Archive-name: dance/ballet-modern-faq/part4
Posting-frequency: bimonthly
Last-modified: Sept. 29, 1996

================================
Part 4 of four parts
================================

    Copyright (c) 1995, 1996 by Thomas Parsons; all rights reserved.  This
    FAQ may be posted to any USENET newsgroup, on-line service, BBS, or Web
    page, provided it is posted in its entirety, including this copyright
    statement.  This FAQ may not be distributed in part or in full for
    financial gain.  No portion of this FAQ may be included in commercial
    collections or compilations without express permission from the author.

================

Contents:

    5. Miscellaneous questions
    5.1. Is there a way of writing down dance, the way we write down music?
    5.2. Is there software for doing choreography?
    5.3. Is there software for my dance studio?
    5.4. What is Contact Improvisation?

    6. Reading List
    6.1. Books
    6.1.1. Introductory Books
    6.1.2. General History
    6.1.3. Biography, Memoirs, and Specific History
    6.1.4. Criticism and Analysis
    6.1.5. Reference
    6.1.6. Source Materials
    6.1.7. Technique
    6.1.8. Stretching, fitness, & sports/dance medicine
    6.1.9. Books for young people
    6.1.10. Dance photography
    6.1.11. Miscellaneous
    6.2. Periodicals

    7. Organizations
    7.1. General
    7.2. Organizations offering help with eating disorders

================

5. Miscellaneous questions

5.1. Is there a way of writing down dance, the way we write down music?

	Yes, and the tradition is very nearly as old as ballet itself.
The first system of dance notation was apparently that attributed to Raoul
Feuillet and Pierre Beauchamp and set forth in Feuillet's _Chor'egraphie_
in 1700.  This system was used mostly to indicate the steps and the
movement of the dancers about the floor, which were regarded as most
important, with only a few indications of arm movements.  It was used for
about 100 years, gradually being extended until it became too unwieldy.
Dancers in this century who specialize in recreating Baroque dance have
revived the Beauchamp/Feuillet notation; Wendy Hilton's _Dance of the Court
and Theater_ provides a comprehensive text and is the standard reference.

	In the 19th century, Charles Victor Arthur Michel Saint-L'eon
developed a system which he published in his book, _Stenochor'egraphie_
(1852).  (The difference between the titles of the books reflects the fact
that "choreography," which originally meant recording dance, had come to
mean the making of dances.)  This system was fairly widely used in the
latter half of the 19th century but eventually fell into disuse.  About
this system, Sandi Kurtz writes,

    It was a version of this system that Sergeyev used to reconstruct the
    classical works for the early Sadler's Wells Ballet, which gave the
    west a view of that tradition and helped forge the style of what is now
    the Royal Ballet.

	Dance notation is never simple, since there is so much that needs
to be specified for every dancer: positions of the feet, arms, hands, head,
and torso; whether the dancer is standing still or moving and, if moving,
in what direction (horizontally, vertically, or both) and how fast...and so
on.

	In this century, Vaslav Nijinsky devised a notation system about
which little is known, although Ann Hutchinson Guest and Claudia Jeschke
were able to use it to reconstruct Nijinski's _Afternoon of a Faun_.

	The two most popular systems to-day are Laban (introduced by
Rudolph von Laban in 1928 in his book, _Schrifttanz_) and Benesh (the work
of Rudolph and Joan Benesh, 1958).  (The picture is complicated by the fact
that there are two dialects of Laban: the dialect in use in the U.S. and
Great Britain is called Labanotation; the dialect used in the rest of
Europe is called Kinetography-Laban.)  You can recognize Laban notation
from the fact that it takes the form of a long vertical line to which
blocks and other markers are attached.  Because Laban describes the
movements of the body in such minute detail, it has been applied to time
and motion studies in industry.  Benesh notation uses 5-line musical
staves.  Benesh notation has been part of the RAD curriculum since 1956.

	For a comprehensive history of dance notation, see Ann Hutchinson
Guest's book, _Dance Notation_, cited in the reading list.  For information
on computer-aided dance notation, see question 5.2.2.


5.2. Is there software for doing choreography?

	Do you mean software for doing choreography (that is, for modeling
it on the computer) or for writing it down (i.e., notation)?

5.2.1.

	The only software for doing choreography known to this group is a
program called LifeForms.  There are versions for the Macintosh and for
Silicon Graphics (SGI) systems.

	The following information and opinions are extracted from postings
to alt.arts.ballet.  These postings date from October, 1994; more up-to-
date information may be available from Macromedia.

	    LifeForms was developed at Simon Fraser University by a team
    including dancers and computer programmers.  Its original name was
    COMPOSE and it's over 10 years in development.  There are currently 2
    versions available.  The high end version runs on a Silicon Graphic
    workstation and creates amazing lifelike animation.  The less powerful
    version runs on a Macintosh and is not quite so thrilling, especially
    in its emulation of walking and running.  --Sandi Kurtz
    <sandik@u.washington.edu>

	    Life Forms is *commercial* software (and fairly expensive com-
    mercial software at that!)  Although it was developed originally at
    Simon Fraser University (under the name "Compose") it was marketed by
    Kinetic Effects and then taken over by Macromedia (the people who make
    Macromedia Director and Macromodel.)  They don't advertise it any more,
    but I believe they still sell it. --Jim Williams <jlw@gonix.com>

	    In a feature article on Merce Cunningham in The Village Voice
    several years ago, Deborah Jowitt observed that [he] was using the
    computer in place of getting up and noodling around, which he can no
    longer do easily.  I would add in addition that MC has long been
    interested in whatever technology was emerging, and that the computer,
    in particular, mirrors some of his own concerns. --Nancy Dalva

	    I have done some basic experimenting with LifeForms on the
    Macintosh.  The premise is as follows: You have a stage on which you
    can place a one or more "dancers." You can then manipulate the bodies
    of the figures, and program movements that occur over time.

	    You manipulate the figure by clicking on a body part with the
    mouse, and dragging it to the desired position.  The program is smart
    in that, unlike an animation, you don't have to draw every frame.  An
    example would be starting with the left arm down, and five seconds
    later having it raised to 90 degrees.  You just program the starting
    and ending poses, and the computer figures out the movement in between.
    The arm follows the most obvious, straight line path between point a
    and point b, which often looks a bit stilted.  Giving more life to a
    movement like this means breaking it down into shorter bits.

	    The program also offers a library, where you can store movement
    sequences that you can call back later.  Helpful if you are creating
    thematic material that returns later in the piece.

	    On the Macintosh version, the bodies are drawn as "wire frames"
    so really only suggest a real body.  I think the version that runs on
    Unix workstations might do high quality rendering of the bodies, so
    that one probably looks a lot better.

	    Though I am a composer not a choreographer, I must say that the
    process gets very tedious over a period of time, especially when com-
    pared to choreographing on one's own body, which is instantly respon-
    sive to your ideas.  One thing that would help this program a lot would
    be some kind of alternative input device, perhaps reminiscent of the
    little wood artists models that you can get at an art supply store.  To
    be able to physically move body parts on a model to create the poses
    would speed the process up immensely.  It seems certain that someone
    will do this, as it is so obvious.

