554:
these works in socio-political and cultural context, I show that choreographers have created images of women that are shaped by – and that in part shape – society’s continuing debates about sexuality and female identity. I argue that the dance stage has often reflected and reinforced, but has also formed and in some cases criticized cultural conceptions of corporeality – in particular, conceptions of women’s bodies and identities – and that through dance, men’s attitudes toward women and women’s attitudes about themselves are literally given body on stage. – Sally Banes,
603:
certainly did not wield the make-or-break power of the mainstream press. In any case, most of the performances were one-night stands or short runs and had ended by the time my reviews were published. So I felt a certain freedom in knowing that my role as a critic was not that of a judge, arbiter of taste, or consumer guide. Rather, my role was to join a longer-term conversation about performance art in a public yet immediate way. – Sally Banes,
33:
518:
vernacular. Moreover, it analyzes relationships between mainstream dance and its counterstreams, which contest, challenge, subvert, and undermine the mainstream traditions. In terms of methodology, my approach is postmodernist in that it has a tendency toward the contextual, historical, and ethnographic. It is also concerned with bringing the margins to the center. – Sally Banes,
689:, which Banes championed, to be dance. Nevertheless, Scott critiques some of the principles of post-modernism as Banes and Carroll define them, setting up a further debate stemming from Carroll and Banes's ″Dance, Imitation and Representation″ (1999; espec. pp. 14–20), that continue most recently until 2019, in Scott's
207:’s Department of Graduate Drama. She earned her PhD with a dissertation on Judson Dance Theater. This dissertation was later published as ‘’Democracy’s Body: Judson Dance Theater, 1962–1964.’’ While doing her doctorate work, she studied under and with some of the biggest names in dance research. Her doctoral advisor was
660:
Many of the emerging artists Banes reviewed are now luminaries of the historical canon... Like all collections of dance reviews, this one not only provides a valuable register of dances and dancers, it also points out the importance and responsibility of dance criticism as it engages with an art form
271:
record on repeat and having soybeans thrown at them. On the way, the performance traveled through Banes' apartment, conveniently located on 57th Street, where they were greeted by her grandmother. They exited onto her back porch and continued on. When it became dark nightgown-clad dancers appeared in
676:
In this specialized academic journal, Banes and
Carroll debate Gregory Scott, at the time the Director of Doctoral Studies in Dance Education, NYU, in a series of 3 articles (and in conferences), when a reaction to post-modernism in dance has begun. Scott argues for a traditional view of dance that
148:
and graduated in 1972 with an interdisciplinary degree in criticism, art, and theater. While at college, she worked as a lighting assistant and wardrobe mistress. She also belonged to a group known as The
Collective. Joining in 1970, Banes became one of several actors who met several times a week to
496:
A distinctively twentieth-century, postwar, postindustrialist
American avant-garde art: democratic yet sophisticated, vigorous and physical, playful yet down-to-earth, freely mixing high and low, academic and vernacular traditions, genres and media. There was a feeling – so unlike the early 1990s –
152:
After graduating college, Banes continued to live and work in
Chicago. In 1974, she founded the Community Discount Players which was a loosely organized company of actors, dancers, filmmakers,and visual artists. Like The Collective, the Community Discount Players focused on collaboration to produce
629:
The 1960s was a decade of ferment in the arts, society, and politics. So many things that had been viewed complacently, in a world that seemed always to be the same as it ever was, were suddenly cast in a new light. And this led to a desire to cast off the old ways, to break all the rules, to find
517:
Perhaps to some readers this collection simply will appear to be a mélange. But I am convinced that it is emblematic of postmodernism, in a number of ways. It is, first of all, concerned with crossovers between 'high' and 'low' dance cultures – the avant-garde, the popular, the commercial, and the
312:
coauthored by Banes, was her first published book. One day, a colleague approached her with a proposition. This colleague had been commissioned to write a book about modern dance but was claustrophobic and therefore could not sit through shows. Banes took over the project and decided that the best
712:
There is also a
