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1
Vilar, Jean. Jean Vilar: Du tableau de service au théâtre : notes de service de Jean Vilar. 2nd ed. Bruxelles: P.L.B.L.F., 1985.
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2
Vilar, Jean. Jean Vilar: Du tableau de service au théâtre. 2nd ed. Louvain-la-Neuve: Cahiers théâtre Louvain, 1985.
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3
Bataillon, Michel. Un défi en province: Planchon. Paris: Marval, 2001.
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4
Tŏk-chun, Chŏng, ed. Hanʾguk ŭi taejung munhak. Sŏul-si: Sohwa, 2001.
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5
Chŏng-ok, Sin, and Sin Hyŏn-suk 1944-, eds. Hanʾguk esŏ ŭi sŏyang yŏnʾgŭk: 1900-yŏn-1995-yŏn kkaji. Sŏul-si: Sohwa, 1999.
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6
1962-, Kim Chae-han, ed. DMZ. Sŏul-si: Sohwa, 2000.
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7
1959-, Kim Wŏn-dong, and Pak Chun-sik 1960-, eds. Punkwŏn kwa hyŏksin. Sŏul-si: Sohwa, 2004.
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8
Hong-u, Kim, and Hong Kwang-yŏp, eds. Kachʻi wa Hanʾguk chŏngchʻi. Sŏul-si: Sohwa, 2005.
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9
Nam-sun, Hŏ, ed. Hanʼguk ŭi adong pokchipŏp. Sŏul-si: Sohwa, 2002.
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10
1947-, Chang Tae-hong, ed. Kyŏngje sahoe kujo wa pokchi. Sŏul: Sohwa, 2003.
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11
1960-, Kim In-yŏng, ed. Hanʼguk sahoe silloe wa pulsin ŭi kujo: Kŏsijŏk chŏpkŭn. Sŏul-si: Sohwa, 2002.
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12
Kyun, Kwŏn, ed. Hanʼguk kyoyuk ŭi chaengchŏm e kwanhan yŏnʼgu. Sŏul-si: Sohwa, 2000.
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13
1943-, Kim U.-tʻaek, and Kim Chi-hŭi, eds. Hanʼguk sahoe silloe wa pulsin ŭi kujo: Misijŏk chŏpkŭn. Sŏul-si: Sohwa, 2002.
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14
Margolick, David. Strange fruit: Billie Holiday, Café Society, and an early cry for civil rights. Philadelphia: Running Press, 2000.
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15
Margolick, David. Strange fruit: Billie Holiday, Café Society, and an early cry for civil rights. Philadelphia: Running Press, 2000.
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16
Margolick, David. Strange fruit: The biography of a song. New York: Ecco Press, 2001.
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17
Carnival Theater: Uruguay S Popular Performers and National Culture. University of Minnesota Press, 2004.
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18
(Translator), Amy Ferlazzo, ed. Carnival Theater: Uruguay's Popular Performers and National Culture (Cultural Studies of the Americas, V. 15). University of Minnesota Press, 2004.
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19
(Translator), Amy Ferlazzo, ed. Carnival Theater: Uruguay's Popular Performers and National Culture (Cultural Studies of the Americas, V. 15). University of Minnesota Press, 2004.
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20
Kondo, Dorinne. About Face: Performing Race in Fashion and Theater. Taylor & Francis Group, 2014.
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21
Kondo, Dorinne. About Face: Performing Race in Fashion and Theater. Taylor & Francis Group, 2014.
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22
Richards, Jeffrey H., and Jeffrey H. Richards. Theater Enough. Duke University Press, 2012.
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23
About face: Performing race in fashion and theater. New York: Routledge, 1997.
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24
Getürkte Türken: Karnevaleske Stilmittel im Theater, Kabarett und Film deutsch-türkischer Künstlerinnen und Künstler. Bielefeld: Transcript, 2012.
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25
Richards, Jeffrey H. Theater Enough: American Culture and the Metaphor of the World Stage, 1607-1789. Duke University Press, 1991.
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26
Yunhwa Rao, Nancy. From Lun On and Lun Hop to the Great China Theater, 1922–1925. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040566.003.0008.
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In 1922, the Lun On troupe arrived in Seattle from Canada. It was quickly joined by other Cantonese opera groups moving across national borders, creating a network spanning the hemisphere from Vancouver to Los Angeles, New York, Havana, Mexico City, Mexicali, and even Lima, Peru. Through detailed primary source analysis Rao describes the financial and artistic accomplishments of these troupes even as they faced stigmatism and resistance from anti-Chinese organizations and exclusionary immigration policies. The interaction between the opera troupe/performers and local community was lively, reflected by the ritual practice, the publication of anthology for amateur, the opening of new theater, fund-raising performances, etc. In addition the chapter chronicles a series of distinctive actors, actresses and playwrights, as well as their signature repertoire that became most popular during this time.
