STARS TROUPE is a potpourri of poems and quotes reflecting the depth of my heart. With my words, I have tried to reach every soul. I have tried to pen every aspect which pinches my conscience. I have tried to listen to the steven voice of every topic. My creations in this book are from all shades of writing depicting my essence of life and perspective towards them. The themes include women empowerment, patriotism, love, nature, inspirational, life, melancholy, passion, society, and its norms, child – abuse, home violence, festivals, the voice of eternal bodies and many more. I hope this abode soothes your mind, enlivens your spirit and compels you to envisage your blazing crux, passion and gives you a different way of life. Every write up will appeal to you in some way and will give you a lease of life. STARS TROUPE can be a delight for broken, misguided, perplexed and shattered souls. I wish this book reaches to you in-depth with its vehement voice.

Since its founding in 1964, the United Republic of Tanzania has used music, dance, and other cultural productions as ways of imagining and legitimizing the new nation. Focusing on the politics surrounding Swahili musical performance, Kelly Askew demonstrates the crucial role of popular culture in Tanzania's colonial and postcolonial history. As Askew shows, the genres of ngoma (traditional dance), dansi (urban jazz), and taarab (sung Swahili poetry) have played prominent parts in official articulations of "Tanzanian National Culture" over the years. Drawing on over a decade of research, including extensive experience as a taarab and dansi performer, Askew explores the intimate relations among musical practice, political ideology, and economic change. She reveals the processes and agents involved in the creation of Tanzania's national culture, from government elites to local musicians, poets, wedding participants, and traffic police. Throughout, Askew focuses on performance itself—musical and otherwise—as key to understanding both nation-building and interpersonal power dynamics.

Female solo aerialists of the 1920s and early 1930s were internationally popular performers in the largest live performance mass entertainment of the period in the UK and USA. Yet these aerialists and this period in circus history have been largely forgotten despite the iconic image of ‘the’ female aerialist still flaring in the popular imagination. Kate Holmes uses insights gained as a practitioner to reconstruct in detail the British and American performances and public personae of key stars such as Lillian Leitzel, Luisita Leers, and the Flying Codonas, revealing what is performed and implicit in today’s practice. Using a wealth of original sources, this book considers the forgotten stars whose legacy of the cultural image of the female aerialist echoes. Locating performers within wider cultural histories of sport, glamour, and gender, this book asks important questions about their stardom, including: Why were female aerialists so alluring when their muscularity challenged conservative ideals of femininity and how did they participate in change? What was it about their movements and the spaces they performed in that activated such strong audience responses? This book is vital reading for students and practitioners of aerial performance, circus, gender, popular performance, and performance studies.

The day of the Kouka sports festival has arrived! Because of her extreme height and boundless energy, Sarasa has been chosen to participate in the relay race. Sarasa usually loves to take center stage, she can't help but feel nervous with so much responsibility placed on her. Can she lead her team to victory?

With the Sports Festival coming to a spectacular close, it's time for the Kouka students to prepare for the Culture Festival, a one-of-a-kind graduation performance put on by the second-years! This year's festival will be even more special, as the first-years are being offered a chance to perform a scene from a play! Sarasa is dead set on scoring a starring role, but so are all of her classmates!

The San Francisco Mime Troupe Reader is a long-overdue collection of some of the finest political satires created and produced by the Tony Award-winning company during the last forty years. It is also a history of the company that was the theater of the counterculture movement in the 1960s and that, against all odds, has managed to survive the often hostile economic climate for the arts in the United States. The plays selected are diverse, representing some of the Troupe's finest shows, and the book's illustrations capture some of the Troupe's most memorable moments. These hilarious, edgy, and imaginative scripts are accompanied by insightful commentary by theater historian and critic Susan Vaneta Mason, who has been following the Troupe for more than three decades. The Mime Troupe Reader will engage and entertain a wide range of audiences, not only general readers but also those interested in the history of American social protest, the counterculture of the 1960s-particularly the San Francisco scene-and the evolution of contemporary political theater. It will also appeal to the legions of Troupe fans who return every year to see them stand up against another social or corporate Goliath.

Yiddish Empire tells the story of how a group of itinerant Jewish performers became the interwar equivalent of a viral sensation, providing a missing chapter in the history of the modern stage. During World War I, a motley group of teenaged amateurs, impoverished war refugees, and out- of- work Russian actors banded together to revolutionize the Yiddish stage. Achieving a most unlikely success through their productions, the Vilna Troupe (1915– 36) would eventually go on to earn the attention of theatergoers around the world. Advancements in modern transportation allowed Yiddish theater artists to reach global audiences, traversing not only cities and districts but also countries and continents. The Vilna Troupe routinely performed in major venues that had never before allowed Jews, let alone Yiddish, upon their stages, and operated across a vast territory, a strategy that enabled them to attract unusually diverse audiences to the Yiddish stage and a precursor to the organizational structures and travel patterns that we see now in contemporary theater. Debra Caplan’s history of the Troupe is rigorously researched, employing primary and secondary sources in multiple languages, and is engagingly written.

