bluuebunny/crossref_metadata_2025 huggingface dataset:
Caribbean and Atlantic Diaspora Dance
Authors: Daniel Yvonne
Published: May 2017

This book provides a sweeping cultural and historical examination of Diaspora dance genres. The book investigates social dances brought to the islands by Europeans and Africans, including quadrilles and drum/dances as well as popular dances that followed, such as Carnival parading, Pan-Caribbean danzas, rumba, merengue, mambo, reggae, and zouk. The book reviews sacred dance and closely documents combat dances, such as Martinican ladja, Trinidadian kalinda, and Cuban juego de maní. In drawing on scores of performers and consultants from the region as well as on the author's own professional dance experience and acumen, the book adeptly places Caribbean dance in the context of cultural and economic globalization, connecting local practices to transnational and global processes and emphasizing the important role of dance in critical regional tourism. Throughout, the book reveals impromptu and long-lasting Diaspora communities of participating dancers and musicians.
Diaspora Dance in the History of Dance Studies
Authors: Daniel Yvonne
Published: May 2017

This chapter examines Diaspora dance culture from a dance studies perspective. It begins by tracing the history of dance anthropology and Diaspora dance as a field of study, with a particular focus on some key dance scholars such as Franz Boas, E. E. Evans-Pritchard, Margaret Mead, Gertrude Kurath, Katherine Dunham, and Pearl Primus. It then reviews the pioneers and pioneering literature of dance anthropology covering Caribbean, Spanish Caribbean, French/Kreyol Caribbean, English/Creole Caribbean, and Dutch Caribbean dance studies as well as dance studies of Afro-Latin territories. It also provides a short background on African and Diaspora U.S. dance studies and concludes by highlighting how visual analysis of dance formations permits a visceral understanding of Diaspora dance.
Creole Dances in National Rhythms
Authors: Daniel Yvonne
Published: May 2017

This chapter examines social dances that display national dance formation and how they rise to national status in one country, while other nations identify only one dance for hundreds of years. It first considers examples of Creole dances that have become synonymous with island identity, such as Jamaican reggae, Trinidadian calypso, Dominican merengue, and French Caribbean zouk. It then explores the Cuban dance matrix and its various segments, including Native American dance, Spanish dance, African dance, and Haitian dance. It also traces the development of Cuba's national dances, focusing on danzón, son, and rumba and suggests that national dance depends on relevance to historical conditions, which class/group is in power, and the pertinent cultural values that are encapsulated within dance movement. The chapter concludes by noting how Caribbean dances surface toward the national level, match national concerns, and become attached to the national imagination.
Parading the Carnivalesque: Masking Circum-Caribbean Demands
Authors: Daniel Yvonne
Published: May 2017

This chapter examines the Carnival and other parade dancing that have brought the people of the African Diaspora together in festive merrymaking. More specifically, it highlights the Carnivalesque experience associated with Circum-Caribbean parading, from Carnaval in Cuba, Puerto Rico, Guadeloupe, and Martinique to the Kanaval in Haiti, the Jonkonnu in Jamaica, and the Saints Day Processions in the Caribbean. The chapter begins with an overview of the characteristics of Carnival dance and goes on to describe and compare major masking and parade dance traditions in Trinidad and Tobago, Jamaica, Cuba, Haiti, and Brazil. It argues that Carnival dancing not only functions as a form of entertainment, but in many cases as a medium for sociopolitical criticism, and especially for challenging social and cultural authority. The chapter concludes with an assessment of carnivalesque's contemporary messages.
Igniting Diaspora Citizenship
Authors: Daniel Yvonne
Published: May 2017

This book concludes by discussing the transcendence, resilience, and citizenship that have come to define Diaspora dance. It first explains the transcendent tendencies of Diaspora dance, emphasizing how its several genres have spread through migration, transnational connections, and communication technologies to Caribbean niches in other parts of the world. It then considers the resilience of both Diaspora dance and Diaspora dancers in response to change, able to recover spirit and energy in a quick but cool fashion as they deal with a variety of challenges. It also examines how citizenzhip is invoked in the social meaning of Diaspora dance amidst recreational or theatrical display, noting how historical drum/dances, quadrilles, and contredanses have signaled not only entertainment and diversion but also agency. Finally, the author reflects on her experiences and field research in Spanish, French/Kreyol, English/Creole, Dutch, former Danish and Portuguese Circum-Caribbean dances, as well as the contributions of Katherine Dunham in the field of Diaspora dance.
Higher Laws
Authors: Lause Mark A.
Published: May 2017