27
Godard, Colette. Chaillot: Histoire d'un theatre populaire. Seuil, 2000.
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28
Subversions: Playing with History in Women's Theatre (Contemporary Theatre Review). Routledge, 1998.
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29
Wolf, Stacy. Beyond Broadway. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639525.001.0001.
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As a ubiquitous national performance form, musical theatre—an utterly American, unapologetically commercial, earnestly popular, middlebrow genre of art and entertainment—has astonishing staying power. Local productions cross economic, racial, and geographic divides, assuming the status of a national folk practice. Shows are handed down across generations, remarkable in a country with so few common cultural experiences. Artists and audiences learn the Broadway canon, absorb the musical’s conventions, and have a lot of fun in the process. “Broadway,” as a globally recognizable brand, maintains its status as musical theatre’s birthplace, but the form persists in American culture thanks to amateur productions at high schools, community theatres, afterschool programs, summer camps, and dinner theatres. Beyond Broadway illustrates the widespread presence and persistence of musical theatre in US culture and examines it as a social practice: a live, visceral experience of creating, watching, and listening. Why does local musical theatre flourish in America? Why do people continue to find it pleasurable? Why do they passionately engage in an old-fashioned, slow artistic practice that requires intense, person-to-person collaboration? Why do audiences still flock to musicals in their hometowns? What does local musical theatre do? Beyond Broadway answers these questions by traveling across America, stopping at elementary schools, a middle school performance festival, afterschool programs, high schools, summer camps, state park outdoor theatres, community theatres, and dinner theatres. This expedition illustrates the musical’s abundance and longevity as a thriving social activity that touches millions of lives.
30
Shakespeare, William. Merchant of Venice, the (Penguin Popular Classics). Penguin Books, 1998.
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31
Silber, Nina. This War Ain't Over. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646541.001.0001.
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The New Deal era witnessed a surprising surge in popular engagement with the history and memory of the Civil War era. From the omnipresent book and film Gone with the Wind and the scores of popular theater productions to Aaron Copeland's "A Lincoln Portrait," it was hard to miss America's fascination with the war in the 1930s and 1940s. Nina Silber deftly examines the often conflicting and politically contentious ways in which Americans remembered the Civil War era during the years of the Depression, the New Deal, and World War II. In doing so, she reveals how the debates and events of that earlier period resonated so profoundly with New Deal rhetoric about state power, emerging civil rights activism, labor organizing and trade unionism, and popular culture in wartime. At the heart of this book is an examination of how historical memory offers people a means of understanding and defining themselves in the present. Silber reveals how, during a moment of enormous national turmoil, the events and personages of the Civil War provided a framework for reassessing national identity, class conflict, and racial and ethnic division. The New Deal era may have been the first time Civil War memory loomed so large for the nation as a whole, but, as the present moment suggests, it was hardly the last.
32
Purcell, Stephen. ‘It’s All a Bit of a Risk’. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.30.
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This essay considers three movements in twenty-first-century Shakespearean performance in light of Philip Auslander’s influential study Liveness: Performance in a Mediatized Culture (1999): (1) the live broadcasting of theatre productions; (2) the increasingly popular genre of immersive theatre as spectator sport; and (3) the body of practice emerging from, and centring on, the reconstructed Shakespeare’s Globe Theatre in London. It considers the ways in which each of these movements constructs ‘liveness’, paying particular attention to the implications of these constructions for Shakespearean performance. The first movement is examined through the lens of the National Theatre Live broadcast of Nicholas Hytner’s Othello, whose ‘liveness’ involves an interplay of filmic and theatrical registers; the second, through a discussion of Punchdrunk’s Sleep No More; and the third, through the modern practice of finding ‘liveness’ in game-like theatre techniques and in the responsiveness of the actor at Shakespeare’s Globe.
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Dobrenko, Evgeny. Late Stalinism. Translated by Jesse M. Savage. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300198478.001.0001.
