This is a collection of works by internationally recognized women leading the field of dance research and spirituality across the globe. Building on current soulful research scholarship in the discipline, these authors offer extensive and detailed research into spirituality, dance, gender, religion, somatics and women-centred dance research. Written by women dance scholars in higher education, this evocative and illuminating work highlights a growing discourse on gendered leadership in dance research. Spiritual Herstories provides new pathways and innovative research methods that respond to the educational needs of women emerging in male-centric socio-historic research traditions.

The essential, easy-to-use classical ballet guide - spanning nearly two centuries of classical dance - with entries for more than eighty works from ballet companies around the world, from Giselle and Swan Lake to Cinderella and Steptext. This new edition has been revised to include new ballets by Wayne McGregor, Alexei Ratmansky and Christopher Wheeldon alongside classics by Tchaikovsky, Diaghilev and Balanchine. Features include: - plot summaries - an analysis of each ballet's principal themes - useful background and historical information - a unique, behind-the-scenes, performer's-eye view Dip in at random or trace the development of dance from cover to cover. Written by former Royal Ballet principal Deborah Bull and leading dance critic Luke Jennings, this ever popular Faber Pocket guide is a must for all ballet-goers - regulars and first-timers alike.

This invaluable resource for teachers and therapists continues to explore the link between movement and emotions presented in the first edition of this innovative book. It provides 180 practical activities with a clear rationale for the use of creative dance and movement to enrich therapy or educational programmes. This book features session plans divided into warm-ups, introductions to themes, development of themes and warm-downs and explores many areas, including developmental movement processes, non-verbal communication, and expression communication. In addition to thoroughly updating the content of the original edition, this timely sourcebook includes new material on creative dance and dance movement psychotherapy, added references throughout and updated resources to reflect the most current knowledge. Creative Dance and Movement in Groupwork will be an invaluable asset for group leaders wishing to enhance their practice, as well as a starting point for those wishing to learn more about the field. It provides guidance and practical information that is suitable for working with clients of all ages and for those with a professional or practical interest in the educational, health, recreational or psychotherapeutic use of the arts, this book may act as one of many guiding lights on your journey.

A massive dance music revolution swept across Europe and Britain beginning early in the 1980s. Merging rock, new wave, disco and worldbeat sounds, an explosion of exciting and increasingly electronic dance-pop music caused a sensation worldwide. In this book of original interviews, 32 of the era's most celebrated singers, songwriters, producers and industry professionals share fascinating memories of their lives and careers during this extraordinary time. They include Thomas Anders (Modern Talking's "You're My Heart, You're My Soul"), Pete Burns (Dead or Alive's "You Spin Me Round (Like A Record)"), Desireless ("Voyage Voyage"), Phil Harding (PWL Mixmaster), Junior ("Mama Used To Say"), Leee John (Imagination's "Just An Illusion"), Liz Mitchell (Boney M.'s 1988 "Megamix"), Fab Morvan (Milli Vanilli's "Girl You Know It's True"), Taco ("Putting On the Ritz"), Jennifer Rush ("The Power of Love"), Sabrina ("Boys"), Spagna ("Call Me"), Amii Stewart ("Knock On Wood"), Yazz ("The Only Way Is Up") and many more. Special commentary by Academy Award winner Mel Brooks and Dallas TV star Audrey Landers.

Dance has always been an important aspect of all human cultures, and the study of human movement and action has become a topic of increasing relevance over the last decade, bringing dance into the focus of the cognitive sciences. Since the first edition of The Neurocognition of Dance was published, research into the cognitive science of dance has expanded extensively, with the number of scientific studies focusing on dance and dance-related topics in cognitive psychology growing significantly. Featuring three new chapters addressing topics that have become highly relevant to the field in recent years - neuroaesthetics, entrainment, and choreographic cognition - as well as progress in teaching based on novel methods, this comprehensively revised and updated new edition of The Neurocognition of Dance is full of cutting-edge insights from scientists, researchers, and professionals from the world of dance. Also now including online material such as links to video clips, colour images and hands-on material for practical application, this book is an essential companion for students and professionals from fields including dance, cognitive psychology, sport psychology and sport science, movement science, and cognitive robotics.

