New Books In Dance

Paola Hernandez's book Staging Lives in Latin American Theater: Bodies, Objects, Archives (Northwestern UP, 2021) looks at a wide range of documentary theatre practices across South and Central America, including the plays of Guillermo Calderón, the biodramas of Vivi Tellas, and the autobiographical reenactments of Lola Arias. Throughout, she examines how work that straddles the lines between fact and fiction and between public and private has been used to process the trauma's of Latin America's present and recent past, including the Malvinas war, deadly border crossings, and the long legacy of the southern cone dictatorships. This book will be of interest to anyone engaged with documentary theatre, or for anyone looking for an introduction into contemporary Latin American theatre. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/a

Southern women of all classes, races, and walks of life practiced music during and after the Civil War. Dr. Candace Bailey examines the history of southern women through the lens of these musical pursuits, uncovering the ways that music's transmission, education, circulation, and repertory help us understand its meaning in the women's culture of the time. Bailey pays particular attention to the space between music as an ideal accomplishment—part of how people expected women to perform gentility—and a real practice—what women actually did. At the same time, her ethnographic reading of binder’s volumes, letters and diaries, and a wealth of other archival material informs new and vital interpretations of women’s places in southern culture. A fascinating collective portrait of women's artistic and personal lives, Unbinding Gentility: Women Making Music in the Nineteenth-century South (University of Illinois Press, 2021) challenges entrenched assumptions about nineteenth-century music and the experiences of the so

In Punks in Peoria: Making a Scene in the American Heartland (University of Illinois, 2021) Jonathan Wright and Dawson Barret explore do-it-yourself scene built by Peoria punks, performers, and scenesters in the 1980s and 1990s. Peoria, Illinois the quintessential Midwest town, where "if it could play in Peoria, it could play anywhere," was fertile ground for the boredom- and anger-fueled fury of punk rock. From fanzines to indie record shops to renting the VFW hall for an all-ages show, Peoria's punk culture reflected the movement elsewhere, but the region's conservatism and industrial decline offered a richer-than-usual target environment for rebellion. Eyewitness accounts take readers into hangouts and long-lost venues, while interviews with the people who were there trace the ever-changing scene and varied fortunes of local legends like Caustic Defiance, Dollface, and Planes Mistaken for Stars. What emerges is a sympathetic portrait of a youth culture in search of entertainment but just as hungry for comm

Stefania Marghitu's Teen TV (Routledge, 2021)explores the history of television's relationship to teens as a desired, but elusive audience, and the ways in which television has embraced youth subcultures, tracing the shifts in American and global televisual and youth cultures. Organized chronologically, Teen TV starts with Baby Boomers and moves to Gen X, Millennials, and Gen Z as a way to contextualize and discuss cultural and historical contexts of teen television and television audiences. The book examines a wide range of historical and contemporary programming: from the broadcast bottleneck, multi-channel era that included youth targeted spaces like MTV, the WB, and the CW, to the rise of streaming platforms and global crossovers. It covers the thematic concerns and narrative structure of the coming-of-age story, and the prevalent genres of teen TV, and milestones faced by teen characters. The book also includes interviews with creators and showrunners of hit network television teen series, including Degr

“What are we thinking about when we think about music in non-naturalistic terms?” asks Benjamin Steege—Assistant Professor of Music Theory, Columbia University—in his new book An Unnatural Attitude: Phenomenology in Weimar Musical Thought (University of Chicago Press, 2021). This deceptively subtle question exercised the minds of some of Europe's most delicate musical thinkers at a time of great social and political upheaval, and continues to be of interest to musicologists today. Putting a little-discussed set of German-language primary sources into historical context (among others, the writing of Günther Anders (né Stern), Gustav Güldenstein, and Herbert Eimert) and expertly introducing them to an Anglophone audience, Steege explains the shared interests of a post–World War I constellation of musical thinkers whose disinterest in psychological and music-historical orthodoxy coalesces into a vital, if not entirely homogeneous, program for the phenomenology of music. Enriched by convincing music-analytical ex

