(null) Erkert, J. (2003). Harnessing the wind: The art of teaching modern dance. Champaign, IL: Human Kinetics.Fancher, G. (1982). Post Modern Dance and Expression. New York: Dance Horizons.Horosko, M. (1991). Martha Graham: The evolution of her dance theory and training, 1926-1991. Chicago: A cappella Books.Krasnow, D., & Wilmerding, M. V. (2015). Motor learning and control for dance: Principles and practices for performers and teachers. Champaign: Human Kinetics.Kuypes, P. (1989). Une technique nouvelle: Le contact?improvisation. Sport, 32 (3), 166?167.Kuypes, P. (1995). L'heritage du corps [The body's heritage]. Les nouvelles du patrimoine, 62, 8?9.Lepkoff, D. (2011). Contact Improvisation: A Question. Contact Quarterly, Journal of Dance and Improvisation 36 (1), pp.38-40Lilja, E. (2004). Dance: For better, for worse. Estocolmo: ELD.Lord, M., & Bruneau, M. (1983). La parole est à la danse. Sainte?Foy: La Liberté.Love, P., & King, E. (1997). Modern dance terminology. Princeton: Dance Horizons.Maucouvert, A. (1979). Graham: La vitalité rebelle du movement. Revue EP&S, 155, 25-32; 156, 53-57, 157, 72-75; 159, 28-31; 161, 66-69; 162, 23-26.Perces, M. B., Forsythe, A. M., & Bell, C. (1992). The dance technique of Lester Horton. Princeton: Dance Horizons.Schwartz, P. (2000). Action Research: dance Improvisation as dance Technique, Journal of Physical education, Recreation and Dance, 71(5), 42-46.Sherbon, E. (1982). On the count of one: Modern dance methods. New York: Mayfield Publishing Company.Steinman, L. (1986). The knowing body: Elements of contemporary performance & dance. Boston: Shambhala.Stodelle, E. (1978). The dance technique of Doris Humphrey and its creative potential. London: Dance Books.Tufnell, M., & Crickmay, C. (1993). Body space image: Notes towards improvisation and performance. London: Dance Books. null