This chapter explores antebellum secret associations formed by black Americans. Even as European revolutionaries applied the standards of fraternalism to national purposes, similar organizations contributed directly to shaping black identity in America. In fact, black orders bore far greater resemblance to the European societies than most of those among white Americans. Context made black associations more overtly more political and made one fundamental labor reform unavoidable for an African American leadership described as bound in “the triple chord of Masonry, Church fellowship and Anti-Slavery association.” Most important, repressive conditions in America drove active resistance to slavery underground, making particularly relevant the accoutrements of fraternalism. As the explosive struggle over the extension of slavery into Kansas spurred radical activism among whites as well, the secret society tradition in America tapped ever more deeply into the experience of the African American—as well as European—associations.
Decisive Means
Authors: Lause Mark A.
Published: May 2017

This chapter examines how political violence challenged the old Enlightenment faith that reason and right would guide the new nation-states. However, the nation-states themselves had been subverting that faith for almost a century. Events in Europe continued to confirm the disaffection of the Ourvrier Circle and its allies among the Universal Democratic Republicans in America. Armed conflict in the Kansas Territory had already forcibly refocused their Brotherhood of the Union whose agrarian, socialist, and abolitionist visions had relied so heavily on reasoned moral discourse. On the other hand, groups such as the Knights of the Golden Circle had always equated progress with the violent subjugation of the more primitive.
Primordial Floods and the Expressive Body
Authors: Uzendoski Michael A. , Calapucha-Tapuy Edith Felicia
Published: May 2017

This chapter deals with voices that speak about the great flood, glossed as izhu punzha in the Napo Quichua vernacular. Izhu is an Quichua adaptation of the Spanish juicio, which indexes biblical notions of judgment, but the concept of the world ending and remaking itself through floods predates the arrival of Christianity to the region. The term izhu likely derives from the proselytizing voices of colonial Jesuit priests from times past, religious specialists who occupied and were expelled from Napo two times. The chapter discusses two stories and a song about izhu punzha. It shows that izhu punzha is a primordial story of destruction and remaking of the world. These stories teach that the world is constantly in flux and that no order, no state, no state of dominance will last forever. Izhu punzha is both a past and future reality, the beginning and the end of the world.
Birds and Humanity
Authors: Hertica Mark
Published: May 2017

This chapter presents translations and interpretations of six women's songs that speak to the power of the feminine voice and the feminine soul. These songs feature feminine shape-shifting relations between birds and women, fish and women, and similar mimetic transformations in history, such as the rubber boom. In this context, the spoken word becomes musicalized, and the body realizes different cosmological capacities. The chapter shows that the aesthetic features of these songs resonate with the mythological and metaphysical qualities of the Iluku bird, discussed in Chapter 3. These women's songs are also a form of shamanic practice in which the singer experiences her body as a special locus of subjectivity as defined by relations with birds and other alters. When women sing, they report feeling the power (ushay) “in their flesh” (paygunác aychay) of the birds or animals about which they sing.
The Cuillurguna
Authors: Uzendoski Michael A. , Calapucha-Tapuy Edith Felicia
Published: May 2017

The Cuillurguna or “twins” narratives are the most extensive and defining stories in Napo Quichua mythology. Culture heroes, the twins effect the “miracles” and transformations that came to define this pacha, or “world.” This chapter expands the discussion of the twins by looking at three additional narratives, the bird-of-prey tale and two tellings of the mundopuma, or “world jaguar,” story. It shows that the recurrent pattern in the cycle of the Cuillurguna stories is their role as creative and artful world makers. The Cuillurguna are not only ushayuk, or “powerful,” but they are also the mythological founders of Runa self-determination, the ability of a people to create and control their own destiny, and to adapt to changing historical and environmental conditions. This mythological message has been a part of indigenous life in this region for centuries, and it has helped the Napo Quichua people to adapt to various oppressive regimes throughout their history, a history that has been defined by adaptation to new circumstances as well as violence and struggle.
What Is Storytelling?
Authors: Uzendoski Michael A. , Calapucha-Tapuy Edith Felicia
Published: May 2017

This introductory chapter first sets out the book's purpose, which is to present a theoretical and experiential translation of Napo Runa mythology and music. It seeks to translate myths and songs so that readers can get a better appreciation for the beauty and complexity of Amazonian Quichua poetic expressions. The chapter then turns to a discussion of storytelling, defined as the complex whole of telling stories, artful descriptions of and about life that involve past, present, and future happenings, happenings that also including mythological transformations and experiences. The remainder of the chapter covers the theoretical foundations of the present analysis as well as the translation methodology used. It concludes with an overview of the subsequent chapters.
On Her Own
Authors: McLeod Jacqueline A.
Published: May 2017

This chapter focuses on Jane Bolin's experiences at Wellesley College and Yale Law School—experiences that were captured in novelist Ralph Ellison's reference to being an outsider. On her own and removed from every reference to her standing and belonging, Bolin struggled against the prevailing stereotypes about African Americans and against the invisibility imposed by classmates and instructors alike. Citing Judith Butler's reading of “subjection as both the subordination and becoming of the subject,” the chapter argues that it was out of these experiences of “subordination” at Wellesley and Yale that Bolin emerges as a fully constituted subject empowered to challenge the very instruments of her subordination.
An Era of National Conflict and Cooperation
Authors: Armfield Felix L.
Published: May 2017

