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Acknowledgments
I would like to thank the many colleagues who have
provided valuable input to this book, and especially
Katherine Daniels (Cornish College of the Arts),
Scott E. Brown (Sinai Hospital of Baltimore and
Johns Hopkins University), Terese Freedman (Mount
Holyoke College), and Ralph Rozenek (California
State University, Long Beach), for their review of
all or portions of this text. Deepest gratitude is
expressed to D. Skip Clippinger and Mario Zemann
for the countless hours they spent rendering illus-
trations for this book, essential for enriching and
clarifying the theoretical concepts presented in this
text. Sincere thanks are also expressed to Francia
Russell (Director of Pacific Northwest Ballet School)
for her long support of my work, particularly in
the early years, and the pivotal role she and Pacific
Northwest Ballet played in the evolution of my work
with dancers.
I also greatly appreciate all the talented photogra-
phers who provided inspiring images of dancers in
motion, as well as other individuals who contributed
photographs or helped me acquire the photographs
used in this text. Particular appreciation is expressed
to Francia Russell and Lia Chiarelli for their assis-
tance with photo acquisition of Pacific Northwest
Ballet dancers and Angela Sterling (photographer
for Pacific Northwest Ballet) for providing the pho-
tographs of Pacific Northwest Ballet dancers used on
the cover, each chapter opening, and some chapterinteriors. Gratitude is also expressed to photogra-
phers Keith Ian Polokoff and Patrick Van Osta for
use of their photos in the montage at the opening of
the book and each chapter, as well as their contribu-
tion of other photos used within chapter interiors.
Appreciation is also expressed to Alonzo King’s Lines
Ballet and Robert Rosenwasser for their assistance
with acquisition of photos.
I would also like to thank the dancers who are
depicted in the photos and especially (1) the danc-
ers of Pacific Northwest Ballet; (2) Maurya Kerr
(currently dancing with Alonzo King’s Lines Ballet)
and Jennifer Owen (currently dancing with Bal-
letMet Columbus) for use of photos demonstrating
exercises and correct technique taken by me when
they were students at Pacific Northwest Ballet School;
and (3) Jennifer Fitzgerald (CSULB dancer), Merett
Miller (Sacramento Ballet dancer), and Dwayne
Worthington (CSULB MFA dancer) for modeling for
strength, flexibility, and technique exercises. Appre-
ciation is also expressed to Shawn Robertson for his
assistance with editing and cataloging my photos.
Lastly, I would like to thank California State
University, Long Beach and particularly Judy Allen
(Dance Department Chair) and Donald Para (Dean,
College of the Arts) for their support of this work, as
well as the many individuals at Human Kinetics that
helped to make this text become a reality.