A collection of episodes from the CBeebies animation created by Sarah Gomes Harris and Tim O'Sullivan. Narrated by Roger Allam, the show follows the adventures of seven-year-old Sarah (voice of Tasha Lawrence) and her faithful companion Duck as they learn a variety of life lessons. The episodes are: 'Lots of Shallots', 'Sarah, Duck and the Penguins', 'Cheer Up Donkey', 'Cake Bake', 'Scarf Lady's House', 'Robot Juice', 'Bouncy Ball', 'Rainbow Lemon', 'Sit Shop' and 'Kite Flight'.

The entire third series of the ITV costume drama following the lives and loves of those above and below stairs in an English stately home. With World War One finally over, the 1920s heralds the promise of a new age for those at Downton Abbey. But while the family prepare for the wedding of Lady Mary (Michelle Dockery) and Matthew (Dan Stevens), Lord Grantham (Hugh Bonneville) learns that the future of Downton is in grave jeopardy after the collapse of investments made with his wife (Elizabeth McGovern)'s fortune. With the family beginning to gather for the wedding celebrations, a grand entrance by Cora's thoroughly modern mother, Martha Levinson (Shirley MacLaine), threatens to ruffle a few of the Dowager (Maggie Smith)'s feathers.

Dance music plays a central role in the cultural, social, religious, and family lives of the people of the Democratic Republic of the Congo. Among the various genres popular in the capital city of Kinshasa, Congolese rumba occupies a special place and can be counted as one of the DRC’s most well-known cultural exports. The public image of rumba was historically dominated by male bandleaders, singers, and musicians. However, with the introduction of the danseuse (professional concert dancer) in the late 1970s, the role of women as cultural, moral, and economic actors came into public prominence and helped further raise Congolese rumba’s international profile. In Congo’s Dancers, Lesley Nicole Braun uses the prism of the Congolese danseuse to examine the politics of control and the ways in which notions of visibility, virtue, and socio-economic opportunity are interlinked in this urban African context. The work of the danseuse highlights the fact that public visibility is necessary to build the social networks required for economic independence, even as this visibility invites social opprobrium for women. The concert dancer therefore exemplifies many of the challenges that women face in Kinshasa as they navigate the public sphere, and she illustrates the gendered differences of local patronage politics that shape public morality. As an ethnographer, Braun had unusual access to the world she documents, having been invited to participate as a concert dancer herself.