This chapter examines the NUL as Eugene Kinckle Jones penetrated the executive ranks of the National Conference of Social Work (NCSW)—he was, in fact, the first African American to be elected to the NCSW's Executive Board. In this capacity, he gained valuable resources for the further training of black social workers, as well as financial and educational support for his cause. The NCSW moreover provided a national and integrated audience for addressing the social woes of black America, particularly as Jones had begun to achieve national prominence by this time, and his speaking engagements had since grown beyond strictly social-work audiences. This chapter also documents Jones's other efforts at advancing the social cause, particularly during the Great Depression.
Between New York and Washington
Authors: Armfield Felix L.
Published: May 2017

This chapter covers Eugene Kinckle Jones's involvement with the federal government, as he had political ties to the two presidents in office during his tenure with the NUL, Woodrow Wilson and Franklin D. Roosevelt, whose administrations sought and received advice and active participation from Jones and the NUL. The late 1920s ushered in a new day in national reform policies, after all, and Jones had proven himself as a progressive reformer. Thus the chapter examines how black social workers responded to “relief” efforts and the ways they facilitated institution building and community development during the 1930s. It also examines Jones's fund-raising activities, his relations with white philanthropists, and his position within the Department of Commerce during the New Deal era..
D.A. Pennebaker
Authors: Beattie Keith
Published: May 2017

This volume is the first book-length study of the extensive career and prolific works of D. A. Pennebaker, one of the pioneers of direct cinema, a documentary form that emphasizes observation and a straightforward portrayal of events. With a career spanning decades, Pennebaker's many projects have included avant-garde experiments (Daybreak Express), ground-breaking television documentaries (Primary), celebrity films (Don't Look Back), concert films (Monterey Pop), and innovative fusions of documentary and fiction (Maidstone). Exploring the concept of “performing the real,” the book's analysis interprets the ways in which Pennebaker's presentation of unscripted everyday performances is informed by connections between documentary filmmaking and other experimental movements such as the New American Cinema. Through his collaborations with such various artists as Richard Leacock, Shirley Clarke, Norman Mailer, and Jean-Luc Godard, Pennebaker has continually reworked and redefined the forms of documentary filmmaking. This book also includes a recent interview with the director and a full filmography.
The 2008 Election, Black Women’s Politics, and the Long Civil Rights Movement
Authors: Gilmore Glenda Elizabeth
Published: May 2017

This chapter uncovers the significance of African American women's high voter turnout in the 2008 election. It argues that black women's power as voters in 2008 originates in their political activism in the first half of the twentieth century. Here the chapter offers a major new synthesis of African American women's politics by arguing that their efforts evolved from the “politics of association” (1900–1920) to the “politics of citizenship” (1920–30) to the “politics of community” (1930–40) to the “politics of protest” (1940–50). Barack Obama's victory, then, is in part the result of long-term efforts by black women to undo the damage inflicted by disfranchisement more than a century ago.
Political Feminism and the Problem of Sarah Palin
Authors: Rymph Catherine E.
Published: May 2017

This chapter suggests that it is Palin's candidacy, rather than Clinton's, that gives us the better measure of the impact of the feminist movement of the past forty years. That there are women—and men—in the Republican Party who were genuinely energized in 2008 by a tough female candidate unapologetic about her political ambitions suggests that the position of women in the party and in American politics has shifted in the decades since Second Wave feminists sought to transform the role of women in society. The chapter thus considers the seeming contradiction of a feminist, pro-life Republican and recalls a time, as recent as the mid-1970s, when feminist women filled the party's highest leadership roles. It argues that Palin's ongoing popularity shows how profoundly the feminist movement has changed American values.
Circulating Emotion
Authors: Pribram E. Deidre
Published: May 2017

Crash (Paul Haggis, 2005) follows a range of diverse but intersecting characters who, in their entirety, are meant to represent a social landscape: modern American urban existence. Through an ensemble cast and a multi-story structure, the film depicts a circuitous society in which one part affects other parts that, in turn, affect all parts. This chapter takes up the complex, multi-discursive world depicted in Crash in order to explore the place—or absence—of emotion in genre studies. Looking specifically at the moments of collision between characters in which the issues of race and gender are inseparable, it considers how anger specifically, and perhaps emotion in general, can be understood to ignite and fuel complex social relations. Such an analysis tells us about the ways in which emotions as cultural phenomena are understood or, equally, overlooked in media and other social representations.
Troubling Genre/Reconstructing Gender
Authors: Kaplan E. Ann
Published: May 2017

