New Books In Dance

In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, acclaimed scholar and critic Louis Menand, Professor of English at Harvard University and staff writer at The New Yorker, offers a new intellectual and cultural history of the postwar years. The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World: Art and Thought in the Cold War (Farrar, Straus & Giroux, 2021), Professor Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even

In Deviant Opera: Sex, Power, and Perversion on Stage (University of California Press, 2020), Axel Englund examines an increasingly common trope in opera direction: the use of imagery associated with the kink and BDSM communities. This imagery underscores the themes of sexuality and domination that run through the opera repertory, and it also calls attention to the essential artificiality of operatic performance: opera, after all, is another form of role play. Some stagings have also used BDSM imagery to subvert problematic gender portrayals in classic opera, or even to call out the power imbalances offstage in the world of contemporary opera, which has recently been rocked by revelations of abuse at the highest level. Englund's book will be interesting to opera fans, kinksters, and anyone interested in contemporary efforts to breathe life into classic works of theatre. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, an

Every porn scene is a record of people at work. But on-camera labor is only the beginning of the story. Porn Work takes readers behind the scenes to explore what porn performers think of their work and how they intervene to hack it. Blending extensive fieldwork with feminist and antiwork theorizing, Porn Work: Sex, Labor, and Late Capitalism (UNC Press, 2021) details entrepreneurial labor on the boundaries between pleasure and tedium. Rejecting any notion that sex work is an aberration from straight work, it reveals porn workers' creative strategies as prophetic of a working landscape in crisis. In the end, it looks to what porn has to tell us about what's wrong with work, and what it might look like to build something better. Rachel Stuart is a sex work researcher whose primary interest is the lived experiences of sex workers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Ann, Fran, & Mary Ann (53rd State Press, 2020) is a new play by Erin Courtney, one of the most exciting contemporary American playwrights. This is a play that engages with themes of science, religion, and trauma through a highly theatrical and character-driven storytelling style. Ann and Mary Ann were both witnesses of traumatic events in their childhoods and were drawn to neuroscience as a way to understand and perhaps heal from their trauma. When Mary Ann begins experimenting with inducing spiritual experience, Ann's skepticism regarding the supernatural drives a wedge between them. When Ann's patient Fran begins experiencing Capgras syndrome, which convinces her that her loved ones are imposters, Mary Ann's desire to heal Fran conflicts with Ann's desire to study her. The interactions of these three characters open questions of medical ethics, the meaning of faith, and the possibility of healing. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia Univ

What does it mean to “upend a norm,” which is the translation of the title of Sergio Rigoletto’s recent study “Upended norms: essays on gender and sexuality in Italian cinema and television.” Rigoletto focuses on Italian audiovisual texts from the mid-20th century until today, asking questions about how these media helped mark the boundaries of social norms in Italy as well as chart the threats to those boundaries made by sexually active women, foreigners, drag queens, homosexuals and other queer subjects. How these threats move from the background (Fellini’s La Dolce Vita, 1960) to centerstage, in films like Ferzan Ozpetek’s The Ignorant Fairies (2001) and Luca Guadagnino’s Call me by Your Name (2017). What do these movements tell us about gendered subjects in Italian mainstream and popular media? What do they reveal about norms? These are some of the themes that Rigoletto’s (University of Oregon) Le norme traviate studies. Ellen Nerenberg is a founding editor of g/s/i-gender/sexuality/Italy. Recent scholarl

Bossa Mundo: Brazilian Music in Transnational Media Industries (Oxford University Press, 2020) takes on the circulation of Brazilian music in the Global North since the 1960s. The challenge faced by Brazilian musicians who wish to break into Anglophone markets is formidable. They must deal with the demoralizing effects of the exoticization of the music and the performers, while also struggling with networks of distribution that create fads and just as quickly drop them. K. E. Goldschmitt focuses on watershed moments of Brazil's musical breakthrough, exploring what the music may have represented in a particular historical moment alongside its deeper cultural impact.  Through a discussion of the political meaning of mass-mediated music, they argue for a shift in scholarly focus--from viewing music as simply a representation of Otherness to taking into account the broader media environment where listeners and intermediaries often have conflicting priorities. Throughout the book, Goldschmitt traces several lines

Benjamin Piekut's Henry Cow: The World is a Problem (Duke UP, 2019) provides a compelling case study of the problems and possibilities of collective improvisation through the story of Henry Cow, the cult favorite British rock band active from 1968-1978. Engaging with free jazz, Maoism, and live electronics, Henry Cow pushed the boundaries of what a rock band could be. They set a standard for artistic independence that would be an inspiration to the punks that followed them, even if Henry Cow's epic freak-outs were sonic worlds away from the punks' three chord assaults. Drawing on a trove of first-hand documents (Henry Cow was the rare rock band to record minutes at their weekly meetings), Piekut's book is a tribute to a band that never stopped challenging themselves and their audience. 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.

