New Books in Performing Arts

It comes as little surprise that Hollywood films have traditionally stereotyped Arab Americans, but how are Arab Americans portrayed in Arab films, and just as importantly, how are they portrayed in the works of Arab American filmmakers themselves? 

In Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation (Syracuse University Press, 2020), Waleed F. Mahdi offers a comparative analysis of three cinemas, yielding rich insights on the layers of representation and the ways in which those representations are challenged and disrupted. Hollywood films have fostered reductive imagery of Arab Americans since the 1970s as either a national security threat or a foreign policy concern, while Egyptian filmmakers have used polarizing images of Arab Americans since the 1990s to convey their nationalist critiques of the United States. Both portrayals are rooted in anxieties around globalization, migration, and US-Arab geopolitics. In contrast, Arab American cinema provides a more complex, realistic, and fluid representation of Arab American citizenship and the nuances of a transnational identity. Exploring a wide variety of films from each cinematic site, Mahdi traces the competing narratives of Arab American belonging—how and why they vary, and what’s at stake in their circulation.

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Noel Pinnington's A New History of Medieval Japanese Theatre: Noh and Kyōgen from 1300 to 1600 (Palgrave, 2019) traces the history of noh and kyōgen, the first major Japanese theatrical arts. Going beyond P. G. O'Neill's Early Nō Drama of 1958, it covers the full period of noh's medieval development and includes a chapter dedicated to the comic art of kyōgen, which has often been left in noh's shadow. Pinnington writes in a clear and accessible style, making this an ideal work for theatre students and Japanese scholars alike.

Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at [email protected].

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Timothy Hampton's Bob Dylan: How the Songs Work (Zone Books, 2020) is a fascinating and meticulous study of Bob Dylan's songwriting craft. Hampton discusses how Dylan incorporated and then transcended the Greenwich Village folk music tradition, how he reinvented himself as a visionary poet in the mid sixties, how he learned from poets as diverse as Rimbaud, Brecht, and Petrarch, and how his late-career work draws on and extends the themes he's been pursuing for his whole life. Hampton's book is written in a clear and accessible style and should appeal to anyone interested in the technique of this master songwriter.

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. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at [email protected].

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The world of theater performances is often thought of as being composed of wealthy persons who received elite educations at art institutions all so they could be observed by a small, wealthy elite at exclusive and expensive gatherings. Theater is seen as an insular, elitist practice, for and by a select few. However, this image of theater is deeply misleading, especially as more performances are available for download, and many smaller more open institutions invest more in theater productions. One place that might surprise a lot of people is the popularity of performances staged by incarcerated persons, and presented in behind the walls of prisons. Theater is a social, communal practice, so making it happen within an institution that is not only isolated from the outside world, but is designed to isolate those within, will naturally come with various challenges, and also raises various questions on the nature of both theater and the carceral system. 

These are the questions Ashley Lucas addresses in her recent book Prison Theatre and the Global Crisis of Incarceration (Bloomsbury, 2020). Featuring a combination of her own firsthand experience as a director of prison theater, interviews with those involved in the world prison theater and scholarly research, the book is a unique combination of genres that occupies some very interesting intersections, and is able to explore some very difficult topics, from questions of artistic expression, the nature of community and what hope in a hopeless situation looks like.

Ashley Lucas is an associate professor of Theatre and Drama and the Residential College at the University of Michigan, and is also the former director of the Prison Creative Arts Project.

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Even as beauty pageants have been critiqued as misogynistic and dated cultural vestiges of the past in the US and elsewhere, the pageant industry is growing in popularity across the Global South, and Nigeria is one of the countries at the forefront of this trend. In a country with over 1,000 reported pageants, these events are more than superficial forms of entertainment. 

Beauty Diplomacy: Embodying an Emerging Nation (Stanford UP, 2020) takes us inside the world of Nigerian beauty contests to see how they are transformed into contested vehicles for promoting complex ideas about gender and power, ethnicity and belonging, and a rapidly changing articulation of Nigerian nationhood. Drawing on four case studies of beauty pageants, this book examines how Nigeria's changing position in the global political economy and existing cultural tensions inform varied forms of embodied nationalism, where contestants are expected to integrate recognizable elements of Nigerian cultural identity while also conveying a narrative of a newly-emerging, globally-relevant Nigeria. Oluwakemi M. Balogun critically examines Nigerian pageants in the context of major transitions within the nation-state, using these events as a lens through which to understand Nigerian national identity and international relations.

