New Books In Dance

Although the history of Indonesian music has received much attention from ethnomusicologists and Western composers alike, almost nothing has been written on the interaction of missionaries with local culture.  Missionaries, Anthropologists, and Music in the Indonesian Archipelago (U California Press, 2025) represents the first attempt to concentrate on the musical dimension of missionary activities in Indonesia. In fourteen essays, a group of distinguished scholars show the complexity of the topic: while some missionaries did important scholarship on local music, making recordings and attempting to use local music in services, others tried to suppress whatever they found. Many were collaborating closely with anthropologists who admitted freely that they could not have done their work without them. And both parties brought colonial biases into their work. By grappling with these realities and records, this book is a collective effort to decolonize the project of making music histories. Byung Ho Choi is a Ph.D.

Louise Lowe is a theatre and performance director, writer, choreographer, dramaturge, and, more recently, a television director and short film writer/director, working in Ireland and internationally. She is the Co-Artistic Director of ANU Productions, established with Owen Boss in Dublin in 2009. Lowe is known for facilitating and creating moments of interior reckoning for audiences through immersive performance techniques. These techniques engage spectators in affectively realised moments of understanding that the stories unfolding through performance reflect living histories in need of greater socio-political engagement and intervention.  The Theatre of Louise Lowe (Cambridge UP, 2025) assesses Lowe's creative practice and production history since her days as a drama facilitator in women's prisons and resource centres in Dublin, paying particular attention to the economic struggle of Dublin's north inner-city, the markings of which are potently visible in the work she makes, and how she makes it. This title

Rough Music: Folk Customs, Transgression and Alternative Britain (Reaktion, 2025) by Liz Williams explores transgression and shame in British folklore and customs from ancient Britain to the present day. From Bonfire Night to Wassail, Morris dancing, Mari Lwyd and Twelfth Night, along with events like street football and the Cooper’s Hill Cheese-Rolling and Wake, Liz Williams reveals the roots and roles of violence, mockery, protest and public shaming. She also looks at alternative culture and modern protests, such as the Battle of the Beanfield and the Stonehenge Free Festival, as well as interaction between racism and traditions involving blackface, alongside the emergence of all-female Morris sides.This engaging book offers an entertaining and revealing look at British folklore and culture. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of t

In 1994, Fuse opened its doors on the Rue Blaes in downtown Brussels. From early on, this nightclub attracted Detroit techno pioneers Carl Craig, Jeff Mills, and Juan Atkins and cutting-edge French innovators like Laurent Garnier and Daft Punk. Over time, Fuse became one of the most important clubs on the European techno scene and, to celebrate its 30th birthday last year, Koen Galle published Fuse: 30yrs Of Making Noise (AfterClub, 2024). In this recording of a live event, Galle talks to Simon Taylor about the glory days of Fuse and what has made it one of the longest-surviving clubs in Europe – outlasting and predating more famous venues like Trezor and Bergheim in Berlin. Formerly a DJ, Koen Galle founded publishing house AfterClub to uncover stories about Belgium's rich electronic music culture and nightlife.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Over sixty years after its opening night, West Side Story is perhaps the most famous and beloved of twentieth-century musicals and stands as a colossus of musical and dramatic achievement. It not only helped define a generation of musical theatre lovers but is among the handful of shows that have contributed to our understanding of American musical identity at mid-century.  Bringing together contemporary scholars in music, theatre, dance, literature, and performance, The Cambridge Companion to West Side Story (Cambridge UP, 2024) explores this explosive 1950s remake of Shakespeare's Romeo and Juliet and its portrayal of the raw passion, rivalries, jealousy and rage that doom the young lovers to their tragic fate. Organized thematically, chapters range from Broadway's history and precursors to West Side Story; the early careers of its creators; the show's score with emphasis on writing, production, and orchestrations; issues of class, colorism, and racism; New York's gang culture, and how the show's legacy can