This chapter explores the cultural work that feminist critics performed in “inventing” the genre of the woman's film, and how genre impacts on feminist cinema practices in the current postmodern moment. It argues first that historically, genre was important in providing a useful pathway through which feminist film theorists could assert a critical position vis-à-vis dominant cinematic and critical strategies. That is, feminist critics used genre as a concept to invent a new genre—the women's picture or woman's film—thereby drawing attention to aspects of Hollywood melodrama that had been neglected by (largely male) critics. Secondly, through the examples Sister My Sister (Nancy Meckler, 1994) and Memsahib Rita (Pratibha Parmar, 1994), the chapter shows how some female directors have drawn on traditional Hollywood genres for feminist ends.
Trash Comes Home
Authors: Kane-Meddock Derek
Published: May 2017

This chapter demonstrates the structural link between gender and genre in John Waters' work by examining three of the director's films: Pink Flamingos (1972), representing his early career; Polyester (1981), which marks his transition to Hollywood; and Serial Mom (1994), a movie from what has been called Waters' “safe and formulaic” period. Despite their stylistic and thematic differences, these three movies each expose the inconsistencies inherent in gendered and generic representation. The theory of disidentification offers an explanatory link between the director's resistance to the rules of both gender and genre. Disidentification is defined as a response to the failure of dominant forms of representation to include unconventional perspective.
The Shape of a Diaspora
Authors: Garofalo Leo J.
Published: May 2017

This chapter examines how a diverse group of free and enslaved Africans and Afro-Iberians moved back and forth from the Iberian peninsula to the Americas. After discussing the significance of African presence in Iberia, it turns to Afro-Iberian pasajeros a Indias (passenger to the Indies) and their journey between Seville and various parts of the Americas with the help of merchant, ecclesiastical, and other elite patrons. It also considers sailors and soldiers of the Spanish Main who made their way to the Americas and back in regular fashion. By tracing Afro-Iberian roots in the Andes and elsewhere in colonial Spanish America, the chapter reveals some important characteristics of the African Diaspora in the Iberian Atlantic World. It argues that the African Diaspora made a significant impact on the sixteenth-century Spanish Atlantic world, courtesy of Afro-Iberians who were conquistadors, passengers, and laborers in the conquest and colonization campaigns. This means that not all blacks arriving in the early colonial Americas originated in West Africa and the Atlantic Islands.
African Diasporic Ethnicity in Mexico City to 1650
Authors: Proctor Frank “Trey”
Published: May 2017

This chapter examines the intersections of race, ethnicity, and slavery in Spanish America and the African Diaspora by focusing on the development of African Diasporic ethnicity in Mexico City to 1650. Drawing on marriage records from early seventeenth-century Mexico City, it considers how Africans constructed multiple new ethnic and community identities in Spanish America. Through an analysis of selection patterns of testigos (wedding witnesses) alongside marriage choice, the chapter highlights the networks of social relations formed by slaves. It shows that ethnic Africans tended to marry and form communities of association with Africans from the same general catchment areas. It argues that the foundations of the ethnic communities under formation were not intact African ethnicities, pan-African identities, or race-based identities. Rather, slave marriages in Mexico City point to the creation of African diasporic ethnicities that were spontaneously articulated in the Diaspora. Africans formed new ethnic identities based upon Old World backgrounds and commonalities while in Diaspora.
“The Lord walks among the pots and pans”
Authors: van Deusen Nancy E.
Published: May 2017

This chapter examines Christianity as a lived experience for women of African descent, both in the world and in the cloister. By the seventeenth century, thousands of free and enslaved men and women of African descent lived in monasteries and convents throughout Latin America, including the urban areas of Brazil, Peru, and Mexico. Many served as donados/donadas, legos/legas, or freilas (synonyms for religious servants). This chapter investigates the religious lives of free Afro-Peruvian women who served as donadas in the female convents of seventeenth-century Lima. In particular, it considers how donadas negotiated a hierarchically ordered environment to gain prominence as spiritual beings. It also discusses the matriarchal intimacies of convent life and the positionality of donadas relative to others within the convents as well as their ability to effectuate a spiritual life. It shows that a variety of issues motivated women of African heritage to become donadas, including the desire to ensure their freedom.
Introduction
Authors: Bryant Sherwin K. , Vinson Ben , O’Toole Rachel Sarah
Published: May 2017

This book expands the framework for charting the African Diaspora to Spanish America. Drawing upon a variety of texts from the Spanish American colonies, it explores the connections and disjunctures between colonial Latin America and the African Diaspora in the Spanish empires. It examines what Leo Garofalo calls the “shape of Diaspora,” tracing its early extension into Iberia in the fifteenth century and its reach beyond the Atlantic basin into the Pacific/Andean territories ever since. The book is organized into three sections. Part 1 discusses voluntary and forced migrations across the Atlantic, focusing on three distinct cases of identity construction that intersect with ongoing debates in African Diaspora scholarship regarding the models of continuity and creolization in the Americas. Part 2 considers how enslaved and free people used their rights as Catholics to present themselves as civilized subjects, loyal Christians, and resisters to slavery. Part 3 shifts the discussion to the family and professional lives of free blacks in nineteenth-century Cuba, with particular emphasis on how they claimed categories of inclusion.
What Happened Next
Authors: Gardner Jared
Published: May 2017

