Critical Gestures:
Writings on Dance and Culture
INTRODUCTION
Looking Underneath the Itch to Criticize
Writing about Dance: An Urgent, High-Profile Opportunity
Book review essay
The Interested Act of Dance Criticism
WRITING DANCE
CHOREOGRAPHERS
PINA BAUSCH
Tanztheater: The Thrill of the Lynch Mob or the Rage of a Woman?
Pina Bausch Goes West to Prospect for Imagery
Love Mysterious and Familiar
Remembered Gesture
Mellower Now, A Resolute Romantic Keeps Trying
DEBORAH HAY
Review: The Man Who Grew Common in Wisdom
The Play of Dance
No Exit: Deborah Hay's Latest Work a Meditation and Celebration
An Experimentalist in Soul and Body
Horse Rider Woman Playing Dancing: Ann Daly Interviews Deborah Hay
BILL T. JONES AND ARNIE ZANE
Dance at Prospect Park: High Art, Lowbrow Spectacle
Review: Body Against Body
Dancing the Unsayable: Bill T. Jones's Still/Here
When Dancers Move On to Making Dances
The Long Day's Journey of Bill T. Jones
Bill T. Jones in Conversation with Ann Daly
Voice Lessons
RALPH LEMON
Review: Ralph Lemon Repertory Concert
Conversations about Race in the Language of Dance
Afterword
PERFORMANCES
Review: Kei Takei's Light, Part 20 & 21(Diary of the Dream)
Review: Fred Holland's Harbor/Cement
Review: Jane Comfort's TV Love
Review: Kazuo Ohno's Admiring La Argentina
Review: Molissa Fenley Repertory Concert
Review: Gwall's Exit
Review: Lucinda Childs Repertory Concert
Review: Merce Cunningham's Roaratorio
New York (USA): Experimental Dance
Review: John Kelly's Ode to a Cube
Review: Ralf Ralf's The Summit
Molissa Fenley's State of Darkness
Review: Susan Marshall's Interior with Seven Figures
Review: Dana Reitz's Suspect Terrain
Review: Nina Martin's Changing Face and Date with Fate
Susan Marshall Choreography Explores Tragedy, Joy
Review: Merce Cunningham and Robert Wilson
The Choreography of Crisis: Women, Machines and Utopia Lost
Ballet with Attitude (or The Ballet of the Sexes)
Margery Segal's Primal Emotions
No Gravity No Boundary
The Freedom of Tradition
A Chronicler Faces Death and Celebrates Life
A Dancer Discovers a World of Profit and Daredevil Feats
IMAGES AND EXHIBITS
New York (USA): Dance and Fashion
John Singer Sargent and the Dance
Lois Greenfield, the Frames That Bind, and the Metaphysics of Dance
Becoming Artaud: Solo Performances at Drawing Center
Body of Evidence: Schneemann Retrospective
An Inspiration Compounded of Hands and Feet
Turning a Photographer's Vision into Choreography
What Dance Has to Say about Beauty
BOOKS
Review: Sondra Horton Fraleigh's Dance and the Lived
Body
"What Revolution?": The New Dance Scholarshsip in America
Review: Martha Graham's Blood Memory and Agnes de Mille's Martha
Review: A Cultural History of Gesture
Alvin Ailey Revealed
SEASONS AND OCCASIONS
Postmodernism and American New Dance
BAM and Beyond: The Postmoderns Get Balleticized
The Closet Classicist
Darkness into Light: A Decade Transforms Butoh Troupe
Finding the Logic of Difference
Dancing: A Letter from New York City
Some Sentences by and about Merce Cunninghman
New World A-Comin': A Century of Jazz and Modern Dance
In Dance, Preserving a Precarious Legacy Begins Onstage
MAKING HISTORY
Review: Isadora Duncan's "Soviet Workers' Songs"
The Continuing Beauty of the Curve
Review: Millicent Dillion's After Egypt
Isadora Duncan in 1920s America: "A Bolshevik Shade of Red"
Review: Lillian Loewenthal's The Search for Isadora
Isadora Duncan and the Distinction of Dance
Isadora Duncan's Dance Theory
A Fearless Confession Heard Round the World
THEORIZING GENDER
The Balanchine Woman: Of Hummingbirds and Channel Swimmers
Classical Ballet: A Discourse of Difference
To Dance is "Female"
Unlimited Partnership: Dance and Feminist Analysis
Reconsidering Isadora Duncan and the Male Gaze
About Interpretation: Joann McNamara Interviews Ann Daly
Gender Issues in Dance History Pedagogy
"Woman," Women, and Subversion: Some Nagging Questions
Feminist Theory across the Millennial Divide