The best of America's best writer on dance "Theoretically, I am ready to go to anything-once. If it moves, I'm interested; if it moves to music, I'm in love." From 1973 until 1996 Arlene Croce was The New Yorker's dance critic, a post created for her. Her entertaining, forthright, passionate reviews and essays have revealed the logic and history of ballet, modern dance, and their postmodern variants to a generation of theatergoers. This volume contains her most significant and provocative pieces-over a fourth have never appeared in book form-writings that reverberate with consequence and controversy for the state of the art today.

New York Times bestselling author Mary Jane Clark turns up the heat in a drop-dead frightening novel about an idyllic beach community turned killer's hunting ground Trying to mix business with pleasure, KEY News correspondent Diane Mayfield has brought her children and her sister to the New Jersey shore town of Ocean Grove to investigate a story on "girls who cry wolf" for the season premiere of Hourglass, television's highly rated news magazine. Diane lands an exclusive interview with a troubled young woman whose tale of being abducted and held against her will for three terrifying days had been disbelieved by the authorities. No sooner does Diane finish taping the interview, though, than a second victim disappears. The small community, already in the grip of a record heat wave, is now wracked by fear and terror—no one knows who could be next. With only the first victim as eyewitness, Diane and the police turn to her for clues. But it may be too late to save Diane and her loved ones from the mortal danger that lurks in Ocean Grove. Full of twists, turns, and terrifyingly real danger, Dancing in the Dark is Mary Jane Clark's most suspenseful thriller yet.

Here is the vibrant, colorful, high-stepping story of tap -- the first comprehensive, fully documented history of a uniquely American art form. Writing with all the verve and grace of tap itself, Constance Valis Hill offers a sweeping narrative, filling a major gap in American dance history and placing tap firmly center stage.

In the midst of Occupy, Barbara Andersen begins spamming people indiscriminately with ukulele covers of sentimental songs. A series of inappropriate intimacies ensued, including an erotically charged correspondence and then collaboration with an extraordinarily gifted and troubled musician living in Germany.

NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW, LOS ANGELES TIMES, SAN FRANCISCO CHRONICLE, AND PUBLISHERS WEEKLY For more than four hundred years, the art of ballet has stood at the center of Western civilization. Its traditions serve as a record of our past. Lavishly illustrated and beautifully told, Apollo’s Angels—the first cultural history of ballet ever written—is a groundbreaking work. From ballet’s origins in the Renaissance and the codification of its basic steps and positions under France’s Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. In the twentieth century, émigré dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans, a historian, critic, and former professional ballerina, wields a knowledge of dance born of dedicated practice. Her admiration and love for the ballet, as Entertainment Weekly notes, brings “a dancer’s grace and sure-footed agility to the page.”

A car crashes, and Maggie Kast, at the peak of a modern dance career, loses a three-year-old daughter. Raised without religion and now mired in grief, she senses a persistent connection to the little girl, a love somehow more powerful than the brute fact of death. This awareness leads her, over three years, to the Catholic Church. After the accident, her marriage is greatly stressed by the entrance of religion into married life, and she and her husband each accuse the other of being too religious or too secular at various times. Despite conflict, dialogue keeps the marriage intimate and vital. Following study of liturgy at Catholic Theological Union, she teaches and tours sacred dance nationally and internationally, exploring the arts as a spiritual path. Moving forward and looking back at once, she discovers early hints of religious experience in childhood celebrations, encounters with art, and marriage. Her husband dies. Now a single parent of a ten-year-old and a developmentally disabled teenager, as well as college-aged sons, she continues her search.

