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In close personal touch with his subject, Sam Gill takes the reader on a global journey through dance and religion guided by philosophy, ethnology, and intuition. His book reveals how the body has its own truth that cannot be read or spoken, only danced. -- Sondra Fraleigh, State University of New York, College at Brockport It is gratifying to see a senior scholar of religion write with such energy and enthusiasm for the philosophical and cultural significance of dancing. Gill's movement-based, ontogenetic 'conversion' to dance provides a tantalizing, playful glimpse of a vibrant theoretical niche that the art-form might eventually come to fill within the field of religious studies. -- Sally Ann Ness, University of California, Riverside Sam Gill leads us in a playful and provocative dance, weaving gracefully between the oft-estranged partners of Western "mind" and "body" to draw out tantalizing, seductive glimpses of person moving, engaging-dancing-with the world. Dancing Culture Religion is a work long overdue that promises to move discussion in our field in new and exciting directions. -- Nikki Bado, Iowa State University Pairing his experience of dance traditions from around the world with his readings of select philosophical texts, Gill sets in motion a provocative whirl of ideas that demonstrates what the early American modern dancers also knew: the practice of dancing proves a potent catalyst for thinking about religion. -- Kimerer L. LaMothe, author of Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of Christian Values Perhaps best known as a scholar of Native American religions, Gill (Univ. of Colorado at Boulder) expands his investigations of rituals and myths to include dancing and its significance for religious studies. His research travels have taken him to a wider world from Bali to Mali and beyond. In his new book, filled with philosophical and phenomenological insights, Gill engages his readers both experientially and in the experience(s) of dancing. He emphasizes activity over spectatorship by using the term dancing instead of dance in his title and from page one throughout all six chapters. He expands the boundaries of ritual study from body and gestures to include movement, rhythm, and the dance-induced experience of trance. The innovative style of his text is balanced by scholarly acumen; however, like others who span the great divide between the intellectual and the experiential dimensions of religion, he offers a selective bibliography. Gill's work suggests an exciting new methodology. Summing Up: Recommended. Upper-division undergraduates and above CHOICE