	    Of course, the criticism in the previous paragraph assumes that
    you have a body that still moves well.  When I think that this tool has
    helped Merce Cunningham continue to choreograph new works (a person
    whose body moves not less beautifully but perhaps a little less well
    these days) it would seem something to seem grateful for. -- Mark
    Coniglio

There is also a program called Poser, from Fractal Design, which might be
thought of as a choreography program.  Jim Williams writes,

    If you don't need to do animation, just show body positions (useful for
    teaching, illustrations etc.) another piece of software to consider is
    a new application called Poser, from Fractal Design.  I've got it and
    have been working with it.  This is in effect a software "mannequin"
    that you can pose in various positions, then render into detailed
    images.  It isn't designed to produce animated sequences the way Life
    Forms is; instead, it's useful for producing "still photos" of body
    positions.  The rendering quality isn't photo-realistic, but is much
    more detailed than the wireframe images produced by Life Forms.

    Poser's price is quite reasonable ($99 US until Aug. 31, 1995) and it's
    relatively easy to learn and use....

    Poser allows you to create your own "libraries" of frequently-used
    positions, body types, camera positions, and lighting setups (you're
    limited to three lights, but they're fully adjustable in direction,
    intensity and color.) These libraries can be re-used as needed, so
    you can work fairly quickly once you've invested the time to create
    libraries of poses you use most. --Jim Williams

As of June, 1996, Poser is available for the Macintosh and for the PC.

5.2.2.

For choreographic *notation*, there is a program for the Macintosh called
Labanwriter.  According to Callum Downie, it is available from FTP sites
after a search by the likes of "archie."  He says there is also a Macintosh
version for Benesh notation called MacBenesh, developed at Univ of Waterloo
by Rhonda Ryman and others.  Contact:
    The Benesh Institute,
    12 Lisson Grove,
    London NW1 6TS,
    Tel No  44 (0) 171 258 3041
    Fax     44 (0) 171 724 6434

For further information, see `topics/labanotation-dialog-FAQ.txt' in the
Dancers' Archive.  For information on dance notation in general, see also

    Dance Notation Bureau
    33 West 21st Street
    New York, New York  10010
    (212) 807-7899
    e-mail: dnb@pipeline.com


5.3. Is there software for my dance studio?

Mark J. Zetler writes:
      My wife (& I) have a dance studio in San Diego.  I've been using
      COMPUDANCE by a company in Texas called Theatrical Administration
      Consultants (210) 497-4327 for about 7 years.  It seems to do the
      job, and the author seems to be responsive to the people who use the
      program.  There are some quirky things that that are annoying but all
      in all the program works.  I think the price is around $300 (????).

      I have only run into 3 other programs.  The first one was about $100
      and didn't do anything.  I don't think the company exists any more.

      The High Priced Spread is called DANCE MANAGER. Last I heard (I could
      be wrong) the price was about $1,200.  The demo of the program
      implied this program could do everything.  I just could not justify
      the cost.

      The last program I've run into is called IN MOTION: THE STUDIO
      MANAGER from Full Spectrum in Anaheim Hills, CA. (714) 921-8743.
      ($200ish)  The program looked promising but seemed to run everything
      from the accounting end not the student.  I'll try to explain, at our
      studio most question/problems are easier to resolve by first looking
      up the student, seeing what classes they are registered in, look at
      the billing, then look at the payments.  With the IN MOTION:you have
      to go to different places to find all that info.  In COMPUDANCE you
      can do all that from one starting place (presentation ain't as pretty
      as the other programs but I still got the info and that is what
      counts).

      Compudance will have a Windows version in summer '96.

There is also an advertisement in Dance Magazine for DanceWorks; runs under
Windows; $395; phone (800) 286-3471 for free demo.


5.4. What is Contact Improvisation?

	Contact Improvisation is a modern dance form invented by Steve
Paxton in 1972.  The emphasis is on touching (not surprisingly) and on the
use of body weight; it has been compared to a kind of cooperative, non-
combative wrestling.  To judge by the descriptions and pictures in Novack
(1990), it is most often done by pairs of dancers.  There is a great deal
of lifting, falling, and supporting of one dancer by the other.  It started
out as at least a semi-social dance form but has become more professional
as the years have gone by.  It is claimed that contact improvisation
requires no prior dance training, but it's clear (and not surprising) that
as you learn from experience the range of things you can do increases.  In
the descriptions that follow, taken from postings to alt.arts.ballet, there
is not complete agreement on what it requires of the dancer or what it does
to/for him/her:

	    "It was extremely cool stuff, but you really had to be a good
    dancer, i.e., modern or ballet, in order to pull it off."  --CarlosC14
    <carlosc14@aol.com >

	    "Contact improv seems like something that would be experienced
    in dramatically different ways by those with formal dance training
    (ballet jazz modern) versus those without (despite what everyone says).
    My impression is that the students from the CU dance department got
    much more out of the workshops than I did.  Mostly I got *bruises*,
    because I don't have a lot of natural padding and there I was rolling
    around on the floor with someone on top of me.  My backbone, knees, and
    hips were repeatedly ground into the floor.  Oh, gee, what fun. >-( "
    --Robinne Gray <rlg2@cornell.edu>

	    "It's usually associated with modern/contemporary dance in that
    many of the same people do it.  Take some music, anything really, and
    work with it as pairs, triples, n-tuples.  Usually some vocabulary has
    been worked to use.  Most `improvisation' has been worked on more than
    routines.  With a common vocabulary and the music, the dancers can
    interact with each other and it doesn't just become a mess as everyone
    `does their own thing.'  The `contact' is because everyone is working
    together and physically close, whether imitating a `maul' (rugby union)
    or breaking into smaller groups for a time."  --Callum Downie
    <Callum.Downie@brunel.ac.uk>

	    "The risk-taking, weight-sharing and be-here-now aspects of
    this form are truly intoxicating once you get past the bruised body
    stages.  Just like judo, it really is possible to do without hurting
    yourself once you master the first technical level."  --Randy Barron
    <rbdancer@aol.com>


================================


6. Reading List


6.1. Books

	You will never learn ballet or any other kind of dance just by
reading about it; you will never learn a step that way.  But you should
know the cultural and historical background of your art, even if you are
an amateur, and once you have been shown a step, it helps to have an
additional description to which you can refer at home.

	A list like this is necessarily incomplete.  Moreover, dance books
seem to go out of print more quickly than do other books, so some of these
may be difficult to find except in a well-stocked library.  The nucleus of
this list consists of books that can probably provide answers to questions
like the ones in this FAQ; but most of the list now consists of books that
have been recommended by people on a.a.b.  New books are added in almost
every release of this FAQ.


6.1.1. Introductory Books
-------------------------

Dufort, Anthony.  _Ballet Steps: Practice to Performance_.  Potter, 1990;
    ISBN 0-517-57770-4.  Describes, with words and excellent drawings, the
    essential steps and movements of ballet.  Starts with warm-ups, then
    barre and center work, partnering, and shows how these moves are
    assembled using examples of classical ballets.  NOT a textbook for
    students; intended for an audience member to help appreciate the
    language of ballet.  (Summary courtesy of svkeeley@aol.com.)

Elliott, Donald.  _Frogs and Ballet_.  Illustrated by Clinton Arrowood
    Gambit, 1979; ISBN 0-87645-119-9.  A whimsical book that explains some
    of the more common moves, demonstrated in the illustrations by frogs.
    Although at first glance it may look like a children's book, the text
    is quite wry and sophisticated.  (Summary courtesy of svkeeley@aol.com.)

Jacob, Ellen.  _Dancing: the All-in-One Guide for Dancers, Teachers, and
    Parents_.  Revised edition.  New York: Variety Arts, 1993, ISBN 0-
    937180-10-6.  This and Robbins (below) are probably the best
    introductory books.  Jacobs does not restrict herself to ballet but
    describes the dance world generally: what it's like to dance; dance
    for amateurs, children, and professionals; what the options are; what
    classes are like; what a career may be like.