The name of Dorothy Hale is not well known these days. In the 1920s, she enjoyed a career on Broadway as a dancer, including in a leading role with Fred Astaire. When an accidental injury ended that career, she auditioned, successfully, for the filmmaker Samuel Goldwyn and landed a part opposite Ronald Coleman, who would later star in Lost Horizon. But Dorothy’s film career did not take off, and she moved into art, writing, and museum work in support of her second husband, Gardner Hale, a well-known fresco painter and portraitist, until his tragic death in 1931. Dorothy survived the stock-market crash of 1929 with her wealth intact and remained a light of New York society into the 1930s. Her closest friend—Clare Boothe, who married Henry Luce in 1935—branched out from an active career in magazine publishing, including a stint as managing editor of Vanity Fair, to produce a Broadway play titled The Women. The play lampooned members of their social circle, evoking both amusement and outrage. Dorothy Hale then s

As tourists increasingly moved across the United States in the late nineteenth and early twentieth centuries, a surprising number of communities looked to capitalize on the histories of Native American people to create tourist attractions. Locals staged performances that claimed to honor an Indigenous past while depicting that past on white settlers' terms. Linking the origins of these performances to their present-day incarnations, Staging Indigeneity: Salvage Tourism and the Performance of Native American History (University of North Carolina Press, 2021) reveals how they constituted what Dr. Katrina Phillips calls "salvage tourism.” Across time, Phillips argues, tourism, nostalgia, and authenticity converge in the creation of salvage tourism, which blends tourism and history, contestations over citizenship, identity, belonging, and the continued use of Indians and Indianness as a means of escape, entertainment, and economic development. Dr. Katrina Phillips is assistant professor of American Indian history

Vaudeville is one of the most famous styles of theater in American history, a font of showbiz legend and the training ground for a generation of stars. It’s also one of the least studied. In his new book, Vaudeville and the Making of Modern Entertainment, 1890-1925 (UNC Press, 2020), Professor David Monod examines Vaudeville as both a cultural form and a for-profit industry, connecting the two to produce a remarkably cohesive portrait of a vast phenomenon. The genre, he argues, was related to a distinctly American form of modernity, offering its vast audiences an enjoyable respite from the pace of modern life—and a way to express and understand the world-shaking experiences of their era. Sam Backer is a PhD candidate in History at Johns Hopkins, where his work focuses on the intersection of art, culture, and capitalism. He is also a freelance journalist and a podcaster. He is currently a host on “Money 4 Nothing,” a podcast about music and capitalism. Learn more about your ad choices. Visit megaphone.fm/adcho

Simon Critchley's Tragedy, the Greeks, and Us (Vintage, 2020) does not offer a comprehensive theory of tragedy. Instead, it takes issue with the bland simplifications that philosophers have offered in place of a robust engagement with tragedies, plural. Critchley examines Nietzche's wishful speculation on the origin of tragedy, Aristotle's dry and under-examined notion of catharsis, and Plato's excessive hatred of tragedy, finding that each attempt to find an essence of tragedy ignores the fact that tragedy as a form is uninterested in tidy endings or comforting morals. Critchley insists we go back to the experience of theatre in search of what Anne Carson calls a "more devastating" account of what it's like to watch these plays, which somehow resonate with us after more than two thousand years. 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 m

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad ch

In her new book From Rabbit Ears to the Rabbit Hole: A Life with Television (University of Mississippi Press, 2021) TV scholar and fan Kathleen Collins reflects on how her life as a consumer of television has intersected with the cultural and technological evolution of the medium itself. In a narrative bridging television studies, memoir, and comic, literary nonfiction, Collins takes readers alongside her from the 1960s through to the present, reminiscing and commiserating about some of what has transpired over the last five decades in the US, in media culture, and in what constitutes a shared cultural history. In a personal, critical, and entertaining meditation on her relationship with TV—as avid consumer and critic—she considers the concept and institution of TV as well as reminiscing about beloved, derided, or completely forgotten content. She describes the shifting role of TV in her life, in a progression that is far from unique, but rather representative of a largely collective experience. It affords a

Like the transdiscipline of cybernetics, the philosophical movement known as Existentialism rose to prominence in the decade following World War II, was communicated to the general public by a handful of charismatic evangelizers who, for a time, became bona fide celebrities in popular culture, generated much excitement and innovation on university campuses across Europe, the Americas and beyond, and, in subsequent decades, seemed to fade to the periphery of intellectual discourse with some declaring both movements dead and others keeping the faith in small circles of committed artists, scholars, and practitioners. Along the way, both movements have found some of their strongest expressions through works of art; from the plays and novels of some of existentialisms key players, to the 1968 Cybernetic Serendipity exhibition that toured America after its original incarnation at the Institute for Contemporary Arts in London. In the early decades of the 21st century, well into the so-called Information and at a his