Would there have been a Third World without the Second? Perhaps, but it would have looked very different. Although most histories of these geopolitical blocs and their constituent societies and cultures are written in reference to the West, the interdependence of the Second and Third Worlds is evident not only from a common nomenclature but also from their near-simultaneous disappearance around 1990. From Internationalism to Postcolonialism: Literature and Cinema Between the Second and the Third Worlds (McGill-Queen's UP, 2020) addresses this historical blind spot by recounting the story of two Cold War-era cultural formations that claimed to represent the Third World project in literature and cinema: the Afro-Asian Writers Association (1958-1991) and the Tashkent Festival for African, Asian, and Latin American Film (1968-1988). The inclusion of writers and filmmakers from the Soviet Caucasus and Central Asia and extensive Soviet support aligned these organizations with Soviet internationalism. While these cu

Children’s folklore is simultaneously a conservator of tradition and a site for creativity and innovation. For over five decades, Dr. Jeanne Pitre Soileau documented and collected the jokes, chants, rhymes, and games that that she observed on school playgrounds throughout her career as a public school teacher in southern Louisiana. From the early days of integration to the first decade of the 21st century, Dr. Soileau has taken note of the evolving forms in which children’s play take and its reflections of contemporary times. Her book, Yo’ Mama, Mary Mack, and Boudreaux and Thibodeaux: Lousiana Children’s Folklore and Play (University Press of Mississippi, 2016), examines forty-four years of children’s folklore and play collected in southern Louisiana schools. The book has won the 2018 Chicago Folklore Prize for excellence in folklore scholarship and the 2018 Opie Prize for the best published scholarly book on children’s folklore. In this podcast, we hear about Dr. Soileau’s early fascination with the sounds

Federico Fellini’s distinct style delighted generations of film viewers and inspired filmmakers and artists around the world. In Fellini’s Films and Commercials: From Postwar to Postmodern, renowned Fellini scholar Frank Burke presents a film-by-film analysis of the famed director’s cinematic output from a theoretical perspective. The book explores Fellini’s movement from relatively classic filmmaking to modernist reflexivity and then to ‘postmodern reproduction’. Burke moves from analysis of stories told from a relatively ‘objective’ standpoint, to increased concentration on Fellini-as-author and on the cinematic apparatus, to Fellini’s dismantling of authorship and cinematic apparatus, to his postmodern signifying strategies. Grounded in poststructuralist approaches to texts and signification, Burke shows that Fellini is profoundly readable, if extremely complex. Revisiting Burke’s 1996 Fellini’s Films: From Postwar to Postmodern, this new edition includes revised material from the original, plus a new pref

It is now just over a decade since protests in Cairo's Tahrir Square started Egypt's chapter in the events of the Arab Spring. Much has been made in western criticism of art and culture's role in the revolution, but the everyday cultural production of studio artists, graffiti artists, musicians, and writers since has attracted less attention. How have artists responded personally and artistically to the political transformation ? What has social role of art been in these periods of transition and uncertainty? What are the aesthetic shifts and stylistic transformations present in the contemporary Egyptian art world? Caroline Seymour-Jorn speaks with Pierre d'Alancaisez about her many years of research in Cairo that goes beyond the current understandings of creative work solely as a form of resistance or political commentary, providing a more nuanced analysis of creative production in the Arab world. Caroline suggests that young artists like Hany Rashed or The Choir Project have turned their creative focus incr

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before.  In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre (Rowman & Littlefield Publishers, 2019), Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades.  This book covers the heyday of the second wave feminist movement—which saw the growth o

