New Books In Dance

Justin Gautreau's book The Last Word: The Hollywood Novel and the Studio System (Oxford UP, 2020) argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy o

Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms by Kira Thurman (Cornell University Press, 2021) is a truly interdisciplinary study. Dr. Thurman’s work sits at the intersection of German Studies, History, and Musicology. Beginning in the 1870s with concerts given by the Fisk Jubilee Singers, Singing Like Germans covers a century of Black musicians performing classical music in Germany and Austria. This sprawling book takes on how and why Black musicians came to Central Europe to perform classical music from their homes in North America, Africa, or the Caribbean, and what their reception reveals about German ideas of race, nationhood, and musical culture. She traces how the political tumult of one hundred years of war, Nazism, and the division between East and West Germany contributed to the changing circumstances of Black musicians in the area, but also how ideas of race remained remarkably consistent in all that time. Performers such as Roland Hayes, Marian Anderson, and Grac

Unlike many books that examine the how of making theater, Brian Kulick's The Secret Life of Theater: On the Nature and Function of Theatrical Representation (Routledge, 2019) examines the why. Using Jorge Luis Borges' story Averroes's Search as a guide, Kulick defines theatre via its proximity to play, ritual, imitation, and religion, all of which share elements of theatricality. He then takes us on a whirlwind tour of theatrical history by examining key stage moments from some classic works of theater, from Agamemnon to Angels in America. Finally, Kulick looks at theater's changing relationship to fellow-feeling, whether pity, sympathy, or empathy, and articulates how the union of thought and feeling is a key insight of theatrical representation. By rekindling our sense of fellow-feeling and allowing us to see the world anew, Kulick suggests theater may provide valuable emotional and intellectual resources for our troubled times. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the

Çigdem Çidam, Associate Professor of Political Science at Union College, has a new book titled In the Street: Democratic Action, Theatricality, and Political Friendship (Oxford UP, 2021) that examines political action by citizens, and how we interpret and discuss that action in context of political structures. The title In the Street is a reference to the seminal French poster from May of 1968 that read “beauty is in the street,” and was adapted by the demonstrators in Turkey decades later, providing one of the many examples of street politics that illustrate the discussion of activism throughout the book. Street politics has many forms, such as protests, demonstrations, and acts of civil disobedience. Often such actions are confined to the binary analysis of successes and failures, only examining how likely an action is to bring about change. The origins of this understanding stem from Jean-Jacques Rousseau’s notion of popular sovereignty, rejection of theatricality, and the idealization of immediacy. Çidam

Cimino: The Deer Hunter, Heaven's Gate, and the Price of a Vision (Abrams Press, 2022) is the first biography of critically acclaimed then critically derided filmmaker Michael Cimino--and a reevaluation of the infamous film that destroyed his career The director Michael Cimino (1939-2016) is famous for two films: the intense, powerful, and enduring Vietnam movie The Deer Hunter, which won Best Picture at the Academy Awards in 1979 and also won Cimino Best Director, and Heaven's Gate, the most notorious bomb of all time. Originally budgeted at $11 million, Cimino's sprawling western went off the rails in Montana. The picture grew longer and longer, and the budget ballooned to over $40 million. When it was finally released, Heaven's Gate failed so completely with reviewers and at the box office that it put legendary studio United Artists out of business and marked the end of Hollywood's auteur era.  Or so the conventional wisdom goes. Charles Elton delves deeply into the making and aftermath of the movie and pr

The Selected Plays of Stan Lai (U Michigan Press, 2022) collects a cross-section from the four-decade career of one of the major dramatists of our time. Lai's works, including Secret Love in Peach Blossom Land, are famous throughout the Sinophone world, having been performed in Taiwan, Hong Kong, and Mainland China. Many lines from his plays have become almost proverbial, quoted by academics and cab drivers alike. The plays collected here are translated by Lai himself, and are suitable for performance (in addition to being a playwright and director, Lai is a theatre scholar with a Ph.D. from UC Berkeley). They retain the humor, theatricality, and pathos that have made Lai one of Asia's most popular playwrights. In this interview we discuss Lai's childhood between the US and Taiwan, as well as his semi-improvised method of playwrighting.  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 Art

We are living in an era of unprecedented access to popular culture: contemporary digital infrastructure provides anyone with an internet connection access to a dizzying array of cultural objects past and present, which mingle and connect in fascinating, bizarre and sometimes troubling ways.  In Black Ephemera: The Crisis and Challenge of the Musical Archive (NYU Press, 2022), Mark Anthony Neal considers the opportunities and challenges that this vast archive represents for Black American culture, with a particular focus on music and sound. He suggests that despite the profusion of what he terms ‘Black big data’ and the supposed democratisation of access this entails, the contemporary moment is characterised by a profound amnesia and an absence of attention to the dense web of connections that bind the analogue past with the digital present. Black Ephemera seeks to at once draw out and ‘mystify’ these links, by attending to recordings, historical moments and archival projects which have often been neglected in

