1. I Promised Myself I Would Never Let It Leave My Body's Memory
  2. Pat Catterson
  3. pp. 3-11
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  1. Trio A: Genealogy, Documentation, Notation
  2. Yvonne Rainer
  3. pp. 12-18
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  1. Trio A Canonical
  2. Jens Richard Giersdorf
  3. pp. 19-24
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  1. Trio A in Europe
  2. Ramsay Burt
  3. pp. 25-27
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  1. "At the still point": T. S. Eliot, Dance, and Modernism
  2. Susan Jones
  3. pp. 31-51
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  1. Blurring the Boundaries of Genre, Gender, and Geopolitics: Ruth Page and Harald Kreutzberg's Transatlantic Collaboration in the 1930s
  2. Joellen A. Meglin
  3. pp. 52-75
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  1. Kine-Phonesis: The Sonic Dancer in Relay
  2. Emily Plumb
  3. pp. 76-85
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  1. Dialogues: Writing Dance
  2. Julie Malnig, Ann Nugent, Leslie Satin
  3. pp. 89-91
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  1. "But How Do I Write about Dance?": Thoughts on Teaching Criticism
  2. Julie Malnig
  3. pp. 91-95
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  1. Extending Critical Voices Between the Lecture Room and the Dance Studio
  2. Ann Nugent
  3. pp. 95-98
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  1. Intellectual Underpinnings
  2. Leslie Satin
  3. pp. 99-104
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  1. Sensational Knowledge: Embodying Culture through Japanese Dance, and: Hijikata Tatsumi and Ohno Kazuo (review)
  2. SanSan Kwan
  3. pp. 107-110
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  1. Anarchic Dance (review)
  2. Norah Zuniga Shaw
  3. pp. 110-113
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  1. Fashionable Acts: Opera and Elite Culture in London, 1780-1880 (review)
  2. Megan Early Alter
  3. pp. 113-116
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  1. A Game for Dancers: Performing Modernism in the Postwar Years, 1945-1960 (review)
  2. Victoria Phillips Geduld
  3. pp. 116-120
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  1. Hybridities: Dance, Writing, and the Voice in Transatlantic Perspectives
  2. Mark Franko
  3. pp. v-vi
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