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| Ann Dils and Ann Cooper Albright: First Steps: Moving into the Study of Dance History | |
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| Thinking About Dance History: Theory and Practices | |
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| Some Twentieth-Century Models of Sense Perception | |
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| Writing Beneath the Surface | |
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| Imagining Dance | |
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| Searching for Nijinsky's Sacre | |
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| Five Premises for a Culturally Sensitive Approach to Dance | |
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| An Anthropologist Looks at Ballet as a Form of Ethnic Dance | |
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| The Trouble with the Male Dancer | |
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| Strategic Abilities: Negotiating the Disabled Body in Dance | |
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| Dancing in the Field: Notes from Memory | |
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| World Dance Traditions | |
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| Trance and Ecstatic Dance | |
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| Bharatha Natyam What Are You? | |
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| Medicine of the Brave | |
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| The Belly Dance: Ancient Ritual to Cabaret Performance | |
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| Changing Images and Shifting Identities: Female Performers in Egypt | |
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| Commonalities in African Dance: An Aesthetic Foundation | |
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| Invention and Re-invention in the Traditional Arts | |
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| Headspin: Capoeira's Ironic Inversions | |
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| Epitome of Korean Folk Dance | |
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| The Many Faces of Korean Dance | |
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| Writing Dancing | |
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| Beyond La Danse Noble: Conventions in Choreography and Dance Performance at the Time of Rameau's Hippolyte et Aricie | |
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| The Travesty Dancer in Nineteenth-Century Ballet | |
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| Interrupted Continuities: Modern Dance in Germany | |
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| America Dancing | |
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| The Irresistible Other: Hopi Ritual Drama and Euro-American Audiences | |
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| Juba and American Minstrelsy | |
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| Dancing Out the Difference: Cultural Imperialism and Ruth St. Denis's "Radha" of 1906 | |
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| Two-Stepping to Glory | |
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| The Natural Body | |
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| Form as the Image of Human Perfectibility and Natural Order | |
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| The Harsh and Splendid Heroines of Martha Graham | |
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| The Dance is a Weapon | |
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| In His Image: Diaghilev and Lincoln Kirstein | |
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| Stripping the Emperor: The Africanist Presence in American Concert Dance | |
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| Simmering Passivity: The Black Male Body in Concert Dance | |
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| Choreographic Methods of the Judson Dance Theater | |
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| Chance Heroes. Merce Cunningham | |
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| Contemporary Dance: Global Contexts | |
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| Looking at Movement as Culture: Contact Improvisation to Disco | |
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| 10,000 Jams Later: Contact Improvisation in Canada 1974-95 | |
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| Butoh: "Twenty Years Ago We Were Crazy, Dirty and Mad" | |
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| Improvisation Is a Word for Something That Can't Keep a Name | |
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| Dancing on the Endangered List: Aesthetics and Politics of Indigenous Dance in the Philippines | |
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| Chandralekha: Negotiating the Female Body and Movement in Cultural/Political Signification | |
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| Ananya and Chandralekha | |
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| A Response to "Chandralekha: Negotiating the Female Body and Movement in Cultural/Political Signification" | |
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| Embodying History: Epic Narrative and Cultural Identity in African-American Dance | |
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| Simply (?) the Doing of it, Like Two Arms Going Round and Round | |
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| A Little Technology Is a Dangerous Thing | |
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| Technique/Technology/Technique | |
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| Absent/Presence | |
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