Trina Nileena Banerjee's book Performing Silence: Women in the Group Theatre Movement in Bengal (Oxford UP, 2021) addresses the absence of a sustained and critical engagement with the gender politics of the group theatre movement, by looking at the difficult negotiations of a 'movement' that self-consciously fashions itself as a leftist cultural enterprise with questions of gender and sexuality. It endeavours to do so by studying the movement in two different ways, it examines both the aesthetic representations of women on stage and the actual participation of women as cultural activists in the movement. Rituparna Patgiri, PhD is an Assistant Professor of Sociology at Indraprastha College for Women, University of Delhi. She has a PhD in Sociology from Jawaharlal Nehru University (JNU), New Delhi. Her research interests lie in the areas of food, media, gender and public. She is also one of the co-founders of Doing Sociology. Patgiri can be reached at @Rituparna37 on Twitter. Learn more about your ad choices. V

In Minor China: Method, Materialisms, and the Aesthetic (Duke UP, 2021), Hentyle Yapp analyzes contemporary Chinese art as it circulates on the global art market to outline the limitations of Western understandings of non-Western art. Yapp reconsiders the all-too-common narratives about Chinese art that celebrate the heroic artist who embodies political resistance against the authoritarian state. These narratives, as Yapp establishes, prevent Chinese art, aesthetics, and politics from being discussed in the West outside the terms of Western liberalism and notions of the “universal.” Yapp engages with art ranging from photography and performance to curation and installations to foreground what he calls the minor as method—tracking aesthetic and intellectual practices that challenge the predetermined ideas and political concerns that uphold dominant conceptions of history, the state, and the subject. By examining the minor in the work of artists such as Ai Weiwei, Zhang Huan, Cao Fei, Cai Guo-Qiang, Carol Yingh

In Ode to Gen X: Institutional Cynicism in "Stranger Things" and 1980s Film (University Press of Mississippi, 2021), Melissa Vosen Callens explores the parallels between iconic films featuring children and teenagers and the first three seasons of Stranger Things, a series about a group of young friends set in 1980s Indiana. The text moves beyond the (at times) non-sequitur 1980s Easter eggs to a common underlying narrative: Generation X’s growing distrust in American institutions. Despite Gen X’s cynicism toward both informal and formal institutions, viewers also see a more positive characteristic of Gen X in these films and series: Gen X’s fierce independence and ability to rebuild and redefine the family unit despite continued economic hardships. Vosen Callens demonstrates how Stranger Things draws on popular 1980s popular culture to pay tribute to Gen X’s evolving outlook on three key and interwoven American institutions: family, economy, and government. Rebekah Buchanan is an Associate Professor of Engli

Stephen Deusner's Where the Devil Don't Stay: Traveling the South with the Drive-By Truckers (U Texas Press, 2021) is the book-length study Drive-By Truckers fans have been waiting for. A group biography in the form of a road trip saga, Deusner's book takes you to the Athens scene that has supported the band, the sweltering hot Birmingham studio where they recorded their breakthrough album Southern Rock Opera, and the Muscle Shoals in which a majority of the band was raised. Deusner's trip takes wide detours into Southern history and culture, as any proper treatment of the Truckers must. It is as much about what the band's music is about (family, tradition, violence, despair, transcendence) as it is about the music itself. This book is as complex, moving, thrilling, and funny as one of DBT's marathon sets. Pass the bourbon. 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 a

The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists, but according to Mary Beth Willard, it’s hard to find good reasons to do so. In Why It's OK to Enjoy the Work of Immoral Artists (Routledge, 2021), she contends that because most boycotts of artists won’t succeed, there’s no ethical reason to do so most of the time. She then argues that canceling artists is ethically risky because it encourages moral grandstanding. In this interview, Allison Leigh talks to Mary Beth Willard about the differences between enjoyment and engagement when it comes to immoral artists, as well as whether we should enjoy artworks that have immoral outlooks and behaviors embedded in them. Their conversation ranges from the problems associated with collective versus individual actions, the positive effects that giving up the work of immoral artists may have for shifting cultu

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman’s interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians’ actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century’s extraordinary period of creative productivity. The oldest two interview s