Lakshita Malik is a doctoral student in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on questions of intimacies, class, gender, and beauty in South Asia.

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Harmony Bench's Perpetual Motion: Dance, Digital Cultures, and the Common (Minnesota UP, 2020) traces the changing ways dance is distributed and created on the internet from the heady early internet of the 1990s to the ubiquitous social media platforms of today. Bench discusses how flash mobs reclaimed public space in the aftermath of 9/11, how "hyperdance" promised that every viewer would also be a co-choreographer, and how viral dance crazes unite people across borders in ways that are potentially liberatory but also can erase the specificities of specific dance cultures. This is a book that will be of interest to dancers and dance scholars especially during a year when almost all dance was presented online, but it will also be of use to scholars and readers interested in the changing role of the internet in our daily lives.

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Lot Six (Harper 2020) is a moving and hilarious memoir from playwright David Adjmi. The book traces Adjmi’s search for his identity, during which he becomes an observant yeshiva student, a club kid, a fashionista, a film nerd, a teenage Nietzschean, and finally a playwright. It is a memoir about feeling like the world is against you, yet simultaneously yearning to fit in. Adjmi’s memoir also traces his evolving relationship with his family and his community, from whom he desires to escape even as he finds himself drawn continually back to them.

Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at [email protected].

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Dr. Victoria Phillips adeptly tells the story of Martha Graham's role as diplomat, arts innovator, and dancer. Her book Martha Graham's Cold War: The Dance of American Diplomacy (Oxford UP, 2019) is a look at the years that her company toured the world as an example of American democracy and freedom. Martha Graham's Cold War frames the story of Martha Graham and her particular brand of dance modernism as pro-Western Cold War propaganda used by the United States government to promote American democracy. Representing every seated president from Dwight D. Eisenhower through Ronald Reagan, Graham performed politics in the global field for over thirty years. This fascinating story takes you through the world of Martha Graham and her famous dancer as they circle the globe promoting American values and artistic ingenuity.

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It is often assumed that creative people are prone to psychological instability, and that this explains apparent associations between cultural production and mental health problems. In their detailed study of recording and performing artists in the British music industry, Sally Anne Gross and George Musgrave turn this view on its head.

By listening to how musicians understand and experience their working lives, Can Music Make You Sick?: Measuring the Price of Musical Ambition (University of Westminster Press, 2020) proposes that whilst making music is therapeutic, making a career from music can be traumatic. The authors show how careers based on an all-consuming passion have become more insecure and devalued. Artistic merit and intimate, often painful, self-disclosures are the subject of unremitting scrutiny and data metrics. Personal relationships and social support networks are increasingly bound up with calculative transactions.

Drawing on original empirical research and a wide-ranging survey of scholarship from across the social sciences, their findings will be provocative for future research on mental health, wellbeing and working conditions in the music industries and across the creative economy. Going beyond self-help strategies, they challenge the industry to make transformative structural change. Until then, the book provides an invaluable guide for anyone currently making their career in music, as well as those tasked with training and educating the next generation.

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Behind the braided wigs, buckskins, and excess bronzer that typified the mid-century "filmic Indian" lies a far richer, deeper history of Indigenous labor, survival, and agency. This history takes center stage in historian Liza Black's new book, Picturing Indians: Native Americans in Film, 1941-1960 (University of Nebraska Press, 2020), which looks at Indigenous peoples' experiences in the American film industry that so often relied upon and reproduced racialized stereotypes of "authentic Indians" to produce profit. Black shows how non-Native film producers, in producing monolithic and historically static Native caricatures for profit, reinforced settler colonial narratives on screen while simultaneously denying Indigenous actors, extras, and staff of their modernity.

Thorough in detail and innovative in analysis, Black incorporates film studies, Native and Indigenous studies, and history, shedding new light on the mid-century film industry and Native peoples' roles in it. Black chronicles the contours of American settler colonialism and its cultural and economic manifestations both on- and off-screen, giving the "authentic Indian" so familiar to non-Native audiences a much-needed dose of historical context. The result is an engaging story of Indigenous talent, labor, and livelihood that transcends critical moments in Native and U.S. histories alike.

Listeners can now purchase Picturing Indians using code 6AF20 for a 40% discount on the University of Nebraska Press' site.

Annabel LaBrecque is a PhD student in the Department of History at UC Berkeley. You can find her on Twitter @labrcq.

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