Tchaikovsky is famous for all the wrong reasons. Portrayed as a hopeless romantic, a suffering melancholic, or a morbid obsessive, the Tchaikovsky we think we know is a shadow of the fascinating reality. It is all too easy to forget that he composed an empire's worth of music, and navigated the imperial Russian court to great advantage. In this iconoclastic biography, celebrated author Simon Morrison re-creates Tchaikovsky's complex world. His life and art were framed by Russian national ambition, and his work was the emanation of an imperial subject: kaleidoscopic, capacious, cosmopolitan, decentred. Morrison reexamines the relationship between Tchaikovsky's music, personal life, and politics; his support of Tsars Alexander II and III; and his engagement with the cultures of the imperial margins, in Ukraine, Poland, and the Caucasus. Tchaikovsky's Empire: A New Life of Russia's Greatest Composer (Yale UP, 2024) unsettles everything we thought we knew--and gives us a vivid new appreciation of Russia's most po

Questions about the meaning of womanhood and femininity loomed large in late nineteenth- and early twentieth-century French culture. In Playing Cleopatra: Inventing the Female Celebrity in Third Republic France (LSU Press, 2024), Dr. Holly Grout uses the theater—specifically, Parisian stage performances of the Egyptian queen Cleopatra by Sarah Bernhardt, Colette, and Josephine Baker—to explore these cultural and political debates. How and why did portrayals of Cleopatra influence French attitudes regarding race, sexuality, and gender? To what extent did Bernhardt, Colette, and Baker manipulate the image of Cleopatra to challenge social norms and to generate new models of womanhood? Why was Cleopatra—an ancient, mythologized queen—the chosen vehicle for these spectacular expressions of modern womanhood? In the context of late nineteenth-century Egyptomania, Cleopatra’s eroticized image—as well as her controversial legacy of female empowerment—resonated in new ways with a French public engaged in reassessing f

Why have dynamic and shifting hairstyles, from Katniss Everdeen’s Power Plait to JoJo Siwa’s outsize bows, become such a significant part of how girlhood is articulated in contemporary visual cultures? What do they tell us about how girlhood combines the qualities of resilience and sparkle needed to survive and thrive in turbulent post-recessionary times? Drawing together analysis of popular film franchises, Disney animation, ground-breaking TV shows, music videos, girl celebrity personas and global art cinema, Girls' Hairstories: Sparkle and Resilience in Contemporary Screen Cultures (Edinburgh University Press, 2025) by Dr. Fiona Handyside shows how across different cultural levels and aimed at different audiences, girls’ hairstyles provide a complex dynamic site of interpretation and interaction. It documents the careful craft of hair-dressers and software engineers working in the screen industries to style and animate hair, bringing their work to a new visibility. It is in the very everydayness of hairsty

Sinéad O'Connor, renowned for her angelic voice and activism, overcame a tumultuous upbringing to become a global protest singer and advocate for social justice. O'Connor achieved worldwide success as an angel-voiced, shaven-headed Irish singer of heartfelt songs, but she was far more than just a pop star - she was also an activist and a survivor. Reeling from a troubled childhood at the hands of her violent mother, she spent 18 months living in a former Magdalene Laundry due to her truancy and shoplifting, and suffered her mother's death in a car crash - all by the age of 18. Her pain, anger and compassion would turn her into one of the world's greatest protest singers and activists. She would release ten studio albums during her 36-year music career - the second of which (I Do Not Want What I Haven't Got) would reach number 1 across the world and earn her ten million pounds, half of which she gave to charity. During this time, she would also advocate for survivors of child abuse and racism, and stand up for

Few towns in America are as famous as Woodstock, New York—although Woodstock may be most famous for an event that happened many miles away! Long before the 1969 Woodstock festival put the town on the map, it had been a center for artists and free thinkers who found refuge in its rural setting. Longtime citizens were often shocked by the arrival of these newcomers who brought new values and attitudes to their once-isolated village. From the transformative arrival of artists in the early twentieth century to the influx of musicians and young people in the 1960s, Woodstockers worked and struggled to balance everyday life in a small, rural community with the attention and notoriety the outside world brought to it.  Presented chronologically, Woodstock: From World War to Culture Wars (SUNY Press, 2024) examines the nature of change within Woodstock's uncommon story as it emerges from the Great Depression, confronts the realty of World War II, moves through the 1950s and into an unimagined and unintended future wit