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This nuanced historical analysis of late Stalinism organized chronologically around the main events of the period—beginning with Victory in May 1945 and concluding with the death of Stalin in March 1953—analyzes key cultural texts to trace the emergence of an imperial Soviet consciousness that, the book argues, still defines the political and cultural profile of modern Russia. The book provides a cultural and intellectual history of the era in which the shaping of the Soviet nation was completed. It talks about the era when mental and cultural dominants that determined the character of Russia were definitively affirmed. It also looks into cultural texts of literature, theater, cinema, art, music, scientific and historical texts, and popular literature through which history reveals its internal logic. The book analyzes Stalinism that communicated the new agenda, gave the new political course form through media, and inculcated the new ideological modulations. It explores the prism of Soviet art in order to trace the political and ideological transformation of the Stalinist regime from revolutionary international utopianism to conservatively patriarchal national Bolshevism.
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Lambright, Anne. Andean Truths. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382516.001.0001.
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Andean Truths: Transitional Justice, Ethnicity, and Cultural Production in Post-Shining Path Peru studies how literature, drama, film, and the visual arts contest the dominant narrative of national peace and reconciliation, as constructed by Peru’s Truth and Reconciliation Commission. Established in 2001, the Commission aimed to ‘investigate and make public the truth’ of the country’s twenty-year civil war, drawing upon homologous predecessors that provided a highly scripted model of truth-gathering and national healing. In this model, a predetermined collective mourning, catharsis, and reconciliation would move the nation forward in a consensually-determined fashion. Andean Truths shows that the Peruvian case proves internationally-endorsed models insufficient for arriving at the ‘truth’ of a national trauma that primarily affected disenfranchised ethnic groups, namely, the Andean Quechua speaking populations that accounted for the overwhelming majority of victims of the violence. Even as scholars recognize the importance of bringing multiple voices to the table in discussing post-Shining Path Peru, the question remains of what a more Andean-oriented transitional justice process might entail. Drawing on theories of decoloniality, intercultural communication and epistemological diversity (following scholars such as Enrique Dussel, Aníbal Quijano and Boaventura de Sousa Santos), this book analyzes cultural products, from the theater of Yuyachkani to the narrative of Oscar Colchado Lucio, the art of Edilberto Jiménez, and other popular artistic responses, that highlight Andean understandings of the conflict and its aftermath. These cultural products challenge dominant understandings of the conflict and question Peru’s ability to overcome its collective trauma without seriously reconsidering prevailing cultural paradigms.
35
Watt, Stephen. The Inheritance of Melodrama. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.1.
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Although many in the Irish national theatre movement rejected melodrama—‘we will show that Ireland is not the home of buffoonery and easy sentiment’, as Yeats put it—the form continued to be both popular and influential into the twentieth century. This chapter deals with the hugely successful genre of Irish plays associated with figures such as Dion Boucicault, Hubert O’Grady, and J. W. Whitbread, and the impact of the form on later playwrights including O’Casey. It will show that by staging what might be called ‘dramas of exteriority’, melodrama provided a form of theatre capable of social critique, and its persistence well into the twentieth century was something more than the survival of a residual theatrical form. Indeed, it could be argued that Irish melodrama as a theatrical form can be understood as a response to the shocks of modernity.
36
Bates, Julie. Beckett at the Gate. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.31.
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The place of Samuel Beckett in Irish theatre is anomalous. On the one hand, he is the inescapable figure, the writer cited by so many subsequent Irish playwrights as a touchstone for their work. On the other hand, his work is not ‘Irish’ in any obvious way. While there are fleeting references to Irish placenames, much of the late work takes place in a purely theatrical world that is removed from any national or culturally specific setting. The Beckett Festival of 1991, in which all of Beckett’s nineteen plays were produced, was developed by Michael Colgan as a way of repatriating the playwright. Colgan’s entrepreneurial skills were put at the service of a major theatre event in which popular Irish actors such as Barry McGovern, Johnny Murphy, and Maureen Potter were matched with international directors. This Irish event then toured abroad, and led to the commemorative ‘Beckett on Film’ project.
37
Park, Chan E., Adnan Hossain, William Grange, Judith Fletcher, Domenico Pietropaolo, Hanne M. de Bruin, Josh Stenberg, et al. Korean Pansori as Voice Theatre. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350174917.