This concluding chapter examines the shifts from the early American magazine into the “golden age” of the nineteenth-century American magazine. If the tumultuous birth of the nation was the most tremendous force shaping the first generations of the early republic, by the antebellum period, and especially after the Crash of 1837, the dramatically changing urban landscape was the engine transforming everyday life for millions of Americans—including the ways in which magazines were published and read. It is thus not surprising that the magazine imagined by this country's first century of editors as offering a model for the literary and political foundations of the new nation increasingly became reimagined after 1810 as a refuge from the realities of nation-building. Alongside this history, the chapter also takes a brief look into the advent of the new media “magazine” taking shape as of this publication.
Upstream Minangkabau
Authors: Kartomi Margaret
Published: May 2017

This chapter explores an aspect of the artistic tradition of the darék—the mystical tiger-capturing songs sung by a shaman and accompanied by his partner shaman on an oblique bamboo flute. Associated with a veneration for the ancestors and spirits of nature, the repertory of tiger-capturing songs (dendang marindu harimau, or dendang manangkok harimau) belongs to the most evocative of the traditional vocal music (dendang) of the Minangkabau highlands. As orthodox ulama do not approve of pre-Muslim tiger music and rituals, the shamans begin their performances with Muslim prayers. After providing an overview of the art of the shaman (ilmu pawang) in Minangkabau villages, the chapter describes the songs sung by the shaman in the tiger-capturing process. The character of the tiger-capturing procedure, with the exception of the Islamic prayers at the beginning, suggests that it originated from indigenous religious beliefs and practices of ancient origins, imbued with a mystical respect for nature (especially the tiger) and the spirits, and containing an element of animal-ancestor veneration.
Tabut
Authors: Kartomi Margaret
Published: May 2017

This chapter examines an elaborate Shi'a mourning festival of music and spectacle of Persian and Indian origins known as tabut, which was transplanted, probably more than three centuries ago, from India to Pariaman and some other coastal Sumatran towns. Tabut had such an impact in Pariaman's hinterland that aspects of it were absorbed into its indigenous non-Muslim arts. Shi'a Islam is not officially allowed in Indonesia today, yet a few families of Shi'a believers who claim descent from British Indian sepoys live in the west-coast Sumatran towns of Pariaman and Bengkulu, where tabut festivals are held, if the government gives permission, every year. The chapter first provides a historical and legendary background on the tabuik myth as well as tabuik proceedings at Pariaman before discussing a tabuik performance, which was part of a dol-tasa competition. It then considers tabuik's impact on the hinterland and the survival of the tabuik festival in Pariaman, although the element of passion—the distinguishing feature of Shi'ism—is lost.
The Mandailing Raja Tradition in Pakantan
Authors: Kartomi Margaret
Published: May 2017

This chapter examines the music culture of the village complex of Pakantan in south Tapanuli, North Sumatra, with particular emphasis on the Mandailing raja tradition. It aims to reconstruct the historical and aesthetic context of Pakantan's pre-Muslim ritual orchestral music in the eighteenth and nineteenth centuries, when the village was ruled by a chieftain (raja) of the original Lubis clan. The three ritual orchestras, which are differentiated by their respective sets of either five or nine tuned gordang drums or two untuned gordang drums, possess indigenous religious and aesthetic meaning. After providing an overview of the Mandailing people's cultural history, the chapter discusses the social role, aesthetic thought, and ritual practice of their ceremonial music. More specifically, it considers the gordang sambilan performed at major ceremonies, funerals, weddings, and clairvoyant rituals. It shows that each musical item on ceremonial occasions, whether played on a gondang or a gordang ensemble, is named after its totop, or fixed drum rhythm, and serves as an invocation.
Big Screen, Little Screen
Authors: Caps John
Published: May 2017

This chapter details the start of Mancini's successful television career. Although Mancini was no longer a staff composer at Universal, he still retained his studio pass, with which he could enter the movie lot, use the cafeteria, and mingle informally with producers There in mid-1958 he would meet, Blake Edwards, who had just come from a meeting at which plans were solidified for a new TV series slated for September at NBC. When Edwards asked Mancini if he would be interested in composing the music for the new show, to be called Peter Gunn, he had in mind Mancini's arranging and producing the club music that would be needed in the series, because one of the recurring settings of the show would be a small jazz cafe. Mancini proposed that every thirty-minute episode of Peter Gunn should begin with the same chromatic walking bass figure to cover the one-minute teaser in which some robbery, killing, or con was depicted to set up that night's show. A deal was struck; Mancini once again had a job. Music from Peter Gunn later became the number one album in the country on Billboard magazine's charts and stayed there for 10 weeks, remaining charted for 117 weeks in all.
Blake Edwards and the High Times
Authors: Caps John
Published: May 2017

