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Roots/routes of Dance Studies | |
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Making Dance | |
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Choreographers: dancing for de Valois and Ashton | |
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Torse: there are no fixed points in space Merce Cunningham | |
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Recovering Hurston, reconsidering the choreographer | |
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Reworking the ballet: stillness and queerness in Swan Lake, 4 Acts | |
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Making space, speaking spaces | |
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Reflections on new directions in Indian dance Chandralekha | |
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What's it worth to ya? Adaptation and anachronism: Rennie Harris' PureMovement & Shakespeare | |
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Performing Dance | |
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I am a dancer | |
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Tracing the past: writing history through the body Ann | |
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Cabbages and kings: disability, dance and some timely considerations | |
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Hips, Hip-notism, Hip(g)nosis: the mulata performances of Nin�n Sevilla Melissa | |
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Still curious | |
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Ways of Looking | |
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Dance and gender: formalism and semiotics reconsidered | |
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A tapestry of intertexts: dance analysis for the twenty-first century | |
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Looking at movement as culture: contact improvisation to disco | |
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Getting off the Orient Express | |
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Bridging the critical distance | |
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Two analyses of 'Dancing in the Dark' (The Band Wagon, 1953) | |
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Locating Dance in History and Society | |
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In pursuit of the sylph: ballet in the Romantic period | |
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Nijinsky: modernism and heterodox representations of masculinity | |
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Women writing the body: let's watch a little how she dances | |
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Gambling femininity: tango wallflowers and femmes fatales | |
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Choreographing a flexible Taiwan: Cloud Gate Dance Theatre and Taiwan's changing identity | |
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Reality check: Dancing with the Stars and the American dream | |
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From interculturalism to historicism: reflections on classical Indian dance | |
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Debating the Discipline | |
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Choreographing history Susan | |
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Differentiating phenomenology and dance | |
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Dance Studies in the international academy: genealogy of a disciplinary formation | |
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Shifting perspectives on dance ethnography | |
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Slam dancing with the boundaries of theory and practice: the legitimization of popular dance | |
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What is Art? | |
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