George Frederick Bristow, born in 1825, was a significant musical figure in the United States from the 1850s until his death in 1898. Now, almost one hundred years after his birth, Katherine Preston has just written his first biography--George Frederick Bristow (University of Illinois Press, 2020)-- as part of the American Composers Series.  Bristow led a professional life that today’s classical musicians would surely recognize. He patched together a living from performing, composing, conducting, teaching, church jobs, and even some business ventures and celebrity endorsements. He composed in every major genre of the period and wrote "Rip Van Winkle," the first grand opera by an American composer. Preston situates his life within the booming musical economy in New York and his music within the critical and artistic currents of the nineteenth century, while illuminating the little-known creative and performance culture that Bristow helped define and create. Kristen M. Turner is a lecturer in the music and hono

Nostalgia has received increasing attention for its role in shaping contemporary social and political life in the United States. Dr. Badia Ahad-Legardy distinguishes Afro-Nostalgia as a framework to think about the relationship between affect, black historical memory, and joy. Afro-Nostalgia: Feeling Good in Contemporary Black Culture (University of Illinois Press, 2021) mines black aesthetic practices that return to the past to generate good feelings for black audiences and makers. The past is not always available for black people as a site of good feelings, when one considers the realities of slavery, Jim Crow segregation, and racial inequality. Yet, contemporary cultural producers explore nostalgia through the subjects of slavery, food, visual culture, and music. Ahad-Legardy weaves together personal reflections and analyzes an eclectic archive to show how black people can turn to the past as a foundation from which to build hope for the present and future. She shows that despite the real traumas of the pa

What makes a woman 'bad' is commonly linked to certain 'qualities' or behaviours seen as morally or socially corrosive, dirty and disgusting. Bad Girls, Dirty Bodies: Sex, Performance and Safe Femininity (Bloomsbury, 2020) explores the social, sexual and political significance of women who are labelled bad or dirty. Through case studies (including Empress Stah, RubberDoll or Doris La Trine), the book challenges the notion that sexual, slutty, bad, or dirty women are not worth listening to. Gemma Commane speaks to Pierre d'Alancaisez about her study of neo-burlesque, queer performances, and explicit entertainment as sites of power, possibility, and success. Gemma Commane is Lecturer in Media and Communications at the Birmingham School of Media, Birmingham City University. She is active in research in the fields of media and cultural studies, and gender and sexuality. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn m

Richard Thompson's Beeswing: Losing My Way and Finding My Voice 1967-1975 (Algonquin Books, 2021) gives fans of his music a tale as rollicking and entertaining as the reels and ballads he recorded with the band Fairport Convention. Fairport Convention was one of the central bands in the British Folk Rock scene, blending traditional English songs and melodies with the energy and irreverence of rock and roll. Thompson's memoir of his time with the band discusses the process of recording their classic albums, as well as run-ins with figures like Buck Owens, Nick Drake, and Jimi Hendrix. He also discusses his childhood in post-war London, his relationship with his then-wife and collaborator Linda Thompson, and his search for spiritual purpose, which he eventually found in Sufi Islam. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adch

Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theater (Harvard UP, 2020) examines the theory and practice of allegory by exploring a select group of medieval Japanese noh plays and treatises. Susan Blakeley Klein demonstrates how medieval esoteric commentaries on the tenth-century poem-tale Ise monogatari (Tales of Ise) and the first imperial waka poetry anthology Kokin wakashū influenced the plots, characters, imagery, and rhetorical structure of seven plays (Maiguruma, Kuzu no hakama, Unrin’in, Oshio, Kakitsubata, Ominameshi, and Haku Rakuten) and two treatises (Zeami’s Rikugi and Zenchiku’s Meishukushū). In so doing, she shows that it was precisely the allegorical mode—vital to medieval Japanese culture as a whole—that enabled the complex layering of character and poetic landscape we typically associate with noh. Klein argues that understanding noh’s allegorical structure and paying attention to the localized historical context for individual plays are key to recovering their origina

