nd style. In addition, we will see that other internal difficulties, mostly involving image, have put the dance community at a disadvantage until the present.
"Dance is paralyzed by indecision, while a whole generation and its progeny are quietly disappearing, taking with them an irretrievable part of dance knowledge, artistry, and culture" (Adams 52). How many dancers are quietly leaving the stage? Numbers and hard facts about its impact remain elusive. For its publication on dance and AIDS in the spring of 1992, Dance/USA, a Washington-based service organization for nonprofit professional dance, did an informal survey of twenty-eight dance companies, and found that HIV hits roughly 3.5 percent of dance personnel compared with about 0.6 percent of the U.S. population (Adams 52).
LaSalle quotes Time magazine theater critic William A. Henry for a perspective on the epidemic:
No one is untouched. On the one hand--the human hand, you have the loss of people who were in mid career and already established. You also have the loss of a whole generation that should have come up to replace them, and you have a whole lot of people who are not sick themselves, at least not yet, but whose minds are much distracted by the illness of colleagues or friends, either knowing or fearing they will be sick eventually (70).
Still, dance has lagged behind other artistic disciplines around any public effort at AIDS activism. "Not since the very lavish Dancing for Life Benefit at Lincoln Center in 1987, which raised $1.4 million for AIDS service and research organizations, has the dance community come together in an effect
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