Recommended

What the Eye Hears: A History of Tap Dancing

By Brian Seibert

Farrar, Straus and Giroux; 612 pages; $35

The New York Times dance critic Brian Seibert delivers an illuminating history of tap dance, including its origins in jig and clog dancing; hoofers like Bill “Bojangles" Robinson, the Nicholas Brothers and John Bubbles; and how stars like Fred Astaire and Gene Kelly took it to the silver screen.

Dance to the Piper

By Agnes de Mille

NYRB Classics; 368 pages; $17.95

Twentieth-century choreographer Agnes de Mille is famous for her ballets and Broadway works, including Rodeo, Oklahoma! and Fall River Legend. In her 1951 memoir, now released in a new edition with an introduction by dance writer Joan Acocella, de Mille tells her story with humor and candor.

Comments on Jazz Dance, 1996–2014

By Bob Boross

Bob Boross; 244 pages; $11.99

Matt Mattox disciple Bob Boross, who is on faculty at Shenandoah Conservatory and directs Bob Boross Freestyle Jazz Dance, has gathered nearly two decades of his writings on jazz dance history, style and philosophy.

Swing Dance: Fashion, Music, Culture and Key Moves

By Scott Cupit

Jacqui Small LLP; 192 pages; $29.99

Four major styles of swing dance—the Charleston, collegiate shag, Balboa and Lindy Hop—are covered in this comprehensive manual by Australian swing dance expert Scott Cupit. Swing Dance is full of step-by-step instructions, historical tidbits, musical selections for each dance and beautiful photos.

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Health & Body
Getty Images

Talar compression syndrome means there is some impingement happening in the posterior portion of the ankle joint. Other medical personnel might call your problem os trigonum syndrome or posterior ankle impingement syndrome or posterior tibiotalar compression syndrome. No matter what they name it—it means you are having trouble moving your ankle through pointing and flexing.

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News
Scott Robbins, Courtesy IABD

The International Association of Blacks in Dance is digitizing recordings of significant, at-risk dance works, master classes, panels and more by Black dancers and choreographers from 1988 to 2010. The project is the result of a $50,000 Recordings at Risk grant from the Council on Library and Information Resources.

"This really is a long time coming," says IABD president and CEO Denise Saunders Thompson of what IABD is calling the Preserving the Legacy and History of Black Dance in America program. "And it's really just the beginning stages of pulling together the many, many contributions of Black dance artists who are a part of the IABD network." Thompson says IABD is already working to secure funding to digitize even more work.

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Studio Owners
The Dance Concept staff in the midst of their costume pickup event. Photo courtesy of Dance Concept

Year-end recitals are an important milestone for dancers to demonstrate what they've learned throughout the year. Not to mention the revenue boost they bring—often 15 to 20 percent of a studio's yearly budget. But how do you hold a spring recital when you're not able to rehearse in person, much less gather en masse at a theater?

"I struggled with the decision for a month, but it hit me that a virtual recital was the one thing that would give our kids a sense of closure and happiness after a few months on Zoom," says Lisa Kaplan Barbash, owner of TDS Dance Company in Stoughton, MA. She's one of countless studio owners who faced the challenges of social distancing while needing to provide some sort of end-of-year performance experience that had already been paid for through tuition and costume fees.

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