At last, a contemporary Pagan perspective on Western religious history! Discover the historical roots of Neo-Paganism and its relationship to other modern religions. Dancing Shadows traces Western religions back 3,000 years to show how the cross-fertilization of the Christian and Pagan belief systems is the source of conflicts that continue to this day.

Dancing in Shadows explores the power of Indigenous performance pitted against the forces of settler colonisation. Historian Anna Haebich documents how the Nyungar people of Western Australia strategically and courageously adapted their rich performance culture to survive the catastrophe that engulfed them, and continue to generously share their culture, history, and language in theatre. In public corroborees, they performed their sovereignty to the colonists, and in community-only gatherings they danced and sang to bring forth resilience and spiritual healing. Pushed away by the colonists and denied their culture and lands, they continued to live and perform in the shadows over the years in combinations of the old and the new, including indigenised settler songs and dances. Nyungar people survived, and they now number around 40,000 people and constitute the largest Aboriginal nation in the Australian settler state. The ancient family lineages live in city suburbs and country towns, and they continue to perform to celebrate their ancestors and to strengthen community well-being by being together. Dancing in Shadows sheds light on the little-known history of Nyungar performance. [Subject: Theatre Studies, Sociology, History, Australian History, Aboriginal Studies]

Dancing with someone is an act of trust. Elegant and intimate; you're close enough to kiss, close enough to feel your partner's heartbeat. But for Vanessa, dance is deadly - and she must be very careful who she trusts . . .Vanessa Adler attends an elite ballet school - the same one her older sister, Margaret, attended before she disappeared. Vanessa feels she can never live up to her sister's shining reputation. But Vanessa, with her glorious red hair and fair skin, has a kind of power when she dances - she loses herself in the music, breathes different air, and the world around her turns to flames . . . Soon she attracts the attention of three men: gorgeous Zep, mysterious Justin, and the great, enigmatic choreographer Josef Zhalkovsky. When Josef asks Vanessa to dance the lead in the Firebird, she has little idea of the danger that lies ahead - and the burning forces about to be unleashed . . .

This fascinating book recounts the remarkable tale of a career UN official caught in the turmoil of international and domestic politics swirling around Cambodia after the fall of the Khmer Rouge. First as a member of the UN transitional authority and then as a personal envoy to the UN secretary-general, Benny Widyono re-creates the fierce battles for power centering on King Norodom Sihanouk, the Khmer Rouge, and Prime Minister Hun Sen. He also sets the international context, arguing that great-power geopolitics throughout the Cold War and post-Cold War eras triggered and sustained a tragedy of enormous proportions in Cambodia for decades, leading to a flawed peace process and the decline of Sihanouk as a dominant political figure. Putting a human face on international operations, this book will be invaluable reading for anyone interested in Southeast Asia, the role of international peacekeeping, and the international response to genocide.

First published in 1987. This book began in Bali during 1970–72, during the author’s Ph.D. research on the shadow theatre for the School of Oriental and African Studies in London. However, two subsequent trips to Bali in 1980 and 1984, when I studied other forms of dance-drama and ritual, greatly contributed to the work. The shadow theatre in Bali is described and its place in the society and culture explored. It is so called, as during the night performance puppets cast vibrant shadows against a white cotton screen which is illuminated by a flickering coconut-oil lamp.

A fictional account of a rural childhood in South Oxfordshire, set in the period 1939 to 1947. The war years. The challenges of rural life, social customs and curiosities create a rich background as Maggie grows up. She discovers how to adapt to strict codes of behaviour set by adults at home and at the Iron Room, the meetinghouse of a group of non-conformist Christians.

Geronimo's sister Thea narrates this adventure packed with mystery and friendship! The Thea Sisters are headed to Italy for a ballet competition! But the mouselets aren't just there to dance -- they are there to investigate. A group is plotting to rigthe prestigious contest, and the future of the mouselets' new friend -- an aspiring ballerina -- is at stake! Can the Thea Sisters stop this scheme before it's too late?

"You are my mate, and you belong with me, by my side. You will be Luna, whether you like it or not. I will drag you there myself, if I have to." They stood, facing each other, each seething, fury building, threatening to mount to something Caia would not allow. "You really think so?" She asked, quietly. He nodded, eyes black, his canines threatening to protrude from his mouth. And her mind was made up. She took a deep breath, mentally preparing, as every part of her steeled itself for the words about to come forth. "I, Caia Alman, re-" He immediately whirled her around, clamping his hand over her mouth, but she said them into his palm, "eject you as my mate." ________4 years have passed since Caia Alman rejected Cedric Lincoln, Alpha of the Sacred Shadows pack, as her mate. Since then, she has rebuilt her life in a new city, chasing her dreams that have never, not for a second, involved being a Luna. She thought her connection to the Alpha would have died with her rejection. But, when Cedric comes into her office, she is horrified to see that the Moon Goddess has other ideas.