Biennial Sally Banes Publication Prize in her honor. This prize awards $ 500 to the publication that best explores the intersection of theater and dance or movement and has been published within the previous two years. The nominees are judged based on the innovation and rigor with
553:
In each chapter I focus on one or several dances, in order to retell the story of
Western theatrical dancing from a woman-centered perspective. I analyze of representations of women are constructed in major works of the theatrical dance canon written by both men and women. Setting the creation of
153:
work and performances. She also founded MoMing, which was a collectively owned theater where actors and dancers could come to teach one another class. It also provided an environment for further collaborative efforts and the performance of these partnerships. This is where she first performed for
602:
Unlike mainstream theater productions, which can flourish or die according to critical reaction, performance art – usually operating on a shoestring budget or with funding subsidies – did not depend on a critical mass of spectators for economic well-being. And alternative press critics like me
468:
The choreographers of the Judson Dance
Theater radically questioned dance aesthetics, both in their dances and in their weekly discussions. They rejected the codification of both ballet and modern dance. They questioned the traditional dance concert format and explored the nature of dance
583:, two alternative publications based in New York City. This time period was the height of the performance art genre, which had surpassed other forms of avant-garde to become “the preeminent form of avant-garde art.” This volume contains 90 articles and reviews including those of
512:
This book is an anthology of published and unpublished essays and talks about dance since the 1970s. Through this collection, as well as the evolution of her own writing and style of analysis, Banes explores the evolution of postmodern dance throughout the 60s, 70s, and 80s.
444:
Rainer, Simone Forti, Steve Paxton, and other post-modern choreographers of the sixties were not united in terms of their aesthetic. Rather, they were united by their radical approach to choreography, their urge to reconceive the medium of dance. – Sally Banes,
184:. As she grew older, Banes continued to take dance classes in both Chicago and New York City. She studied ballet with Ed Parish and Peter Saul. She also studied modern with Jim Self, Maggie Kast, and Shirley Mordine as well as taking class at both the
464:, whose choreographers and works represented the beginning of the post-modern movement, it not only tells the story of Judson Dance Theater but describes the dances produced by those in the group and the dynamics of the group's working relationships.
385:. In 1989 and 1998, she presented at the Society of Dance History Scholars Conference. The first time her lecture was titled, "Merce Cunningham's Story." The second conference she presented "The Last Conversation: Eisenstein's Carmen Ballet".
630:
new directions and new freedoms. There were no limits, nothing that could not be tried, from rising up to protest injustices like racism, sexism, and the
Vietnam War to ingesting mind-expanding drugs to sexual experimentation. – Sally Banes,
617:
This book is a collection of essays analyzing the revolutionary and experimental art world of the 1960s. It consists of eleven essays, including one by Banes herself and a section of choreographers' statements from the White Oak
283:
Banes and Mazer load cartons on and off a rental truck. In another piece, an old-fashioned washing machine and pieces of broken glass litter the stage. Banes continued to explore "Sophie" upon reaching New York in her piece
251:. In May 2002 Banes suffered a massive stroke, from which she never recovered. She remained cognitively and physically severely handicapped until her death of ovarian cancer on June 14, 2020.
396:
This work is a history and critical study of post-modern dance. It specifically focuses on certain choreographers and their styles, motivations, goals, and works. The choreographers include
279:
Banes also collaborated with Ellen Mazer on a series of works about an imaginary 19th century woman named "Sophie," who was "sometimes a ballerina, sometimes a communist." In the piece
276:
as the performance continued to its end at Jimmy's. This work was meant to be a celebration of Hyde Park as well as the blurring of lines between everyday life and art.
644:
This book is a collection of Banes' reviews encompassing and incredible history of dancers and choreographers. These reviews feature everything from very early
1241:
378:
where she was the Marian Hannah Winter
Professor of Theater and Dance Studies. She was also the chair of the dance program at UW – Madison from 1992 to 1996.
