(p. xiii) Acknowledgments
(p. xiii) Acknowledgments
This is the section in which I can express my indebtedness, both scholarly and personal, to the many individuals who helped to bring about the publication of this volume. My first debt as editor is to the contributors to the volume. Their contributions have enriched my knowledge and given me hope for the future of dance scholarship.
I cannot express fully enough my awe of and gratefulness to Norman Hirschy, my editor at Oxford University Press, for his calm, generosity, and kindness in answering my many queries and demands. I also extend thanks to Molly Davis, editor at Oxford, for her prompt assistance in the technical matters of assembling a volume of this scope.
Pomona College, which provides the ideal intellectual environment for a scholar, permitted me to take leave and provided me with financial support in the form of grants and fellowships to work on this project. I especially thank Assistant Dean Jonathan Wright, who guided me through the process, and Sandra Fenton, grants and fellowship administrator, for processing them. My colleagues in the Theatre and Dance Department, who helped and guided me through the tenure process, have been very generous in their support: in dance, Laurie Cameron, the program director, Meg Jolley, Vicky Koenig, and John Pennington; and in theater, James Taylor, chair of the department, Betty Bernhard, Art Horowitz, Thomas Leabhart, Sherry Linnell, Joyce Lu, and Leonard Pronko. Cathy Seaman, program administrator of theater and dance; Mary Rosier; and Myrna Cogley provided invaluable logistical assistance. My thanks also to librarians Gale Burrow, Char Booth, and Alex Chappell for their unflagging kindness in locating reference materials. In the technical services area, I owe a debt to Mary McMahon and Jason Smith.
I especially thank my students, whose out-of-the-box, critical thinking and writing inspire me daily.
The hundreds of members of the Aman Folk Ensemble and the AVAZ International Dance Theatre placed bodies, voices, and musical instruments in my hands that allowed me to be a creative artist and my beginnings as a dance scholar. The dazzling AMAN fiftieth reunion in October 2011 reminded me why I had begun my life’s journey as dancer, choreographer, and scholar in the first place. My deepest gratitude goes to Susie Burke, who oversaw the ambitious reunion, and to Louise Weiler and Mitzi Eisner, among others who directed the life-changing event.
I sincerely thank my dear friends Jonathan Hall and Philip Nix for their support. Above all, I thank my spouse, Jamal (Khosrow Jamali), for his many kindnesses, unending patience and support, and gourmet meals. (p. xiv)