New Books In Dance

Dance and Activism: A Century of Radical Dance Across the World (Bloomsbury, 2022) by Dana Mills looks at the intersection of dance and radical politics from the 1920s to today, taking in case studies including Martha Graham's anti-fascist choreography, the Iraqi hip-hop dance scene, and the progressive potential of the often conservative art of ballet. Throughout, Mills is motivated both by her own passionate love of dance and by her own lifelong commitment to supporting struggles for freedom and justice. This book is essential for anyone who wants dance to be part of their revolution. 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/performing-arts

Thomas Kuhn’s The Structure of Scientific Revolutions revolutionized the way philosophers and historians of science thought about science, scientific progress, and the nature of scientific knowledge. But Kuhn himself also considered later on how his framework might apply to art. In After Thomas Kuhn: The Structure of Aesthetic Revolutions (De Gruyter, 2022), Oana Serban elaborates on the suggestions and proposals of Kuhn and others to develop a new view of aesthetic and artistic progress and change based in Kuhn’s work. Serban, who is a lecturer in philosophy at the University of Bucharest, adds the key concept of aesthetic validity to the Kuhnian analysis as central to the concept of an aesthetic revolution. The dominance of a particular aesthetic paradigm depends on broadly political factors and are responses to particular ideological questions, such as “What is the relation between humans and God?” Artistic revolutions, in contrast, are stylistic expressions of these ideological frames, such that the norms

William Shakespeare, who lived in England from 1564 to 1616, is one of the world’s most popular and most captivating authors. Even four hundred years after his death, his plays still attract audiences around the globe. Why is that? In this course, you’ll learn who Shakespeare was, what kinds of plays he wrote, and what makes his body of work perhaps the greatest work of art ever created. In Episodes Two and Three, Professor Smith offers a tour through Shakespeare’s moment in history and through Shakespeare’s life. You’ll learn about the key historical, religious, and cultural changes that shaped the era in which Shakespeare wrote, including the Renaissance, the Protestant Reformation, and the opening of the first ever public theaters in London. Next comes Shakespeare’s own life, with an explanation of why some people have questioned whether William Shakespeare really wrote the plays, and why the particular Renaissance education he received prepared him so well to be a playwright. Learn more about your ad choi

In 1982, the Institute held a multi day discussion of censorship. In this session from the Vault, sociologist Richard Sennett talks about Jean Jacques Rousseau’s ideas about censorship in the arts. The discussion is moderated by Aryeh Neier, and includes Sidney Morgenbesser, Susan Sontag, Joseph Brodskey, Richard Gillman, Frances Fitzgerald, Karen Kennerly, Hans Magnus Enzensberger, and Michael Scammell. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Moog synthesizer ‘bent the course of music forever’ Rolling Stone declared. Bob Moog, the man who did that bending, was a lovable geek with Einstein hair and pocket protectors. He walked into history in 1964 when his homemade contraption unexpectedly became a sensation---suddenly everyone wanted a Moog. The Beatles, The Doors, The Byrds, and Stevie Wonder discovered his synthesizer, and it came to be featured in seminal film scores including Apocalypse Now and A Clockwork Orange. The Moog's game-changing sounds saturated 60's counterculture and burst into the disco party in the 70's to set off the electronic dance music movement. Bob had singlehandedly founded the synth industry and become a star in the process. But he was also going broke. Imitators copied his technology, the musicians' union accused him of replacing live players, and Japanese competitors started overtaking his work. He struggled to hang on to his inventions, his business, and his very name. Bob's story upends our notions of success and

In 1956, Alfred Hitchcock focused his lens on an issue that cuts to the heart of our criminal justice system: the risk of wrongful conviction. The result was The Wrong Man, a bracing drama based on the real-life false arrest of Queens musician Christopher “Manny” Balestrero. Manny's ordeal is part of a larger story of other miscarriages of justice in the first half of the twentieth century.  In Nothing to Fear: Alfred Hitchcock and the Wrong Men (Fayetteville Mafia Press, 2023), attorney Jason Isralowitz tells this story in a revelatory book that situates both the Balestrero case and its cinematic counterpart in their historical context. Drawing from archival records, Isralowitz delivers a gripping account of Manny’ s trial and new insights into an errant prosecution. He then examines how Hitchcock’ s film bears witness to issues that animate the contemporary innocence movement. Given the hundreds of exonerations of the wrongfully convicted in recent years, this genre-bending work of true crime and film histo

Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021) shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France’s most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France’s assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In Django Generations: Hearing Ethnorace, Citize

William Shakespeare, who lived in England from 1564 to 1616, is one of the world’s most popular and most captivating authors. Even four hundred years after his death, his plays still attract audiences around the globe. Why is that? In this course, you’ll learn who Shakespeare was, what kinds of plays he wrote, and what makes his body of work perhaps the greatest work of art ever created. In Episode One, Emma Smith, Professor of Shakespeare Studies at the University of Oxford, tackles the question, Why read Shakespeare? You’ll learn what makes Shakespeare newly relevant for each new generation of audiences and discover what is unique about Shakespeare’s approach to writing--an approach that lets us not only watch but actually take part in his plays.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Rebecca Binn's Gee Vaucher: Beyond Punk, Feminism and the Avante Garde (Manchester University Press, 2022) is the first book-length work dedicated to the life and career of Vaucher. As one of the people who defined punk's protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognized the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher's work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all 'isms', her work offers a unique take on the history of feminist art. The book explores how

A special bonus episode in honor of the 93rd Academy Awards on April 25, 2021! One of the most-nominated films at this year's Oscars is "Nomadland," adapted from a book of the same name by journalist Jessica Bruder. "Nomadland" is about a 21st-century American phenomenon - the post-2008 increase in (mostly elderly) people who practice "vandwelling," living in vans, trucks, or other mobile housing and traveling the country in search of seasonal jobs. This episode talks about the characteristics of this nomadic community, how they adhere to an anthropological definition of the term "nomad," and nomadism in US history. Desert City by Kevin MacLeod. License. All other sounds courtesy of the BBC Sound Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In the 1990s, a network of twenty Soros Centres for Contemporary Art sprung up across Eastern Europe: Almaty, Belgrade, Budapest, Kiev, Ljubljana, Prague, Riga, Sarajevo, Tallinn, Warsaw, and Zagreb among them. These centres, funded as their name suggests by Geroge Soros’ Open Society Foundation, had as their mission the cataloguing of dissident pre-1989 art and the introduction of new forms of artistic practice to the art scenes of post-Eastern Block states. Within a decade, the centres wound up their operation and their histories have been forgotten but not because they made a mark on Eastern European art and societies. The Influencing Machine, Aaron Moulton’s exhibition and book traces the network’s history and evaluates its outsized impact on its host societies. Through the use of template annual exhibitions and synchronised open calls, the Centres pioneered forms of socially engaged practice that preceded the form’s development in Western art capitals and gave artists access to unprecedented production b

Jonathan Fessenden and I talk about two movies, Martin Scorsese’s Silence (2016) and Jerry London’s The Scarlet and the Black (1983) and what they say about how to confront evil in terrible times—seventeenth-century Tokugawa Japan in one film, and 1943 Nazi-occupied Rome in the other—how to face our shortcomings and lean on God even when He is hard to find. We also talk about Jonathan’s article about continuous prayer and his life and journey. Jonathan Fessenden is a Catholic writer, composer, and teacher of theology. He has written about movies and worked in the industry as a composer, and continues to write music for film. Note: In this episode we refer to my earlier conversation with Makoto Fujimura about his work on the film Silence and other topics: Almost Good Catholics, Episode 14. Jonathan Fessenden, Missio Dei, “Pray without Ceasing” (October 6, 2022) Pope Francis’s recent homily on continuous prayer (September 28, 2022) All of Jonathan Fessenden’s articles on Missio Dei are here. Jonathan Fesse

In this week’s episode from the Institute’s Vault, Molly Haskell talks about her 2009 book, Frankly, My Dear: "Gone with the Wind" Revisited, published by Yale University Press. Haskell grew up in Richmond, Virginia, and studied at the Sorbonne. She came to New York in the sixties to work for the French Film office, where she wrote a newsletter about French films. She wrote about movies for the Village Voice, Vogue, and New York magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In a burst of creativity unmatched in Hollywood history, Preston Sturges directed a string of all-time classic comedies from 1939 through 1948--The Great McGinty, The Lady Eve, Sullivan's Travels, The Palm Beach Story, and The Miracle of Morgan's Creek among them--all from screenplays he alone had written.  Stuart Klawans' Crooked, But Never Common: The Films of Preston Sturges (Columbia UP, 2023) pays close attention to Sturges' celebrated dialogue, but also to his films surprisingly intricate structures, marvelous use of a standard roster of character actors, and effective composition of shots. Klawans goes deeper than this, though, providing compelling readings of the underlying personal philosophy depicted in these films, which for all their seen-it-all cynicism nonetheless express firmly-held values, among them a fear for conformity and crowd-mentality, a dread of stasis, and a respect for intelligence, whether of a billionaire or of a Pullman porter. This is a book that will return you to these great fi

