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| xiii Acknowledgments Over the course of the decade in which I began to collect material for this book and to interview dancers, choreographers, musicians, and leaders, I also danced regularly. As a participant-observer, in truth I am indebted to all in this national and international dance community. Most of the people with whom I spoke knew of my project and spoke freely with me, sharing insights and stories with candor and a sense of joy for the project. Their generosity of spirit allowed me the too-rare opportunity to unite my worlds of play and work, and I thank them for it. Some in particular extended themselves in offering materials from their personal archives, reading sections relevant to their own experience, or with lengthy email recollection. I undoubtedly will have forgotten some, but I thank them all, including David Chandler, Paul Friedman, Yonina Gordon, Sharon Green, Robin Hayden, Judy Klotz, Gene Murrow, Liz Snowden, Allan Troxler, Ed Wilfert, and all those who have enriched the discussion on the ECD listserv hosted by Alan Winston. The historical research at the core of this book was made possible through the gracious and accommodating research staffs at libraries on both sides of the Atlantic. I wrote drafts of most chapters while happily ensconced in the British Library each June and in the Wertheim Room of the New York Public Library at other times. Both libraries are amazing places with extraordinary collections that merit more public support. Librarians at Harvard’s Houghton Library and Boston University responded to my queries and forwarded research material in a timely way, and Michael Nash, the director of the Tamiment Library at New York University, as always, was a good friend to the project (and to me). I also wish to thank the research staffs at the New York Public Library’s dance collection at Lincoln Center and at the San Francisco Performing Arts Library and Museum. But two librarians, in particular, extended themselves to me and deserve special mention: Roland Goodbody, manuscript curator for special collections at the University of New Hampshire , and Malcolm Taylor, the librarian at the Vaughan Williams Memorial Library at Cecil Sharp House in London. Malcolm and his assistants, espe- xiv | Acknowledgments cially Elaine Bradtke, accommodated my repeated requests for help deciphering Cecil Sharp’s handwriting and offered endless hints at relevant nuggets in their collection that would enrich this study. I was also the beneficiary of financial and intellectual support from several institutions. New York University research grants allowed regular travel to London and provided administrative support to transcribe many of the video oral histories used in the project. The T. Baker Foundation provided a series of grants to the ECD documentation project that made possible on-location interviewing and videotaping in Massachusetts, New Hampshire, New York, Washington, DC, and in England. And, most memorably, the Humanities Center at Stanford University hosted me for a year in which a core group of ethnomusicologists were present. It was an extraordinarily helpful year in which the project gestated, for which I thank the director, John Bender, the staff, and the community of fellows, including Paul Berliner, Laura Chrisman , Louise Meintjes, Marc Perlman, Kevin Platt, Rob Reich, Sandra Richards , Janice Ross, and Debra Satz. The ECD community includes many academics and independent scholars , and they played a prominent role in reading drafts of the manuscript for me: Jennifer Beer, David Millstone, Stephanie Smith, and Allison Thompson. Each refined and elaborated the argument in countless ways, for which I am deeply indebted. Stephanie Smith and Charlie Weber, the librarian and videographer , respectively, at the Smithsonian Center for Folklife and Cultural Heritage, have partnered with me since 1999 in the video documentation project and oral histories on which I draw extensively in the latter chapters, and they are coproducing the program for public television that draws on this book and that footage. Their collaboration has of necessity bled into this book, and they deserve credit accordingly. Of course, other historians also graciously gave of their time to offer careful readings of part or all of the manuscript. Victoria Phillips Geduld and Ronald D. Cohen offered helpful correctives to a draft on the second folk revival and the Cold War. The historian Linda Tomko’s gendered account of the early years of the first revival was a constant source of inspiration, as was her careful reading of various chapters. My colleagues at NYU Andrew Ross and Thomas Bender helpfully read a penultimate draft. One colleague in particular...

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