Ungoverning Dance examines the work of progressive contemporary dance artists in continental Europe from the mid 1990s to 2015. Placing this within its historical and political context - that of neoliberalism and austerity - it argues that these artists have developed an ethico-aesthetic approach that uses dance practices as sites of resistance against dominant ideologies, and that their works attest to the persistence of alternative ways of thinking and living. In response to the way that the radical values informing their work are continually under attack from neoliberalism, these artists recognise that they in effect share common pool resources. Thus, while contemporary dance has been turned into a market, they nevertheless value the extent to which it functions as a commons. Work that does this, it argues, ungoverns dance. Theoretically, the book begins with a discussion of dance in relation to neoliberalism and post-Fordism, and then develops an account of ethico-aesthetics in choreography drawing in particular on the work of Emmanuelle Levinas and its adaptation by Maurice Blanchot. It also explores ethics from the point of view of affect theory drawing on the work of Erin Manning and Brian Massumi. These philosophical ideas inform close readings of works from the 1990s and 2000s by two generations of European-based dance artists: that of Jerome Bel, Jonathan Burrows, La Ribot, and Xavier Le Roy who began showing work in the 1990s; and that of artists who emerged in the 2000s including Fabian Barba, Faustin Linyekula, Ivana Muller, and Nikolina Pristas. Topics examined include dance and precarious life, choreographing friendship, re-performance, the virtual in dance, and a dancer's experience of the Egyptian revolution. Ungoverning Dance proposes new ways of understanding recent contemporary European dance works by making connections with their social, political, and theoretical contexts.

The age of high-tech is haunted by an image from the last century that developed in the three decades between the patenting of the cinematographe and its turn toward sound: the dancing machine, paradox of the ease of mechanization and its tortures, embodiment of the motor and the automaton, image and fragmentation. productivity and mechanical reproducibility, reveals its development in European Modernism - Modernism drawn to dancers of American, African and Asian origins, to Taylorism as well as to Primitivism to cinema and to myth. This book traces the abstraction and anonymity of the bodies making machines dance, in the codes of modernisms graphic and choreographic and in the streamlined gestures of industry, avant-garde art and entertainment. What surfaces is dance's centrality to machine aesthetics and to its alternatives as well as to the early elaboration of the machine aesthetics and to its alternatives, as well as to the early elaboration of the machine that would become the ultimate guarantor of modern dance's de-mechanization, the motion picture camera.

The visionary choreographer and dancer Isadora Duncan (1877-1927) not only revolutionized dance in the twentieth century but blazed a path for other visionaries who would follow in her wake. While many biographies have explored Duncan's crucial role as one of the founders of modern dance, no other book has proved as critical-as both historical record and vivid evocation of a riveting life-as her autobiography. From her early enchantment with classical music and poetry to her great successes abroad, to her sensational love affairs and headline-grabbing personal tragedies, Duncan's story is a dramatic one. My Life still stands alone as "a great document, revealing the truth of her life as she understood it, without reticence or apology or compromise" (New York Herald Tribune). Now, in this fully restored edition, with its risque recollections and fervent idealism, My Life can be appreciated by a new generation.

The Moving Body in the Aural Skills Classroom-influenced by Dalcroze-eurhythmics-is a practical guide for college-level teachers and students interested in integrating the moving body into the traditional aural skills classroom. What distinguishes this book from other texts is its central concern with movement-to-music as a tool for developing musical perception and the kinesthetic aspects humans experience as performers. Moving to music and watching others move cultivates an active, multi-sensory learning experience, in which students learn by discovery and from each other. Improvisatory and expressive elements are built into exercises to encourage a dynamic link between musical training and artistic performance. Designed for a three- to four-semester undergraduate curriculum, the book contains a wealth of exercises that teach rhythmic, melodic, harmonic and formal concepts. Exercises not only develop the ear, but also awaken the muscular and nervous system, foster mind-body connections, strengthen the powers of concentration (being in the "musical now "), develop inner-hearing, short- and long-term memory, multi-tasking skills, limb autonomy, and expressive freedom. Exercises are presented in a graded, though flexible order allowing you to select individual exercises in any sequence. Activities involve movement through space (traveling movement) as well as movement in place (stationary movement) for those teaching in small classrooms. The text can be used as a teacher's manual, a supplementary aural-skills textbook, or as a stand-alone reference in a course dedicated to eurhythmics. Movement exercises are designed to enhance and work in conjunction with musical examples presented in other texts. Many exercises also provide an effective aural/sensory tool in the music theory classroom to complement verbal explanations. The approach integrates easily into any traditional college or conservatory classroom and is compatible with the following systems: fixed do, moveable do, and scale degrees. A companion website accompanies the text featuring undergraduate students performing select exercises.