This chapter focuses on Mancini's successful partnership with Blake Edwards. The rising star of Mancini also brought Edwards up in the world. Edwards' success in television more or less assured he could return to the movies with a lot more clout than he had known just a few years before at Universal. The two were a study in contrasts; on the one side, Mancini was curious and disciplined at work, deferential and ingenuous in person, and on the other, Edwards was conceptual and uncompromising in his profession, friendly and explosive and inscrutable in private. That natural clash is almost completely masked in the work they eventually did together, but it would later cause some problems in regard to Mancini's output. Mostly, though, the presence of Blake Edwards in Mancini's career had a wildly positive and prosperous effect. Their notable collaborations include Breakfast at Tiffany's (1961) and The Pink Panther (1964).
First Cadence
Authors: Caps John
Published: May 2017

This chapter details the start of Mancini's musical evolution in the 1960s. If the word cadence can be defined as the notes or chords that resolve a melody, or at least lead to a new development, then this next transitional period in Mancini's career can be seen as his first cadence. It was the first sign of real evolution since he had come into his own as a jazz-pop film composer, demonstrating not only a contemporary enrichment of the harmonies and instrumental blends he had learned in the big band era, but also a broadening of the dramatic architecture of his orchestral writing into scores that were not just collections of admirable tunes and isolated film scenes but more cohesive compositions as well. Something was stirring. It is only speculative to connect this maturity in Mancini's writing to any one event in his personal life. Nevertheless, it was also at this time that his father, Quinto, died suddenly of a heart attack at the age of nearly seventy.
Back to Television?
Authors: Caps John
Published: May 2017

This chapter details Mancini's return to television. Mancini was offered his own TV series, to be called The Mancini Generation, on which he would discuss and demonstrate film music to a syndicated audience. Undertaking the series was a colossal commitment. The music materials were drawn from his whole backlog of arrangements alongside some new charts, but in addition to the musical rehearsals there were camera rehearsals and host-segment preparations all of which were shot together during one four-week period and then sliced up for insertion into the shows. Unique to each show was a sequence during which Mancini invited one college student enrolled in a film course at some university across the country to take a past Mancini recording and conceive, shoot, and edit an experimental film based on the music. The short films, then, were shown on the program, and Mancini used the opportunity to push support for film and film-scoring study courses in schools of the future. The Mancini Generation was eventually seen on 150 stations nationwide and also led to an RCA album sporting the series title, his first jazz-pop album since the 1960s.
Almost to Broadway
Authors: Caps John
Published: May 2017

This chapter details the efforts to bring the film Victor/Victoria to Broadway. For thirteen years since Blake Edwards' successful experience with Julie Andrews on the film, he had been renewing the theatrical rights to the property, the story and characters, at considerable expense. His longtime producer and partner Tony Adams was urging him to do something with it or cut it loose. One idea was to take its song-and-dance aspects to Broadway. But first Edwards, Adams, and choreographer Rob Marshall would have to cobble together some kind of a show. Edwards started writing the musical's “book,” and of course Mancini and Leslie Bricusse would try to revisit the same story they had tackled in 1982 and come up with Broadway-styled songs. Victor/Victoria was supposed to go into previews in the spring of 1995 with a Broadway opening soon after. But so many things were out of shape; the real reason for the delays and for its ultimate weaknesses as a show was the sudden and quite unexpected health crisis of its composer.
Clark
Authors: Ferguson Gillum
Published: May 2017

This chapter focuses on William Clark, who replaced Brigadier General Benjamin Howard in command at Saint Louis. Major General William Henry Harrison suggested Clark, whom he knew from the days when they had both served under “Mad Anthony” Wayne. Son of a prominent Virginia family, and the younger brother of George Rogers Clark—the conqueror of Kaskaskia and Vincennes—William had followed his elder brother into the army. William was already experienced in Indian warfare when he commanded a column of riflemen at the battle of Fallen Timbers (1794), and the next year he was present when the Treaty of Greenville brought the Indian war to a close. After the treaty, Clark resigned from the army and occupied himself with his private affairs until Meriwether Lewis suggested him as joint commander of the Corps of Discovery.
Rudolf Laban’s Dance Film Projects
Authors: Franco Susanne
Published: May 2017

Rudolf Laban was one of the leaders of Ausdruckstanz, and he has been studied as a thoughtful writer and theoretician, a talented choreographer, an inspired teacher, and a tireless organizer of schools, associations, and festivals. Less known are his mostly unrealized film projects, conceptualized for different purposes on different occasions. This chapter considers how film offered Laban yet another arena within which to promote his distinctive vision of dance. Laban was interested in using cinema as a tool to disseminate his ideas and to expand the potential audience for modern dance, ensuring its position as a respectable social practice, as a form of high art, and as a professional field. He understood the great economic potential that cinema, as a popular medium, could give to dance in supporting his enterprises. The chapter also wonders whether Laban's apparent turn away from film in the mid-1930s reflected his engagement with the National Socialist cultural bureaucracy and the opportunities it offered for his vision of mass dance.
Moving against Disappearance
Authors: Giersdorf Jens Richard
Published: May 2017

