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61.
Staging lo Andino: The Scissors Dance, Spectacle, and Indigenous Citizenship in the New Peru
by Bush, Jason Alton, Ph.D.  The Ohio State University. 2011: 393 pages; 10630848.
63.
!Casinando! Identity, meaning, and the kinesthetic language of Cuban casino dancing
by Martinez, Brian, M.M.  The Florida State University. 2012: 137 pages; 1515773.
64.
Moving Through the Afterlife
by Moe, Brian, M.F.A.  California State University, Long Beach. 2012: 80 pages; 1517738.
65.
Like A Unicorn in Captivity
by Dooling, Shannon Marie, M.F.A.  University of Maryland, College Park. 2013: 86 pages; 1543561.
66.
Queering choreographic conventions: Concert dance as a site for engaging in gender and sexual identity politics
by Hart, Alison, M.F.A.  California State University, Long Beach. 2014: 83 pages; 1527949.
67.
Ritual: A passage through
by Hahn, Jeremy, M.F.A.  California State University, Long Beach. 2013: 102 pages; 1523252.
70.
Bill T. Jones: Death is a life worth dancing
by Becker, Kathy, M.F.A.  Mills College. 2014: 43 pages; 1557454.
71.
Dance: The stepchild of the Black Arts Movement
by Page, Rita Delores, M.A.  California State University, Long Beach. 2012: 169 pages; 1517536.
72.
Student body centered learning: A revolutionary act
by Coleman, Sheila, M.F.A.  Mills College. 2010: 56 pages; 1474969.
73.
Integrative Somatic Practice: Mindfulness Through Movement for Dancers
by Mytych, Abigail Rose, M.F.A.  Mills College. 2017: 23 pages; 10635116.
74.
The Cuban dance construct: A mechanism for creative agency and identity formation
by Gahl, Elizabeth, M.A.  The American University of Paris (France). 2014: 57 pages; 10305848.
76.
Performance training methodology through the choreographic process
by Brown, Summer, M.F.A.  California State University, Long Beach. 2012: 83 pages; 1511337.
77.
Embodiment beyond the binary: Sean Dorsey and the trans genderqueer presence in contemporary concert dance
by Tikkun, Kaitlyn Muriel, M.F.A.  University of California, Irvine. 2010: 86 pages; 1476753.
78.
We came 2 get down: A history of pop locking in Los Angeles
by Meadows, Bethany, M.A.  California State University, Long Beach. 2014: 131 pages; 1527017.
79.
The Immured Woman
by Jandasek, Francesca, M.F.A.  California State University, Long Beach. 2018: 70 pages; 10839311.
81.
Methodologies of performance coaching: Cultivating genuine stage presence and character embodiment in concert modern dance
by Phillips, Margaret E., M.F.A.  California State University, Long Beach. 2014: 75 pages; 1528025.
82.
Moving towards attachment
by Boland, Carly, M.F.A.  Mills College. 2012: 68 pages; 1510784.
83.
In / and / of / through
by Durham, Valerie Lee, M.F.A.  University of Maryland, College Park. 2012: 162 pages; 1514901.
85.
Redefining the historical music-dance relationship
by Helm, Kathleen, M.F.A.  California State University, Long Beach. 2015: 81 pages; 1587285.
86.
Funding footprints: U.S. State Department sponsorship of international dance tours, 1962–2009
by Croft, Clare Holloway, Ph.D.  The University of Texas at Austin. 2010: 270 pages; 3417494.
87.
Dancing Within Taiwanese-ness: International Folk Dancing Communities in Taiwan and California
by Wu, Wei-Chi, Ph.D.  University of California, Riverside. 2018: 224 pages; 10935353.
88.
Architecture, Identity, and Performance "'In the Flesh' of the Lived World"
by Core, Cathryn, M.A.R.  University of Louisiana at Lafayette. 2016: 127 pages; 10163264.
89.
Martha Graham engages the body and its dances as a path into the unconscious
by Sultanian, Maral Pushian, Ph.D.  Pacifica Graduate Institute. 2013: 287 pages; 3610765.
90.
Riding the Bliss Wave: A Thematic Analysis of Intuitive Entheogen Dance Experiences in Women
by Blaha, Jonalyn R., Psy.D.  California Institute of Integral Studies. 2017: 184 pages; 10618687.
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