The names are iconic and familiar to anyone in Minnesota with an interest in dance: the Andaházy School of Classical Ballet, Minnesota Dance Theatre, James Sewell Ballet, Saint Paul City Ballet, and many more. Minnesota dance insider Georgia Finnegan, with a decades-long career as a professional ballet dancer and administrator of several dance companies in the Twin Cities, has compiled for the first time a comprehensive and long overdue history of ballet in Minnesota. In a lively writing style that features entertaining and moving personal stories as well as factual accounts about ballet companies, dance schools, artistic visionaries, and the supporters who helped to make it possible, Finnegan has created a remarkable resource on this particular art form in a state renowned for its commitment to art and culture. From the international love story of Lorand and Anna Andaházy, to the Houltons and their beloved Nutcracker tradition, to the innovative Ballet of the Dolls, which brought new audiences to the dance p

ART! TRASH! TERROR! Adventures in Strange Cinema (Headpress 2025) by Chris Alexander is a treasure trove of in-depth essays and edifying interviews that celebrate some of the most eccentric and unforgettable movies in cult cinema history. From recognized classics (George A. Romero's Dawn Of The Dead, David Lynch's The Elephant Man) to misunderstood masterpieces (Michael Mann's The Keep, Boris Sagal's The Omega Man) to unfairly maligned curios (Kostas Karagiannis' Land Of The Minotaur, Brett Leonard's Hideaway), the author takes an alternately serious and playful but always personal look at several strains of international horror, dark fantasy, and exploitation film -- motion pictures that transform, transgress, challenge, infuriate, shock, and entertain. Connecting these passionate and critical essays are insightful interviews with revered talents, such as John Waters (writer/director, Cecil B. Demented), Michael Winner (director, The Sentinel), Nicolas Cage (actor, Vampire's Kiss), Gene Simmons (co-founder/b

The Royal Albert Hall: Building the Arts and Sciences (Brepols, 2024) by Dr. Simona Valeriani takes one of London’s most iconic buildings and deconstructs it to offer new insights into the society that produced it. As part of the new cultural quarter built in South Kensington on the proceeds from The Great Exhibition of 1851, the Royal Albert Hall was originally intended to be a ‘Central Hall of Arts and Sciences’. Prince Albert’s overarching vision was to promote technological and industrial progress to a wider audience, and in so doing increase its cultural and economic reach. Lighting, ventilation, fireproofing, ‘ascending rooms’, cements, acoustics, the organ, the record-breaking iron dome, and the organisation of internal spaces were all attempts to attain progress - and subject to intense public scrutiny. From iron structures to terracotta, from the education of women to the abolition of slavery, in the making of the Royal Albert Hall scientific knowledge and socio-cultural reform were intertwined. This

Not so long ago, comedy and laughter were a shared experience of relief, as Freud famously argued. At their best, ribbing, roasting, piss-taking and insulting were the foundation of a kind of universal culture from which friendship, camaraderie and solidarity could emerge. Now, comedy is characterized by edgy humour and misplaced jokes that provoke personal and social anxiety, causing divisive cultural warfare in the media and among people. Our comedy is fraught with tension like never before, and so too is our social life. We often hear the claim that no one can take a joke anymore. But what if we really can’t take jokes anymore? Post-Comedy (Polity, 2025) argues that the spirit of comedy is the first step in the building of society, but that it has been lost in the era of divisive identity politics. Comedy flares up debates about censorship and cancellation, keeping us divided from one other. This goes against the true universalist spirit of comedy, which is becoming a thing of the past and must be recovere

George M. Cohan was one of those rare Broadway figures who was a composer, lyricist, playwright, performer, director, theater owner, and star actor. He could, quite literally, do it all. In his day, he was famous as the "Yankee Doodle Boy" from his hit song and as the "Man Who Owned Broadway" from his musical of the same name. Cohan's songs and shows captured the spirit of an era when staggering social change gave new urgency to efforts to define Americanism.  Elizabeth Craft’s Yankee Doodle Dandy: George M. Cohan and the Broadway Stage (Oxford University Press, 2024) is not a conventional biography. Each chapter explores a different aspect of his life and career including Cohan’s approach to American nationalism, Irish American identity, celebrity, and the entertainment business along with defining what made Cohan’s shows unique. Craft finds songs and shows that serve as exemplars for each theme she highlights. The book ends with an examination of the 1942 biopic on Cohan and his enduring legacy. Yankee Dood