Nearly a year after the fall of the Berlin Wall, East Germany was subsumed into the West German national structure. As a result, the distinct political systems, institutions, and cultures that characterized East Germany have nearly completely vanished. In some instances, this history was actively—and physically—eradicated by the unified Germany. This chapter works against the disappearance of East German culture by reconstructing the physicality of the walk across the border on the day of the opening of the Berlin Wall and two choreographic works depicting East German identities on stage. The initial re-creation of the choreography of a pedestrian movement provides a social, political, and methodological context that relates the two dance productions to the social movement of East German citizens. Both works take stances on the political situation in East Germany during and after the opening of the Berlin Wall in 1989, although one is by a West German artist, Sasha Waltz, and the other by East German choreographer Jo Fabian.
Negotiating Choreography, Letter, and Law in William Forsythe
Authors: Siegmund Gerald
Published: May 2017

This chapter considers William Forsythe, an artist whose intellectual choreographies form a unique—and uniquely successful—part of Germany's dance culture. First, it takes a closer look at the relation between bodies and the law that regulates our status as citizens and as political bodies. The piece Human Writes is emblematic of what choreography does with bodies that engage with the letter of the law, a missed encounter that produces dance. Second, it takes Human Writes as exemplary of Forsythe's methodologies to create impossible choreographies that challenge the dancers and necessitate decisions on their part. This will, third, lead toward a definition of choreography. Choreography appears to be a machine-like structure of relational differences, an inhuman symbolic language that, together with the bodies' manifold possibilities of movement, produces a choreographic text. Choreography is confronted with and simultaneously confronts the body, thereby putting it in a state of dancing. By simultaneously including and excluding the body, choreography creates imaginary bodies, possibilities of bodies that both the dancers and the audiences can then explore.
Lecture Performance as Contemporary Dance
Authors: Bleeker Maaike
Published: May 2017

The “lecture performance” is a key genre in the field of Konzepttanz. Prominently present in the early twenty-first-century scene of experimental dance, this genre is not limited to dance only, nor is it exclusively German. Lecture performances give expression to an understanding of dance as a form of knowledge production—knowledge not (or not only) about dance but also dance as a specific form of knowledge that raises questions about the nature of knowledge and about practices of doing research. This chapter situates this trend within a genealogy of bodily knowledge and its academic dissemination that had reached its first high point in the dance conventions during the Weimar years. By analyzing particular examples of lecture performances, it demonstrates the self-reflexive structures that emerge between scientific paper and corporeal act. It explains in which ways lecture performances redefine what it means to be a dancer, seeing it as an attitude rather than a profession.
Another Paradigm
Authors: McAnany Emile G.
Published: May 2017

This chapter focuses on the rise of the participation paradigm from the early 1980s through the end of the 1990s, noting that it is still the dominant discourse within the field of communication for development (c4d) today. The idea of people participating in their own development goes back to the beginning of communication for development and social change. This approach refocused the effort of c4d on people as the engines of change, and trusting them to be up to the challenge. This chapter first considers different kinds of participation and what they might mean, along with the context for participatory communication in c4d during the period 1970–1990s. It then turns to pioneers of participatory communication in development and goes on to address the question of whether the approach deserves the title of paradigm, much less that of a dominant one. It also examines a case that illustrates both the problems and the successes of the application of the participation paradigm: Canada's Challenge for Change initiative, implemented by the National Film Board in Fogo Island.
Searching for “Authenticity” in Paul Bowles’s Denmark Vesey
Authors: De Graaf Melissa J.
Published: May 2017

This chapter examines the question of authenticity surrounding Paul Bowles's Denmark Vesey. Featuring music by Bowles set to a libretto by Charles Henri Ford, Denmark Vesey incorporates racial politics and Marxist allusions. Its language and music emphasize Africanisms and African American folklore, much of it thoroughly researched and, in Bowles and Ford's minds, authentic. This chapter first considers “authentic” representations of blackness in Denmark Vesey before discussing some of the opera's prominent themes, including Love versus Hate and the use of animal masks. It also explores Denmark Vesey's evocation of Communist-style revolution, paying particular attention to the conflicts and the gradual alliance between blacks and the Left as elements that set up the context of the opera. Finally, it analyzes the demise of Denmark Vesey due to the loss of the score and explains how Bowles and Ford achieved a distinctive result in their integration of race and politics as well as their bridging of race and labor unrest of the 1820s and 1930s.
“Wait ’Til Next Year” and the Denial of History
Authors: Nathanson Mitchell
Published: May 2017

