Movement is our first language, our universal language. Expression of body movement is the very basis of life as the nineteen contributors to The Body Can Speak: Essays on Creative Movement Education with Emphasis on Dance and Drama attest. Students use their bodies as an instrument of expression, and movement as medium; this means investigating space, energy, time, and motion in order to gain insight into these basic principles. At the same time they gain essential awareness of the self. Such work stimulates the senses and intellect, and develops a tangible new vision to satisfy the human need for aesthetic and artistic expression. As editor of this collection, accomplished dancer and artistic director Annelise Mertz provides both an aesthetic appreciation for creative movement education as well as practical pedagogy for incorporating dance and drama into contemporary curriculum. Mertz has assembled here a definitive body of work from fellow artists and former students that speaks to the need to actively promote art as part of education. The book gives voice to accomplished teachers, actors, dancers, directors, authors, and choreographers who share their experiences while they address creative movement education from preschool through college. Forty-eight photographs add an illuminating visual dimension to this wealth of stimulating ideas. The Body Can Speak provides a balanced and varied mosaic, with each essay offering evidence that creative movement education is vital for human development. Contributors include Becky Engler-Hicks, Ruth Grauert, Anna Halprin, Joanna G. Harris, Margaret N. H’Doubler, Michael Hoeye, Murray Louis, Annelise Mertz, Jaime Nisenbaum, Carol North, Jeff Rehg, Shirley Ririe, G. Hoffman Soto, Emma D. Sheehy, Harold Taylor, Branislav Tomich, Dorothy M. Vislocky, and Joan J. Woodbury.

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Creative Differences is a throwback to the first golden age of classic hip-hop albums: early De La Soul's pop-culture giggles, Digital Underground's playful rudeness, A Tribe Called Quest's cross-cultural fearlessness, Public Enemy's sonic fingerprints and the no-rules aesthetic of the Wu-Tang Clan are all touched upon at different points in this sprawling masterwork. The Living Legends crew has continued to expand from their early days, now including Japanese rapper Arata (who contributes raps in his native tongue to the storming How You Take It without sounding either out of place or gimmicky) alongside both first-generation members like Murs, Eligh, Scarub and the Grouch and more recent additions like the Belgian rapper Krewcial. Topics range from the goofily scatological (farting is a particularly favored topic) to the pointedly political, and the beats are an equally varied and often inspired lot. Ever since the Wu-Tang appeared, there's been a healthy trade in enormous hip-hop collectives, but the Living Legends are one of the few such groups to be able to maintain some kind of quality control; Creative Differences is as wide-ranging as the title suggests, but there's a clear aesthetic at play here, which means that the thoughtful first single Damn It Feels Good and the much sillier title track don't sound like they were flown in from two different albums. ~ Stewart Mason, Rovi