Kerner, Mary, _Barefoot to Balanchine: How to Watch Dance_.  Anchor Books,
    1990, ISBN: 0-385-26436-4.  Contains a brief history of dance, chapters
    on choreographers, steps, combinations, training, and how performances
    are mounted.  (Summary courtesy of svkeeley@aol.com.)

Robbins, Jane.  _Classical Dance_.  New York: Holt, Rinehart, & Winston,
    1981, ISBN 0-03-048941-5, probably out of print.  The other of the two
    good introductory books.  This one is more for spectators; Jacobs is
    more for aspiring dancers.  Strictly ballet; describes some steps in
    remarkably great detail for an introductory, non-professional book.
    Summarizes some ballets and provides a concise but exceptionally good
    history of technique.

Terry, Walter.  _Ballet Companion_.  New York: Dodd, Mead, 1968.


6.1.2. General History
----------------------

Anderson, Jack.  _Ballet and Modern Dance: a Concise History_.  Second
    edition.  Princeton: Princeton Book Company, 1986, ISBN 0-87127-172-9.
    Shorter and less comprehensive than either Kirstein or Sachs, but more
    recent and (IMHO) more readable.  This is the history of dance I would
    have written, if I could.

Au, Susan.  _Ballet and Modern Dance_. Thames & Hudson, 1988, ISBN 0-500-
    20219-2.  Also a college text, slightly less focussed on the US than
    Anderson, but no primary source materials.

Hilton, Wendy.  Dance of Court and Theater: the French Noble Style, 1690-
    1725.  Princeton: Princeton Book Company, 1981, ISBN 0-916622-09-6.
    Just what its title says; includes a complete course in reading dance
    notation of the period.  May now [1996] be on its way out of print.

Kirstein, Lincoln.  _Dance: A Short History of Classic Theatrical Dancing_.
    Princeton: Princeton Book Company, 1987, ISBN 87127-019-6.  Covers
    everything from ancient times to approximately the 1940s.

--------.  _Four Centuries of Ballet_.  New York: Dover Books, ISBN 0-486-
    24631-0.  Some general historical background followed by discussions of
    fifty ballets.  Generously illustrated.

Lawson, Joan.  _A History of Ballet and Its Makers_.  London: Pitman Pub.
    Corp., 1964.  More narrowly focussed than Sorell, Kirstein, or Sachs
    but, within its limits, more detailed.

Reyna, Ferdinando.  Histoire du ballet.  Paris: Editions A. Somogy, 1964.
    ISBN not known.  A rather complete little book about dance history (but
    maybe focusing a bit too much on French dance), with an interesting
    index of ballets and many photographs and drawings.

Sachs, Kurt.  _World History of the Dance_.  New York: Norton, 1953,
    apparently out of print.  The definitive history in its time, now dated
    but not yet superseded.

Sorell, Walter.  _Dance in its Time_.  New York: Columbia University Press,
    1981, ISBN 0-231-06391-1.  A social history of dance.

Tatchell, Judy.  _The World of Ballet_.  Usborne Publishing, 1994, ISBN
    0-7460-1692-1.  Lots and lots of pretty pictures; at first glance it
    seems to be ALL pictures, but there's a lot of info crammed in there,
    too.  Gives hints on watching ballets, describes the changing styles
    from century to century, costumes, scenery, also describes (with photos
    and captions) the basic moves, gives short bios of some famous dancers
    and choreographers and companies, short synopses of about 30 ballets.
    (Summary courtesy of svkeeley@aol.com.)


6.1.3. Biography, Memoirs, and Specific History
-----------------------------------------------

Acocella, Joan.  _Mark Morris_.  Farrar, Straus, & Giroux, 1993, ISBN 0-
    374-20295-8.

Anderson, Jack.  _The One and Only, the Ballet Russe de Monte Carlo_.
    Princeton: Princeton Books, 1981, 0-87127-127-3, out of print.  Before
    the Ford Foundation money, the Ballet Russes style was American ballet.

--------.  _The American Dance Festival_.  Duke University Press, 1987,
    ISBN 0-8223-0683-2.  History of the festival with a great index to
    productions and teachers.

Ashley, Merrill.  _Dancing for Balanchine_.  New York: Dutton, 1984, ISBN
    0-525-24280-5.  A memoir, but full of technical detail as well as the
    usual reminiscences; explains why Balanchine thought _battement tendu_
    so important.  Required reading for any serious student.

Banes, Sally.  _Democracy's Body: Judson Dance Theater 1962-1964_.  Duke
    University Press, 1993, ISBN 0-8223-1399-5.  Painstaking documentation
    of a volatile period.

--------.  _Terpsichore in Sneakers_.  2nd ed.  University Press of New
    England, 1987, ISBN 0-8195-6160-6.  (Make sure to get the second
    edition; it has an extended introduction with a wonderful pocket
    analysis/description of postmodern dance.)

Blair, Fredrika.  _Isadora  Portrait of the Artist as a Woman_.  McGraw-
    Hill, 1985, ISBN 0-07-005598-X, out of print.  Probably the best of the
    biographies.

Cohen, Selma Jeanne.  _The Modern Dance: Seven Statements of Belief_.
    Wesleyan University Press, 1966, ISBN 0-8195-6003-0.  Interviews seven
    modern choreographers (including Nikolais, Limon, Sokolow), includes
    their responses to a hypothetical commission (choreograph a work about
    the Prodigal Son!)

De Mille, Agnes.  _Dance to the Piper_.  Da Capo Press, 1980, ISBN 0-306-
    79613--9.  From California youth through _Oklahoma_.

--------.  _Martha: the Life and Work of Martha Graham_.  New York: Random
    House/Vintage, 1991, ISBN 0-679-74176-3 (paper).

Dunham, Katherine.  _A Touch of Innocence_.  University of Chicago Press,
    1994, ISBN 0-226-17112-4.  Early life, how she got to Haiti,

Fokine, Michel.  _Fokine: Memoirs of a Ballet Master_.  Boston: Little,
    Brown, 1961.

Fonteyn, Margot.  _Autobiography_.  Warner, 1977, ISBN 0-446-81380-X.
    Descriptions of early Royal Ballet especially nice.

Garafola, Lynn.  _Diaghilev's Ballet Russe_.  Oxford University Press,
    1992, ISBN 0-19-507604-4.  Thorough discussion of a complex and
    influential part of dance history.

Graham, Martha.  _Blood Memory_.  Pocket Books, 1992, ISBN 0-671-78217-7.

Green, Martin.  _Mountain of Truth: The Counterculture Begins--Ascona
    1900-1920_.  University of New England Press, 1986, ISBN 0-87451-365-0.
    Genesis of Rudolph Laban's work (also beginnings of Germany's Green
    Party).

Gruen, John.  _People Who Dance_.  Princeton: Princeton Books (juvenile),
    1988, ISBN 0-916622-74-6, out of print.

Guerrier, Claudine.  Michael Denard : l'interpre`te et la creation Paris:
    Chiron, 1992.  ISBN not known.  A book about Michael Denard's career.
    The author often has a somewhat awkward style, but knows a lot of
    things about Denard's career, and the Paris Opera Ballet in general.

Guest, Ivor Forbes.  Le ballet de l'Opera de Paris : trois siecles
    d'histoire et de tradition.  Trans. Paul Alexandre.  Paris: Theatre
    national de l'Opera, c1976.  ISBN not known.  A very nice book about
    the POB--very complete, including a list of its repertory until 1976,
    a list of its ballet masters and main dancers, many anecdotes.

