Until the 1930s no woman could perform in public and retain respectability in India. Professional female performers were courtesans and dancing girls who lived beyond the confines of marriage, but were often powerful figures in social and cultural life. Women's roles were often also taken by boys and men, some of whom were simply female impersonators, others transgender. Since the late nineteenth century the status, livelihood and identity of these performers have all diminished, with the result that many of them have become involved in sexual transactions and sexualised performances. Meanwhile, upper-class, upper-caste women have taken control of the classical performing arts and also entered the film industry, while a Bollywood dance and fitness craze has recently swept middle class India. In her historical on-the-ground study, Anna Morcom investigates the emergence of illicit worlds of dance in the shadow of India's official performing arts. She explores over a century of marginalisation of courtesans, dancing girls, bar girls and transgender performers, and de- scribes their lives as they struggle with stigmatisation, derision and loss of livelihood.

Spirit of Powwow has evolved as we have talked with dancers and drummers until we feel we now have a powwow book that goes beyond the usual mere description of regalia and dances. The photography and text cover every component of the powwow, not just the dance competition. The Nahanee family and their friends make this book a very personal experience for the reader as we have maintained the true voices of the dancers, drummers, officials and volunteers throughout as they speak of their experiences and beliefs. You will follow a powwow family and their friends into the dance arbour, learn of their experiences and meet the behind the scenes people who hold the event together. You will meet young dancers learning how to dance and how to make their very first regalia as they are being taught about their culture by Gloria. We have tried to create a book that will become a bridge between cultures. Come over the bridge with us. Come into the kitchens and taste Maizy's bannock, help set up the powwow ground, walk tall in the Grand Entry. Mix with the dancers and drummers and listen to them speak to you.

The festival tradition of Irish dancing has played a significant part in Ulster's culture over the past century. This historical account takes the reader on a journey from courtly ballrooms and cottage firesides across a landscape of barn dances, harvest homes, fancy dance classes, feiseanna and festivals, narrating how Catholic and Protestant children held hands in town halls, parochial halls and Protestant halls even when bombs splintered communities and deepened mistrust. Highlighting the various provincial towns that nurtured and helped grow the festival movement throughout the 20th century, Angeline's work explores significant figures in the development of both 'feis' and `festival', the champion dancers, influential teachers and unsung community `heroes' who kept this cross-community activity alive. Containing source and archive material drawn from newspaper reports dating back to the 1700s, Ordnance surveys, diaries, journals and interviews with more than 80 of the 20th century's festival dance teachers and pupils, this work will fill a significant gap in Irish dancing publications and appeal to the tens of thousands of current and former festival Irish dancers and Irish dancing enthusiasts in Northern Ireland and further afield.