| Introduction | p. xix |
| Looking Underneath the Itch to Criticize | p. xix |
| Writing about Dance: An Urgent, High-Profile Opportunity | p. xxi |
| Review: Diana Theodores's First We Take Manhattan, Jill Johnston's Marmalade Me, and Lynne Conner's Spreading the Gospel of the Modern Dance | p. xxiii |
| The Interested Act of Dance Criticism | p. xxix |
| Writing Dance | p. 3 |
| Choreographers | |
| Tanztheater: The Thrill of the Lynch Mob or the Rage of a Woman? | p. 6 |
| Pina Bausch Goes West to Prospect for Imagery | p. 19 |
| Love Mysterious and Familiar: Pina Bausch Brings Her Visceral Non Sequiturs to Austin | p. 23 |
| Remembered Gesture | p. 27 |
| Mellower Now, A Resolute Romantic Keeps Trying | p. 30 |
| Review: The Man Who Grew Common in Wisdom | p. 34 |
| The Play of Dance: An Introduction to Lamb, Lamb, Lamb, Lamb, Lamb,... | p. 36 |
| No Exit: Deborah Hay's Latest Work a Meditation and Celebration in Space and Time | p. 40 |
| An Experimentalist in Soul and Body | p. 42 |
| Horse Rider Woman Playing Dancing: Ann Daly Interviews Deborah Hay | p. 45 |
| Dance at Prospect Park: High Art, Lowbrow Spectacle | p. 55 |
| Review: Body against Body, edited by Elizabeth Zimmer and Susan Quasha | p. 57 |
| Dancing the Unsayable: Bill T. Jones's Still/Here Becomes a Meditation on the Possibilities of Postmodernist Art | p. 60 |
| When Dancers Move On to Making Dances | p. 63 |
| The Long Day's Journey of Bill T. Jones | p. 67 |
| Bill T. Jones in Conversation with Ann Daly | p. 70 |
| Voice Lessons | p. 77 |
| Review: Ralph Lemon Repertory Concert | p. 80 |
| Conversations about Race in the Language of Dance | p. 81 |
| Afterword | p. 88 |
| Performances | |
| Review: Kei Takei's Light, Part 20 & 21 (Diary of the Dream) and Tetsu Maeda's Evocations | p. 96 |
| Review: Fred Holland's Harbor/Cement | p. 97 |
| Review: Jane Comfort's TV Love | p. 98 |
| Review: Kazuo Ohno's Admiring La Argentina and Kuniko Kisanuki's Tefu Tefu | p. 99 |
| Review: Molissa Fenley Repertory Concert | p. 102 |
| Review: Gwall's Exit | p. 103 |
| Review: Lucinda Childs Repertory Concert | p. 105 |
| Review: Merce Cunningham's Roaratorio: An Irish Circus on Finnegans Wake | p. 106 |
| New York (USA): Experimental Dance | p. 108 |
| Review: John Kelly's Ode to a Cube | p. 109 |
| Review: Ralf Ralf's The Summit | p. 110 |
| Molissa Fenley's State of Darkness | p. 112 |
| Review: Susan Marshall's Interior with Seven Figures | p. 114 |
| Review: Dana Reitz's Suspect Terrain | p. 115 |
| Review: Nina Martin's Changing Face and Date with Fate | p. 116 |
| Susan Marshall Choreography Explores Tragedy, Joy | p. 117 |
| Review: Merce Cunningham Repertory Concert and Robert Wilson's Four Saints in Three Acts | p. 120 |
| The Choreography of Crisis: Women, Machines and Utopia Lost | p. 122 |
| Ballet with Attitude (or The Ballet of the Sexes) | p. 125 |
| Margery Segal's Primal Emotions | p. 127 |
| No Gravity No Boundary | p. 130 |
| The Freedom of Tradition | p. 133 |
| A Chronicle Faces Death and Celebrates Life | p. 135 |
| A Dancer Discovers a World of Profit and Daredevil Feats | p. 137 |
| Images and Exhibits | |
| New York (USA): Dance and Fashion | p. 144 |
| John Singer Sargent and the Dance | p. 146 |
| Lois Greenfield, the Frames That Bind, and the Metaphysics of Dance | p. 150 |
| Becoming Artaud: Solo Performances at Drawing Center Expand MOMA Exhibit | p. 153 |
| Body of Evidence: Schneemann Retrospective Exposes Subversive Gestures | p. 154 |
| An Inspiration Compounded of Hands and Feet | p. 157 |
| Turning a Photographer's Vision into Choreography | p. 159 |
| What Dance Has to Say about Beauty | p. 161 |
| Books | |
| Review: Sondra Horton Fraleigh's Dance and the Lived Body | p. 166 |
| "What Revolution?": The New Dance Scholarship in America | p. 168 |
| Review: Martha Graham's Blood Memory and Agnes de Mille's Martha | p. 173 |
| Review: A Cultural History of Gesture, edited by Jan Bremmer and Herman Roodenburg | p. 175 |
| Alvin Ailey Revealed | p. 178 |
| Seasons and Occasions | |
| Postmodernism and American New Dance | p. 182 |
| BAM and Beyond: The Postmoderns Get Balleticized | p. 185 |
| The Closet Classicist | p. 191 |
| Darkness into Light: A Decade in the West Transforms a Butoh Troupe | p. 196 |
| Finding the Logic of Difference | p. 197 |
| Dancing: A Letter from New York City | p. 204 |
| Some Sentences by and about Merce Cunningham | p. 212 |
| New World A-Comin': A Century of Jazz and Modern Dance | p. 215 |
| In Dance, Preserving a Precarious Legacy Begins Onstage | p. 223 |
| Making History | p. 227 |
| Review: From the Repertory of Isadora Duncan's "Soviet Workers' Songs" | p. 229 |
| The Continuing Beauty of the Curve: Isadora Duncan and Her Last Compositions | p. 230 |
| Review: Millicent Dillon's After Egypt | p. 236 |
| Isadora Duncan in 1920s America: "A Bolshevik Shade of Red" | p. 239 |
| Review: Lillian Loewenthal's The Search for Isadora | p. 245 |
| Isadora Duncan and the Distinction of Dance | p. 246 |
| Isadora Duncan's Dance Theory | p. 262 |
| A Fearless Confession Heard Round the World | p. 274 |
| Theorizing Gender | p. 277 |
| The Balanchine Woman: Of Hummingbirds and Channel Swimmers | p. 279 |
| Classical Ballet: A Discourse of Difference | p. 288 |
| To Dance Is "Female" | p. 293 |
| Unlimited Partnership: Dance and Feminist Analysis | p. 298 |
| Dance History and Feminist Theory: Reconsidering Isadora Duncan and the Male Gaze | p. 302 |
| About Interpretation: Joann McNamara Interviews Ann Daly | p. 319 |
| Gender Issues in Dance History Pedagogy | p. 325 |
| "Woman," Women, and Subversion: Some Nagging Questions from a Dance Historian | p. 329 |
| Trends in Dance Scholarship: Feminist Theory across the Millennial Divide | p. 334 |
| Notes | p. 339 |
| Acknowledgments | p. 365 |
| Index | p. 373 |
| Table of Contents provided by Syndetics. All Rights Reserved. |