945:
966:
473:
artists and intellectuals, the Judson Dance
Theater affected the entire community and flourished as a popular center of experimentation. – Sally Banes,
533:
Banes' attempts to retell the familiar dance canonical history from the purely feminist perspective. She covers everything from mid nineteenth century
228:
267:
and ending at a popular local bar, Jimmy's. The audience followed the performers from the lagoon and down 57th Street while listening to a
626:. These choreographers include Trisha Brown, Lucinda Childs, Simone Forti, David Gordon, Deborah Hay, Steve Paxton, and Yvonne Rainer.
1293:
1204:
787:
375:
192:
studios. At one point she raised $ 70,000 for an alternative multicultural bicentennial celebration. In 1978 Banes produced
168:
In 1976, Banes moved to New York City. She continued exploring the post-modern world and attended workshops with members of
1268:
469:
performance. They also discovered a cooperative method for producing dance concerts... Attracting a grassroots audience of
149:
collaborate on work. These collectively written theater pieces were performed in workshops as well as public performances.
1298:
355:
from 1982 to 1988. Since these times, she has authored eight major books about dance, frequently of the post-modern era.
144:, a suburb of Washington, D.C., Banes studied dance, and particularly ballet, throughout her childhood. She attended the
661:
whose history largely exists in movement, in a culture that privileges what can be written down. – Andrea Harris,
358:
On top of an extensive written portfolio, Banes has taught at various institutions. She was an assistant professor at
302:
starting in 1973. Initially, she was in charge of theater and restaurant reviews. She also wrote book reviews for the
1179:
1154:
1129:
1104:
1079:
1050:
1021:
996:
382:
705:. The Society of Dance History Scholars has also given her a similar lifetime achievement award and Banes has won a
1303:
920:
1283:
220:
652:
performances, to the beginnings of Pilobolus, to the discovery of breakdancing, to the world's introduction to
263:
was created in collaboration with dancer Ellen Mazer. It was a day-long performance beginning at the lagoon in
713:
which they explore their topic and the intersection therein. The first Publication Prize was awarded in 2009.
701:
In 2003, Banes won the Lifetime Achievement Award for her Outstanding Contribution to Dance Research from the
702:
681:
II (665a), as “ordered body movement”, which Plato says makes choral art when combined with music or song (
433:
413:
317:
to allow her to write dance critiques, and eventually became the Dance Editor. This book eventually became
74:
807:
488:
This book focuses on the year 1963 and the changing face of the art world. It specifically focuses on
1288:
437:
359:
893:
232:
208:
141:
56:
351:
740:
429:
313:
way to learn how to write about dance was to practice. Thus, she convinced her editor at the
177:
154:
145:
868:
1278:
1273:
461:
169:
8:
623:
546:
367:
849:
776:
371:
273:
264:
224:
1200:
1175:
1150:
1125:
1100:
1075:
1068:
1046:
1039:
1017:
992:
783:
592:
489:
470:
841:
579:
337:
189:
832:
Lambert, Carrie (Summer 1999). "Moving Still: Meidating Yvonne Rainer's Trio A".
653:
596:
570:
534:
304:
129:
1172:
Dance, Education and Philosophy (Chelsea School Research Centre Edition, Vol. 7)
573:
and paratheater from 1976 to 1985. These articles were published chiefly in the
248:
113:
421:
344:
298:
268:
212:
1220:
605:
Subversive Expectations: Performance Art and Paratheater in New York 1976–1985
563:
Subversive Expectations: Performance Art and Paratheater in New York 1976–1985
193:
1262:
645:
588:
584:
569:
This book is a collection of Banes’ reviews and articles concerning New York
425:
401:
363:
330:
236:
197:
185:
181:
158:
125:
706:
542:
409:
405:
397:
216:
173:
157:. She also performed in ‘’Paris/Chacon,’’ a dance-theater collaboration by
499:
Greenwich Village 1963: Avant-garde Performance and the Effervescent Body
482:
Greenwich Village 1963: Avant-garde Performance and the Effervescent Body
417:
328:
Upon reaching New York, she continued working as a dance critic for the
649:
162:
853:
685:) in the theater. Ironically, this conception even allows Rainier's
845:
808:"Sally Banes, Distinguished Dance Critic and Historian, Dies at 69"
545:
of the 1920s, 1930s, and 1940s in Germany and the United States to
32:
869:"In Memoriam: Sally Banes, A New Kind of Dance Writer (1950-2020)"
538:
677:
has been applicable for over 2000 years, stemming from Plato's
497:
that all things were possible... and permitted. – Sally Banes,
203:
While in New York, she continued her education by enrolling in
1197:
A Primer on Aristotle's DRAMATICS (also known as the POETICS)
691:
A Primer on Aristotle's DRAMATICS (also known as the POETICS)
549:
from the 1930s to the 1950s in Europe and the United States.