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This book introduces readers to the historical, performative, and cultural context of pansori, a traditional Korean oral story-singing art. Written by a scholar-practitioner of the form, this study is structured in three parts and begins by introducing readers to the technical, aesthetic, and theoretical components of pansori as well as the synthesis of vocal and percussive elements that stage the narrative. It also reflects on the historical contexts of pansori alongside Korea’s transformation from Joseon monarchy to modern statehood. It argues that with colonial annexation came modernist influences that Korean dramatists and audiences used to create distinct new genres of Korean performance, using the common thread of pansori. It further explores the dynamic interplay of preservation and innovation, beginning in the post-war designation of national performance art and continuing with developments that coincide with Korea’s imprint on cultural globalization. Along with Korea’s growth as a world economic center, a growing enthusiasm for Korean culture around the world has increased the transmission and visibility of pansori. Chan E. Park argues that tradition and innovation are not as divergent as they are sometimes imagined to be and that tradition is the force that enables innovation. Unique among treatments of this subject, this book is written from combined researcher and practitioner perspectives. Drawing on her ethnographic work and performance practice, Chan E. Park interweaves expert knowledge of both the textual and performative aspects of the form, rendering legible this dramatic tradition. Pansori as voice theatre examines the practice of pansori, Korean oral storysinging, in its historical, performative, and cultural context. There are three sections to the text. Section One analyzes technical, aesthetic, and theoretical components of pansori. Using translated samples, the book explicates the synthesis of vocal and percussive elements that, together with the listening ear, stage the narrative. Section Two critically reflects on the historical contexts of pansori alongside Korea’s transformation from Joseon monarchy (1391-1910) to modern statehood. In the case of pansori tradition, the posited strict class hierarchies of Joseon were in fact porous, as attested by the patronages and collaborations over generations. With colonial annexation (1910-1945) came modernist influences that Korean dramatists and audiences localized into distinct new genres of Korean performance using the common thread of pansori. Section Three examines the dynamic interplay of preservation and innovation, beginning in the post-War designation of national performance art (gugak) and continuing with off-mainstream, fusion, and hybrid developments that coincide with Korea’s imprint on cultural globalization (hallyu). Along with Korea’s growth as a world economic center (late twentieth century to present), a growing enthusiasm for Korean culture around the world has increased the transmission and visibility of pansori through institutions of popular culture. Ultimately, tradition and innovation are not as divergent as they are sometimes imagined to be. Rather, a study of pansori suggests that tradition is the centripetal force that enables innovation for the collective theatrical imagination.
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Fraunhar, Alison. Mulata Nation. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496814432.001.0001.
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Mulata Nation traces the figure of the mulata, the woman of mixed racial heritage in Cuban artwork and performance from the colonial era through the modern to the contemporary. While perhaps most widely linked with sensuality and sexual desirability, the mulata also serves as the embodiment of Cuba’s spirituality, and as emblematic of Cuban identity. Through close readings of representations of the mulata in fine and graphic art, mulata performers and the performance of mulata characters at distinct historical and ideological moments, the book claims that far from being a static, flat figure, images of the mulata have shifted over time and continue to find new expressions. Different expressions of the mulata are linked to specific historical moments. Representations of the mulata on cigarette packaging, marquillas cigarreras, and in the musical theater form zarzuela of the late colonial era, cabaret performance, fine art and popular magazine covers during the Republic, as an icon of Mexican cinema in the first wave of the diaspora of Cuban artists and Cuban cultural forms, and as an icon of the new (wo)man of revolutionary Cuba in Cuban cinema of the 1960s and 70s all figure the mulata as crucial figures in national culture. At present, both the significant diaspora of Cuban artists and others to the US and other countries have been re-inscribing the mulata and mulataje to bear, contest and sometimes reinforce the tropic positions explored in previous chapters. Furthermore, the performance of mulataje on and off the island is no longer limited to women; the performance of mulataje is prominent in highly popular drag shows and film in contemporary Cuba.
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Felber, Garrett. Those Who Know Don't Say. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469653822.001.0001.
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The Nation of Islam was at the forefront of the struggle against policing and prisons so central to the postwar Black Freedom Struggle. Far from being the insular, apolitical, religiously heretical group that popular accounts have described, the Nation of Islam was an ambitious political force that sought to build all-black coalitions against police brutality and to fight for the constitutional rights of prisoners. Using prayer as a form of protest within Folsom Prison, and turning the trial of Ronald Stokes in Los Angeles into courtroom political theater, the Nation of Islam innovated new tactics over the course of their campaigns, turning prison yards and courtrooms into sites of protest. To combat the formidable challenge posed by this disciplined black nationalist organizing, the carceral state responded with new modes of surveillance, punishment, and ideological knowledge creation.
40
Guesnet, François, Benjamin Matis, and Antony Polonsky, eds. Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.001.0001.
