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acknowledgments

They are loved, the many friends in Austin who have supported my work with small and large favors that over time have become priceless gifts. Constant, whether I am away from Austin for long periods or at home, drawn to the comforts of my low profile apartment, these friends are essential to the network of relationships I need to live as I do. They are Emily Little, Phyllis Liedeker, Johanna Smith, Margaret Keys, Beverly Bajema, Will Dibrell, Claudia Boles, Diana Prechter, Sherry Smith, Ellen Fullman, and Eric Gould and Janna Buckmaster of Monkey Media. Michael Glicker has donated space for my solo performance practice at his Park Place Studio, for five years!

Just as consistent are my friends and colleagues in the field who make it possible for me to live and work in other communities near and far. These friends are Jane Refshauge and Margaret Cameron in Melbourne, Australia; Kris Wheeler, who housed me at her Whidbey Island, Washington, home for two summers while I worked on this book; Emily Day, another Whidbey Islander; Jana Haimsohn, the late Cynthia Jean Cohen Bull and Richard Bull, co-directors of the Warren Street Performance Loft in New York City; Elyse and Stanley Grinstein in Los Angeles; and Susan Foster of Riverside, California. All have sheltered me or provided me with access to their respective communities again and again. Movement Research in New York City, DanceHouse in Melbourne, and the School for New Dance Development in Amsterdam are institutions that have similarly helped integrate my work into broader community.

My brother and sister-in-law, Barry and Lorrie Goldensohn, included me in their winter and summer households for inordinately long stretches of time while I worked on My Body, The Buddhist. They were mercilessly astute with their feedback and editing. I thank them for standing beside me as an artist and sitting beside me at the dinner table as a family member, enriching me nightly. I am appreciative of Grace Mi-He Lee, who traveled as my master assistant during a west coast summer tour in 1998. Her presence in this role was stellar, and her editing tips were no less so. Rino Pizzi, a prince of a friend, also supplied invaluable last-minute editing advice. Scott Heron will always milk my soul.

Suzanna Tamminen, my editor at Wesleyan University Press, asked horrific questions of this manuscript. Her faith and belief helped me find the answers that she wanted and I needed to address.

I am grateful to Phyllis Liedeker, Todd V. Wolfson, Anja Hitzenberger, and Emma Hanson for permission to use their excellent photographs.

The individual artists who contributed a response to one of the eighteen chapter headings added immensely to the intention of this manuscript. I thank them, too, for bringing their fine art to life.

My daughter, Savannah Bradshaw, remains unparalleled in her effect on my living, breathing, and writing. I honor her here.

The inspiration for so much of the book’s material was located in the dancing bodies of the following workshop participants:

for seven performers April 1993

Beverly Bajema, Michael Arnold, Jewell Handy, Meg McHutchison, Grace Mi-He Lee, Jason Phelps, Ginger Rhodes Cain

Playing Awake 1995

Polly Gates, Nicole Bell, Sarah Farwell, Charly Raines, Liza Belli, Elizabeth Kubala, Lisa Gonzales, Dorothy Saxe, Sylvie Senecal, Liz Gans, Angeles Romero, Genie Barringer, Harry George, Beverly Bajema, Colene Lee, Charissa Goodrich

Wesleyan 1995 Choreography Workshop

Nicole Zell, Pedro Alejandro, Ara Fitzgerald, Sue McCarthy, Sara Kiesel, Christine O’Neal, Carla Mann, Joan Alix, Betty Poulsen, Hooshang Bagheri, Claudia Forest, Teri Roze

Playing Awake 1996

Ellen Fullman, Adrienne Truscott, Rebecca Morgan, Kathleen Baginski, Mary Beth Gradziel, Edith Andermatt

Wednesday Nite Class 1996

Ellen Fullman, Adrienne Truscott, Rebecca Morgan, Cara Biasucci

Minnesota Dance Alliance Project 1996

Alexa M. Bradley, Thérèse Cadieux, Joan Calof, Janet Deming, Mary Disch, Tara Arlene Inman, Susan McKenna, Sherry Saterstrom, Susan Spencer, Karen Spitzer, Anthony Stanton, Elena White, Laurie Young

1–2–1, Melbourne, Australia 1996

Anna Szorenyi, Bronwyn Ritchie, David Hookham. Hellen Sky, Jacob Lehrer, Jane Refshauge, Karen Ermacora, Mandy Browne, Margaret Cameron, Martine Murray, Megan Don, Pauline Webb, Peter Fraser, Phil Mitchell, Anna Turner, Ranjit Bhagwandas, Renata Bieske, Ros Warby, Shona Innes, Sylvia Staehli, Valley Lipcer, Natasha Mullings, Adam Forbes

School for New Dance Development, Amsterdam, 1996 Workshop

Ivana Muller, Marianne Langenegger, Lianne Ernsting, Ellen Kilsgaard Andersen, Katalin Balla, Katharina Pohlmann, Antje Reinhold, Friederike Koch

Skidmore Workshop 1997

Judy Margo, Danielle Seymour, Kara Martinez, Jenny Thomson, Megan Moodie, Abigail Sammon, Tracey Fischette, Nikki Verhoff

I am grateful to the National Endowment for the Arts Dance Program for its financial support of my work through its grants to individual choreographers. Since 1980 the development of my performance and dance practices would have been unimaginable without space and time secured with Dance Program Fellowship funds. Along with the generosity of friends and family, a 1997 NEA Choreography Fellowship allowed me to complete this manuscript.

I also wish to acknowledge support from the Rockefeller Foundation, the Kittredge Foundation, the City of Yarra, Arts Victoria, Australia Council for the Arts, the Minnesota Dance Alliance, and the McKnight Foundation in Minneapolis, Minnesota.