200:'s 1966 dance piece "Trio A (The Mind is a Muscle, Part 1)."
663:
Before, Between, and Beyond: Three Decades of Dance Writing
638:
Before, Between, and Beyond: Three Decades of Dance Writing
672:
29/1 Spring (1997), 30/1 Spring (1998), 31/1 Spring (1999)
135:
204:
632:
Reinventing Dance in the 1960s: Everything was Possible
611:
Reinventing Dance in the 1960s: Everything was Possible
670:
Dance Research Journal (Congress on Research in Dance)
381:
Banes was a past president and Honorary Fellow of the
769:
767:
765:
763:
761:
759:
757:
247:
Banes was married to fellow art and film philosopher
1174:. Oxford: Meyer & Meyer Sport, UK, Ltd., 13-32.
374:. Finally, starting in 1991, she began teaching at
1067:
1038:
775:
754:
709:for her Lifetime Contribution to Dance Criticism.
1163:
475:Democracy's Body: Judson Dance Theater, 1962–1964
454:Democracy's Body: Judson Dance Theater, 1962–1964
1260:
124:(October 9, 1950 – June 14, 2020) was a notable
894:"Sally Banes June 14 2020, death notice, USA"
325:until 1976 when she moved to New York City.
1124:. Ann Arbor: University of Michigan Press.
1070:Writing Dancing in the Age of Postmodernism
520:Writing Dancing in the Age of Postmodernism
506:Writing Dancing in the Age of Postmodernism
319:Terpsichore in Sneakers: Post-Modern Dance,
1234:
1149:. Madison: University of Wisconsin Press.
782:. Madison: University of Wisconsin Press.
447:Terpsichore in Sneakers: Post-modern Dance
390:Terpsichore in Sneakers: Post-modern Dance
362:in 1980. From 1981 to 1986, she taught at
31:
1188:
1138:
1113:
1088:
1074:. Middletown: Wesleyan University Press.
1059:
1030:
1005:
991:. Middletown: Wesleyan University Press.
980:
898:United States Obituary Notice | 2020 June
801:
799:
288:which was performed at P.S. 122 in 1983.
310:Sweet Home Chicago: The Real City Guide,
959:
938:
831:
805:
291:
136:Life, education, and performance career
1261:
921:"In Memoriam: Sally Banes (1950-2020)"
918:
866:
796:
261:A Day in the Life of the Mind: Part 2,
1194:
1169:
1144:
1119:
1094:
1065:
1036:
1011:
986:
773:
735:
733:
731:
556:Dancing Women: Female Bodies on Stage
527:Dancing Women: Female Bodies on Stage
349:as well as working as editor for the
321:published in 1980. She stayed at the
1213:
696:
370:and from 1988 to 1991 she taught at
16:American dance historian (1950–2020)
366:. From 1986 to 1988, she taught at
219:, Dale Harris, Gretchen Schneider,
13:
728:
286:Sophie Heightens the Contradiction
14:
1315:
1045:. Durham: Duke University Press.
1016:. Durham: Duke University Press.
919:Jowitt, Deborah (July 16, 2020).
383:Society of Dance History Scholars
376:University of Wisconsin – Madison
272:the large lighted windows of the
254:
242:
1294:Tisch School of the Arts alumni
1199:. New York: ExistencePS Press.
