Karen Eliot danced in the Merce Cunningham Dance Company during the 1980s. She is a Professor in the Department of Dance at The Ohio State University where she has taught for over 20 years. Her books include Dancing Lives: Five Female Dancers from the Ballet d'Action to Merce Cunningham (2007), and the edited anthology, Dance on its Own Terms: Histories and Methodologies (2013) with co-editor Melanie Bales. She serves on the advisory board of Dance Chronicle. Her articles appear in: Dance Chronicle; Dance Gazette; The American Society for Eighteenth-Century Studies Book Reviews Online; and Dance Research Journal.

"An enthralling story of how diverse groups of unsung dancers and choreographers changed the landscape of British ballet through their courageous work during the war. With her rigorous and deft handling of the sources, Eliot makes a major contribution to dance scholarship."--Geraldine Morris, Reader in Dance University of Roehampton"A detailed, insightful account of ballet in Britain during World War II, Albion's Dance probes the complexities and paradoxes of wartime - its socio-political and artistic realignments; its grittiness and transcendences - and how ballet contributed to reshaping the cultural landscape. The book is essential reading for dance students, teachers and scholars, and for all of us interested in new histories of ballet and its place on the world stagetoday."--Angela Kane, Professor of Dance, University of Michigan"Eliot bases much of her study on her extensive investigation of dancers>' memoirs and writings of dance critics, and the result is a book that is both well-researched and fascinating." --L.K. Rosenberg, Miami University, Choice

• PrefaceIntroductionChapter One: The British Ballet and its Critics at the Onset of WarChapter Two: Making Ballet Central to British Wartime ExperienceChapter Three: The Dancers' ExperienceChapter Four: Propaganda, Publicity, and Social Pressure: Ballet in Discourse and DeedChapter Five: The Function of the Classics in Wartime Chapter Six: Programming the RepertoireChapter Seven: British Choreography during the WarAfterwordIndex

Karen Eliot danced in the Merce Cunningham Dance Company during the 1980s. She is a Professor in the Department of Dance at The Ohio State University where she has taught for over 20 years. Her books include Dancing Lives: Five Female Dancers from the Ballet d'Action to Merce Cunningham (2007), and the edited anthology, Dance on its Own Terms: Histories and Methodologies (2013) with co-editor Melanie Bales. She serves on the advisory board of Dance Chronicle. Her articles appear in: Dance Chronicle; Dance Gazette; The American Society for Eighteenth-Century Studies Book Reviews Online; and Dance Research Journal.

"An enthralling story of how diverse groups of unsung dancers and choreographers changed the landscape of British ballet through their courageous work during the war. With her rigorous and deft handling of the sources, Eliot makes a major contribution to dance scholarship."--Geraldine Morris, Reader in Dance University of Roehampton"A detailed, insightful account of ballet in Britain during World War II, Albion's Dance probes the complexities and paradoxes of wartime - its socio-political and artistic realignments; its grittiness and transcendences - and how ballet contributed to reshaping the cultural landscape. The book is essential reading for dance students, teachers and scholars, and for all of us interested in new histories of ballet and its place on the world stagetoday."--Angela Kane, Professor of Dance, University of Michigan"Eliot bases much of her study on her extensive investigation of dancers>' memoirs and writings of dance critics, and the result is a book that is both well-researched and fascinating." --L.K. Rosenberg, Miami University, Choice

• PrefaceIntroductionChapter One: The British Ballet and its Critics at the Onset of WarChapter Two: Making Ballet Central to British Wartime ExperienceChapter Three: The Dancers' ExperienceChapter Four: Propaganda, Publicity, and Social Pressure: Ballet in Discourse and DeedChapter Five: The Function of the Classics in Wartime Chapter Six: Programming the RepertoireChapter Seven: British Choreography during the WarAfterwordIndex

Karen Eliot danced in the Merce Cunningham Dance Company during the 1980s. She is a Professor in the Department of Dance at The Ohio State University where she has taught for over 20 years. Her books include Dancing Lives: Five Female Dancers from the Ballet d'Action to Merce Cunningham (2007), and the edited anthology, Dance on its Own Terms: Histories and Methodologies (2013) with co-editor Melanie Bales. She serves on the advisory board of Dance Chronicle. Her articles appear in: Dance Chronicle; Dance Gazette; The American Society for Eighteenth-Century Studies Book Reviews Online; and Dance Research Journal.

"An enthralling story of how diverse groups of unsung dancers and choreographers changed the landscape of British ballet through their courageous work during the war. With her rigorous and deft handling of the sources, Eliot makes a major contribution to dance scholarship."--Geraldine Morris, Reader in Dance University of Roehampton"A detailed, insightful account of ballet in Britain during World War II, Albion's Dance probes the complexities and paradoxes of wartime - its socio-political and artistic realignments; its grittiness and transcendences - and how ballet contributed to reshaping the cultural landscape. The book is essential reading for dance students, teachers and scholars, and for all of us interested in new histories of ballet and its place on the world stagetoday."--Angela Kane, Professor of Dance, University of Michigan"Eliot bases much of her study on her extensive investigation of dancers>' memoirs and writings of dance critics, and the result is a book that is both well-researched and fascinating." --L.K. Rosenberg, Miami University, Choice

• PrefaceIntroductionChapter One: The British Ballet and its Critics at the Onset of WarChapter Two: Making Ballet Central to British Wartime ExperienceChapter Three: The Dancers' ExperienceChapter Four: Propaganda, Publicity, and Social Pressure: Ballet in Discourse and DeedChapter Five: The Function of the Classics in Wartime Chapter Six: Programming the RepertoireChapter Seven: British Choreography during the WarAfterwordIndex