Quincy Troupe's candid account of his friendship with Miles Davis is a revealing portrait of a great musician and an intimate study of a unique relationship. It is also an engrossing chronicle of the author's own development, both artistic and personal. As Davis's collaborator on Miles: The Autobiography,Troupe--one of the major poets to emerge from the 1960s--had exceptional access to the musician. This memoir goes beyond the life portrayed in the autobiography to describe in detail the processes of Davis's spectacular creativity and the joys and difficulties his passionate, contradictory temperament posed to the men's friendship. It shows how Miles Davis, both as a black man and an artist, influenced not only Quincy Troupe but whole generations. Troupe has written that Miles Davis was "irascible, contemptuous, brutally honest, ill-tempered when things didn't go his way, complex, fair-minded, humble, kind and a son-of-a-bitch." The author's love and appreciation for Davis make him a keen, though not uncritical, observer. He captures and conveys the power of the musician's presence, the mesmerizing force of his personality, and the restless energy that lay at the root of his creativity. He also shows Davis's lighter side: cooking, prowling the streets of Manhattan, painting, riding his horse at his Malibu home. Troupe discusses Davis's musical output, situating his albums in the context of the times--both political and musical--out of which they emerged. Miles and Me is an unparalleled look at the act of creation and the forces behind it, at how the innovations of one person can inspire both those he knows and loves and the world at large.

Nishiyama Matsunosuke is one of the most important historians of Tokugawa (Edo) popular culture, yet until now his work has never been translated into a Western language. Edo Culture presents a selection of Nishiyama’s writings that serves not only to provide an excellent introduction to Tokugawa cultural history but also to fill many gaps in our knowledge of the daily life and diversions of the urban populace of the time. Many essays focus on the most important theme of Nishiyama’s work: the seventeenth to nineteenth centuries as a time of appropriation and development of Japan’s culture by its urban commoners. In the first of three main sections, Nishiyama outlines the history of Edo (Tokyo) during the city’s formative years, showing how it was shaped by the constant interaction between its warrior and commoner classes. Next, he discusses the spirit and aesthetic of the Edo native and traces the woodblock prints known as ukiyo-e to the communal activities of the city’s commoners. Section two focuses on the interaction of urban and rural culture during the nineteenth century and on the unprecedented cultural diffusion that occurred with the help of itinerant performers, pilgrims, and touring actors. Among the essays is a delightful and detailed discourse on Tokugawa cuisine. The third section is dedicated to music and theatre, beginning with a study of no, which was patronized mainly by the aristocracy but surprisingly by commoners as well. In separate chapters, Nishiyama analyzes the relation of social classes to musical genres and the aesthetics of kabuki. The final chapter focuses on vaudeville houses supported by the urban masses.

American living standards improved considerably between 1900 and 2000. While most observers focus on gains in per-capita income as a measure of economic well-being, economists have used other measures of well-being: height, weight, and longevity. The increased amount of leisure time per week and across people's lifetimes, however, has been an unsung aspect of the improved standard of living in America. In Century of the Leisured Masses, David George Surdam explores the growing presence of leisure activities in Americans' lives and how this development came out throughout the twentieth century. Most Americans have gone from working fifty-five or more hours per week to working fewer than forty, although many Americans at the top rungs of the economic ladder continue to work long hours. Not only do more Americans have more time to devote to other activities, they are able to enjoy higher-quality leisure. New forms of leisure have given Americans more choices, better quality, and greater convenience. For instance, in addition to producing music themselves, they can now listen to the most talented musicians when and where they want. Television began as black and white on small screens; within fifty years, Americans had a cast of dozens of channels to choose from. They could also purchase favorite shows and movies to watch at their convenience. Even Americans with low incomes enjoyed television and other new forms of leisure. This growth of leisure resulted from a combination of growing productivity, better health, and technology. American workers became more productive and chose to spend their improved productivity and higher wages by consuming more, taking more time off, and enjoying better working conditions. By century's end, relatively few Americans were engaged in arduous, dangerous, and stultifying occupations. The reign of tyranny on the shop floor, in retail shops, and in offices was mitigated; many Americans could even enjoy leisure activities during work hours. Failure to consider the gains in leisure time and leisure consumption understates the gains in American living standards. With Century of the Leisured Masses, Surdam has comprehensively documented and examined the developments in this important marker of well-being throughout the past century.