867:Perron, Wendy (June 17, 2020).
460:A history of the revolutionary
1147:Reinventing Dance in the 1960s
912:
886:
860:
825:
806:Kourlas, Gia (June 21, 2020).
227:. Some of her classmates were
1:
716:
703:Congress on Research in Dance
7:
1269:Wesleyan University faculty
1170:McFee, Graham, ed. (1999).
778:Before, between, and beyond
296:Banes first worked for the
10:
1320:
1299:Cornell University faculty
211:and she also learned from
75:Philadelphia, Pennsylvania
1221:"CORD Past Award Winners"
492:and the performing arts.
172:. She also performed for
109:
89:
81:
63:
42:
30:
23:
360:Florida State University
1304:SoHo Weekly News people
1242:"Bulletins and Notices"
1195:Scott, Gregory (2019).
1122:Subversive Expectations
1099:. New York: Routledge.
989:Terpsichore in Sneakers
233:Brenda Dixon-Gottschild
142:Silver Spring, Maryland
57:Silver Spring, Maryland
1284:American dance critics
1041:Greenwich Village 1963
693:, espec. p. 103.
666:
622:project, organized by
559:
523:
502:
478:
450:
352:Dance Research Journal
1145:Banes, Sally (2003).
1120:Banes, Sally (1998).
1095:Banes, Sally (1998).
1066:Banes, Sally (1994).
1037:Banes, Sally (1993).
1012:Banes, Sally (1993).
987:Banes, Sally (1987).
774:Banes, Sally (2007).
658:
551:
515:
494:
466:
442:
146:University of Chicago
462:Judson Dance Theater
292:Writing and research
925:www.artsjournal.com
624:Mikhail Baryshnikov
547:contemporary ballet
368:Wesleyan University
281:Sophie Eats Shrimp,
259:Banes' first work,
140:Born and raised in
967:"1998 Proceedings"
946:"1989 Proceedings"
812:The New York Times
656:, as a performer.
372:Cornell University
274:Regenstein Library
231:, Barbara Barker,
225:Selma Jeanne Cohen
122:Sally Rachel Banes
1206:978-0-9997049-9-8
789:978-0-299-22154-6
697:Awards and honors
593:Ringling Brothers
490:Greenwich Village
471:Greenwich Village
119:
118:
1311:
1289:Dance historians
1253:
1252:
1250:
1248:
1238:
1232:
1231:
1229:
1227:
1217:
1211:
1210:
1192:
1186:
1185:
1167:
1161:
1160:
1142:
1136:
1135:
1117:
1111:
1110:
1092:
1086:
1085:
1073:
1063:
1057:
1056:
1044:
1034:
1028:
1027:
1014:Democracy's Body
1009:
1003:
1002:
984:
978:
977:
975:
973:
963:
957:
956:
954:
952:
942:
936:
935:
933:
931:
916:
910:
909:
907:
905:
890:
884:
883:
881:
879:
864:
858:
857:
829:
823:
822:
820:
818:
803:
794:
793:
781:
771:
752:
751:
749:
747:
737:
580:SoHo Weekly News
338:SoHo Weekly News
190:Merce Cunningham
70:
52:
50:
35:
21:
20:
1319:
1318:
1314:
1313:
1312:
1310:
1309:
1308:
1259:
1258:
1257:
1256:
1246:
1244:
1240:
1239:
1235:
1225:
1223:
1219:
1218:
1214:
1207:
1193:
1189:
1182:
1168:
1164:
1157:
1143:
1139:
1132:
1118:
1114:
1107:
1093:
1089:
1082:
1064:
1060:
1053:
1035:
1031:
1024:
1010:
1006:
999:
985:
981:
971:
969:
965:
964:
960:
950:
