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Volume 41, Number 2, Winter 2009

Table of Contents

Editor's Note

Hybridities: Dance, Writing, and the Voice in Transatlantic Perspectives

pp. v-vi

A Dancer Writes:

I Promised Myself I Would Never Let It Leave My Body's Memory

pp. 3-11

Trio A: Genealogy, Documentation, Notation

pp. 12-18

Trio A Canonical

pp. 19-24

Trio A in Europe

pp. 25-27


"At the still point": T. S. Eliot, Dance, and Modernism

pp. 31-51

Blurring the Boundaries of Genre, Gender, and Geopolitics: Ruth Page and Harald Kreutzberg's Transatlantic Collaboration in the 1930s

pp. 52-75

Kine-Phonesis: The Sonic Dancer in Relay

pp. 76-85


Dialogues: Writing Dance

pp. 89-91

"But How Do I Write about Dance?": Thoughts on Teaching Criticism

pp. 91-95

Extending Critical Voices Between the Lecture Room and the Dance Studio

pp. 95-98

Intellectual Underpinnings

pp. 99-104


Sensational Knowledge: Embodying Culture through Japanese Dance, and: Hijikata Tatsumi and Ohno Kazuo (review)

pp. 107-110

Anarchic Dance (review)

pp. 110-113

Fashionable Acts: Opera and Elite Culture in London, 1780-1880 (review)

pp. 113-116

A Game for Dancers: Performing Modernism in the Postwar Years, 1945-1960 (review)

pp. 116-120

Research Areas


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