• WRITING CRITICISM/ HISTORY
• Jill Johnston: Signaling Through the Flames
• Working and Dancing: A Response to Monroe Beardsley’s “What is Going on in a Dance?” with Noël Carroll
• Criticism as Ethnography
• On Your Fingertips: Writing Dance Criticism
• Power and the Dancing Body
• THE EURO-AMERICAN AVANT-GARDE
• Balanchine and Black Dance
• An Introduction to the Ballet Suedois
• Soiree de Paris
• Kasyan Goleizovsky’s Ballet Manifests
• Merce Cunnighams Story
• Cunnigham and Duchamp with Noël Carroll
• THE AFRICAN-AMERICAN CONNECTION
• To the Beat, Y’all: Breaking is Hard to do
• Breakdancing: A Reporter’s Story
• Lock Steady
• Critic’s Choice: Breakdancing
• Breaking
• A House is Not a Home
• Breaking Changing
• The Pleasin’ in Teasin’
• The Moscow Charleston: Black Jazz Dancers in the Soviet Union
• OTHER SUBCERSIONS: POLITICS AND POPULAR DANCE
• Stepping High: Fred Astaire’s Drunk Dances
• The Men at John Allen’s Dance House
• Red Shoes: The Workers’ Dance League of the 1930’s
• POSTMODERN DANCE: FROM THE SIXTIES TO THE NINETIES
• Judson Rides Again!
• Choreographic Methods of the Judson Dance Theater
• Vital Signs: Steve Paxton’s Flat in Perspective
• Meredith Monk and the Making of Chacon: Notes from a Journal
• Dancing from a Journal
• Dancing on the Edge
• “Drive,” She Said: The dance of Molissa Fenely
• Self-Rising Choreography
• Transparent Living
• No More Ordinary Bodies
• Happily Ever After? The Postmodern Fairytale and the New Dance
• Pointe of Departure
• Classical Brinksmanship: Karole Armitage and Michael Clark
• Terpsichore in Sneakers, High heels, Jazz Shoes, and On Pointe: Postmodern Dance Revisited
• Dancing {with/to/before/on/in/over/after/against/away from/without} the Music: Vicissitudes of Collaboration in American Postmodern Choreography
• La Onda Próxima: Nueva Latina Dance
• Dance and Spectacle in the United States in the Eighties and Nineties
• Dancing in Leaner Times
• Going Solo
• Notes
• Index