Enhanced descriptions from Syndetics:

Making an Entrance is the first ever practical introduction to teaching dance with disabled and non disabled students. This clearly written, thought provoking and hugely enjoyable manual is essential reading whether you're just starting out or are already active in the field.
Taking improvisation as his focus and as the starting point of choreographic exploration, Adam Benjamin asks what it has to offer as an art form and how it can be better used to meet the changing needs of dance education.
In the theoretical section Benjamin explores the history of a disintegrated dance practice, placing it within the wider context of cultural and political movements. He questions what is meant today when we talk about 'inclusive' or 'integrated dance' and what we might expect of it.
The book includes over 50 exercises and improvisations designed to stimulate and challenge students at all levels of dance. Benjamin also includes useful hints on the practicalities of setting up workshops covering issues as diverse a class size, the safety aspects of wheelchairs and the accessibility of dance spaces.

Table of contents provided by Syndetics

• List of figures (p. xiii)
• Foreword (p. xv)
• Preface (p. xvii)
• Acknowledgements (p. xxi)
• Part I Introduction (p. 1)
• 1 Introduction: life after Stages (p. 3)
• 2 Improvisation--access--training--touching on a definition (p. 7)
• 3 A little on language, disability, integration and inclusivity (p. 12)
• 4 Disability-specific groups and the Simpson Board (p. 19)
• 5 A serious dislocation (p. 23)
• The god, the bad and the ugly: three approaches to dance in one mythical family (p. 23)
• Apollo's mission: the elevation and inaccessibility of dance (p. 24)
• Louis XIV: the king who stole space to make steps (p. 25)
• Darwin, eugenics and state control (p. 26)
• 'Some of the people' v. 'All of the people'; Hitler v. F. D. Roosevelt (p. 28)
• Natura non facit saltum: leaps of the imagination--Cunningham and Keller (p. 29)
• Natura facit saltum: nature dances, and so do disabled people; contact improvisation and developments in America (p. 30)
• A dance whose time had come: disabled people make an entrance (p. 32)
• X marks the spot: X.24 to X6--contemporary and new dance initiatives in the UK (p. 36)
• The hobbling dance (p. 40)
• 6 'Just' moving: ethics, integration and the discipline of improvisation (p. 43)
• 7 The great mistake: response-ability and feedback (p. 49)
• 8 Tension seekers: a poet/hunter's guide to improvisation (p. 52)
• 9 Tension as a guide to feedback (p. 55)
• 10 Demons and dragons: some thoughts on becoming blocked in improvisation (p. 59)
• 11 Is it therapy? (p. 62)
• Tears and fears (p. 65)
• 12 Special schools, special students and integrated practice (p. 67)
• Learning with difficulty (p. 68)
• When to say 'no' (p. 68)
• 13 Lost narrative (p. 71)
• 14 Access v. excellence (p. 73)
• Setting up (p. 73)
• An integrated group does not handicap its non-disabled dancers (p. 74)
• Selection criteria (p. 75)
• Part II Exercises and Improvisations (p. 77)
• 15 Working against resistance: an introduction to the improvisations and exercises (p. 79)
• 16 An unruly location (p. 82)
• Ground rules in the studio (p. 82)
• The dance space (p. 86)
• Wheelchairs: safety and etiquette (p. 87)
• Hard metal, soft bodies: avoiding injury (p. 89)
• Helping yourself: teachers' supports (p. 91)
• 17 Introductory work (p. 93)
• 1 Stretching a point (p. 94)
• 2 Flock: in search of a 'common sense' (p. 97)
• Breath, proximity and distance (p. 100)
• 3 Spirit level (p. 101)
• 4 Breathing Space (p. 102)
• 5 Seaweed exercise (p. 104)
• 6 Linear pathways exercise (p. 106)
• 7 Receiving: stopped in your tracks (p. 110)
• 8 Open hand (p. 112)
• 18 Listening through touch (p. 115)
• 9 Leading and following (p. 115)
• 10 Interloper: introducing the third person (p. 125)
• 11 Departures (p. 127)
• 12 Freewheeling (p. 127)
• 13 The art of stealing (p. 130)
• 14 Cascade (p. 132)
• 15 Aerial pathways (p. 135)
• 19 Making an entrance in time and space (p. 137)
• 16 Crossing the line: 'inscaping' not escaping (p. 139)
• Lessons in non-competition: hubris and nemesis (p. 142)
• 17 Crossing the line on time (p. 142)
• Arch Enemies and rites of passage (p. 143)
• 18 Making an entrance: a development of crossing the line (p. 144)
• 19 Entrance/exit (p. 145)
• 20 Encounters (p. 146)
• 21 Vocal scores (p. 147)
• 20 Con-temp-lation: thinking about space, time and centre (p. 150)
• A meditation in situ (p. 150)
• What is the point of balance? (p. 152)
• 22 Pivot: an introduction to plateau (p. 153)
• 23 Plateau: A practical exploration (p. 153)
• 24 Balancing the picture (p. 154)
• Ordering space (p. 155)
• 25 Playing for space (p. 156)
• 26 Resting is dancing (p. 157)
• 27 Free improvisation in the studio (p. 159)
• 28 Improvisations and the environment (p. 159)
• 21 Graceful ways, or seaching for clews (p. 163)
• 29 Traverse: travelling in a group (p. 164)
• 30 Narrative traverse (p. 167)
• 31 Narrative, musical, traverse (p. 168)
• 32 The far side (p. 168)
• 33 Amoeba, and the single-cell solo (p. 170)
• 22 Individual considerations (p. 172)
• 34 Soloing: an exercise in confronting dragons (p. 172)
• 35 Contradiction: Creating counter movements (p. 173)
• 23 Lightly balanced on the edge of centre (p. 177)
• 36 Reaching: a warm-up (p. 178)
• 37 Suspended weight: a development of reaching (p. 179)
• 38 Testing structures (p. 181)
• 39 Tilting sculptural forms (p. 182)
• 40 Dynamic stretch (p. 183)
• 41 Ropes and mountains (p. 185)
• 42 The gentle circle (p. 186)
• Disabled students and lifting (p. 188)
• 24 Counter-balances and chair tilts: dicing with Newtonian physics (p. 190)
• 43 Back tilting from the front (p. 192)
• 44 Back tilting from behind (p. 194)
• 45 Partnered side tilt using a manual chair (p. 196)
• 25 Art and theatre (p. 199)
• 46 Freeze-frame (p. 199)
• 47 Line dance (p. 201)
• 48 Impressions (p. 202)
• 49 Placement replacement (p. 205)
• 26 Speed and timing (p. 207)
• 50 Gateway: without deviation or besitation (p. 208)
• 51 Gauntlet (p. 211)
• 27 A little more time: exercises to develop an understanding of rhythm and the duration of a simple gesture or action (p. 214)
• 52 A simple exercise in timing (p. 214)
• 53 A not so simple exercise in timing (p. 216)
• 54 A not at all simple exercise in timing (p. 216)
• 28 Live music (p. 218)
• 55 Calling (p. 219)
• Musicians and dancers (p. 222)
• 56 In opposition (p. 222)
• Appendix 1 Directory (p. 226)
• Appendix 2 Excerpts from an African diary (p. 237)
• Appendix 3 Glossary (p. 242)
• Bibliography (p. 246)
• Index (p. 249)

Author notes provided by Syndetics