A heart-warming nostalgia memoir from a member of the world famous dance troupe, The Tiller Girls. Based in London in the 1930s, 40s and 50s, Irene's story will transport readers back to a more innocent, simple way of life. This is the story of a little girl who loved to dance. Growing up in London in the 1930s, dancing was so much more to Irene than just a hobby. It was her escape and it took her off into another world away from the harsh realities of life. A fairytale world away from the horrors of WW2, from the grief of losing her father and missing her mother who she didn't see for three years while she was drafted to help with the war effort. And far away from her cold-hearted grandparents who treated her like an inconvenience. Finally it led to her winning a place as a Tiller Girl; the world's most famous dance troupe known for their 32-and-a-half high kicks a minute and precise, symmetrical routines. For four years she opened and closed the show at the prestigious London Palladium and performed on stage alongside huge stars such as Frank Sinatra, Nat King Cole and Judy Garland. It was a strange mixture of glamour and bloody hard work but it was certainly never dull. And being a Tiller Girl also gave Irene the opportunity to see firsthand the devastating effects of WW2, both here and abroad. Heart-warming, enlightening and wonderfully uplifting, Irene's evocative story will transport readers back to a time when every town and holiday resort had several theatres and when dance troupes like The Tiller Girls were the epitome of glitz and glamour.

In Shapes of American Ballet: Teachers and Training before Balanchine, Jessica Zeller introduces the first few decades of the twentieth century as an often overlooked, yet critical period for ballet's growth in America. While George Balanchine is often considered the sole creator of American ballet, numerous European and Russian emigres had been working for decades to build a national ballet with an American identity. These pedagogues and others like them played critical yet largely unacknowledged roles in American ballet's development. Despite their prestigious ballet pedigrees, the dance field's exhaustive focus on Balanchine has led to the neglect of their work during the first few decades of the century, and in this light, this book offers a new perspective on American ballet during the period immediately prior to Balanchine's arrival. Zeller uses hundreds of rare archival documents to illuminate the pedagogies of several significant European and Russian teachers who worked in New York City. Bringing these contributions into the broader history of American ballet recasts American ballet's identity as diverse-comprised of numerous Euro-Russian and American elements, as opposed to the work of one individual. This new account of early twentieth century American ballet is situated against a bustling New York City backdrop, where mass immigration through Ellis Island brought the ballet from European and Russian opera houses into contact with a variety of American forms and sensibilities. Ballet from celebrated Euro-Russian lineages was performed in vaudeville and blended with American popular dance styles, and it developed new characteristics as it responded to the American economy. Shapes of American Ballet delves into ballet's struggle to define itself during this rich early twentieth century period, and it sheds new light on ballet's development of an American identity before Balanchine.

In early twentieth-century Europe, the watershed developments of pictorial abstraction, modern dance, and cinema coincided to shift the artistic landscape and the future of modern art. In Moving Modernism, Nell Andrew challenges assumptions about modernist abstraction and its appearance in the field of painting. By recovering performances, methods, and circles of aesthetic influence for avant-garde dance pioneers and filmmakers from the turn of the century to the interwar period - including dancer Loie Fuller, who presented to symbolist artists the possibility of prolonged or suspended vision; Valentine de Saint-Point, whose radical dance paralleled the abstractions of cubo-futurist painting; Sophie Taeuber and her Dada dance; the Belgian "pure plastics" choreographer known as Akarova; and the dance-like cinema of Germaine Dulac - Andrew demonstrates that abstraction was deployed not only as modernist form but as an apparatus of creation, perception, and reception across artistic media.

