A Touch of Innocence [Signed]
![A Touch of Innocence [Signed]](https://d3525k1ryd2155.cloudfront.net/h/049/867/1721867049.0.x.jpg)
- SIGNED
- New York: Harcourt, Brace and Company, 1959
New York: Harcourt, Brace and Company, 1959. Very Good -/Very Good -. New York: Harcourt, Brace and Company, 1959. First Edition. Octavo; illustrated dust jacket; blue cloth boards stamped in gilt; 312pp. Unclipped dust jacket chipped with surface scratching and smudging. Shelfwear to boards; edges sunned; a few scuffs. Binding sound; some smudges and spots to endpapers; Good to Very Good.
Signed by Katherine Dunham at front free endpaper with brief inscription to Sue and Bob Rossen, the latter being Robert Rossen, the screenwriter and film director. Rossen is most known for "All the King's Men" and "The Hustler" but also wrote and directed the Italian/American co-production "Mambo" which was choreographed by and featured Dunham.
Aside from her film credits, Dunham had a whole career conducting ground-breaking research in anthropology at the University of Chicago before pivoting to dance. Indeed her decolonizing work studying the African diaspora in the Caribbean helped inform her long and lauded career as a performer. As she said in a 2002 interview: "My problem—my strong drive at that time was to remain in this academic position that anthropology gave me, and at the same time continue with this strong drive for motion—rhythmic motion." A scarce mid-career memoir from a towering figure in African-American modern dance and dance anthropology.
Signed by Katherine Dunham at front free endpaper with brief inscription to Sue and Bob Rossen, the latter being Robert Rossen, the screenwriter and film director. Rossen is most known for "All the King's Men" and "The Hustler" but also wrote and directed the Italian/American co-production "Mambo" which was choreographed by and featured Dunham.
Aside from her film credits, Dunham had a whole career conducting ground-breaking research in anthropology at the University of Chicago before pivoting to dance. Indeed her decolonizing work studying the African diaspora in the Caribbean helped inform her long and lauded career as a performer. As she said in a 2002 interview: "My problem—my strong drive at that time was to remain in this academic position that anthropology gave me, and at the same time continue with this strong drive for motion—rhythmic motion." A scarce mid-career memoir from a towering figure in African-American modern dance and dance anthropology.