Perhaps the best-known dancer from Greek antiquity is Hippocleides, who was a suitor for the hand of the daughter of Cleisthenes, the tyrant of Sicyon in the sixth century BCE. According to Herodotus, Hippocleides was “the most outstanding man in Athens for his wealth and good looks,” and Cleisthenes preferred him for his son-in-law “because of his courage” (or “manly virtue,” andragathiê) and because he was related to the Cypselidae of Corinth (Histories 6.127–8). On the day Cleisthenes was to make his decision, however, things took a wrong turn (Histories 6.129.2–4; trans. Waterfield 1998):

“The Great Migration” considers danced formations of latinidad in Los Angeles. Through close analysis of the spectacularized “migration” within one east Los Angeles County nightclub, the author argues that the politics of Mexican migration interlock with salsa dance practices.

Edward Nye is a dance historian who specializes in the eighteenth century and who is the author of many articles on the genre of ballet d'action, which became known in Europe during the second half of the century. His groundbreaking book, Mime, Music and Drama on the Eighteenth-Century Stage, examines ballet d'action both in its own context and as a broader aesthetic phenomenon. It is an enriching milestone in a body of work that Nye has been developing for a decade.1 The book, presented in two parts, first contains an analysis of the genre within what the author argues to be its proper intellectual and historical context, and goes on to study its critical relationship to theatrical technique, or—to use a term from its era—the poetics of ballet d'action.