Shakespeare's texts have a long and close relationship with many different types of dance, from dance forms referenced in the plays to adaptations across many genres today. With contributions from experienced and emerging scholars, this handbook provides a concise reference on dance as both an integral feature of sixteenth- and seventeenth-century culture and as a means of translating Shakespearean text into movement - a process that raises questions of authorship and authority, cross-cultural communication, semantics, embodiment, and the relationship between word and image. Motivated by growing interest in movement, materiality, and the body, The Oxford Handbook of Shakespeare and Dance is the first collection to examine the relationship between William Shakespeare - his life, works, and afterlife - and dance. In the handbook's first section - Shakespeare and Dance - authors consider dance within the context of early modern life and culture and investigate Shakespeare's use of dance forms within his writing. The latter half of the handbook - Shakespeare as Dance - explores the ways that choreographers have adapted Shakespeare's work. Chapters address everything from narrative ballet adaptations to dance in musicals, physical theater adaptations, and interpretations using non-Western dance forms such as Cambodian traditional dance or igal, an indigenous dance form from the southern Philippines. With a truly interdisciplinary approach, The Oxford Handbook of Shakespeare and Dance provides an indispensable resource for considerations of dance and corporeality on Shakespeare's stage and the early modern era.

A unique tap dancing course from all-round entertainer and much-loved ' Record Breaker'. Roy's inspirational teaching style, combined with clear how-to-diagrams, is highly recommended for the enthusiastic beginner, although experienced dancers will find some useful extra tips. As a bonus he shares with the reader full routines for some of tap dancing's classic numbers. Get dancing!

In Getting Started in Ballet, A Parent's Guide to Dance Education, authors Anna Paskevska and Maureen Janson comprehensively present the realities that parents can anticipate during their child's training and/or career in ballet. It can be daunting and confusing when parents discover their child's desire to dance. Parental guidance and education about dance study typically comes from trial by fire. This book expertly guides the parental decision-making process by weaving practical advice together with useful information about dance history and the author's own memoir. From selecting a teacher in the early stages, to supporting a child through his or her choice to dance professionally, parents of prospective dancers are lead through a series of considerations, and encouraged to think carefully and to make wise decisions. Written primarily as a guide book for parents, it is just as useful for teachers, and this exemplary document would do well to have a place on the bookshelf in every dance studio waiting room. Not only can dance parents learn from this informative text, but dance teachers can be nudged toward a greater understanding and anticipation of parents needs and questions. Getting Started in Ballet fills a gap, conveniently under one cover, welcoming parents to regard every aspect of their child's possible future in dance. Without this book, there would be little documentation of the parenting aspect of dance. Dance is unlike any other training or field and knowing how to guide a young dancer can make or break them as a dancer or dance lover.

Eleonora Abbagnato is the prima ballerina at the Opera de Paris. This original volume reveals her artistic versatility through the photographs of four celebrated ballets. The book opens with an original interview by Valeria Crippa, journalist and ballet critic. Comprehensible to all, the ballerina's answers outline the technical aspects of choreography, the difficulty of interpreting the score and the way in which she studies her role in each case and prepares to offer a unique and unrepeatable performance. This is the ideal gift for aspiring dancers and those who always dreamed of taking up this career.

In the 1920s and 30s, musicians from Latin America and the Caribbean were flocking to New York, lured by the burgeoning recording studios and lucrative entertainment venues. In the late 1940s and 50s, the big-band mambo dance scene at the famed Palladium Ballroom was the stuff of legend, while modern-day music history was being made as the masters of Afro-Cuban and jazz idiom conspired to create Cubop, the first incarnation of Latin jazz. Then, in the 1960s, as the Latino population came to exceed a million strong, a new generation of New York Latinos, mostly Puerto Ricans born and raised in the city, went on to create the music that came to be called salsa, which continues to enjoy avid popularity around the world. And now, the children of the mambo and salsa generation are contributing to the making of hip hop and reviving ancestral Afro-Caribbean forms like Cuban rumba, Puerto Rican bomba, and Dominican palo. Salsa Rising provides the first full-length historical account of Latin Music in this city guided by close critical attention to issues of tradition and experimentation, authenticity and dilution, and the often clashing roles of cultural communities and the commercial recording industry in the shaping of musical practices and tastes. It is a history not only of the music, the changing styles and practices, the innovators, venues and songs, but also of the music as part of the larger social history, ranging from immigration and urban history, to the formation of communities, to issues of colonialism, race and class as they bear on and are revealed by the trajectory of the music. Author Juan Flores brings a wide range of people in the New York Latin music field into his work, including musicians, producers, arrangers, collectors, journalists, and lay and academic scholars, enriching Salsa Rising with a unique level of engagement with and interest in Latin American communities and musicians themselves.