Jazz in Socialist Hà Nội: Improvisations between Worlds (Routledge, 2022) examines the germination and growth of jazz under communist rule—perceived as the "music of the enemy" and "ideologically decadent"—in the Vietnamese capital of Hà Nội. After disappearing from the scene in 1954 following the end of the First Indochina War, jazz reemerged in the public sphere decades later at the end of the Cold War. Since then, Hà Nội has established itself as a vital and vibrant jazz center, complete with a full jazz program in the national conservatoire. Featuring interviews with principal players involved in cultivating the scene from past to present, this book presents the sociocultural encounters between musicians and the larger powers enmeshed in the broader political economy, detailing jazz’s journey to garner respect comparable to classical music as an art form possessing high artistic value. Ethnographical sketches explore how Vietnamese musicians learn and play jazz while sustaining and nurturing the scene, pr

For centuries Comanches have captivated imaginations. Yet their story in popular accounts abruptly stops in 1875, when the last free Comanches entered a reservation in southwestern Oklahoma. In Cinematic Comanches: The Lone Ranger in the Media Borderlands (U Nebraska Press, 2022), the first tribal-specific history of Comanches in film and media, Quanah Parker descendant Dustin Tahmahkera examines how Comanches represent themselves and are represented by others in recent media. Telling a story of Comanche family and extended kin and their relations to film, Tahmahkera reframes a distorted and defeated history of Comanches into a vibrant story of cinematic traditions, agency, and cultural continuity. Co-starring a long list of Comanche actors, filmmakers, consultants, critics, and subjects, Cinematic Comanches moves through the politics of tribal representation and history to highlight the production of Comanchería cinema. From early silent films and 1950s Westerns to Disney’s The Lone Ranger and the story of

In this podcast, Lisa Blackmore, Senior Lecture in the School of Philosophy, History and Interdisciplinary Studies Center at the University of Essex, and Liliana Gomez, Professor of Art and Society at the University of Kassel, introduce their edited volume Liquid Ecologies in Latin American and Caribbean art (Routledge, 2020) and the multiple ways it proposes to "think with water". Spotlighting the ways in which artists in the Americas have long been in dialogue with water, liquids and fluids as material signifiers and ontological materials, the authors in this volume examine artists and works that open up larger discussions about history, ecology, temporality, memory, activism and more. This interdisciplinary book brings into dialogue research on how different fluids and bodies of water are mobilised as liquid ecologies in the arts in Latin America and the Caribbean. Examining the visual arts, including multimedia installations, performance, photography and film, the chapters place diverse fluids and systems

In Alluring Monsters: The Pontianak and Cinemas of Decolonization (Columbia University Press, 2021), film scholar Rosalind Galt offers a cinematic exploration of the pontianak, a female vampire ghost whose origins stem back to pre-Islamic animist tradition but who is continues to be feared and revered in Malay cultures to this day. In the 1950s, the pontianak haunted the screens of late colonial Singapore in a series of popular films that combined appeals to indigenous animism with the affective force of the horror genre. Although the pontianak would disappear from view following the breakdown of the studio system, she would once again wreak havoc in postcolonial Southeast Asian film and society from the early 2000s onwards. In this book, Galt explores the enduring appeal of the Pontianak, framing her as an ambivalent agent of gender subversion, a precolonial figure of disturbance within postcolonial cultures, and a haunting presence that sheds light on a range of questions—surrounding race, religion, nationa

The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. Daniel Fairfax's The Red Years of Cahiers du Cinéma (1968-1973) (Amsterdam UP, 2021) gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers

6 Plays (Agate Press, 2022) collects six plays written over a twenty year period by playwright Mickle Maher. Maher is a legend of the Chicago theatre. He is a founder of Theater Oobleck, which has produced many of his plays since their founding as a student theatre group at the University of Michigan in the 1980s. Maher's plays often riff on an existing literary or theatrical classic (Shakespeare's The Tempest in Spirits to Enforce, Chekhov's Cherry Orchard in The Hunchback Variations) but they're never inaccessibly academic. Rather, they invite audiences into a playful, funny, profoundly moving dialogue with canonical works. In this discussion, we talk about the founding of Theater Oobleck, Maher's teaching methodology, and why the Faust myth spoke to him so profoundly during a time of personal crisis.  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

What happens when the written words of biblical scripture are transformed into experiential, choreographed environments? To answer this question, anthropologist James Bielo explores a diverse range of practices and places that “materialize the Bible,” including gardens, theme parks, shrines, museums, memorials, exhibitions, theatrical productions, and other forms of replication. Integrating ethnographic, archival, and mass media data, case studies focus primarily on U.S. Christianity from the late 19th-century to the present. In Materializing the Bible: Scripture, Sensation, Place (Bloomsbury, 2021), Bielo argues that materializing the Bible works as an authorizing practice to intensify intimacies with scripture and circulate potent ideologies. Performed through the sensory experience of bodies, physical technologies, and infrastructures of place, Bielo illustrates how this phenomenon is always, ultimately, about expressions of power. Tiatemsu Longkumer is a Ph.D. scholar working on ‘Anthropology of Religion’