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For their heroism and success against the enemy, two of the women's regiments were honored by designation as "Guard" regiments. At least thirty women were decorated with the gold star of Hero of the Soviet Union, their nation's highest award.

When Willa receives a phone call from a stranger, telling her that her son's ex-girlfriend has been shot, she drops everything and flies across the country to Baltimore. The impulsive decision to look after this woman and her nine-year-old daughter will lead Willa into uncharted territory

Anne Green Gilbert’s Brain-Compatible Dance Education, Second Edition, strikes the perfect balance between hard science and practicality, making it an ideal resource for dance educators working with dancers of all ages and abilities. Gilbert presents the latest brain research and its implications for dance educators and dancers. She makes the research findings accessible and easy to digest, always connecting the science to the teaching and learning that takes place in classrooms and studios.

In the opulent corridors of wealth and influence, Samantha Davenport lived a life of comfort and elegance—until a sudden and devastating tragedy shattered her world. Drawn into a labyrinth of deceit, betrayal, and danger, she finds herself facing a shadowy network with connections deeper and darker than she ever imagined. As the truth unfolds, Samantha is forced to confront her past and uncover the secrets that threaten not only her life but the very foundations of power around her. With the help of an unyielding detective, she embarks on a harrowing journey to expose a conspiracy that has claimed countless victims. Set against a backdrop of suspense and relentless tension, The Widow’s Dance is a gripping tale of resilience, courage, and the pursuit of justice in the face of unimaginable odds. Perfect for fans of psychological thrillers and complex mysteries, this novel will keep you guessing until the very last page.

Dance improvisation, the intriguing phenomenon of the creative process alive in the moving body, exists powerfully, sublimely - lending insight, solving problems, allowing moments of transcendence, diversion, and delight. Flourishing especially since the postmodern movement of the 1960s, it has come into its own in the performing arts. While there are many books containing ideas for developing improvisations, few have tackled the difficult questions: "What is dance improvisation?" "How does it work?" or "What is its body of knowledge?"The Moment of Movement goes beyond lists of improvisations and into the heart of improvising. As in their previous book, The Intimate Act of Choreography, the authors pursue both the philosophical and the practical. They begin by examining the creative process as it applies to movement and especially the kinesthetic way in which the body knows and uses movement. They answer the often unstated and pertinent questions of the novice; investigate the particular skills and traits needed by the leader; consider ways of working with specific populations; and provide challenging material for advanced movers. They discuss the use of music, and the specific situation of improvisation in performance. For leaders who want to design their own improvisations, they trace the evolution of an idea into an actual content and structure. They also address the controversial issue of the legitimacy of improvisation in an academic curriculum. A final chapter presents hundreds of improvs and improv ideas, grouped into units and cross-referenced.The Moment of Movement is not tied to any one point of view. The authors' presentation of a broad range of material is flexible enough for use by choreographers, directors, educators, and therapists. In its perceptive investigation of the experiential and conceptual aspects of dance improvisation, this book articulates the ephemeral.

This classic "must have" is NDA's most popular publication. Includes locomotor/nonlocomotor movement, assessment, and interdisciplinary topics.

"Dancing makes you feel heaps better" - Diana In 1981, after the wedding of the century, Anne Allan, a dancer, and ballet mistress with the London City Ballet, was offered an unusual assignment. Her Royal Highness Diana, the Princess of Wales, wanted dance lessons. Would Anne be her teacher? Anne and her royal pupil were soon meeting at a private studio for the first of hundreds of secret weekly one-hour lessons that were never on the princess's official schedule and never be discovered by the ever-lurking press. Under Anne's direction, Diana mounted her spectacular debut on the stage of Covent Garden, videotaped a solo performance at Her Majesty's Theatre, and made clandestine backstage visits to ballets and West End shows for the Princess to get as close as she could to the lives and work of real dancers. Over the course of nine years, teacher and pupil became close friends. Diana appreciated having an outsider to whom she could speak candidly about her personal challenges and her place in the royal world. They would talk, laugh, cry, and--always--dance. Most importantly, Diana learned to express her true self in physical movement. By her last class, the Princess had learned to carry herself with confidence, poise, and grace, both inside and outside the studio. Dance, says Anne, had "nourished and renewed her soul." NOTE FROM THE AUTHOR "I have often been bitterly disappointed with interviews regarding the Princess. There was always so much more to this incredible woman than what was depicted. I hope that anyone reading the book will appreciate this fresh look at the more personal side of Diana, enjoy hearing stories about our friendship and share in our fun times, as well as finding a deeper understanding of just how extraordinary she was." - Anne Allan

This second edition of the classic text directs dance teachers through what they need to know to teach creative dance from pre-K through adult levels in a variety of settings. It includes a sequential curriculum, lesson plans, editable forms, and teacher strategies created by master teacher Anne Green Gilbert.

This book explores the Broadway legacy of choreographer Agnes de Mille. Six 1940s musicals are discussed in depth - Oklahoma!, One Touch of Venus, Bloomer Girl, Carousel, Brigadoon, and Allegro. Drawing on interviews with cast members, letters, sketches, and videos, the book describes Mille's unique contributions to original Broadway productions.