her time to step out from those wings, and make her mark on the world. Actress/choreographer Debbie Allen and Kadir Nelson collaborated on Brothers of the Knight, about which School Library Journal raved, "the strutting high-stepping brothers are full of individuality, attitude, and movement."

The famous Madame Zizi needs another dancer for her upcoming performance at the Theater Royale, and Angelina is determined to get the part. But then, to everyone’s surprise, Madame Zizi picks Henry. Will Angelina learn what it really means to be a star?

Why did dance and dancing became important to the construction of a new, modern, Jewish/Israeli cultural identity in the newly formed nation of Israel? There were questions that covered almost all spheres of daily life, including “What do we dance?” because Hebrew or Eretz-Israeli dance had to be created out of none. How and why did dance develop in such a way? Dance Spreads Its Wings is the first and only book that looks at the whole picture of concert dance in Israel studying the growth of Israeli concert dance for 90 years—starting from 1920, when there was no concert dance to speak of during the Yishuv (pre-Israel Jewish settlements) period, until 2010, when concert dance in Israel had grown to become one of the country’s most prominent, original, artistic fields and globally recognized. What drives the book is the impulse to create and the need to dance in the midst of constant political change. It is the story of artists trying to be true to their art while also responding to the political, social, religious, and ethnic complexities of a Jewish state in the Middle East.

She was born without caste or position in Arukan, a country that prized both. Then a chance encounter led her to a better life. But it also brought her to danger and destiny. Because Kevla Bai-sha's fevered dreams--looming threats to their land and visions of dragons that had once watched over her people--held the promise of truth. Now Arukan--shadowed by mountains and myths--might be overcome by eternal darkness. Kevla, together with Jashemi-kha-Tahmu, rebel prince of the ruling household, would defy all law, all tradition, to embark on a daring quest for the half-forgotten elementals that will save the world. And so Kevla must sacrifice everything...only to be reborn in dragon's flames....

A lively and encouraging picture book celebrating boys who love to dance, from the renowned American Ballet Theatre. Boys who love to dance are center stage in this encouraging, positive, rhyming picture book about guys who love to pirouette, jeté, and plié. Created in partnership with the American Ballet Theatre and with the input of their company's male dancers, here is a book that shows ballet is for everyone. Written by the acclaimed author of A Is for Audra: Broadway's Leading Ladies from A to Z, this book subtly seeks to address the prejudice toward boys and ballet by showing the skill, hard work, strength, and smarts is takes to be a dancer. Fun and buoyant illustrations show boys of a variety of ages and ethnicities, making this the ideal book for any boy who loves dance. An afterword with photos and interviews with some of ABT's male dancers completes this empowering and joyful picture book.

Communism must kill what it cannot control. So for a century, it has killed artists, writers, musicians, and even dancers. It kills them secretly, using bioweapons and poison to escape accountability. Among its victims was Anna Pavlova, history’s greatest dancer, who was said to have God-given wings and feet that never touched the ground. But she defied Stalin, and for that she had to die. Her sudden death in Paris in 1931 was a mystery until now. The Dancer and the Devil traces Marxism’s century-long fascination with bioweapons, from the Soviets’ leak of pneumonic plague in 1939 that nearly killed Stalin to leaks of anthrax at Kiev in 1972 and Yekaterinburg in 1979; from the leak of a flu in northeast China in 1977 that killed millions to the catastrophic COVID-19 leak from biolabs in Wuhan, China. Marxism’s dark past must not be a parent to the world’s dark future. COMMUNIST CHINA PLAYED WITH FIRE AND THE WORLD IS BURNING Nearly ten million people have died so far from the mysterious Covid-19 virus. These dead follow a long line of thousands of other brave souls stretching back nearly a century who also suffered mysterious “natural” deaths, including dancers, writers, saints and heroes. These honored dead should not be forgotten by amnesiac government trying to avoid inconvenient truth. The dead and those who remember and loved them deserve answers to two great questions. How? Why? The Dancer and the Devil answers these questions. It tracks a century of Soviet and then Chinese Communist poisons and bioweapons through their development and intentional use on talented artists and heroes like Anna Pavlova, Maxim Gorky, Raoul Wallenberg and Alexis Navalny. It then tracks leaks of bioweapons beginning in Saratov, Russia in 1939 and Soviet Yekaterinburg in 1979 through Chinese leaks concluding in the recent concealed leak of the manufactured bioweapon Covid-19 from the military lab in Wuhan, China. Stalin, Putin, and Xi, perpetrators of these vast crimes against humanity itself, should not be allowed to escape responsibility. This book assembles the facts on these cowardly murderers, calling them to account for their heartless crimes against man concluding in Covid-19.

A dark-hued, hybrid novel by a writer who “delivers our culture back to us, made entirely new” (A. M. Homes) In The Complete Ballet, John Haskell choreographs an intricate and irresistible pas de deux in which fiction and criticism come together to create a new kind of story. Fueled by the dramatic retelling of five romantic ballets, and interwoven with a contemporary story about a man whose daunting gambling debt pushes him to the edge of his own abyss, it is both a pulpy entertainment and a meditation on the physicality—and psychology—of dance. The unnamed narrator finds himself inexorably drawn back to the pre–cell phone world of Technicolor Los Angeles, to a time when the tragedies of his life were about to collide. Working as a part-time masseur in Hollywood, he attends an underground poker game with his friend Cosmo, a strip-club entrepreneur. What happens there hurtles the narrator down the road and into the room where the novel’s violent and surreal showdown leaves him a different person. As the narrator revisits his past, he simultaneously inhabits and reconstructs the mythic stories of ballet, assessing along the way the lives and obsessions of Nijinsky and Balanchine, Pavlova and Fonteyn, Joseph Cornell and the story’s presiding spirit, the film director John Cassavetes. This compulsively readable fiction is ultimately a profound and haunting consideration of the nature of art and identity.