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Winner of the Selma Jeanne Cohen Prize in Dance Aesthetics (2014)

For twenty-five years, Ann Cooper Albright has been exploring the intersection of cultural representation and somatic identity in dance. For Albright, dancing is a physical inquiry, a way of experiencing and participating in the world, and her writing reflects an interdisciplinary approach to seeing and thinking about dance. In her engagement as both a dancer and a scholar, Albright draws on her kinesthetic sensibilities as well as her intellectual knowledge to articulate how movement creates meaning. Throughout Engaging Bodies movement and ideas lean on one another to produce a critical theory anchored in the material reality of dancing bodies. This blend of cultural theory and personal circumstance will be useful and inspiring for emerging scholars and dancers looking for a model of writing about dance that thrives on the interconnectedness of watching and doing, gesture and thought.

Hardcover is un-jacketed.

Table of Contents

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  1. Cover
  2. p. 1
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  1. Engaging Bodies
  2. p. i
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  1. Title
  2. p. iii
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  1. Copyright
  2. p. iv
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  1. Dedication
  2. p. v
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  1. Contents
  2. pp. vii-viii
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  1. Preface
  2. pp. ix-xiii
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  1. Introduction: Situated Dancing
  2. pp. 1-17
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  1. I. PERFORMANCE WRITINGS
  2. pp. 19-21
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  1. 1. Pooh Kaye and Eccentric Motions
  2. pp. 22-24
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  1. 2. Johanna Boyce
  2. pp. 25-26
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  1. 3. Improvisations by Simone Forti and Pooh Kaye
  2. pp. 27-30
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  1. 4. Song of Lawino
  2. pp. 31-32
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  1. 5. Joseph Holmes, Sizzle and Heat
  2. pp. 33-35
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  1. 6. Performing across Identity
  2. pp. 36-39
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  1. 7. In Dialogue with Firebird
  2. pp. 40-43
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  1. 8. Dancing Bodies and the Stories They Tell
  2. pp. 44-49
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  1. 9. Embodying History: The New Epic Dance
  2. pp. 50-54
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  1. 10. Desire and Control: Performing Bodies in the Age of AIDS
  2. pp. 55-59
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  1. II. FEMINIST THEORIES
  2. pp. 61-63
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  1. 11. Mining the Dancefield: Spectacle, Moving Subjects, and Feminist Theory
  2. pp. 64-75
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  1. 12. Writing the Moving Body: Nancy Stark Smith and the Hieroglyphs
  2. pp. 76-91
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  1. 13. Auto-Body Stories: Blondell Cummings and Autobiography in Dance
  2. pp. 92-114
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  1. 14. Femininity with a Vengeance: Strategies of Veiling and Unveiling in Loïe Fuller’s Performances of Salomé
  2. pp. 115-137
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  1. III DANCING HISTORIES
  2. pp. 139-141
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  1. 15. The Long Afternoon of a Faun: Reconstructions and Discourses of Desire
  2. pp. 142-147
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  1. 16. Embodying History: Epic Narrative and Cultural Identity in African-American Dance
  2. pp. 148-174
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  1. 17. Matters of Tact: Writing History from the Inside Out
  2. pp. 175-187
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  1. 18. The Tanagra Effect: Wrapping the Modern Body in the Folds of Ancient Greece
  2. pp. 188-207
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  1. IV. CONTACT IMPROVISATION
  2. pp. 209-211
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  1. 19. A Particular History: Contact Improvisation at Oberlin College
  2. pp. 212-217
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  1. 20. Open Bodies: (X)changes of Identity in Capoeira and Contact Improvisation
  2. pp. 218-229
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  1. 21. Present Tense: Contact Improvisation at Twenty-five
  2. pp. 230-236
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  1. 22. Feeling In and Out: Contact Improvisation and the Politics of Empathy
  2. pp. 237-245
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  1. V. PEDAGOGY
  2. pp. 247-249
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  1. 23. Dancing across Difference: Experience and Identity in the Classroom
  2. pp. 250-262
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  1. 24. Channeling the Other: An Embodied Approach to Teaching across Cultures
  2. pp. 263-269
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  1. 25. Training Bodies to Matter
  2. pp. 270-277
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  1. VI. OCCASIONAL PIECES
  1. 26. The Mesh in the Mess
  2. pp. 281-287
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  1. 27. Through Yours to Mine and Back Again: Reflections on Bodies in Motion
  2. pp. 288-291
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  1. 28. Physical Mindfulness
  2. pp. 292-293
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  1. 29. Researching Bodies: The Politics and Poetics of Corporeality
  2. pp. 294-296
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  1. 30. Strategic Abilities: Negotiating the Disabled Body in Dance
  2. pp. 297-317
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  1. 31. Dancing in and out of Africa
  2. pp. 318-320
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  1. 32. Rates of Exchange
  2. pp. 321-324
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  1. 33. Moving Contexts: Dance and Difference in the Twenty-first Century
  2. pp. 325-334
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  1. 34. Three Beginnings and a Manifesto
  2. pp. 335-337
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  1. 35. Improvisation as Radical Politics
  2. pp. 338-342
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  1. 36. Space and Subjectivity
  2. pp. 343-347
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  1. 37. Strategic Practices
  2. pp. 348-353
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  1. 38. Resurrecting the Future: Body/Image/Technology
  2. pp. 354-359
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  1. 39. Falling
  2. pp. 360-366
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  1. 40. The Tensions of Technē: On Heidegger and Screendance
  2. pp. 367-369
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  1. 41. Falling
  2. pp. 370-377
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  1. Afterword
  2. pp. 379-380
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  1. Acknowledgments
  2. pp. 381-382
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  1. Index
  2. pp. 383-391
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  1. About the Author
  2. p. 392
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