Combines how-to information with voices of working artist. An essential resource tool for choreographers, performance artists, dancers, producers and managers. Offers in-depth discussions from personal livelihood to professional career development, from medical care, housing and unemployment insurance to management, touring and legal issues.

An inquiry into improvisation as practiced by Richard Bull and his contemporaries.

Reports for 1980-19 also include the Annual report of the National Council on the Arts.

"This is an urgently needed book – as the question of choreographing behavior enters into realms outside of the aesthetic domains of theatrical dance, Susan Foster writes a thoroughly compelling argument." – André Lepecki, New York University "May well prove to be one of Susan Foster’s most important works." – Ramsay Burt, De Montford University, UK What do we feel when we watch dancing? Do we "dance along" inwardly? Do we sense what the dancer’s body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it? Choreographing Empathy challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this groundbreaking investigation, Susan Foster argues that the connection is in fact highly mediated and influenced by ever-changing sociocultural mores. Foster examines the relationships between three central components in the experience of watching a dance – the choreography, the kinesthetic sensations it puts forward, and the empathetic connection that it proposes to viewers. Tracing the changing definitions of choreography, kinesthesia, and empathy from the 1700s to the present day, she shows how the observation, study, and discussion of dance have changed over time. Understanding this development is key to understanding corporeality and its involvement in the body politic.

Richard's Poor Almanac, inspired by seven years of weekly contributions to the Washington Post, is Richard Thompson's omnium-gatherum of seasoned observations for all seasons -- indoors and out. Like the almanac we've all come to know and ignore, Richard's Poor Almanac is an annual compendium of weathered wisdom rendered in the more palatable form of cartooning.

This book describes ballroom dancing, including history, training, moves, and competitions.

This book describes hip-hop dancing, including history, training, moves, and competitions.