Today I talked to Jessica Helfand about her new book Face: A Visual Odyssey (MIT Press, 2019) Helfand is a designer, artist, and author. She’s taught at Yale University for more than 20 years, cofounded Design Observer, and has had additional roles at a variety of institutions ranging from the American Academy in Rome to the California Institute of Technology. We’ve always visited churches and museums to gaze at faces. So what’s now changed? Today, about two billion images get uploaded daily to social media – of which nearly 100 million are estimated to be selfies. As Daniel Boorstin presaged in his seminal 1962 book The Image: A Guide to Pseudo-Events in America, we’ve become consumed as a culture by our own self-reflections. In this episode, Helfand guides listeners through everything from caricatures (i.e., loaded portraits), to Facebook and selfie-sticks hitting the mainstream in 2006, to how now every third photograph taken by people from 18 to 24 years of age is of themselves. From the question of who’s

Isabel Rosario Cooper, if mentioned at all by mainstream history books, is often a salacious footnote: the young Filipino mistress of General Douglas MacArthur, hidden away at the Charleston Hotel in DC. Empire’s Mistress, Starring Isabel Rosario Cooper (Duke University Press: 2021) by Professor Vernadette Vicuña Gonzalez refuses to reduce Cooper’s life to that simple statement. The book investigates Cooper’s life both in the Philippines, where she was a famed vaudeville and film actress, and in the United States, where her life shows the struggles that Asian actors and actresses faced in a prejudiced Hollywood. In this interview I ask Vernadette to introduce us to Isabel Cooper, and go beyond the simplistic historical narrative of her as MacArthur’s mistress. Wel talk about how her life exemplifies how imperialism, gender and entertainment intersected in both the Philippines and the United States. And we briefly explore how this connects with the idea of being “Asian-American”. Vernadette Vicuña Gonzalez is

Gospel music evolved in often surprising directions during the post-Civil Rights era. Claudrena N. Harold's in-depth look at late-century gospel, When Sunday Comes: Gospel Music in the Soul and Hip-Hop Eras (U Illinois Press, 2020), focuses on musicians like Yolanda Adams, Andraé Crouch, the Clark Sisters, Al Green, Take 6, and the Winans, and on the network of black record shops, churches, and businesses that nurtured the music. Harold details the creative shifts, sonic innovations, theological tensions, and political assertions that transformed the music, and revisits the debates within the community over groundbreaking recordings and gospel's incorporation of rhythm and blues, funk, hip-hop, and other popular forms. At the same time, she details how sociopolitical and cultural developments like the Black Power Movement and the emergence of the Christian Right shaped both the art and attitudes of African American performers. Weaving insightful analysis into a collective biography of gospel icons, When Sunda

It is almost twenty years since contemporary art took a ‘participation turn’. Now, just about every museum or theatre company has a participation or engagement department. It is nothing short of orthodoxy that one of art’s core roles is to reach out to audiences beyond art institutions - and paradoxically it is often art institutions that mandate this function. How can we reconcile the somewhat forgotten history - and ongoing practice - of the community arts with the recent rise of participatory art, social practice, or outreach and engagement? François Matarasso speaks to Pierre d'Alancaisez about his long-term engagement in community art practice, the meanings of participation and cultural democracy, and his proposals for thinking about cultural and artistic participation as a fundamental human right. We talk about the history of the community arts movement in the UK, his influential 1997 paper Use or Ornament, ways of supporting cultural democracy through projects like Fun Palaces, and reaching peak cultur

How does the record industry work? In Getting Signed: Record Contracts, Musicians, and Power in Society (Palgrave Macmillan, 2020), David Arditi, Associate Professor in Sociology and Anthropology at University of Texas at Arlington, analyses the ideology of getting signed and getting a record contract to show the alienating and exploitative effects of the record industry on musicians and the making of music. The book blends ethnographic fieldwork with critical theoretical analysis, looking at a range of issues in music, from the ‘strained solidarity’ of being in a band, the negative impact of competition and competitiveness in the music industry and in society, to longstanding issues about copyright. The book is essential reading across arts, humanities and the social sciences, as well as for anyone interested in music today. Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Su