Hilton, Wendy.  _Dance of Court and Theatre: The French Noble Style 1690-
    1725_.  Princeton: Princeton Books, ISBN 0-916622-09-6.  Some actual
    instruction in baroque dance as well as historical analysis, the period
    when ballet detached itself from social dance.  Detailed description
    of 18th-century dance notation.

Hodgson, John, and Preston-Dunlop, Valerie Rudolph.  _Laban: An Introduc-
    tion to His Work and Influence_.  Princeton: Princeton Books, 0-7463-
    0584-2, out of print.  Just what it says.

Horosko, Marian: _Martha Graham:  The Evolution of Her Dance Theory and
    Training 1926-1991_.  Includes discussion of Graham technique by many
    Graham dancers past and present from Bessie Schonberg to Christine
    Dakin and a syllabus from the Graham school as well as a listing of
    the dancers and works over the years.  [Suzie Snyder]

Humphrey, Doris.  _Doris Humphrey: An Artist First_.  University Press of
    New England, 1972, ISBN 0-8195-6054-5, out of print.  Humphrey's
    autobiography, finished by Selma Jeanne Cohen.

Kahane, Martine.  Les Ballets russes a` l'Ope'ra Paris : Hazan/
    Bibliothe`que nationale, c1992.  ISBN not known.  Published in
    conjunction with the exhibit Les Ballets Russes a l'Opera, held at the
    Bibliotheque-Musee de l'Opera in 1992.  A very nice book, quite similar
    to Richard Shead's book, except that it focuses on Paris seasons
    (Shead's deals more with London seasons), and it includes pages about
    all the ballets they danced (first cast, plot, etc.) and many excerpts
    of reviews or books (of people such as Cocteau, Rodin, etc.)

Karsavina, Tamara.  _Theater Street_.  2nd ed.  Princeton: Princeton Books,
    1981, ISBN 0-903102-47-1.  Autobiography, description of life at the
    Maryinsky as well as early Ballet Russe.

Kendall, Elizabeth.  _Where She Danced: The Birth of American Art Dance_.
    University of California Press, 1984, ISBN 0-520-05173-4.  With this,
    the Blair and Shelton, excellent overview of the birth of American
    Modern Dance.

Klosty, James, ed.  _Merce Cunningham_.  Dutton, 1985, ISBN 0-8415-0372-9,
    out of print.  Hard to find, but great essays by many former
    collaborators and company members.

Lawson, Joan.  _Teaching Young Dancers_.  Brooklyn: Theatre Arts Books,
    1984, out of print.  Good on placement (contains some instructive
    anatomical drawings); explains many steps (although by no means all),
    with descriptions and photographs showing right and wrong ways to
    execute them.

Levieux, Francette.  Michael Denard danse l'Oiseau de feu : ballet de
    Maurice Bejart Paris: Julliard, c1979.  ISBN not known.  A book about
    Bejart's version of "The Firebird" (premiered by the POB in 1970, with
    Michael Denard in the main role), interesting mostly because of its
    numerous beautiful photographs in black and white.

Lieven, Prince Peter.  _The Birth of the Ballets Russes_.  Trans. by L.
    Zarine.  George Allen & Unwin, 1936.  Reprint with new introduction by
    Catherine Lieven Ritter.  New York: Dover Books, 1973.

Mannoni, Ge'rard.  _Les 'Etoiles de l'Ope'ra de Paris; Paris: The'a^tre
    national de l'Ope'ra de Paris_.  S. Messinger, 1981.  ISBN not known.
    Biographies of all the POB _'etoiles_ in 1981, with photos by Colette
    Masson.  (Another edition was published in 1982, I think).

Mason, Francis, editor.  _I Remember Balanchine_.  New York: Doubleday
    Anchor Books, 1991, ISBN 0-385-26611-1.  Reminiscences of dancers and
    others who worked with Balanchine.  A good view of ballet in general
    and 20th-century ballet history as well as of Balanchine.

Masson, Colette and Mannoni, Gerard.  _Maurice Bejart_.  Paris: Editions
    Plume, 1991.  ISBN not known.  About Bejart (interviews of him, many
    photographs by Masson, chronology of all his ballets.)

Mazo, Joseph.  _Prime Movers_.  Princeton: Princeton Books, 1983, ISBN 0-
    916622-27-4, out of print.  History of American Modern Dance.

--------.  _Dance is a Contact Sport_.  Da Capo Press, Inc, 1976, ISBN 0-
    306-80044-6.  Account of a full year living with and observing the New
    York City Ballet.  A warts-and-all picture, now of considerable
    historical interest.

McDonagh, Don.  _Rise and Fall and Rise of Modern Dance_.  A Capella
    Books, 1990, 1-55652-089-1.  Some factual errors, but nice description
    of transition in modern dance in the 60's.

Migel, Parmenia.  _The Ballerinas: From the Court of Louis XIV to Pavlova_.
    Da Capo Press, 1980, ISBN 0-306-80115-9.  Ballet history in biographic
    vignettes, a charming read.

Mueller, John.  _Astaire Dancing_.  Random House, 1991, ISBN 0-517-06075-2.
    Excellent analysis and great photos.

Petit, Roland and Gerard Mannoni. _Roland Petit: une choregraphe et ses
    danseurs_.  Paris: Editions Plume, 1992.  ISBN not known.  A big book
    about Roland Petit, including mostly photographs and bios of most of
    the dancers he worked with (including Nureyev, Baryshnikov,
    Plissetskaia, Makarova, Fracci, Guillem, Bruhn...) with Petit's
    comments.

Scholl, Tim.  _From Petipa to Balanchine: Classical Revival and the
    Modernization of Ballet_.  Routledge, 1994, ISBN 0-415-09222-1.  The
    development of ballet in the 20th century, viewed as a continuation and
    extension of Petipa's work.

Shead, Richard.  _Ballets Russe_.  London: Quarto Publishing, 1989.
    Reprint [apparently].  Secaucus (New Jersey): Wellfleet Press, n.d..
    ISBN 1-55521-438-X.  Lavishly illustrated coffee-table book with
    intelligent and well-written accompanying text.

Shelton, Suzanne.  _Ruth St. Denis: A Biography of the Divine Dancer_.
    University of Texas at Austin Press, 1990, ISBN 0-292-77046-4.  She's
    not taken as seriously as Duncan today, but St. Denis was immensely
    influential.

Siegel, Marcia.  _Days on Earth: The Dance of Doris Humphrey_.  Duke
    University Press, 1993, ISBN 0-8223-1346-4.  Excellent description of
    work and explanations of Humphrey's theoretical underpinnings, great
    sympathies for Humphrey as a humanist.

Solway, Diane.  _A Dance Against Time: The brief, brilliant life of a
    Joffrey dancer._  Pocket/Simon & Schuster, 1994.  ISBN 0-671-78894-9.
    Relates the story of Edward Stierle, dancer with the Joffrey Ballet who
    died of AIDS-related illness in 1991.

Sorrel, Walter.  _Dance Has Many Faces_.  A Capella Books, 1992, ISBN 1-
    55652-124-3.

Stanciu-Reiss, Francoise _Ecrits sur Nijinsky_.  Paris: Editions Chiron,
    1992.  ISBN not known.  A collective book about Nijinsky--texts of
    various interest, some very interesting, and nice photographs.

Stuart, Otis.  _Perpetual Motion: the Public and Private Lives of Rudolph
    Nureyev_.  New York: Simon & Schuster, 1995, ISBN 0-671-87539-6.  Life;
    loves and affairs; how he became a dancer; how he made all that money.

