1. Editor’s Note
  2. Helen Thomas
  3. pp. 1-4
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  1. Introduction
  2. Helen Thomas
  3. pp. 6-7
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  1. Dance in the Present; Dance in the Past
  2. Danielle Goldman
  3. pp. 7-10
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  1. Finding “The Life in the Work” a/in Tribute to Mark Franko
  2. Rebekah J. Kowal
  3. pp. 10-13
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  1. “To See Theory at Work in the Body”: Mark Franko’s Politics for Dance Studies (or: Mark-ed)
  2. André Lepecki
  3. pp. 13-16
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  1. Dance in the Museum Redux: Monica Bill Barnes and The Museum Workout
  2. Gay Morris
  3. pp. 17-19
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  1. The Choreographer’s Apprentice
  2. Holly Buttimore
  3. pp. 19-22
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  1. The Bennington Summer School of the Dance Oral History Project, 1978–1979: A History of Sensibilities
  2. Sanja Andus L’Hotellier
  3. pp. 23-46
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  1. An Enhanced Otherworldliness: Thierry De Mey’s Screendance Based on William Forsythe’s One Flat Thing, reproduced
  2. Wesley Lim
  3. pp. 47-66
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  1. Noa Eshkol and the Idea of a Chamber Dance Group
  2. Sally Gardner
  3. pp. 67-79
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  1. Choreographing American Dance Archives: Artist-Driven Archival Projects by Eiko & Koma, Bebe Miller Company, and Jennifer Monson
  2. Rosemary Candelario
  3. pp. 80-102
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  1. Mark Morris: Musician-Choreographer by Stephanie Jordan (review)
  2. Marion Kant
  3. pp. 103-112
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  1. Queer Dance: Meanings and Makings ed. by Clare Croft (review)
  2. VK Preston
  3. pp. 113-116
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  1. Performing Queer Modernism by Penny Farfan (review)
  2. Doran George, Ariel Osterweis
  3. pp. 116-118
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  1. La Querelle des Pantomimes: Danse, culture, et société dans l’Europe des Lumières by Arianna Fabbricatore (review)
  2. Olivia Sabee
  3. pp. 118-121
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  1. Books Received
  2. pp. 123-124
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