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date: 13 October 2019

(p. xiii) Acknowledgments

(p. xiii) Acknowledgments

This anthology has been many years in the making and I am indebted to the people who have devoted their time, energy, and intellectual acumen to its creation. What began as an observation about the importance of a certain type of performance led me to many like-minded scholars—so many, in fact, that the possibilities for these discussions could only be held by this large volume. I would like to express my gratitude to all the contributors for trusting my curatorship of their research.

Anthea Kraut was a valuable early collaborator on these ideas when we co-chaired the 2010 conference Embodying Power: Work Over Time. Susan Manning has been a mentor since graduate school and her work in theater and dance has influenced many of these discussions. I’m thankful that we have continued the conversations on the intersections of theater and dance at working group sessions at the 2012 and 2014 ASTR conferences. Thanks to Ira Murfin and Tara Rodman for helping us orchestrate these meetings. I look forward to more such provocative forums.

Scholarly organizations play an important role in the generation and dissemination of ideas. I am fortunate to have found a number of supportive professional associations during my academic and creative journey. Behind all the acronyms (CORD, ASTR, SDHS, ATHE, BPT, BTA, BTN, CADD, PSi, IFTR, ASA, etc.) lie brilliant scholars and artists pushing back the frontiers of ignorance. During the creation of this volume, I was honored to serve as president of the Congress on Research in Dance. Many thanks to the board of directors and the many scholars and artists I met and worked with during my term.

Thanks to my colleagues and students at my home institution UC San Diego, particularly the students in my Dance Theater graduate seminar.

Scholars don’t thank enough artists working in theater and dance around the world creating the aesthetics and traditions that inspire our humanist inquiries and insights. We are privileged to participate in your work as witnesses, collaborators, performers, investigators, and disseminators. The complex nexus of artistry and scholarship around the phenomena of performance is a prolific site that I am proud to call home.

Thank you to the folks at Oxford University Press who have patiently worked with me on the publishing of this work. Norm Hirschy is a remarkable editor who guided me from proposal to print, patiently answering (and sometimes re-answering) all my questions. Assistant editor, Lisbeth Redfield, helped us keep the ship afloat and sailing. And thank you to the anonymous readers for their support of the project and advice for improvement.

I could not have pulled this off without the administrative support of Maiya Murphy. She deftly choreographed the movement of drafts, permissions, and artwork all while moving from PhD student to assistant professor.

Nothing is possible or worth it without the love and support of my family. My husband, Cebra Graves, is the smartest person I know and my intellectual partner since our late night (p. xiv) dorm-room debates. We’ve been on an odyssey of love, art, curiosity, and geography, and I wouldn’t have it any other way. Our beautiful children, Gideon, Maya, and Zora, make life fun and work easy. Watching them discover and grow are constant reminders of the impetus to understand. My rock is my aunt, Ruby Rowe, whose balance of grace, peace, and righteousness is a model for excellence. And I honor my mother, Lorna George, in whose memory I do everything.