948:
944:
943:
939:
929:
927:
917:
913:
903:
901:
900:. June 16, 2020
892:
891:
887:
877:
875:
865:
861:
830:
826:
816:
814:
804:
797:
790:
772:
755:
745:
743:
739:
738:
729:
719:
699:
654:Elizabeth Streb
597:Whoopi Goldberg
571:performance art
535:Romantic ballet
438:The Grand Union
305:Chicago Tribune
294:
257:
245:
138:
126:dance historian
105:
99:Dance Historian
77:
72:
68:
59:
54:
53:October 9, 1950
48:
46:
38:
26:
17:
12:
11:
5:
1317:
1307:
1306:
1301:
1296:
1291:
1286:
1281:
1276:
1271:
1255:
1254:
1233:
1212:
1205:
1187:
1180:
1162:
1155:
1137:
1130:
1112:
1105:
1087:
1080:
1058:
1051:
1029:
1022:
1004:
997:
979:
958:
937:
911:
885:
873:Dance Magazine
859:
846:10.2307/779141
824:
795:
788:
753:
726:
725:
724:
723:
718:
715:
698:
695:
688:
674:
673:
642:
641:
615:
614:
567:
566:
541:to historical
537:in France and
531:
530:
510:
509:
486:
485:
458:
457:
422:Lucinda Childs
394:
393:
345:Dance Magazine
315:Chicago Reader
299:Chicago Reader
293:
290:
269:Charlie Parker
256:
253:
244:
241:
213:Deborah Jowitt
137:
134:
128:, writer, and
117:
116:
111:
107:
106:
104:
103:
100:
97:
93:
91:
87:
86:
83:
79:
78:
73:
71:(aged 69)
65:
61:
60:
55:
44:
40:
39:
36:
28:
27:
24:
15:
9:
6:
4:
3:
2:
1316:
1305:
1302:
1300:
1297:
1295:
1292:
1290:
1287:
1285:
1282:
1280:
1277:
1275:
1272:
1270:
1267:
1266:
1264:
1243:
1237:
1222:
1216:
1208:
1202:
1198:
1191:
1183:
1181:1-84126-008-8
1177:
1173:
1166:
1158:
1156:0-299-18014-X
1152:
1148:
1141:
1133:
1131:0-472-06678-1
1127:
1123:
1116:
1108:
1106:0-415-09671-5
1102:
1098:
1097:Dancing Women
1091:
1083:
1081:0-8195-6268-8
1077:
1072:
1071:
1062:
1054:
1052:0-8223-1391-X
1048:
1043:
1042:
1033:
1025:
1023:0-8223-1399-5
1019:
1015:
1008:
1000:
998:0-8195-6160-6
994:
990:
983:
968:
962:
947:
941:
926:
922:
915:
899:
895:
889:
874:
870:
863:
855:
851:
847:
843:
839:
835:
828:
813:
809:
802:
800:
791:
785:
780:
779:
770:
768:
766:
764:
762:
760:
758:
742:
741:"Sally Banes"
736:
734:
732:
727:
721:
720:
714:
710:
708:
704:
694:
692:
686:
684:
680:
671:
668:
667:
665:
664:
657:
655:
651:
647:
646:Bill T. Jones
639:
636:
635:
634:
633:
627:
625:
621:
612:
609:
608:
607:
606:
600:
598:
594:
590:
589:Meredith Monk
586:
585:Yvonne Rainer
582:
581:
576:
575:Village Voice
572:
564:
561:
560:
558:
557:
550:
548:
544:
540:
536:
528:
525:
524:
522:
521:
514:
507:
504:
503:
501:
500:
493:
491:
483:
480:
479:
477:
476:
472:
465:
463:
455:
452:
451:
449:
448:
441:
439:
435:
431:
427:
426:Meredith Monk
423:
419:
415:
411:
407:
403:
402:Yvonne Rainer
399:
391:
388:
387:
386:
384:
379:
377:
373:
369:
365:
364:SUNY Purchase
361:
356:
354:
353:
348:
346:
341:
339:
334:
332:
331:Village Voice
326:
324:
320:
316:
311:
308:
306:
301:
300:
289:
287:
282:
277:
275:
270:
266:
262:
255:Artistic work
252:
250:
243:Personal life
240:
238:
237:Joan Acocella
234:
230:
226:
222:
221:David Vaughan
218:
214:
210:
209:Michael Kirby
206:
201:
199:
198:Yvonne Rainer
195:
191:
187:
186:Martha Graham
183:
182:Meredith Monk
179:
175:
171:
166:
164:
160:
159:Meredith Monk
156:
150:
147:
143:
133:
131:
127:
123:
115:
112:
108:
101:
98:
95:
94:
92:
88:
84:
80:
76:
67:June 14, 2020
66:
62:
58:
45:
41:
34:
29:
22:
19:
1245:. Retrieved
1236:
1224:. Retrieved
1215:
1196:
1190:
1171:
1165:
1146:
1140:
1121:
1115:
1096:
1090:
1069:
1061:
1040:
1032:
1013:
1007:
988:
982:
970:. Retrieved
961:
949:. Retrieved
940:
928:. Retrieved
924:
914:
902:. Retrieved
897:
888:
876:. Retrieved
872:
862:
837:
833:
827:
815:. Retrieved
811:
777:
744:. Retrieved
711:
707:Bessie Award
700:
690:
682:
678:
675:
669:
662:
659:
643:
637:
631:
628:
619:
616:
610:
604:
601:
578:
574:
568:
562:
555:
552:
543:modern dance
532:
526:
519:
516:
511:
505:
498:
495:
487:
481:
474:
467:
459:
453:
446:
443:
434:Douglas Dunn
430:Kenneth King
414:David Gordon
410:Trisha Brown
406:Steve Paxton
398:Simone Forti
395:
389:
380:
357:
350:
343:
336:
329:
327:
322:
318:
314:
309:
303:
297:
295:
285:
280:
278:
260:
258:
249:Noël Carroll
246:
229:Sally Sommer
217:John Mueller
202:
178:Kenneth King
174:Simone Forti
170:Judson Dance
167:
155:Kenneth King
151:
139:
121:
120:
114:Noël Carroll
96:Dance Critic
69:(2020-06-14)
18:
1279:2020 deaths
1274:1949 births
418:Deborah Hay
90:Occupations
82:Nationality
25:Sally Banes
1263:Categories
840:: 87–112.
717:References
650:Arnie Zane
163:Ping Chong
49:1950-10-09
265:Hyde Park
1247:April 7,
1226:April 7,
972:April 7,
951:April 7,
930:June 17,
904:June 16,
878:June 17,
817:June 22,
746:April 1,
683:harmonia
577:and the
85:American
834:October
620:Forward
539:Denmark
1203:
1178:
1153:
1128:
1103:
1078:
1049:
1020:
995:
854:779141
852:
786:
687:Trio A
640:(2007)
613:(2003)
595:, and
591:, The
565:(1998)
529:(1998)
508:(1994)
484:(1993)
456:(1993)
436:, and
392:(1987)
323:Reader
235:, and
223:, and
194:a film
180:, and
130:critic
110:Spouse
102:Writer
37:(1985)
850:JSTOR
722:Notes
1249:2009
1228:2009
1201:ISBN
1176:ISBN
1151:ISBN
1126:ISBN
1101:ISBN
1076:ISBN
1047:ISBN
1018:ISBN
993:ISBN
974:2009
953:2009
932:2020
906:2020
880:2020
819:2020
784:ISBN
748:2009
679:Laws
618:PAST
342:and
335:the
188:and
161:and
64:Died
43:Born
842:doi
205:NYU
196:of
1265::
923:.
896:.
871:.
848:.
838:89
836:.
810:.
798:^
756:^
730:^
599:.
587:,
440:.
432:,
428:,
424:,
420:,
416:,
412:,
408:,
404:,
400:,
239:.
215:,
176:,
165:.
132:.
1251:.
1230:.
1209:.
1184:.
1159:.
1134:.
1109:.
1084:.
1055:.
1026:.
1001:.
976:.
955:.
934:.
908:.
882:.
856:.
844::
821:.
792:.
750:.
648:/
347:,
340:,
333:,
307:.
51:)
47:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
