A C K N O W L E D G M E N T S
Even when you think you’re writing on your own, you’re always doing it
with someone else you can’t always name.—Gilles Deleuze, Negotiations
This book is made up of many steps—dance steps, music steps, and steps
of research, composition, and editing. Although Gilles Deleuze is no
doubt correct that one cannot always name those with whom one writes,
I can at least attempt to thank the many individuals who have helped me
through these steps.
For the dance steps, I owe a debt of gratitude and love to Lezlie Hart
Stivale, who said yes to stepping out and to a lot more besides; to Rand
Speyrer for his e√orts on behalf of Cajun dance, music, and culture; to
Thérèse Puyau for showing me how to follow so that I could lead; and to
our friends in Erath, Louisiana, for their friendship, then and now. I also
want to acknowledge my great a√ection for the regular dancers in the
many di√erent venues that I have frequented in New Orleans, Lafayette,
and Ann Arbor, especially the Sunday afternoon crowd at Tipitina’s.
For the music steps, there is simply not enough space to thank the
many musicians who have graced us with their creativity. For making a
special di√erence, I thank Bruce Daigrepont, Wayne Toups, Ann Savoy,
Marc Savoy, Michael Doucet, Zachary Richard, Steve Riley, David Greely,
Christine Balfa, and Dirk Powell, and the scores of musicians, sung and
unsung, who inspired these musicians on their creative paths.
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