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With its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yiddish songs and the Yiddish theatre, and contributions of many different sorts in the interwar years. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music. The chapters do not attempt to define what may well be undefinable—what “Jewish music” is. Rather, they provide an original and much-needed exploration of the activities and creativity of “musicians of the Jewish faith.“
41
Polette, Nancy J. Mysteries in the Classroom. ABC-CLIO, 2009. http://dx.doi.org/10.5040/9798400688980.
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Celebrated author Nancy Polette offers a complete mystery literature guide for primary, intermediate, and middle school mysteries. Librarians and teachers alike will find this engaging title from popular author Nancy Polette a joy to use, and the information it offers is a sure way to engage students in literature. Mysteries in the Classroom introduces 23 reading strategies tied to the National Standards in Reading, Language Arts, and Social Studies that can be used with any mystery. Booktalks and activities are presented for 17 favorite mystery series and 6 favorite authors. The book includes hands-on activities to introduce each series and author, booktalks for the Edgar Allan Poe Juvenile Mystery Award winners from 1979 to 2008, and step-by-step directions for turning booktalks into readers theatre presentations. An especially exciting feature is a section contributed by Newberry-award winning author Richard Peck in which he guides budding young writers in coauthoring a mystery with him. Grades 1-6
42
Harris, Andrea. Making Ballet 1. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199342235.003.0003.
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Making Ballet 1 provides a choreographic analysis of the ballet Billy the Kid, produced by Ballet Caravan in 1938 with choreography by Eugene Loring, music by Aaron Copland, design by Jared French, and libretto by Lincoln Kirstein. This analysis challenges previous readings of the ballet as patriotic or conservative Americana. Instead, it places Billy the Kid within the internationalism and antifascism of the cultural wing of the Popular Front, in which its creative team was deeply enmeshed. Given those origins, the ballet exemplifies the cultural front’s initiative to critique the nation’s past and re-imagine its future. Drawing on archival sources and movement analysis, this interchapter argues that Billy the Kid was an attempt to infuse American ballet with international modernist theories of how to intensify the social relevance of the theatre.
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Hammond, Andrew Leonard. Pop Culture Arab World! ABC-CLIO, 2004. http://dx.doi.org/10.5040/9798400698927.
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The first book to explore how Arab pop culture has succeeded in helping forge a pan-Arab identity, where Arab nationalism has failed. Pop Culture Arab World!is the first volume to explore the full scope of Arab cultural life since World War II. The book reveals a homogeneous yet richly diverse culture across the Arab nations. In-depth chapters feature radio/TV (particularly the satellite revolution, which has fostered a shared Arab identity), the press (vibrant and controversial), cinema (once thriving, now in crisis), music (the beating heart of modern Arabness), theater (a largely assimilated Western import), popular religion, belly dance (originating in the Arab world), Western consumerism, sport, and the Arabic language (for Muslims, the tongue of God's final revelation). At a time when almost all we see of the Middle East is violence, oppressive nationalism, dangerous zealotry, and despair, this book is a vivid reminder of the humanity of the region's diverse people.
44
Shakespeare, William. King Lear (Penguin Popular Classics). Penguin Books, 1998.
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45
White, Steven F., and Esthela Calderon. Culture and Customs of Nicaragua. Greenwood, 2008. http://dx.doi.org/10.5040/9798400635625.
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Throughout its history Nicaragua has been plagued by corruption, social and racial inequality, civil unrest, and foreign interference. Yet despite being the second poorest nation in South America, Nicaragua maintains a rich and vibrant culture that reflects its strong Catholic devotion, diverse indigenous roots, and overwhelming zest for life.Culture and Customs of Nicaraguaintroduces students and general readers to Nicaragua's unique blend of religious and traditional holidays, so numerous that the country is said to be in a constant state of celebration; its growing film industry; its many styles of dance, the popular street theatre open to all bystanders; important contributions to Spanish literature, local cuisines, architecture, social norms, and more. Readers learn what it is like to live in one of Latin America's most disillusioned countries but also discover the passionate culture that defines and sustains the Nicaraguan people.
46
Un défi en province: Cronique d'une aventure théâtrale. Paris: Marval, 2005.
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47
Hall, Wayne Michael, and Gary Citrenbaum. Intelligence Analysis. ABC-CLIO, LLC, 2009. http://dx.doi.org/10.5040/9798400670930.
