"Are you fearful for our future? Read Leading the Way and be inspired. The twenty-one activists you meet in this book are perfectly attuned to the sense of responsibility and complex consciousness required to be an ethical citizen today." -Jennifer Baumgardner and Amy Richards, authors of Manifesta: Young Women, Feminism, and the Future "Trigg's collection provides rich evidence that feminist praxis is alive and well among a new generation of feminists." -Nancy A. Naples, author of Feminism and Method: Ethnography, Discourse, and Activist Research Leading the Way is a collection of personal essays written by twenty-one young, hopeful American women who describe their work, activism, leadership, and efforts to change the world. It responds to critical portrayals of this generation of "twenty-somethings" as being disengaged and apathetic about politics, social problems, and civic causes. Bringing together graduates of a women's leadership certificate program at Rutgers University's Institute for Women's Leadership, these essays provide a contrasting picture to assumptions about the current death of feminism, the rise of selfishness and individualism, and the disaffected Millennium Generation. Reflecting on a critical juncture in their lives-the years during college and the beginning of careers or graduate studies-the contributors' voices demonstrate the ways that diverse, young, educated women in the United States are embodying and formulating new models of leadership, at the same time as they are finding their own professional paths, ways of being, and places in the world. They reflect on controversial issues such as gay marriage, gender, racial profiling, war, immigration, poverty, urban education, and health care reform in a post-9/11 era. Leading the Way introduces readers to young women who are being prepared and empowered to assume leadership roles with men in all public arenas, and to accept equal responsibility for making positive social change in the twenty-first century. Mary K. Trigg is an associate professor in the department of women's and gender studies and director of leadership programs and research at the Institute for Women's Leadership, Rutgers University.

In the early twentieth century, female performers regularly appeared on the stages and screens of American cities. Though advertised as dancers, mimics, singers, or actresses, they often exceeded these categories. Instead, their performances adopted an aesthetic of intermediality, weaving together techniques and elements drawn from a wide variety of genres and media, including ballet, art music, photography, early modern dance, vaudeville traditions, film, and more. Onstage and onscreen, performers borrowed from existing musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers, skating neatly across various media, art forms, and traditions. Behind the scenes, they experimented with cross-promotion, new advertising techniques, and various technologies to broadcast images and tales of their performances and lives well beyond the walls of American theaters, cabarets, and halls. The performances and conceptions of art that emerged were innovative, compelling, and deeply meaningful.
Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century examines these performances and the performers behind them, highlighting the Ziegfeld Follies and The Passing Show revues, Salome dancers, Isadora Duncan's Wagner dances, Adeline Genee and Bessie Clayton's photographic danced histories, Hazel Mackaye and Ruth St. Denis's pageants, and Anna Pavlova's opera and film projects. By destabilizing the boundaries between various media, genres, and performance spaces, each of these women was able to create performances that negotiated turn-of-the-century American social and cultural issues: contemporary technological developments and the rise of mass reproduction, new modes of perception, the commodification of art and entertainment, the evolution of fan culture and stardom, changing understandings of the body and the self, and above all, shifting conceptions of gender, race, and sexual identity. Tracing the various modes of intermediality at work on- and offstage, Body Knowledge re-imagines early twentieth-century art and entertainment as both fluid and convergent.