This chapter explores how the collective ethos represented by groups such as the Players Association was threatened by another American ethos, one that had more deeply entrenched roots dating back to the nineteenth century, that itself felt threatened by the collective movement. This ethos—the individualistic, “positive thinking” movement—rejected the critical, often grim portrait of America drawn by the collectivists, and chose instead to embrace an optimistic worldview that depended upon the willful ignorance of the types of inconvenient facts often highlighted by the collectivists in their quest to bring about social change. The clash of these competing visions of American life would result in the culture wars that led a majority of Americans to turn against the civil rights and Players Association movements, and into the sunnier outlook of the positive thinkers.
The Internationale of the Citizen Workers
Authors: Jentz John B. , Schneirov Richard
Published: May 2017

This chapter focuses on the destruction of slavery in Chicago. The destruction of slavery as a national economic and political interest cleared the ground for the rise of a new working class of wage earners, in part by creating a space within the public sphere for working-class issues. Organized in April 1864 by eighteen unions, the General Trades Assembly served as the most important vehicle for articulating a class outlook. Labor's citywide organization was a political interest group representing workers of all skills and backgrounds in Chicago's public life. Workers' awareness of themselves as a class developed further as ethnic and political leaders began to appeal publicly to the new labor interest. The creation of such an enduring organized interest in the public sphere was a critical element in the formation of a new kind of urban politics appropriate to the new capitalist order.
Chicago’s Immigrant Working Class and the Rise of Urban Populism, 1867–73
Authors: Jentz John B. , Schneirov Richard
Published: May 2017

This chapter examines Chicago's immigrant working class and the rise of urban populism. In January 1872—three months after the Great Fire—Anton Hesing, Chicago's German political boss, organized a protest against the city government's effort to ban new wooden housing in the city as a fire control measure. For Hesing, the fight against the “fire limits” was a battle against the proletarianization of Chicago's workers, whose distinctive independent status was based on the ownership of real property and a house. He fought to preserve a particular kind of working class independent of large-scale capital, and free of alien radicalism, particularly socialism. In leading the movement against the fire limits, Hesing then became the chief architect of urban populism in the city. With labor reform marginalized, urban populism helped politicize the city's immigrant skilled workers and lower middle class.
Class and Politics during the Depression of the 1870s
Authors: Jentz John B. , Schneirov Richard
Published: May 2017

This chapter looks at Chicago's working class during the 1873 depression, during which all major industries experienced steep declines in revenues, and perhaps a third of the nation's workers lost their jobs. With the start of the 1873 depression, it quickly became apparent that the city's unskilled, largely immigrant working class could not be ignored. Distinctly different from the crowds during the eight-hour strike in 1867, the marches of the unemployed in December 1873 marked a new era in the history of Chicago's working class. Indeed, the December 1873 marches helped push the city's upper class into new self-awareness and political action, while crystallizing divisions between Anglo Americans and central Europeans in the Chicago labor movement.
From Popular Front to Liberalism
Authors: Bell Jonathan
Published: May 2017

This chapter situates the consumer boom and suburbanization of California after World War II in the context of the changing dynamics of liberal politics on the West Coast. The rise of the Democratic Party to power in California took place at a time in which a range of interest groups demanding greater racial, sexual, and economic equality began to gain political traction and found that the existing avenues of party political action were inadequate for their needs. The California Democratic Party in the 1950s acted as a meeting ground for a range of cross-class interests searching for political meaning in a suburbanized, consumerist political marketplace. Creating the Democratic Party anew in the 1950s, at a time of a sharp right turn in state Republican politics, set the tone of political debate for the next generation.
From Friends to Foes
Authors: Miroff Bruce
Published: May 2017

This chapter looks at how antagonism between different traditions of social reform can defeat their agenda. Far from being a coherent movement, postwar liberalism has been divided by class, generation, and philosophy. In the 1970s, the Democratic Party was torn apart by a conflict between New Dealers and their union allies on the one hand, and New Politics people and their identity politics allies on the other. Their tragic failure to reconcile their differences led to a landslide defeat at the hands of Richard Nixon in 1972. Drawing allusions to contemporary politics, the chapter shows how personal conflicts can reflect significant disagreements between reform traditions.
Forgotten Architects of the Second Reconstruction
Authors: Thurber Timothy N.
Published: May 2017

This chapter analyzes how the Republican Party responded to two central demands—economic opportunity and voting rights—of the modern African American freedom struggle from the 1940s through the early 1970s. It argues that scholars have underestimated the role of the Republican Party in shaping the Second Reconstruction. Liberal Democrats and civil rights organizations had to respond to what Republicans believed about the role of race in American life and the place of federal authority in racial matters, as they struggled to get legislation through Congress and approved by the White House. Republican support, they correctly believed, was essential to what did become law. At the same time, a critical mass of the Republican Party was willing to support proposals that earlier generations of Republicans had overwhelmingly rejected.