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date: 26 November 2020

(p. xi) Acknowledgments

(p. xi) Acknowledgments

This project would not be what it is without Randy Martin’s contribution, his collegial generosity, his vision, and his intelligence. We only wish he were here to celebrate the concerted accomplishment of its publication with all of us.

We would like to extend gratitude to the contributors to the volume, for their individual and collective wisdom, belief in this massive project, and efforts to bring it to fruition. We are deeply thankful too for their kindness and compassion in the wake of Randy’s untimely death and as we made adjustments to our editorial team.

Special appreciation goes to contributor Susan Leigh Foster for her help with the Introduction, including suggestions about voicing the narrative and the perspective she offered on Randy’s early career, namely his participation in the “Choreographing History” conference and subsequent seminar. Foster organized this conference and seminar at the University of California, Riverside, in 1992–1993, leading to the publication of her edited volume, Choreographing History (Indiana University Press, 1993), a groundbreaking contribution to the nascent field of dance studies and important precedent for this project.

We would like to extend our appreciation to the anonymous reviewers of the prospectus and chapter drafts, who challenged us initially to hone our sense of the scope and the thematics of the project, and more recently, whose suggestions to contributors led to a more refined finished product.

Where would be without our editor, Norm Hirschy, whose enthusiasm and belief in this project spawned its genesis, and whose sage advice has kept it on track throughout the process? We would also like to thank his editorial team including Lisbeth Redfield, Lauralee Yeary, and to Prabhu Chinnasamy, all of whom have aided us along the way.

Rebekah would like to extend appreciation to The University of Iowa College of Liberal Arts and Sciences (CLAS), especially to Dean Chaden Djalali and Associate Deans Raúl Curto and Joseph Kearney, for acknowledging this project’s importance. Monies contributed both by a CLAS book subvention grant and by the UI Honors Program made it possible to hire and retain our outstanding editorial assistant, alumna, Katie Skinner. Thanks too go to colleagues and students in the UI Department of Dance for demonstrating every day why dance matters.

Gerald would like to thank the staff and students at the Institute of Applied Theatre Studies at the Justus-Liebig-University in Giessen, Germany, for their ongoing support and the lively discussions about what dance and theatre can do.

(p. xii) We are grateful to Katie Skinner for her sage editorial assistance, attention to myriad detail, general aplomb, and for keeping this project going in the midst of both easy and challenging times.

And finally, we extend warmth and heartfelt gratitude to Ginger Gillespie, Randy Martin’s widow, who made it possible for Rebekah to communicate with Randy about the Introduction during his final days and who has remained involved in this project even after Randy’s death.