Kate Dossett's book Radical Black Theatre in the New Deal (UNC Press, 2020) turns conventional understandings of the Federal Theatre Project on its head. This book shines a light on the extraordinary work done by the FTP's Negro Units, which staged classic plays with Black casts as well as new plays by Black writers like Theodore Ward. These works reflected contemporary conflicts within the Black community, including the competing radicalisms of Garveyism and Marxism, the place of the folk tradition in contemporary Black culture, and the role of woman as leaders in the Black community. Far from dry propaganda pieces, these plays were a vital response to a period of profound upheaval.  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/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/pe

How should we understand creative work? In Creative Control: The Ambivalence of Work in the Culture Industries (Columbia UP, 2021), Michael Siciliano, an assistant professor of sociology at Queen's University, Canada, explores this question through a comparison of a recording studio and a digital content creation company. The book considers the meaning and practice of ‘creative’ labour, considering its ambivalences, the passions and commitments, as well as the compromises and alienations associated with this area of economy and society. It represents a crucial intervention to the literature on cultural production, as well as offering an important understanding of the impact of digital modes of distribution and production on creative industries. A rich and fascinating comparative ethnography, the book is essential reading across humanities and social sciences, as well as for anyone interested in understanding contemporary culture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show

Dismissal, in fact, is the default response to khayal (the preeminent genre of North Indian classical music), well before we get to know what khayal is, and vaguely term its strangeness 'classical music'. Those who later become acquainted with its extraordinary melodiousness forget that on the initial encounter it had sounded unmelodious. These words are part of the introduction to Amit Chaudhuri’s newest book Finding the Raga: An Improvisation on Indian Music (New York Review Books / Faber and Faber, 2021). The book is part guide to Indian music, part memoir of Chaudhuri’s life, part examination of modern culture. In this interview, I ask Amit to explain what makes Indian music so special, both in general and to his life. We explore how Indian music influenced the writing of this most recent book, and how his musical experiences in India and abroad have affected how he sees the world. Amit Chaudhuri is the author of seven novels, several collections of short stories, poetry and essays, one nonfiction work, a

Maureen Mahon’s book, Black Diamond Queens: African American Women and Rock and Roll (Duke University Press, 2020), focuses on the contributions to rock and roll by African American women from Big Mama Thornton to Tina Turner, and the erasure and marginalization of most of these women in other histories of popular music. Mahon draws on recordings, press coverage, archival materials, and interviews to document the history of African American women in rock and roll and puts them back into a narrative that generally emphasizes the role of white male guitar players in the development of the genre. She considers how the racialized vocal timbre of African American women’s voices has shaped rock from the girl groups of the early 1960s to the background singers who created the sound of some of the most iconic tracks recorded by the bands of the British invasion. Running throughout the book is a deep analysis of how the stereotypes about Black women crashed into the lived experiences of her subjects, affecting their c

Throughout In Concert: Performing Musical Persona (University of Michigan Press, 2021), Dr. Philip Auslander addresses not only the visual means by which musicians engage their audiences through costume and physical gesture, but also spectacular aspects of performance such as light shows. Although musicians do not usually enact fictional characters on stage, they nevertheless present themselves to audiences in ways specific to the performance situation. Auslander’s term to denote the musician’s presence before the audience is musical persona. While the presence of a musical persona may be most obvious within rock and pop music, the book’s analysis extends to classical music, jazz, blues, country, electronic music, laptop performance, and music made with experimental digital interfaces. Emily Ruth Allen (@emmyru91) is a PhD candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama’s Carnival celebrations. Learn more about your ad choi

From ships and novels to Mardi Gras, water, and television, how does the legacy of the Middle Passage, the leg of the Atlantic through which African people were trafficked as slaves, reverberate through the creations of writers and authors of the African diaspora? In this episode of New Books Network, Dr. Lee M. Pierce interviews Dr. Tara G. Green about her latest book on the Middle Passage, rebirth, trauma, water, social death, and resistance. In Reimagining the Middle Passage: Black Resistance in Literature, Television, and Song (Ohio State UP, 2018), Tara T. Green turns to twentieth- and recent twenty-first-century representations of the Middle Passage created by African-descended artists and writers. Examining how these writers and performers revised and reimagined the Middle Passage in their work, Green argues that they recognized it as a historical and geographical site of trauma as well as a symbol for a place of understanding and change. Their work represents the legacy African captives left for resis