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This book offers a vast conceptual and theoretical exploration of the ways intelligence analysis must change in order to succeed against today's most dangerous combatants and most complex irregular theatres of conflict. Intelligence Analysis: How to Think in Complex Environments fills a void in the existing literature on contemporary warfare by examining the theoretical and conceptual foundations of effective modern intelligence analysis—the type of analysis needed to support military operations in modern, complex operational environments. This volume is an expert guide for rethinking intelligence analysis and understanding the true nature of the operational environment, adversaries, and most importantly, the populace. Intelligence Analysis proposes substantive improvements in the way the U.S. national security system interprets intelligence, drawing on the groundbreaking work of theorists ranging from Carl von Clauswitz and Sun Tzu to M. Mitchell Waldrop, General David Petraeus, Richards Heuer, Jr., Orson Scott Card, and others. The new ideas presented here will help the nation to amass a formidable, cumulative intelligence power, with distinct advantages over any and all adversaries of the future regardless of the level of war or type of operational environment.
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Accilien, Cécile, and Valérie K. Orlando, eds. Teaching Haiti. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9781683402107.001.0001.
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This volume is the first to focus on teaching about Haiti’s complex history and culture from a multidisciplinary perspective. Making broad connections between Haiti and the rest of the Caribbean, contributors provide pedagogical guidance on how to approach the country from different lenses in course curricula. They offer practical suggestions, theories on a wide variety of texts, examples of syllabi, and classroom experiences. Teaching Haiti dispels stereotypes associating Haiti with disaster, poverty, and negative ideas of Vodou, going beyond the simplistic neocolonial, imperialist, and racist descriptions often found in literary and historical accounts. Instructors in diverse subject areas discuss ways of reshaping old narratives through women’s and gender studies, poetry, theater, art, religion, language, politics, history, and popular culture, and they advocate for including Haiti in American studies and Latin American studies courses. Portraying Haiti not as “the poorest nation in the Western Hemisphere” but as a nation with a multifaceted culture that plays an important part on the world’s stage, this volume offers valuable lessons about Haiti’s past and present related to immigration, migration, locality, and globality. The essays remind us that these themes are increasingly relevant in an era in which teachers are often called to address neoliberalist views and practices and isolationist politics.
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Klapper, Melissa R. Ballet Class. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.001.0001.
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Surveying American ballet in 1913, Willa Cather reported that few girls expressed any interest in taking ballet class and that those who did were hard-pressed to find anything other than dingy studios and imperious teachers. A century later, ballet is everywhere. There are ballet companies across the United States; ballet is commonly featured in film, television, literature, and social media; professional ballet dancers are spokespeople for all kinds of products; nail polish companies market colors like “Ballet Slippers”; and, most importantly, millions of American children have taken ballet class. Beginning with the arrival of Russian dancers like Anna Pavlova in the early 1900s, Ballet Class: An American History explores the growth of ballet from an ancillary part of nineteenth-century musical theater, opera, and vaudeville to the quintessential extracurricular activity it is today, pursued by countless children nationwide and an integral part of twentieth-century American childhood across borders of gender, class, race, and sexuality. A social history, Ballet Class takes a new approach to ballet and helps ground an art form often perceived to be elite in the experiences of everyday people who spent time in barre-lined studios. Drawing on materials including children’s books, memoirs by professional dancers and choreographers, pedagogy manuals, dance periodicals, archival collections, and oral histories, this pathbreaking study provides a national perspective on the history and significance of recreational ballet class in the United States and its influence on many facets of children’s lives, including gender norms, consumerism, body image, children’s literature, extracurricular activities, and popular culture.
50
Olson, James S. Historical Dictionary of the Great Depression, 1929-1940. Greenwood Publishing Group, Inc., 2001. http://dx.doi.org/10.5040/9798400664021.
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Today when most Americans think of the Great Depression, they imagine desperate hoboes riding the rails in search of work, unemployed men selling pencils to indifferent crowds, bootleggers hustling illegal booze to secrecy-shrouded speakeasies, FDR smiling, or Judy Garland skipping along the yellow brick road. Hard times have become an abstraction. But there was a time when economic suffering was real, when hunger stalked the land, and Americans tried to forget their troubles in movie theaters or in front of a radio. From the stock market crash of October 1929 to Germany's invasion of Norway, France, and the Low Countries in 1940, the Great Depression blanketed the world economy. Its impact was particularly deep and direct in the United States. This was the era when the federal government became a major player in the national economy and Americans bestowed the responsibility for maintaining full employment and stable prices on Congress and the White House, making the Depression years a major watershed in U.S. history. In more than 500 essays, this book provides a ready reference to those hard times, covering the diplomacy, popular culture, intellectual life, economic problems, public policy issues, and prominent individuals of the era.