ACKNOWLEDGMENTS
My thanks go first of all to the scholars who participated in this volume, and to
the dancers who gave them so much to write about. My thanks also
to
Rey-
nolds Smith, my editor at Duke University Press, who was enthusiastic about
this project from the beginning and exhibited great patience in seeing it
through its long development process. My research assistants at the University
ofIowa, Ningping Yu, Hakan Dibel, Florence Tonk, and Sasha Su-Ling Wel-
land, helped with the innumerable details it takes to get a manuscript to the
publisher. I thank them for their persistence and gracious dispatch in every-
thing from bibliographic searching to xeroxing. Thanks also to Charles Perrier,
Nancy Stark Smith, and Urs Kaufmann for assistance in locating photographs.
The University of Iowa provided material support in the form of sub-
vention funds and a developmental research leave with office space at the
Obermann Center for Advance Studies, where I could work undisturbed,
surrounded by cornfields. That work was immeasurably enriched by Virginia
Dominguez's sustaining presence and intellectual stimulation. My gratitude
goes to all those who over the years taught me to dance, to love dancing, and to
think about it, and to all those who danced with me, on and off the stage.
This book is dedicated to my mother, Dorothy Ann Garfield Desmond,
and to the memory of my father, Alton H. Desmond, both of whom always
believed that dancers could think and thinkers could dance.
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