Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space.

Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners'' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space.

Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners'' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space.

Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space.

Over the last 40 years, while the musical film has faded from its historical high-point to a more isolated and quirky phenomenon, the dance film has displayed refulgent growth and surprising resilience. It has spawned profitable global enterprises (Billy Elliot), has fashioned youthful angst as sociological voice (Saturday Night Fever, Footloose, and Dirty Dancing) and acted as a marker of post-modern ironic camp (Strictly Ballroom). This modern genre has influenced cinema as a whole in the ways bodies are made dimensional, in the way rhythm and energy are communicated, and in the filmic capacity to create narrative worlds without words. Meanwhile, Bollywood has become a juggernaut, creating transportable memory for diasporic Indian communities across the world. This is an entire industry based on the 'dance number', where films are pitched around the choreography, where the actors are not expected to sing, but they must dance. This volume investigates the relationship between movement and sound as it is revealed, manipulated and crafted in the dance film genre. It considers the role of all aspects of sound in the dance film, including the dancer generated sounds inherent in Tap, Flamenco, Irish Dance and Krumping. Drawing on significant post-War dance films from around world, Movies, Moves and Music comprehensively surveys this mainstream genre, where image and sound meet in a crucial symbiosis.

If you have ever felt too shy, too old, or too plain for adventure - In Spite of Myself is for you.Growing up as a painfully timid child in Kenya, Mary Fogarty discovers that independence is not something you are born with - it is something you swim towards, stumble upon, and seize when nobody is watching. Sometime journalist, sometime travel guide, always an outsider (and always a swimmer), Fogarty looks back on decades of spontaneous solo travel across five continents with self-deprecating honesty, warmth, and razor-sharp wit.Wherever she journeys - from Milan to Mexico, Perth to Peru, mountains to souks - she feels marked by difference. Her teenage self is branded an African savage at a British convent school; in Italy she is a country bumpkin in the city yet the only foreigner in the village; in Australia, the lone Pom in a Macedonian community; in Spain, the only single expat among couples. Sometimes following love, sometimes finding it once she arrives, Fogarty flings herself into relationships both magnificent and disastrous - with a cast of unlikely characters no novelist would dare invent.Gawp as she meets an Egyptian doctor on the night train to Cairo; takes off across the desert with a Syrian bus driver in search of a hotel that serves alcohol; shares a sleeping bag with a Sherpa on the descent from Everest to cure her altitude sickness; encounters an Omar Sharif lookalike in Australia, only to discover he is sleeping in his office and growing marijuana in the flowerpots - and is nearly murdered by the new girlfriend of her Berber ex-lover in Marrakech.Simultaneously intensely personal and irresistibly universal, In Spite of Myself is for anyone who worries about being alone - and proof that there is always a way, and you can do it on your own.

In Spite of Myself is an eclectic, passionate travel memoir about life and love across many countries - and one that will strike a chord with many a reader. Mary Fogarty grows up in Kenya, a painfully shy child, timid and fearful of all that Africa holds. Only through swimming does she gain some confidence to expand her boundaries - and an independent life begins. Sometime journalist and travel guide but always an outsider (and always a swimmer) Mary Fogarty looks back on the thrills and spills of decades worth of independent, spontaneous travel. Wherever she journeys, from Milan to Mexico and Perth to Peru, and from mountains and men to Speedos and souks, she feels marked by difference. Her teenage self is regarded as an African savage at her British convent school; in Italy, she is a country bumpkin in the city, yet the only foreigner in the village and, in both, the sole woman who drinks; in Australia, she is the lone Pom in a Macedonian community; in Spain, the only single expat amid a community of couples. Sometimes following love, sometimes finding it once she arrives, Fogarty also celebrates the intensity of emotional and physical attraction flinging herself into relationships both good and bad, often with unlikely characters. Gawp as Fogarty meets an Egyptian doctor on the night train to Cairo; takes off across the desert with a Syrian bus driver to find a hotel where alcohol is served; shares a sleeping bag with a Sherpa to cure her altitude sickness on the descent from Everest; encounters an Omar Sharif lookalike in Australia, only to discover he is sleeping in his office, and growing marijuana in the office flower bed; and is nearly murdered by the new girlfriend of her Berber ex-lover in Marrakech.Simultaneously intensely personal and irresistibly universal, In Spite of Myself is for anyone who worries about being alone, who thinks they are too old or too plain or too shy to have adventures. As Mary makes clear through exhilarating, amusing storytelling, there is always a way and you CAN do it on your own.

Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space.

Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners'' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space.

Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners'' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space.

Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space.

Over the last 40 years, while the musical film has faded from its historical high-point to a more isolated and quirky phenomenon, the dance film has displayed refulgent growth and surprising resilience. It has spawned profitable global enterprises (Billy Elliot), has fashioned youthful angst as sociological voice (Saturday Night Fever, Footloose, and Dirty Dancing) and acted as a marker of post-modern ironic camp (Strictly Ballroom). This modern genre has influenced cinema as a whole in the ways bodies are made dimensional, in the way rhythm and energy are communicated, and in the filmic capacity to create narrative worlds without words. Meanwhile, Bollywood has become a juggernaut, creating transportable memory for diasporic Indian communities across the world. This is an entire industry based on the 'dance number', where films are pitched around the choreography, where the actors are not expected to sing, but they must dance. This volume investigates the relationship between movement and sound as it is revealed, manipulated and crafted in the dance film genre. It considers the role of all aspects of sound in the dance film, including the dancer generated sounds inherent in Tap, Flamenco, Irish Dance and Krumping. Drawing on significant post-War dance films from around world, Movies, Moves and Music comprehensively surveys this mainstream genre, where image and sound meet in a crucial symbiosis.

If you have ever felt too shy, too old, or too plain for adventure - In Spite of Myself is for you.Growing up as a painfully timid child in Kenya, Mary Fogarty discovers that independence is not something you are born with - it is something you swim towards, stumble upon, and seize when nobody is watching. Sometime journalist, sometime travel guide, always an outsider (and always a swimmer), Fogarty looks back on decades of spontaneous solo travel across five continents with self-deprecating honesty, warmth, and razor-sharp wit.Wherever she journeys - from Milan to Mexico, Perth to Peru, mountains to souks - she feels marked by difference. Her teenage self is branded an African savage at a British convent school; in Italy she is a country bumpkin in the city yet the only foreigner in the village; in Australia, the lone Pom in a Macedonian community; in Spain, the only single expat among couples. Sometimes following love, sometimes finding it once she arrives, Fogarty flings herself into relationships both magnificent and disastrous - with a cast of unlikely characters no novelist would dare invent.Gawp as she meets an Egyptian doctor on the night train to Cairo; takes off across the desert with a Syrian bus driver in search of a hotel that serves alcohol; shares a sleeping bag with a Sherpa on the descent from Everest to cure her altitude sickness; encounters an Omar Sharif lookalike in Australia, only to discover he is sleeping in his office and growing marijuana in the flowerpots - and is nearly murdered by the new girlfriend of her Berber ex-lover in Marrakech.Simultaneously intensely personal and irresistibly universal, In Spite of Myself is for anyone who worries about being alone - and proof that there is always a way, and you can do it on your own.

In Spite of Myself is an eclectic, passionate travel memoir about life and love across many countries - and one that will strike a chord with many a reader. Mary Fogarty grows up in Kenya, a painfully shy child, timid and fearful of all that Africa holds. Only through swimming does she gain some confidence to expand her boundaries - and an independent life begins. Sometime journalist and travel guide but always an outsider (and always a swimmer) Mary Fogarty looks back on the thrills and spills of decades worth of independent, spontaneous travel. Wherever she journeys, from Milan to Mexico and Perth to Peru, and from mountains and men to Speedos and souks, she feels marked by difference. Her teenage self is regarded as an African savage at her British convent school; in Italy, she is a country bumpkin in the city, yet the only foreigner in the village and, in both, the sole woman who drinks; in Australia, she is the lone Pom in a Macedonian community; in Spain, the only single expat amid a community of couples. Sometimes following love, sometimes finding it once she arrives, Fogarty also celebrates the intensity of emotional and physical attraction flinging herself into relationships both good and bad, often with unlikely characters. Gawp as Fogarty meets an Egyptian doctor on the night train to Cairo; takes off across the desert with a Syrian bus driver to find a hotel where alcohol is served; shares a sleeping bag with a Sherpa to cure her altitude sickness on the descent from Everest; encounters an Omar Sharif lookalike in Australia, only to discover he is sleeping in his office, and growing marijuana in the office flower bed; and is nearly murdered by the new girlfriend of her Berber ex-lover in Marrakech.Simultaneously intensely personal and irresistibly universal, In Spite of Myself is for anyone who worries about being alone, who thinks they are too old or too plain or too shy to have adventures. As Mary makes clear through exhilarating, amusing storytelling, there is always a way and you CAN do it on your own.