Swift, Mary Grace.  _A Loftier Flight: the Life and Accomplishments of
    Charles-Louis Didelot, Balletmaster_.  Middletown, Conn.: Wesleyan
    Univ.  Press, 1974, ISBN 0-8195-4070-6.  Very complete, very readable.
    Draws heavily on Russian sources, especially Yuri Slonimsky.

Taper, Bernard.  _Balanchine: A Biography_.  Berkeley: University of
    California Press, 1984, ISBN 0-520-06059-8.  Vivid and revealing;
    provides some insight into Balanchine's working methods.

Taylor, Paul.  _Private Domain_.  Farrar, Straus, & Giroux, 1988, ISBN 0-
    86547-322-6.  Autobiography, very anecdotal (lots of good stories!).

Tharp, Twyla.  _Push Comes to Shove_.  Bantam, 1993, ISBN 0-553-37264-5.
    Autobiography, sounds the way her dances look.

Vaughan, David.  _Frederick Ashton and His Ballets_.  Knopf, 1977, ISBN 0-
    394-41085-8, out of print.  Great biography and analyis of style, hard
    to find.

Villella, Edward.  _Prodigal Son_.  New York: Simon & Schuster, 1992, ISBN
    0-671-79717-4.  The story of a tough, ambitious, willful man who worked
    with, loved, and frequently fought with George Balanchine.  Gives a
    feeling of what it's like to take classes and to find one's way in a
    world-class company.


6.1.4. Criticism and Analysis
-----------------------------

Anderson, Richard L.  _Calliope's Sisters: A Comparative Study of
    Philosophies of Art_.  Prentice-Hall, 1989, ISBN 0-13-1554125-5.  Looks
    at several non-Western art philosophies.

Banes, Sally.  _Writing Dancing in the Age of Postmodernism_.  University
    Press of New England, 1994, ISBN 0-8195-6268-8.  Collection of recent
    materials, excellent on postmodern dance.

Chazin-Bennahum, Judith.  _The Ballets of Antony Tudor_.  New York: Oxford
    University Press, 1994, ISBN 0-19-507186-7.  The great choreographer's
    career and works.

Cohen, Selma Jeanne.  _Next Week, Swan Lake_.  University Press of New
    England, ISBN 0-8195-6110-X.  Excellent introduction to philosophical
    issues in dance without needing a philosophy background.

Copeland, Roger, and Cohen, Marshall, eds.  _What is Dance?_.  Oxford
    University Press, 1983, ISBN 0-19-503197-0.  Anthology of primary
    source readings in several areas, good overview.

Croce, Arlene.  _Afterimages_.  Random House, 1977, ISBN 0-394-41093-9, out
    of print.  Her first anthology, great discussion of Balanchine and NYCB.

Denby, Edwin.  _Dance Writings_.  Knopf, 1986, ISBN 0-394-54416-1.
    Anthology of everything, beautiful writing even if you don't agree with
    him, considered spiritual father of many contemporary critics.

--------.  _Looking at the Dance_.  New York: Pellegrini & Cudahy, 1949.
    Some of the best dance criticism written in the 20th century.  The
    first part of the book ("Meaning in Ballet") is a particularly good
    introduction to ballet for the newcomer.

Emery, Lynne Fauley.  _Black Dance From 1619 to Today_.  Ayer Co.
    Publishing, 1988, ISBN 0-88143-074-9.

Foster, Susan.  _Reading Dancing: Bodies and Subjects in Contemporary
    Choreography_.  University of California Press, 1986, ISBN 0-520-06333-
    3.  Deconstruction applied to contemporary dance, very influential text.

Humphrey, Doris.  _The Art of Making Dances_.  Princeton: Princeton Book
    Company, ISBN 0-87127-158-3.  Humphrey on choreography.

Jowitt, Deborah.  _Dance Beat_.  Books on Demand, ISBN 0-317-28434-7.  Her
    first anthology, great look at "dance boom" NYC.

--------.  _Time and the Dancing Image_.  University of California Press,
    1989, ISBN 0-520-06627-8.  Connecting eras in dance to their historical
    contexts.  (Why does Romantic ballet look the way it does?)

--------.  _The Dance in Mind_.  David R. Godine, 1985, ISBN 0-87923-534-9.
    Anthology of more recent reviews.

Kraus, Richard, Chapman, Sarah, & Dixon-Stowell, Brenda.  _History of the
    Dance in Art and Education_.  Prentice-Hall, 1990, ISBN 0-13-389362-6.
    College text, very helpful for dance education history (not always easy
    to find).

Langer, Susanne.  _Problems of Art_.  Macmillan, 1977, ISBN 0-02-367510-1.
    One of the first contemporary philosophers to take dance seriously.

Matteo.  _The Language of Spanish Dance_.  Univ. of Oklahoma Press, 1990.
    ISBN not known.

McFee, Graham.  _Understanding Dance_.  Routledge, 1992, ISBN 0-415-07810-
    5.  British philosopher.

Pagels, Jurgen.  _Character Dance_.  Indiana Univ. Press, 1984.  ISBN not
    known.

Siegel, Marcia.  _Watching the Dance Go By_.  Boston: Houghton Mifflin,
    1977, ISBN 0-395-25173-7, out of print.  Her first anthology.

--------.  _The Shapes of Change_.  University of California Press, 1985,
    ISBN 0-520-04212-3.  The history of American dance seen through
    specific works--excellent description.

--------.  _The Tail of the Dragon_.  Duke University Press, 1991, ISBN
    0-8223-1156-9.  Recent anthology.

Sparshot, Francis, _Off the Ground: First Steps in a Philosophical
    Consideration of Dance_.  Princeton University Press, 1988, ISBN 0-692-
    07327-9.

Stearns, Marshall, and Jean.  _Jazz Dance: The Story of American Vernacular
    Dance_.  Da Capo Press, 1994, ISBN 0-306-80553-7.

van Praagh, Dame Peggy, and Peter Brinson. _The Choreographic Art_.  New
    York: Alfred A. Knopf, 1963, no ISBN.  A masterly survey of every
    aspect of the choreographer's art.


6.1.5. Reference
----------------

Balanchine, George, and Francis Mason.  _101 Stories of the Great Ballets_,
    edited by Francis Mason.  Garden City, N. Y.: Anchor/Doubleday, 1989.
    Exactly what its title says.

Chujoy, Anatole, and P. W. Manchester.  _Dance Encyclopedia_.  New York:
    Simon & Schuster, 1978.  Huge and encyclopedic, a first-rate reference;
    unfortunately now out of print.

Getz, Leslie.  _Dancers and Choreographers: A Selected Bibliography_,
    Moyer Bell, 1995, ISBN 1-55921-109-1 .  Getz edits "Attitudes and
    Arabesques," an excellent bibliography/index--this should be as good.

Grant, Gail.  _Technical Manual and Dictionary of Classical Ballet_.  New
    York: Dover Books, 1982, ISBN 0-486-21843-0.  Describes just about
    every step in minute detail; the descriptions are in balletic
    terminology and require more than a beginner's knowledge of ballet.
    Highly recommended for advanced students.

Jonas, Gerald.  _Dancing_.  Harry N. Abrams, 1992, ISBN 0-8109-3212-1.
    "Companion text" to PBS series, but much better than that implies!

Kersley, Leo, and Janet Sinclair.  _A Dictionary of Ballet Terms_.  2nd
    ed.  London: Adam & Charles Black, 1964.  Reprint.  Da Capo Press,
    1979, ISBN 0-306-80094-2.  Illustrated with attractive line drawings;
    more helpful to a beginner than Grant.  Definitions of steps are
    accompanied, where possible, by citations of ballets in which they
    may be seen.  Discusses _arqu'e_ and _jarret'e_.