Hollywood Unions (Rutgers UP, 2024) is a unique collection that tells the stories of the unions and guilds that have organized motion picture and television labor: IATSE, the DGA, SAG-AFTRA, and the WGA. The Hollywood unions represent a wide swath of the workers making media: from directors and stars to grips and makeup artists. People today know some of these organizations from their glitzy annual awards celebrations, but the unions’ actual importance is in bargaining with the Association of Motion Picture and Television Producers (AMPTP) on behalf of 331,000 workers in the motion picture and television industry. The Hollywood unions are not neutral institutions but rather have long histories of jurisdictional battles, competitions with rival unions, and industry-altering strikes. They have supported the industry’s workers through the Great Depression, World War II, the McCarthy era, the collapse of the studio system, the rise of television, runaway production, fights for gender parity, the digital revolutio

Successful cult films like The Host and Snowpiercer proved to be harbingers for Bong Joon Ho's enormous breakthrough success with Parasite. In Bong Joon Ho (U Illinois Press, 2024), Joseph Jonghyun Jeon provides a consideration of the director's entire career and the themes, ambitions, techniques, and preoccupations that infuse his works. As Jeon shows, Bong's sense of spatial and temporal dislocations creates a hall of mirrors that challenges us to answer the parallel questions Where are we? and When are we?. Jeon also traces Bong's oeuvre from its early focus on Korea's US-fueled modernization to examining the entanglements of globalization in Mother and his subsequent films. A complete filmography and in-depth interview with the director round out the book. Insightful and engaging, Bong Joon Ho offers an up-to-date analysis of the genre-bending international director. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.suppor

The future ain't what it used to be. Is nostalgia revitalizing or killing 21st-century culture? The concept of nostalgia has seeped into almost all aspects of modern-day media, none more so than horror culture and its borderlands of Hauntology, Folk Horror, and found footage film. From film and TV franchises building endlessly on past glories, to musicians whose work now spans decades, modern media borrows heavily from the past. Ghost of an Idea: Hauntology, Folk Horror, and the Spectre of Nostalgia examines the use and effect of nostalgia in the Horror and Hauntological realms. It asks why these genres hold such a fascination in popular culture, often inspiring devoted fanbases. From Candyman to The Blair Witch Project, and Dark Shadows to American Horror Story, are the folk horror and found footage phenomena significant artistic responses to political, social, and economic conditions, or simply an aesthetic rebranding of what has come before? How has nostalgia become linked to other concepts (psychogeograph

Cultural Narratives of Old Age in the Lives, Work, and Reception of Old Musicians (Routledge, 2024) discusses the creative work of old musicians—composers, performers, listeners, and scholars—and how those forms of music- making are received and understood. Joseph Straus argues that composing oldly, performing oldly, and listening oldly are distinctive and valuable ways of making music—a difference, not a deficit; to be celebrated, not ignored or condemned. This book follows Age Studies in seeing old age through a cultural lens, as something created and understood in culture. Straus’ text seeks to identify the ways that old musicians (composers, performers, listeners, and scholars) accept, resist, adapt, and transform the cultural scripts for the performance of old age. Musicking oldly (making music in old age) often represents an attempt to rewrite ageist cultural scripts and to find ways of flourishing musically in a largely hostile landscape. Joseph Straus is Distinguished Professor of Music at the City Un

Pamela Allen Brown joins Jana Byars to talk about The Diva's Gift to the Shakespearean Stage (Oxford University Press, 2022), which traces the transnational connections between Shakespeare's all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress who radically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters.  By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in all genres, including tragicomedy and tragedy. Some women became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy, with repeat tours in France and Spain.Elizabeth and her court caught wind of the Italians' success, and soon troupes with actresses came to London to perform. Through contacts