Divi Zheni identifies itself as a Bulgarian women's chorus and band, but it is located in Boston and none of its members come from Bulgaria. Zlatne Uste is one of the most popular purveyors of Balkan music in America, yet the name of the band is grammatically incorrect. The members of Sviraci hail from western Massachusetts, upstate New York, and southern Vermont, but play tamburica music on traditional instruments. Curiously, thousands of Americans not only participate in traditional music and dance from the Balkans, but in fact structure their social practices around it without having any other ties to the region. In Balkan Fascination, ethnomusicologist Mirjana Lausevic, a native of the Balkans, investigates this remarkable phenomenon to explore why so many Americans actively participate in specific Balkan cultural practices to which they have no familial or ethnic connection. Going beyond traditional interpretations, she challenges the notion that participation in Balkan culture in North America is merely a specialized offshoot of the 1960s American folk music scene. Instead, her exploration of the relationship between the stark sounds and lively dances of the Balkan region and the Americans who love them reveals that Balkan dance and music has much deeper roots in America's ideas about itself, its place in the world, and the place of the world's cultures in the American melting pot. Examining sources that span more than a century and come from both sides of the Atlantic, Lausevic shows that an affinity group's debt to historical movements and ideas, though largely unknown to its members, is vital in understanding how and why people make particular music and dance choices that substantially change their lives.

She is Cuba: A Genealogy of the Mulata Body traces the history of the Cuban mulata and her association with hips, sensuality and popular dance. It examines how the mulata choreographs her racialised identity through her hips and enacts an embodied theory called hip(g)nosis. By focusing on her living and dancing body in order to flesh out the process of identity formation, this book makes a claim for how subaltern bodies negotiate a cultural identity that continues to mark their bodies on a daily basis. Combining literary and personal narratives with historical and theoretical accounts of Cuban popular dance history, religiosity and culture, this work investigates the power of embodied exchanges: bodies watching, looking, touching and dancing with one another. It sets up a genealogy of how the representations and venerations of the dancing mulata continue to circulate and participate in the volatile political and social economy of contemporary Cuba.

Choreographing Copyright provides a historical and cultural analysis of U.S.-based dance-makers' investment in intellectual property rights. Although federal copyright law in the U.S. did not recognize choreography as a protectable class prior to the 1976 Copyright Act, efforts to win copyright protection for dance began eight decades earlier. In a series of case studies stretching from the late nineteenth century to the early twenty-first, the book reconstructs those efforts and teases out their raced and gendered politics. Rather than chart a narrative of progress, the book shows how dancers working in a range of genres have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power. A number of the artists featured in Choreographing Copyright are well-known white figures in the history of American dance, including modern dancers Loie Fuller, Hanya Holm, and Martha Graham, and ballet artists Agnes de Mille and George Balanchine. But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it. Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into such issues as: the raced and gendered hierarchies that govern the theatrical marketplace, white women's historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the tension between dance's ephemerality and its reproducibility.

This book offers a set of eleven discipline-specific chapters from across the arts, humanities, psychology, and medicine. Each contributor considers the creative potential of error and/or ambiguity, defining these terms in the particular context of that discipline and exploring their values and applications. Themes include error in choreography, poetry, media art, healthcare, psychology, critical typography and mixed reality performance. The book emerges from a core question of how dance research and HCI can inform each other through consideration of error, ambiguity and 'messiness' as methodological tools. The digital age had heralded the possibility that error could be eradicated by the logic of computers but several chapters focus on glitch in arts practices that exploit errors in computer programmes, or even create programmes specifically to produce errors. Together, the chapters explore how error can take us somewhere different or somewhere new, to develop a new, more interesting way of working.

The Everyday Dancer is a new and honest account of the business of dancing from a writer with first hand experience of the profession. Structured around the daily schedule, The Everyday Dancer goes behind the velvet curtain, the gilt and the glamour to uncover the everyday realities of a career in dance. Starting out with the obligatory daily 'class', the book progresses through the repetition of rehearsals, the excitement of creating new work, the nervous tension of the half hour call, the pressures of performance and the anti-climax of curtain down. Through this vivid portrait of a dancer's every day, Deborah Bull reveals the arc of a dancer's life: from the seven-year-old's very first ballet class, through training, to company life, up through the ranks from corps de ballet to principal and then, not thirty years after it all began, to retirement and the inevitable sense of loss that comes with saying goodbye to your childhood dreams.