Koegler, Horst.  _Oxford Concise Dictionary of Ballet_.  Oxford University
    Press, 1977, second edition, ISBN 0-19-311330-9, out of print.  Very
    nice source for performance dates, original casts, brief descriptions
    (not a technique dictionary), not exclusively ballet.

Mara, Thalia. _The Language of Ballet_.  Princeton: Princeton Book Company,
    ISBN 0-87127-037-4.  Definitions of common ballet terms.

Reyna, Ferdinando.  Dictionnaire des ballets.  Paris: Larousse, c1967.
    ISBN not known.  An interesting pocket dictionary of ballets (and
    dancers and choreographers), as far as I know there hasn't been any
    other dictionary of this kind in French since then.

Robertson, Allen, and Donald Hutera.  _The Dance Handbook_.  Boston, G. K.
    Hall & Co., 1988.  ISBN 0-8161-9095-X.  A handy dictionary of dance and
    dancers, arranged by categories.

Terry, Walter.  _Ballet Companion_.  New York: Dodd, Mead, 1968.


6.1.6. Source Materials
-----------------------

Arbeau, Thoinot.  _Orchesiography_.  1589.  Trans. by Mary Stuart Evans:
    Kamin Dance Pub., 1948.  Reprint, with introduction and notes by Julia
    Sutton and Labanotation section by Mireille Backer and Julia Sutton,
    New York: Dover Press, 1967, ISBN 0-486-21745-0.  For comments, see
    Question 4.3.

Blasis, Carlo.  _Theory and Practice of the Art of Dancing_.  1820.  Trans.
    by [?] Cyril Beaumont.  Reprint.  New York: Dover Press, 1968, ISBN not
    known.  For comments, see Question 4.7.1.

--------.  _The Code of Terpsichore_.  Reprint.  Brooklyn: Dance Horizons,
    ISBN not known.  May be out of print.

Cohen, Selma Jeanne, _Dance as a Theater Art_.  Princeton, N. J.: Princeton
    Book Company, 1992, ISBN 0-87127-173-7.  Very good collection of source
    materials on all aspects of dance from 1581 to 1991.

Ebreo of Pesaro, Guglielmo.  _De Pratica seu Arte Tripudii_ ("On the
    Practice or Art of Dancing.").  1463.  Trans. by Barbara Sparti and
    Michael Sullivan.  New York: Oxford University Press, 1993, ISBN 0-19-
    816574-9.  One of the earliest treatises on dance by a court dancing
    master in Renaissance Italy.

Noverre, Jean Georges.  _Letters on Dancing and Ballets_.  1803.  Trans. by
    Cyril Beaumont, 1930.  Reprint.  Brooklyn, New York: Dance Horizons,
    1975, ISBN not known.  For comments, see Question 4.6.

Steinberg, Cobbett, ed.  _The Dance Anthology_.  New York: New American
    Library, 1980, ISBN 0-452-25702-6.  Anthology of primary source
    readings with brief historical essays--very valuable but very out
    of print.


6.1.7. Technique
----------------

Barringer, Janice, and Sarah Schlesinger.  _The Pointe Book_.  Pennington
    (New Jersey).  Pennington (N. J.): Princeton Book Company, 1991, ISBN
    0-87127-150-8.

Dolin, Anton.  _Pas de Deux: the Art of Partnering_.  New York: Dover.
    ISBN 0-486-22038-9

Grieg, Valerie.  _Inside Ballet Technique: Separating anatomical fact from
    fiction in the ballet class_.  Princeton, 1994.  ISBN 0-87127-191-5.
    Explains anatomical laws and body mechanics in relation to ballet
    technique.

Hammond, Sandra Noll _Ballet Basics_ (Third Edition).  Mountain View,
    California: Mayfield Publishing Company, 1993, ISBN: 1-55934-134-3.
    "Designed for the adult beginner, _Ballet Basics_ provides basic
    instruction for ballet technique and conditioning, information on the
    history of ballet, and a guide for evaluating and appreciating ballet
    performance."  --from the blurb.

Messerer, Asaf.  _Classes in Classical Ballet_.  Garden City: Doubleday,
    1975, ISBN 0-385-04599-9.

Royal Academy of Dancing.  _Step-by-Step Ballet Class_.  Chicago:
    Contemporary Books, 1993, ISBN 0-8092-3499-8.  Describes and
    illustrates elementary steps; organized by grade from pre-primary to
    grade five.

Vaganova, Agrippina.  _Basic Principles of Classical Ballet_.  New York:
    Dover Books, 1969, ISBN 0-486-22036-2.  Main reference for the
    Vaganova method; detailed description of many common steps.

Warren, Gretchen.  _Classical Ballet Technique_.  Tampa: University of
    South Florida Press, 1989, ISBN 0-8130-0945-6.  A picture book for
    serious dancers: a dictionary of steps defined by photographs of them
    as done by professionals.  A companion book to Grant or to Kersley and
    Sinclair.


6.1.8. Stretching, fitness, & sports/dance medicine
---------------------------------------------------

Alter, Judy.  _Stretch and Strengthen_.  Boston: Houghton-Mifflin, 1986,
    ISBN 0-395-52808-9.  One of the references recommended in Brad
    Appleton's stretching FAQ.

Alter, Michael.  _Sport Stretch_.  Leisure Press, 1990, ISBN 0-88011-381-2.
    One of the references recommended in Brad Appleton's stretching FAQ.

Arnheim, Daniel.  _Dance Injuries: Their Prevention & Care_.  2nd edition.
    St Louis: C. V. Mosby, 1980, ISBN 0-8016-0313-7

Berardi, Gigi.  _Finding Balance: Fitness and Training for a Lifetime in
    Dance_.  Princeton:.  Princeton Book Company/Dance Horizons, ISBN 0-
    87127-160-5.

Blakey, W. Paul.  _Stretching Without Pain_.  Twin Eagles Educational &
    Healing Institute, Box 2031, Sechelt, British Columbia V0N 3A0, Canada.
    ISBN 1-896238-00-9.

--------.  _The Muscle Book_.  Twin Eagles Educational & Healing Institute,
    Box 2031, Sechelt, British Columbia V0N 3A0, Canada.  ISBN 1-896238-01-7

Chmelar, Robin and Sally Fitt.  _Diet for Dancers_.

Cooper, Robert K.  _Health & Fitness Excellence: The Scientific Action_.
    Boston: Houghton-Mifflin, 1989, ISBN 0-395-54453-X.  One of the
    references recommended in Brad Appleton's stretching FAQ.

Howse and Hancock.  _Dance Technique and Injury Prevention_.  London: A & C
    Black, 1992, ISBN 0-7136-3601-7; Theatre Arts Books/Routledge, 1992,
    ISBN 0-87830-022-8.

Kurz, Tom.  _Stretching Scientifically: a Guide to Flexibility Training_.
    Stadion, 1994, ISBN 0-940149-30-3.  One of the references recommended
    in Brad Appleton's stretching FAQ.

Landis, Robyn. _Body-Fueling: the Ground-Breaking Approach to Eating for
    Health, Energy, Fitness, and Fat Loss_.  Warner Books, 1994, ISBN 0-446-
    51767-4.

Nagrin, Daniel. _How to Dance Forever: Surviving Against the Odds_.  New
    York: William Morrow, 1988, ISBN 0-688-07479-0.

North, Larry. _Get Fit!  The Last Fitness Book You Will Ever Need_.
    Summit, ISBN 1-56530-026-2.

