1. Dancing the Animal to Open the Human: For a New Poetics of Locomotion
  2. Gabriele Brandstetter
  3. pp. 2-11
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  1. From Shusterman’s Somaesthetics to a Radical Epistemology of Somatics
  2. Isabelle Ginot
  3. pp. 12-29
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  1. Martha Graham’s House of the Pelvic Truth: The Figuration of Sexual Identities and Female Empowerment
  2. Henrietta Bannerman
  3. pp. 30-45
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  1. The Human Situation on Stage: Merce Cunningham, Theodor Adorno, and the Category of Expression
  2. Carrie Noland
  3. pp. 46-60
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  1. Media-Bodies: Choreography as Intermedial Thinking Through in the Work of William Forsythe
  2. Sabine Huschka
  3. pp. 61-72
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  1. Dialogues: The State of the Body
  2. Gwendolyn Alker, Randy Martin, Barbara Browning, Awam Amkpa
  3. pp. 75-88
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  1. Toward a Decentered Social Kinesthetic
  2. Randy Martin
  3. pp. 77-80
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  1. Rethinking Technique and the Body “Proper”
  2. Barbara Browning
  3. pp. 81-83
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  1. A State of Perpetual Becoming: African Bodies as Texts, Methods, and Archives
  2. Awam Amkpa
  3. pp. 83-88
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  1. Traces of Light: Absence and Presence in the Work of Loie Fuller, and: Electric Salome: Loie Fuller’s Performance of Modernism (review)
  2. Marion Kant
  3. pp. 89-94
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  1. Nijinsky’s Bloomsbury Ballet: Reconstruction of the Dance and Design for Jeux (review)
  2. Marcia B. Siegel
  3. pp. 94-96
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  1. The Body Eclectic: Evolving Practices in Dance Training (review)
  2. Katja Kolcio
  3. pp. 96-99
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  1. The Struggle with the Angel: A Poetics of Lloyd Newson’s Strange Fish (review)
  2. Harmony Bench
  3. pp. 99-102
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  1. The People Have Never Stopped Dancing: Native American Modern Dance Histories (review)
  2. Zoila Mendoza
  3. pp. 102-104
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  1. Navigating the Unknown: Notes from a Lonely Planet (review)
  2. Edward C. Warburton
  3. pp. 104-107
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  1. Dancing Lives: Five Female Dancers from the Ballet D’Action to Merce Cunningham (review)
  2. Jill Nunes Jensen
  3. pp. 107-110
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  1. Letters
  2. Judith Lynne Hanna
  3. pp. 111-114
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  1. Editor’s Note: States of the Body
  2. Mark Franko
  3. pp. v-viii
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  1. Introduction
  2. Gwendolyn Alker
  3. pp. 76-77
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