Jayne Mansfield (1933-1967) was driven not just to be an actress but to be a star. One of the most influential sex symbols of her time, she was known for her platinum blonde hair, hourglass figure, outrageously low necklines, and flamboyant lifestyle. Hardworking and ambitious, Mansfield proved early in her career that she was adept in both comic and dramatic roles, but her tenacious search for the spotlight and her risqué promotional stunts caused her to be increasingly snubbed in Hollywood. In Jayne Mansfield: The Girl Couldn't Help It (UP of Kentucky, 2021), Eve Golden offers a joyful account of the star Andy Warhol called "the poet of publicity," revealing the smart, determined woman behind the persona. While she always had her sights set on the silver screen, Mansfield got her start as Rita Marlowe in the Broadway show Will Success Spoil Rock Hunter?. She made her film debut in the low-budget drama Female Jungle (1955) before landing the starring role in The Girl Can't Help It (1956). Mansfield followed

In this conversation (one of my favorite interviews ever), I talk with Noah Askin of the University of California at Irvine about why some popular children's books, songs, and movies seem to last forever. Is it because the successful ones are similar but different? Is it a fluke? Is it the marketing? Or is it the story that the song/book/movie/anything tells, or is, or is it perhaps the story we make of it.  Noah Askin is Assistant Professor of Teaching Organization and Management at UC-Irvine in the Paul Merage School of Business. Prior to his arrival in Southern California, he was an Assistant Professor of Organizational Behavior at INSEAD, where he directed and taught multiple Executive Education programs in addition to teaching the organizational design and leadership core course in the MBA program. He has a popular TEDx talk on what makes popular songs succeed. Mel Rosenberg is a professor emeritus of microbiology (Tel Aviv University, emeritus) who fell in love with children's books as a small child an

Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. These unusual cultural scenes are not only sites of personal encounters, but also part of the collective experience of Iran's citizens.  Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitl

In The Dancer's Voice: Performance and Womanhood in Transnational India (Duke UP, 2022) Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family’s heirlooms, photographs, and memories, Putcha reveals how women’s citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer’s voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, ge

On April 16, 2003, Luther Vandross suffered a near-fatal stroke, and the world held its breath. Inside sources said he might never sing again. He was too weak to receive visitors, but cards and good wishes came from Aretha Franklin, David Bowie, Anita Baker, Halle Berry, Patti LaBelle, Jesse Jackson, Burt Bacharach, Bette Midler, Star Jones, Gladys Knight, and Dionne Warwick, among others. With a will to live matched only by the enormous strength and power of his heart, soul, and singing talent, Luther survived and is regaining his voice. Craig Seymour's Luther: The Life and Longing of Luther Vandross (2017) is a loving tribute to the man who has entertained millions. Luther remains one of the music industry's most private celebrities. In Luther, the first biography of the hugely popular and beloved singer, Craig Seymour investigates and illuminates Luther's life, from his early obsession with soulful girl groups to the day he was discovered by glam rocker David Bowie to his devastating stroke and inspiring r

Scripts of Blackness: Early Modern Performance Culture and the Making of Race (U Pennsylvania Press, 2022) shows how the early modern mass media of theatre and performance culture at-large helped turn blackness into a racial category, that is, into a type of difference justifying emerging social hierarchies and power relations in a new world order driven by colonialism and capitalism. In this book, Noémie Ndiaye explores the techniques of impersonation used by white performers to represent Afro-diasporic people in England, France, and Spain in the sixteenth and seventeenth centuries, using a comparative and transnational framework. She reconstructs three specific performance techniques--black-up (cosmetic blackness), blackspeak (acoustic blackness), and black dances (kinetic blackness)--in order to map out the poetics of those techniques, and track a number of metaphorical strains that early modern playtexts regularly associated with them. Those metaphorical strains, the titular scripts of blackness of this b