Root, Leon & Thomas Kiernan. _Oh, My Aching Back_.  New York: David McKay Co.,
    1973, no ISBN.

Ryan and Stephens. _The Dancer's Complete Guide to Healthcare and a Long
    Career_.  Bonus Books, 1988, ISBN 0-933893-79-0.


6.1.9. Books for young people
-----------------------------

_Starting Ballet_.  Peter Usborne, (ISBN 0-7460-0982-8).  This gives
    beginner's techniques, proper skills and how to practice as well as a
    basic introduction.  Step-by-step illustrations give clear direction.
    For Ages 5-8.  [Usborne books are available in the U. S. from Debby
    McConnell, 1-800-727-1105 x55 or (703) 781-8230.]

_Usborne Guide to Dance_ (ISBN 0-7460-0087-1) and _Usborne Guide to Ballet_
    (ISBN 0-7460-0085-5).  Peter Usborne.  Both guides contain a combina-
    tion of illustrations and full color photographs and is a practical,
    informative introduction for absolute beginners.  Includes simple steps
    and exercises to try.  For Ages 10 and up.

_World of Ballet_.  Peter Usborne, ISBN 0-7460-1692-1.  A complete guide
    to the glamour and excitement of the world of ballet.  With full color
    photographs throughout.  For Ages 10 and up.


6.1.10. Dance photography
-------------------------

(These titles contributed by Jim Williams.  The quoted comments are his.)

Brodovitch, Alexey.  _Ballet: 104 Photographs by Alexey Brodovitch, text
    by Edwin Denby_.  New York: J. J. Augustin, 1945, pre-ISBN.  Extremely
    rare collection of his photographs of Ballets Russes de Monte Carlo
    from the 1930s.

Crickmay, Anthony.  _Dancers_.  Introduction by Andrew Porter.  New York:
    W. Morrow, 1982, ISBN 0-688-01239-6.  "Crickmay, a British photographer,
    concentrates on studying dancers where they work, practice and perform,
    but his uncanny eye for composition and feeling for light raise his
    work far beyond the level of routine reportage."

Edwards, Harvey. _The Art of Dance_.  Foreword by Bruce Marks.  Boston:
    Little, Brown, c1989, ISBN 0-8212-1734-8.  This is the Edwards who did
    the poster of the girl in the torn legwarmers.

Ewing, William A.  _Dance and Photography_ (U. S. title); _The Fugitive
    Gesture_ (British title).  New York : H. Holt, c1987, ISBN 0-8050-0591-
    9.  A history of the field, "the only serious scholarly work I've seen
    on the subject."

Ewing, William A. _Breaking Bounds: the dance photography of Lois
    Greenfield_.  London : Thames & Hudson, c1992, ISBN 0-8118-0232-9.
    "An extremely gifted and insightful artist...has an amazing ability to
    "translate" the psychological elements of dance into two-dimensional
    compositions."

Money, Keith.  _Fonteyn and Nureyev: The Great Years_.  London : Harvill ;
    New York : Harper Collins [dist.], 1994, ISBN 0-00-271375-6.  "A
    wonderful `extended essay'...backstage views of these two brilliant,
    highly-contrasting personalities working together to create their art."

Morgan, Barbara.  _Martha Graham: Sixteen Dances in Photographs_.  Dobbs
    Ferry, N.Y.: Morgan & Morgan, c1980, ISBN 0-87100-176-4.  Photographs
    of the company in its formative years.

Petitjean, Pierre.  _Backstage_.  (Trans. by Richard and Jeanette Seaver.)
    New York : Viking Press, 1979, ISBN not known.

Severn, Merlyn.  _Ballet in Action_.  With an introductory essay and
    critical notes by Arnold L. Haskell.  London: J. Lane, 1947, pre-ISBN.
    "The first person to make a serious, ongoing effort to photograph
    dancers *in performance* as a way of better understanding their art."

Waldman, Max.  _Waldman on Dance_.  Foreword by Lucille Tortora; special
    dedication by Gelsey Kirkland with Greg Lawrence.  San Francisco:
    Chronicle Books, 1992, ISBN not known.  "A very stylized view."


6.1.11. Miscellaneous
---------------------

Blom, Lynne Anne, and L. Tarin Chaplin.  _The Moment of Movement: Dance
    Improvisation_.  Pittsburgh: Univ. of Pittsburgh Press, 1988, ISBN 0-
    8229-3586-4.  Just what its title says.  Sketchy coverage of contact
    improvisation.

Gordon, Suzanne.  _Off Balance: the Real World of Ballet_.  New York:
    McGraw-Hill, 1984.  The dark side of ballet: anorexia, the position of
    women in ballet, stage mothers, etc.

Laws, Kenneth, and Cynthia Harvey.  _Physics, Dance, and the Pas de Deux_.
    New York: Schirmer Books, 1994, ISBN 0-02-871326-5.  Companion
    videotape ISBN 0-02-871327-3.  Newtonian mechanics applied to ballet
    technique. Not for every dancer, but very illuminating for anyone who
    comes to ballet with a technical or scientific background.

Novack, Cynthia.  _Sharing the Dance_.  Madison: Univ. of Wisconsin Press,
    1990, ISBN 0-299-12440-1.  About contact improvisation.

Pagels, Jurgen.  _Character Dance_.  Indiana Univ. Press, 1984.  ISBN 0-
    253-31337-6.

Sawyer, Elizabeth.  _Dance with the Music_.  Cambridge: Cambridge
    University Press, 1985, ISBN 0-521-31925-0.  Mostly for pianists who
    accompany classes and rehearsals, but interesting reading for anyone
    who cares about music for ballet.

Wolfram, Eric.  _Your Dance Resume_.  San Francisco, Calif.: Dancepress
    [(800) 815-6422] 1995, ISBN 1-880404-06-0.  Provides concise and
    easily readable step-by-step advice for dancers negotiating today's
    competitive job market: preparation of resumes and cover letters;
    photographs and videos; and advice securing and triumphantly navigating
    auditions.

Stern's Performing Arts Directory.  Lists: agents, choreographers, com-
    panies, composers, conductors, managers, performers, schools, teachers.
    Available from Dance Magazine for $68.50; phone (212) 245-9050.


6.2. Periodicals

(Thanks to Estelle Souche for names of French magazines.)

American Dance
    American Dance Guild
    31 West 21st Street
    New York, New York 10010
    (212) 627-3790
    Fax: (212) 675-9657
    Articles, reviews, conference reports, member news, ads.

Attitude: The Dancers' Magazine
    Dance Giant Steps
    1040 Park Place, Suite C-5
    Brooklyn, New York 11213

Attitudes and Arabesques (guide to current dance publications)
    Leslie Getz
    Getz Dance Library
    1075 Marcusen Drive
    Menlo Park, Calif.  94025
    (415) 326-9775

Ballet Review
    Marcel Dekker, Inc.
    46 Morton Street
    New York, N. Y. 10014
    (212) 633-8264

Ballet 2000
    [France:]	BALLET 2000
		10, av.du General de Gaullle
		06240 Beausoleil
    [Italy:]	BALLETTO OGGI
		Alzaia Naviglio Grande 46
		20144 Milano
    [Spain:]	BALLET 2000
		Apartado Postal 17226
		28080 Madrid

Ballett International / Tanz Aktuell
    Published by: Friedrich Verlag
    Postfach 100 150
    D-30917 Seelze
    Germany

Contact Quarterly
    P.O. Box 603
    Northampton, Mass. 01060

Dance and the Arts (was Dance Pages)
    P.O. Box 916
    Ansonia Station
    New York, N. Y.  10023

Dance Australia
    GPO box 606
    Sydney NSW
    2001
    Australia
    (02) 2812333
    Fax(02) 2812750

Dance Chronicle
    Marcel Dekker Journals
    POB 5017
    Monticello, New York  12701-5176
    Dance Chronicle: Studies in Dance and the Related Arts is a scholarly
    journal with an emphasis on dance history.  The topics are fairly wide-
    ranging.  From 1994, # 3: an article on an early American ballet master
    in Philadelphia, a pair of articles on Romantic era ballet, an article
    on Helen Tamiris, and several book reviews.