This book brings insights to begin a new examination of the human musical experience. The world of music is rich with artifacts that make us want to know the correlations of these artifacts and the human socio-cultural milieu. In this text, Dr. Akombo has defined and re-examined both music and dance from a global perspective. He has endeavored to portray music and dance as a composite whole by considering them inherent in every culture. While in some cultures music means sound and body movement, in others, dance means body movement and sound. This book surveys music and dance around the world and tries to put dance and music back to the context in which they were first created by humans: as a composite whole to coexist and compliment each other in an attempt to complete the human sphere. The book presents and shows the connection of the two units of music and dance as complimenting each other and also that the human experience of music and dance is timeless.

The topic of sport psychology is hardly new-but Essentials of Dance Psychology applies it to dance in a way that sets it apart from all other sport psychology texts available to dance students, instructors, and professionals. Through Essentials of Dance Psychology, readers will come to understand why dancers think and behave as they do and how to design healthy, creative dance environments that lead to both well-being and optimal performance. The book is built on a foundation of evidence from dance and sport psychology research, with applied experiences used as examples throughout. Where appropriate, evidence from other areas of psychology-for example, cognitive behavioral therapy-is used. A thorough coverage of topics relevant to dancers, teachers, and others working to support dancers is included, making the book suitable for one slightly longer course or two short courses in introductory dance psychology. The book is organized into four parts. Part I delves into dancers' individual differences, examining how personality, perfectionism, self-esteem, self-confidence, and anxiety factor into performance and well-being. Part II explores topics related to dance-specific characteristics such as motivation, attentional focus, and creativity. In part III, readers learn about a range of psychological skills, including mindfulness, goal setting, self-regulation, and imagery. Part IV examines topics related to dance environments and challenges, zeroing in on the social aspects of teaching and learning dance, the challenges of talent identification and development, injuries, body image, and disordered eating. Student-friendly textbook features in each chapter include the following: Relevant definitions A case study that shows how the chapter's topics can be expressed or experienced in practice One or more Get Practical exercises, which prompt readers to apply or reflect on the chapter's concepts (These exercises come with either downloadable worksheets or audio, delivered through HKPropel Access.) A roundup of further research needed in each content area, which can inspire research projects for students and professionals alike Key points to reinforce the learning, with particular emphasis on applications Materials available through HKPropel Access include downloadable worksheets, three audio files with guided exercises, vocabulary study aids, lettering art, and two goal-setting templates. In addition, an instructor pack provides chapter summaries, a course outline, a test bank, and a PowerPoint presentation package. Essentials of Dance Psychology offers readers the opportunity to understand sport psychology from the vantage point of a dancer. The text will help develop dance teachers who are able to inspire and sustain high levels of performance and psychological health among dancers. It will also help other professionals who work with dancers to implement evidence-based practices that enhance and sustain dancers' lives and careers. Note: A code for accessing HKPropel is included with all new print books.

Dancers as Diplomats chronicles the role of dance and dancers in American cultural diplomacy. In the early decades of the Cold War and the twenty-first century, American dancers toured the globe on tours sponsored by the US State Department. Dancers as Diplomats tells the story of how these tours in shaped and some times re-imagined ideas of America in unexpected, often sensational circumstances-pirouetting in Moscow as the Cuban Missile Crisis unfolded and dancing in Burma in the days just before the country held its first democratic elections. Based on more than seventy interviews with dancers who traveled on the tours, the book looks at a wide range of American dance companies, among them New York City Ballet, Alvin Ailey American Dance Theater, the Martha Graham Dance Company, Urban Bush Women, ODC/Dance, Ronald K. Brown/Evidence, and the Trey McIntyre Project, among others. These companies traveled the world. During the Cold War, they dance everywhere from the Soviet Union during the Cold War to Vietnam just months before the US abandoned Saigon. In the post 9/11 era, they traveled to Asia and Latin America, sub-Saharan Africa and the Middle East.