Books like The Ecstasy of Being — picked by fans

When I began researching Martha Graham’s multifaceted life, I was intrigued to learn that she spent several summers in the 1930s at the Pueblo communities in New Mexico, where she was fascinated by the ceremonial and ritualistic dance elements of their lives. Entire villages of all generations would gather together on feast days at the center of the pueblo to watch the feather - and shell - and evergreen-costumed pageantry unfold, pounding steps on packed earth, cries to the heavens for rain and good harvests, and prayers for a harmonious year ahead. Graham insisted that she would never “copy” these dances – rather, she took the inspiration gathered in her imagination and mindfully infused it into her own pieces. Thus did Jacqueline Shea Murphy become my very first teacher in the roots and ways of indigenous American dance practices.

In 1946, Sir Robert Paul Cohan CBE (26 March 1925 – 13 January 2021) became one of the first male dancers to join Martha Graham’s company – and stayed for twenty-three years. He went on to become the first Artistic Director of the Contemporary Dance Trust in London and Artistic Advisor to the Batsheva Dance Company in Israel. I had the greatly entertaining privilege of interviewing Sir Robert in the Graham studio at their Westbeth home in NYC, where he regaled me with warm and acerbic vignette memories of “Martha,” her rigorous demeanor, her abrupt critiques, her searching analyses of his movement, her extreme demands as a partner – and her dire yet lyrical sensuality. The book is built around interviews skillfully and subtly conducted by Paul Jackson, principal lecturer in Choreography and Dance at the University of Winchester, UK.

In the fall of 2016, Deborah Hay came to the Montclair State University campus, where I was professor of theatre & dance, to stage her new work, "Figure a Sea," performed by the Cullberg Ballet of Sweden and featuring the music composition of Laurie Anderson. During her time in residence at the university, I talked with Deborah at the Kasser Theatre about her life and work. Hay was one of the founders of the postmodern Judson Dance Theatre in NYC in the early 1960s and she has pursued an iconoclastic, independent, headstrong, and mystical path ever since, which is why I loved chatting with her so much. Her appeal as a teacher in the studio with our students was equally shape-shifting and mind-bending. And this book creates the same ambiance in the reader’s head – it is a synthesis of memoir and physicalized ‘auto-body-ography,’ to subvert the term!… show more.

The life and career of Lincoln Kirstein (1907-1996) fits – sometimes ideally, at others idiosyncratically – into so many appealing categories that I don’t know when to stop: “Our Crowd” Jewish preppie; poetry lover; art connoisseur while still a teenager (favorite: William Blake); hiker; denizen of Harvard Yard and inveterate dormitory “bull session” instigator; literary magazine editor (Hound & Horn) and art gallery proprietor while still an undergrad; cosmopolite and boulevardier of Manhattan; party-giver and goer; sexual experimenter…and, most pertinent to my journey with Martha Graham, he was the discoverer and “importer” to these shores of the genius George Balanchine, and inventor of the American Ballet Caravan, Ballet Society, and the New York City Ballet. A skeptical critic, Kirstein’s first encounter with Graham was somewhat grouchy – however, he came around to accept her new technique, and his seal of approval gave a timely boost to her reputation.… show more.

This is a perfectly charming story about a boy who is way into ballet and baseball, written in the 1970s, but which still holds up today. And no one ever makes fun of him. Max is not necessarily Queer, but I consider it in the canon of kid’s books that address gender identity.

Erotic Triangles returns to a part of the world I know well, though the topic is alien to my own natural resource emphasis. Yet I found it fascinating for its symbolic analyses of West Java’s musical and art worlds – intertwined intimately with the relations between men and women and among men. Its emphasis on triangles was the inspiration for me to structure my own analyses as a harp (another ‘triangle’), within which the strings signify traits that men value in a given culture. Spiller’s analysis inspired my own analogy between the creation of harp music and the clusters of values that influence men’s identities, their personal and cultural ‘songs.’

In this fascinating study, Chasteen examines the historical experiences that molded Latin American popular dance from an Atlantic perspective. It delves into the “deep” history of Latin American culture and analyzes the development of dancing culture in its socio-historical context. This is not only a well-researched, but also a well written and oftentimes funny book that is broadly accessible. It is a must-read for any new scholar interested in the field of Black performance culture. Although the focus is on Latin America, Chasteen’s study reveals connections that are also of great importance to understanding the historical development of Black dance culture in North America.

It concerns the complex and demanding process of becoming proficient in dance procedures. The stages involve becoming deeply mindful of the body. The novice has to become attached and subordinated to a ‘master’ who can of course be a woman. Through these rituals the novice becomes enculturated into the dance aesthetic and the wider culture. The core energy required by dance comes from the abdomen to empower the dancer. The training involves self-cultivation. Eventually the mind no longer hinders the expressivity of the body.

This colorful picture book, with whimsical illustrations by Maine Diaz, takes the reader on a journey through ten different kinds of dance from around the world. There are pictures of a widely diverse cast performing the dances, from Kuku to cha cha to disco to break dancing.

In addition, movement words like "glide," "dip," and "tap" will inspire children to dance along with the fun and playful words and illustrations.

I selected this book because it finally offered me some answers to questions I’d asked myself all my life: Why am I so driven to dance? Why does dancing make me feel so euphoric? McNeill found himself asking this last question when forced to go through endless military close-order drill (a sort of dance!) as a young draftee. Whence these surprisingly positive effects of “keeping together in time”? Over the course of his later life as a historian, he tracked down a fascinating array of anecdotal and cognitive answers. The relation of this phenomenon to unique details of how the human brain is put together was then further addressed by Oliver Sacks toward the end of his book Musicophilia, where I first learned of McNeill.