Dance Ink
    145 Central Park West
    New York, N. Y.  10023
    http://www.webcom.com/~ink/

Dance International
    Roedde House
    1415 Barclay Street
    Vancouver, BC V6G 1J6
    Canada
    (604) 681-1525
    Fax (604) 681-7732

Dance Magazine
    33 West 60th Street
    New York, N. Y.  10023
    (212) 245-9050
    Subscriptions: 800-331-1750
    e-mail: dancemag@panix.com

Dance Now
    Dance Books Ltd.
    15 Cecil Court
    St. Martin's Lane
    London WC2N 4EZ, England.
    e-mail: dances@dircon.co.uk

Dance Research Journal
    subscription comes with a membership in Congress on Research
	in Dance (CORD)
    CORD/Department of Dance
    SUNY/Brockport
    Brockport, New York  14420
    DRJ is the publication of the Congress on Research in Dance.  CORD was
    one of the first scholarly organizations in the US, and has presented
    research on a wide range of dance topics.  DRJ has included articles on
    dance ethnology, aesthetics, biomechanics, dance therapy, arts market-
    ing, teaching issues and straight history.  As well as a journal, CORD
    sponsors an annual conference with many papers and presentations, an
    occasional special topic or regional conferences.

Dance Teacher Now
    PO Box 41204
    Raleigh N. C.  27690-2930
    (919) 872-7888
    e-mail: dancenow@aol.com

Dance View
    POB 34435, Martin Luther King Station
    Washington, D. C.  20043
    Dance View is a publication out of Washington DC that focuses on dance
    as a performance art.  It includes a number of performance reviews as
    well as features.  In the past they've run special issues on specific
    topics, like the Bournonville Festival, but mostly they cover dance in
    the Northeast.

Dancemagazine
    SHINSHOKAN
    1-21-7 Sengoku, Bunkyo-ku,
    Tokyo 112, Japan

Dancer
    Dancer Publishing Company, Inc.
    2809 Bird Ave.
    Suite 231
    Coconut Grove, Fla.  33133
    (305) 460-3225

Dancing Through Life
    P.O. Box 15087
    Washington, DC  20003-0087
    vspatz@access.digex.net
    For adult students of dance and their instructors.

The Dancing Times
    45-47 Clerkenwell Green
    London EC1R 0EB, England
    Tel: +44 171 250 3006
    Fax: +44 171 253 6679

DanceView
    P.O. Box 34435
    Martin Luther King Station
    Washington, D. C.  20043

Danse Conservatoire
    33 rue de Douai
    75009 Paris
    FRANCE
    fax: 93/41/61/55

Danser
    Service des abonnements
    BP 68 7
    77932 Perthes Cedex
    FRANCE
    fax: 40/02/63/90

Impulse
    Human Kinetics Publishers
    Box 5076, Champaign, Ill.  61825-5076
    Impulse is fairly new (only 3-4 years) and was founded by academics as
    an academic journal.  Thus far, most of the articles have been about
    teaching issues, both physical and psychological.

Les Saisons de la Danse
    Service des abonnements
    7 avenue Rachel
    75018 Paris
    FRANCE
    tel: 43/87/08/69
    Fax: 42/93/97/74

Studies in Dance History
    Princeton Periodicals
    P.O. Box 380
    Pennington, N. J.  08534

TBC News (Newsletter of Trisha Brown's company)
    225 Lafayette Street
    Suite 807
    New York, N. Y. 10012

I've seen a Hungarian publication, Tancm"uv'esz'et, but I didn't have an
opportunity to translate the publication information.  Later, perhaps.


7. Organizations

	Sandi Kurtz has provided the following list of dance-related
organizations:

7.1.  General

American Dance Guild
	31 West 21st Street
	New York, N. Y.  10010
	(212) 627-3790
	Fax: (212) 675-9657
	A not-for-profit membership organization that serves the dance
	community with performance opportunities, conferences, workshops,
	scholarships, and publications.  See section 6.2 for information
	about their periodical, _American Dance_.

Congress on Research in Dance
	% Department of Dance
	SUNY/Brockport
	Brockport, N. Y.  14420
	(716) 395-2590
	One of the few scholarly organizations, topics cover most aspects
	of dance, good journal

Dance Critics Association
	POB 1882
	Old Chelsea Station
	New York, N. Y.  10011
	(212) 254-7905
	Mix of working critics and academics; newsletter

Dance Heritage Coalition
	149 Harmon Ave
	Pelham, N. Y.  10803
	(914) 738-7185
	Catherine Johnson, Coordinator
	Working on preservation and scholarly issues, maintains
	Dance-HC, a listserve for dance

Dance Notation Bureau
	31 West 21st Street
	New York, N. Y.  10010
	(212) 807-7899
	The Labanotation organization, offers correspondence courses too

Dance USA
	777-14th Street NW, Suite 540
	Washington, D. C.  20005
	(202) 628-0144
	Primarily for dance companies, but publishes newsletter on
	advocacy issues as well

Florida Dance Assn.
	300 N.E. 2nd Ave., #1410
	Miami, Fla. 33132-2204
	(305) 347-3413

Laban Institute of Movement Study
	11 East 4th Street
	New York, N. Y.  10003-6902
	(212) 477-4299
	The Laban Movement Analysis organization (separate from Labanotation)

National Dance Association  (American Alliance for Health, Physical
	    Education, Recreation, and Dance)
	1900 Association Drive
	Reston, Va.  22091-1599
	Dance through a PE perspective

Society of Dance History Scholars
	% Angelika Gerbes
	Department of Dance
	Ohio State University
	Columbus, Ohio  43210
	(614) 292-7977
	Excellent journal "Studies in Dance History"

Society for Stage Directors and Choreographers
	1501 Broadway, Suite 2003
	New York, N. Y.  10036
	(212) 302-5359

World Dance Alliance
	% Dance Magazine
	33 West 60th Street, 10th Floor
	New York, N. Y.  10023


7.2. Organizations offering help with eating disorders

	Many women dancers, under pressure to keep their weight down,
have fallen victim to eating disorders.  For those who need advice about
bulimia, anorexia nervosa, etc., there are a number of groups offering
educational materials & referrals to professionals:

American Anorexia Nervosa Bulimia Assn (AABA)
    (212) 734-1114
    AmAnBu@aol.com
    http://members.aol.com/amanbu

Foundation for Education about Eating Disorders
    (410) 467-0603

National Anorexic Aid Society
    (614) 436-1112

Nat'l Assn of Anorexia Nervosa & Associated Disorders
    (708) 831-3438

National Eating Disorders Organization
    Laureate Psychiatric Clinic and Hospital
    6655 South Yale Avenue
    Tulsa, Okla.  74136
    (918) 481-4044

Overeaters Anonymous
    (800) 743-8703

Gurze Books - publishes books on eating disorders, catalog available by
    calling (619) 434-7533.

-- 
--
twp@panix.com                   |    No matter how cynical you get,
                                |    it's impossible to keep up.
http://www.panix.com/~twp       |              --Lily Tomlin
