This book explores the relationship between the body, ecology, place, and site-specific performance. The book is situated within arts-based research, particularly within embodied inquiry and poetic inquiry. It explores a theoretical foundation for integration of these areas, primarily to share the lived experiences, poetry and dance which have come out of decades of sharing site-specific performances.

The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously. Publication of this book is funded by the Beatrice Fox Auerbach Foundation Fund at the Hartford Foundation for Public Giving.

What is dance, as seen from a philosopher's point of view? Why has dance played little part in traditional philosophies of the arts? And why do these philosophies of the arts take the form they do? The distinguished aesthetician Francis Sparshott subjects these questions to a thorough examination that takes into account all forms and aspects of dance, in art and in life, and brings them within the scope of a single discussion. By showing what is involved in deciding whether something is or is not dance, and by displaying the diversity of ways in which dance can be found meaningful, he provides a new sort of background for dance aesthetics and dance criticism. At the same time he makes a far-reaching contribution to the methodology of the philosophy of art and practice. In a witty and personal style that will be familiar to readers of his earlier books, Professor Sparshott makes a distinction between dance and its neighbors (such as work, sports, and games) and points out that it is more profoundly connected to questions of self-knowledge than the other arts. Dance differs from any of the fine arts in that it can be seen, not as the manipulation of a medium, but as self-transformation. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

“I am here. You will never be alone. We are dancing for you.” So begins Cutcha Risling Baldy’s deeply personal account of the revitalization of the women’s coming-of-age ceremony for the Hoopa Valley Tribe. At the end of the twentieth century, the tribe’s Flower Dance had not been fully practiced for decades. The women of the tribe, recognizing the critical importance of the tradition, undertook its revitalization using the memories of elders and medicine women and details found in museum archives, anthropological records, and oral histories. Deeply rooted in Indigenous knowledge, Risling Baldy brings us the voices of people transformed by cultural revitalization, including the accounts of young women who have participated in the Flower Dance. Using a framework of Native feminisms, she locates this revival within a broad context of decolonizing praxis and considers how this renaissance of women’s coming-of-age ceremonies confounds ethnographic depictions of Native women; challenges anthropological theories about menstruation, gender, and coming-of-age; and addresses gender inequality and gender violence within Native communities.

American Tropics is a story of one mans journey from LA toMiamitoKey Westto LA and then to theHawaiian Islandsto visit the most tropical parts ofAmerica. The protagonist, who is a member of Generation X, tells the story about his adventures and the characters that he meets along the way. The book is a journey; reading it you will go on a journey in your imagination to the most southern extremes of theUnited States: to the continental south point close to the Hemingway House inKey West,Florida, and to the south point of theHawaiian Islands. It will take you to celebrate the exuberance and joy of being a member of Generation X while traveling through the most tropical parts of the great experiment in freedom and wealth: America. It is a story of beauty, joy and exhilaration, where the author takes the advice of Thomas Jefferson and travels to the most tropical parts of the states to experience Life,Libertyand the Pursuit of Happiness. American Tropics is the story of one mans generational dream and a call to every member of the generation to take up arms against a sea of dreariness, to have more fun, pursuing happiness in the American Tropics. It is a story for a generation that dislikes its name: Generation X, and a call to this 13th generation of theUnited States to wake up to the immense beauty of modern life and to pick up from where the Summer of Love generation left off. The book is a generational dream from a Generation X author.

"Cases argued and determined in the Court of Appeals, Supreme and lower courts of record of New York State, with key number annotations." (varies)