Aboard the Alecto, prolific romance author Valentine Beals ruminates on the ship's most seemingly incongruous couple: a graceful, ethereal, virginal dancer named Barberina Rookwood and her lover, Saul Henchman, a crippled, emasculated war hero and photographer. Fancifully, Beals imagines Henchman to be the reembodiment of one of the most mysterious Arthurian legends, the Fisher King—the maimed and impotent ruler of a barren country of whom Perceval failed to ask the right questions. A myth with many permutations—and a blurred borderland between them—the Fisher King legend dovetails the various explanations Powell offers from his competing narrators as to why a talented young dancer would forsake her art to care for a feeble older man.

Ostensibly a novel about gossip on a cruise ship, The Fisher King is much more: a highly stylized narrative infused with Greek mythology, legend, and satire.

Imagine yourself in Weimar Germany: you are visually inundated with depictions of dance.  Perusing a women’s magazine, you find photograph after photograph of leggy revue starlets, clad in sequins and feathers, coquettishly smiling at you.  When you attend an art exhibition, you encounter Otto Dix’s six-foot-tall triptych Metropolis, featuring Charleston dancers in the latest luxurious fashions, or Emil Nolde’s watercolors of Mary Wigman, with their luminous blues and purples evoking her choreographies’ mystery and expressivity.  Invited to the Bauhaus, you participate in the Metallic Festival, and witness the school’s transformation into a humorous, shiny, technological total work of art; you costume yourself by strapping a metal plate to your head, admire your reflection in the tin balls hanging from the ceiling, and dance the Bauhaus’ signature step in which you vigorously hop and stomp late into the night.
 
Yet behind the razzle dazzle of these depictions and experiences was one far more complex involving issues of gender and the body during a tumultuous period in history, Germany’s first democracy (1918-1933).  Rather than mere titillation, the images copiously illustrated and analyzed in Marking Modern Movement illuminate how visual artists and dancers befriended one another and collaborated together.  In many ways because of these bonds, artists and dancers forged a new path in which images revealed artists’ deep understanding of dance, their dynamic engagement with popular culture, and out of that, a possibility of representing women dancers as cultural authorities to be respected.  Through six case studies, Marking Modern Movement explores how and why these complex dynamics occurred in ways specific to their historical moment.
 
Extensively illustrated and with color plates, Marking Modern Movement is a clearly written book accessible to general readers and undergraduates. Coming at a time of a growing number of major art museums showcasing large-scale exhibitions on images of dance, the audience exists for a substantial general-public interest in this topic.  Conversing across German studies, art history, dance studies, gender studies, and popular culture studies, Marking Modern Movement is intended to engage readers coming from a wide range of perspectives and interests.
 

A groundbreaking book that seeks to understand dance as labor, Sweating Saris examines dancers not just as aesthetic bodies but as transnational migrant workers and wage earners who negotiate citizenship and gender issues. 
           
Srinivasan merges ethnography, history, critical race theory, performance and post-colonial studies among other disciplines to investigate the embodied experience of Indian dance. The dancers’ sweat stained and soaked saris, the aching limbs are emblematic of global circulations of labor, bodies, capital, and industrial goods.  Thus the sweating sari of the dancer stands in for her unrecognized labor.
         
Srinivasan shifts away from the usual emphasis on Indian women dancers as culture bearers of the Indian nation. She asks us to reframe the movements of late nineteenth century transnational Nautch Indian dancers to the foremother of modern dance Ruth St. Denis in the early twentieth century to contemporary teenage dancers in Southern California, proposing a transformative theory of dance, gendered-labor, and citizenship that is far-reaching.

Dancer, award-winning choreographer, show producer, stand-up comedienne, TV/Film actress and author, Norma Miller shares her touching historical memoir of Harlem's legendary Savoy Ballroom and the phenomenal music and dance craze that "spread the power of swing across the world like Wildfire."

A dance contest winner by 14, Norma Miller became a member of Herbert White's Lindy Hoppers and a celebrated Savoy Ballroom Lindy Hop champion. Swingin' at the Savoy chronicles a significant period in American cultural history and race relations, as it glorifies the home of the Lindy Hop and he birthplace of memorable dance hall fads. Miller shares fascinating anecdotes about her youthful encounters with many of the greatest jazz legends in music history, including Ella Fitzgerald, Count Basie, Benny Goodman, Billie Holiday, Artie Shaw, Duke Ellington, Ethel Waters, and even boxer Joe Louis. Readers will experience the legend of the celebrated Harlem ballroom and the phenomenal Swing generation that changed music and dance history forever.

Like the history of women, dance has been difficult to capture as a historical subject. Yet in bringing together these two areas of study, the nine internationally renowned scholars in this volume shed new and surprising light on women’s roles as performers of dance, choreographers, shapers of aesthetic trends, and patrons of dance in Italy, France, England, and Germany before 1800.
    Through dance, women asserted power in spheres largely dominated by men: the court, the theater, and the church. As women’s dance worlds intersected with men’s, their lives and visions were supported or opposed, creating a complex politics of creative, spiritual, and political expression. From a women’s religious order in the thirteenth-century Low Countries that used dance as a spiritual rite of passage to the salon culture of eighteenth-century France where dance became an integral part of women’s cultural influence, the writers in this volume explore the meaning of these women’s stories, performances, and dancing bodies, demonstrating that dance is truly a field across which women have moved with finesse and power for many centuries past.