Robert Gottlieb’s immense sampling of the dance literature–by far the largest such project ever attempted–is both inclusive, to the extent that inclusivity is possible when dealing with so vast a field, and personal: the result of decades of reading. It limits itself of material within the experience of today’s general readers, avoiding, for instance, academic historical writing and treatises on technique, its earliest subjects are those nineteenth-century works and choreographers that still resonate with dance lovers today: Giselle, The Sleeping Beauty, Swan Lake; Bournonville and Petipa. And, as Gottlieb writes in his introduction, “The twentieth century focuses to a large extent on the achievements and personalities that dominated it–from Pavlova and Nijinsky and Diaghilev to Isadora Duncan and Martha Graham, from Ashton and Balanchine and Robbins to Merce Cunningham and Paul Taylor and Twyla Tharp, from Fonteyn and Farrell and Gelsey Kirkland (“the Judy Garland of Ballet”) to Nureyev and Baryshnikov and Astaire–as well as the critical and reportorial voices, past and present, that carry the most conviction.” In structuring his anthology, Gottlieb explains, he has “tried to help the reader along by arranging its two hundred-plus entries into a coherent groups.” Apart from the sections on major personalities and important critics, there are sections devoted to interviews (Tamara Toumanova, Antoinette Sibley, Mark Morris); profiles (Lincoln Kirstein, Bob Fosse, Olga Spessivtseva); teachers; accounts of the birth of important works from Petrouchka to Apollo to Push Comes to Shove; and the movies (from Arlene Croce and Alastair Macauley on Fred Astaire to director Michael Powell on the making of The Red Shoes). Here are the voices of Cecil Beaton and Irene Castle, Ninette de Valois and Bronislava Nijinska, Maya Plisetskaya and Allegra Kent, Serge Lifar and José Limón, Alicia Markova and Natalia Makarova, Ruth St. Denis and Michel Fokine, Susan Sontag and Jean Renoir. Plus a group of obscure, even eccentric extras, including an account of Pavlova going shopping in London and recipes from Tanaquil LeClerq’s cookbook.” With its huge range of content accompanied by the anthologist’s incisive running commentary, Reading Dance will be a source of pleasure and instruction for anyone who loves dance.

An innovative examination of the ways in which dance and philosophy inform each other, Dance and Philosophy brings together authorities from a variety of disciplines to expand our understanding of dance and dance scholarship. Featuring an eclectic mix of materials from exposes to dance therapy sessions to demonstrations, Dance and Philosophy addresses centuries of scholarship, dance practice, the impacts of technological and social change, politics, cultural diversity and performance. Structured thematically to draw out the connection between different perspectives, this books covers: - Philosophy practice and how it corresponds to dance - Movement, embodiment and temporality - Philosophy and dance traditions in everyday life - The intersection between dance and technology - Critical reflections on dance Offering important contributions to our understanding of dance as well as expanding the study of philosophy, this book is key to sparking new conversations concerning the philosophy of dance.

Examining a century of dance criticism in the United States and its influence on aesthetics and inclusion Dance criticism has long been integral to dance as an art form, serving as documentation and validation of dance performances, yet few studies have taken a close look at the impact of key critics and approaches to criticism over time. The first book to examine dance criticism in the United States across 100 years, from the late 1920s to the early twenty-first century, Shaping Dance Canons argues that critics in the popular press have influenced how dance has been defined and valued, as well as which artists and dance forms have been taken most seriously. Kate Mattingly likens the effect of dance writing to that of a flashlight, illuminating certain aesthetics at the expense of others. Mattingly shows how criticism can preserve and reproduce criteria for what qualifies as high art through generations of writers and in dance history courses, textbooks, and curricular design. She examines the gatekeeping role of prominent critics such as John Martin and Yvonne Rainer while highlighting the often-overlooked perspectives of writers from minoritized backgrounds and dance traditions. The book also includes an analysis of digital platforms and current dance projects—On the Boards TV, thINKingDANCE, Black Dance Stories, and amara tabor-smith’s House/Full of BlackWomen—that challenge systemic exclusions. In doing so, the book calls for ongoing dialogue and action to make dance criticism more equitable and inclusive.

Despite a growing interest in the sociology of the body, there has to date been a lack of scholarly work addressing the embodied aspects which form a central part of our understanding and experience of sport and movement cultures. Researching Embodied Sport explores the political, social and cultural significance of embodied approaches to the study of sport, physical activities and dance. It explains how embodied approaches fit with existing theory in studies of sport and movement cultures and makes a compelling case for incorporating an embodied approach into the study of sporting practices and experience. The book adopts a multi-disciplinary lens, moving beyond the traditional dualism of body and mind, and incorporating the physical with the social and the psychological. It applies key theories that have shaped our thinking about the body and sport, and examines both the personal, subjective experience of sporting activities and those experiences involving engagement and contact with other people, in team sports for example. The book also explores the methodological implications of ‘doing’ embodied research, particularly in terms of qualitative approaches to sports research. Written by a team of leading international sports researchers, and packed with vivid examples from sporting contexts as diverse as surfing, fell running, korfball and disability sport, Researching Embodied Sport is fascinating reading for any advanced student or researcher working in the sociology of sport, physical cultural studies, physical education, body studies or health studies.