Theory, Methodology &
Dance Writing

Books:                                                 

1987     To Dance Is Human:  A Theory of Nonverbal Communication. Revised 1979 edition.  hicago:  University of Chicago Press.

(a process research model, data collection methods, probing for meaning in data, relation between text and context,  pp. 76-100, 199-243)

1983   The Performer-Audience Connection: Emotion to Metaphor in  Dance and Society. Austin and London: University of Texas Press.

(theory, research approach, conceptual and methodological issues, pp. 9-26, 217-231)

(writing about dance,  pp. 4, 12-13, 17, 19, 55, 57-58, 73, 81-82, 84-87, 102, 109-110, 126, 140-141, 144, 173-174, 192)

1988     Disruptive School Behavior: Class, Race, and Culture. New York: Holmes & Meier Publishers.

(research in a diverse cultural, generational, insider/outsider, and social role setting; social interaction observation guide, ,  pp. 6-23, 210-212)

1988     Dance, Sex, and Gender: Signs of Identity, Dominance, Defiance, and Desire. Chicago: University of Chicago Press.

(rationale for a comparative approach, semantic grid, coding variables for gender patterns,  pp. 31-42, 253-255)

(the critic,  pp. 34-42, 228)

1999     Partnering Dance and Education:  Intelligent Moves for Changing Times. Champaign, IL:  Human Kinetics

(rationale for assessment of student achievement and programs, description of approaches to evaluation)

Articles:

1979a        "Toward Semantic Analysis of Movement Behavior:  Concepts and Problems," Semiotica 25(1-2):77-110

1979b       "Movements Toward Understanding Humans Through the Anthropological Study of Dance," Current Anthropology (CA treatment) 20(2):313-339

1985         "The Impact of the Critic:  omments from the Critic and the Criticized," in John Robinson, ed., Social Science and the Arts, 1984. Lanham, MD.:  University Press of America, pp. 141-162

1988         "Theories and Realities of Emotion in Performance," Polish Art Studies 9:44-66 and Gestos 3(6):27-51

1989a        "African Dance Frame by Frame:  Revelation of Sex Roles Through Distinctive Feature Analysis and Comments on Field Research, Film, and Notation," Journal of Black Studies 19(4):422-441; abstracted in Cultural Anthropology Methods Newsletter 1(2):13, 1989

1989b       "The Anthropology of Dance," in Lynnette Y. Overby and James H. Humphrey, eds., Dance:  Current Selected Research, I. New York: AMS Press, pp. 219-237

1997a        "'Ubakala, We Are Coming':  Searching For Meaning In Dance," in Ester Dagan, ed., The Spirit's Dance In Africa. Montreal: Galerie Amrad, pp. 90-93

1997b       "Problems and Dilemmas in Classifying African Dances," in Ester Dagan, ed., The Spirit's Dance In Africa. Montreal: Galerie Amrad, pp. 210-215

1998         "Undressing the First Amendment and Corsetting the Striptease Dancer," The Drama Review (T158) 42(2):38-69, Summer

2001         “Review of Theresa J. Buckland, ed., Dance in the Field: Theory, Methods and Issues in Dance Ethnography,” Ethnomusicology  45(1):177-179

2002         “Lost Dance Research/Found New Hubris,” Dance Research Journal  34(1):7-10

2004a        “Applying  Anthropological Methods in Dance/Movement Therapy Research," in Robyn Flaum Cruz and Cynthia R. Berrol, eds., Dance/Movement Therapists in Action: A Working Guide to Research Options. Springfield, IL: Charles C. Thomas Publishers, pp. 144-165

2004b       "To Tap into the Meaning of Movement," Movement News (Laban/Bartenieff Insitute of Movement Studies), 29(1):9-10