New Books in Performing Arts

Public Performances: Studies in the Carnivalesque and Ritualesque (University Press of Colorado) offers a deep and wide-ranging exploration of relationships among genres of public performance and of the underlying political motivations they share. Illustrating the connections among three themes—the political, the carnivalesque, and the ritualesque—the volume provides rich and comprehensive insight into public performance as an assertion of political power.

Dr. Jack Santino is professor of folklore and popular culture and has served as director of the Bowling Green Center for Popular Culture Studies. He was the Alexis de Tocqueville Distinguished Professor at the University of Paris, Sorbonne, 2010–2011. He was a Fulbright Scholar to Northern Ireland and has conducted research in Spain and France. His documentary film on Pullman Porters, Miles of Smiles, Years of Struggle, received four Emmy awards. His research centers on rituals and celebrations, with a particular focus on carnival and political and public ritual as reflective of political, social, and cultural identity. He is the author of numerous books and articles.

Dr. Isabel Machado is a Postdoctoral Fellow in Gender and Sexuality Studies at the Department of History of the University of Memphis.

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In The Fornes Frame: Contemporary Latina Playwrights and the Legacy of Maria Irene Fornes (University of Arizona Press, 2016) playwright and theatre scholar Anne García-Romero traces the career and legacy of Maria Irene Fornes.

Fornes was one of the most significant American playwrights of the twentieth century, and her legacy is evident in the dozens of playwrights she mentored over the course of her long career. García-Romero shows how her unique pedagogy and her example as a successful Latina experimental playwright continue to inspire playwrights like Caridad Svich, Cusi Cram, Elaine Romero, Quiara Alegría Hudes, and Karen Zacarías.

Anne García-Romero is a playwright and theatre studies scholar.

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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In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic.

Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history.

If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text.

The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling.

Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York.

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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The Party Decides is the most (only?) meme'd book in the history of political science. It's the one MTV called the biggest loser after the South Carolina primary in 2016. It is also a book of deep research, scholarship, and collaboration.

This episode of the Co-Authored podcast focuses on the team of Marty Cohen, David Karol, Hans Noel, and John Zaller. This group came together to write The Party Decides while at UCLA in the late 1990s and early 2000s. The book and other articles by future collaborators, like Kathleen Baun and Seth Masket, has been dubbed the UCLA School of Political Parties. In the episode you'll hear about how this group came together, how they grappled with being bold and being realistic, and how the Nate Silver-effect has changed the course of their careers.

The Co-Authored podcast is supported by the American Political Science Association, the John Jay College, and the New Books Network. This episode was produced by Sam Anderson.

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In Insurgent Aesthetics: Security and the Queer Life of the Forever War (Duke University Press), Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East.

He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities.

Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war.

Ronak K. Kapadia is an interdisciplinary scholar and cultural theorist of race, security, and empire in the late 20th and early 21st century United States.

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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Over the past ten years, Chantal Bilodeau has made a name for herself a playwright singularly dedicated to writing plays about the issue of climate change. These are not dry docu-dramas, but deeply human depictions of life in the far north, where climate change is a daily reality.

Forward (Tanlonbooks 2018) is the latest work in her Artic Cycle, and it follows the story of Norwegian explorer Fridtjof Nansen in two temporalities: a story moving forward through Nansen’s life, and a counter-narrative moving backwards from the present until Nansen’s time. This play both depicts the life of this larger-than-life figure and explores the ripple effects of his story through 120 years of Norwegian history. This play will be of interest to anyone looking for emotional, human-scale approaches to the overwhelming reality of climate change.

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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Drawing the Surface of Dance: A Biography in Charts (Wesleyan UP, 2019) collects thirty years of “charts” by renowned choreographer and co-founder of Big Dance Theater Annie-B Parson. These charts serve as an archive of the ephemeral work of choreography. They include charts of favorite verbs, charts of props, a “chart of things rectangular, ” and a recreation of deck of cards for composition modeled after Mexican lottery cards. The drawings included in this book are like Parson’s dances themselves: idiosyncratic, funny, loving, vibrant, and detailed. They manifest what Parson calls her “magpie” approach to composition, drawing from paintings, films, gravestones, and classical ballet to create an aesthetic all her own. This is a book that will be of interest to students and practitioners of theatre and dance, but also to people who like beautiful drawings of strange things.

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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In Cultural Responses to Occupation in Japan: The Performing Body During and After the Cold War (Bloomsbury 2016), Adam Broinowski analyzes the emergence of Ankoku Butoh (dance of darkness) in the context of America’s de jure and then de facto occupation of Japan following the Second World War. Broinowski traces the evolution of Butoh from the work of early practitioners like Hijikata Tatsumi to later groups like Gekidan Kaitaisha (Theatre of Deconstruction), demonstrating the intimate links between 20th century Japanese history and Butoh. His work analyzes themes of trauma, memory, and war in a work that combines scholarly rigor with an artist’s passion for his chosen form.

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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Ishtyle: Accenting Gay Indian Nightlife (University of Michigan Press, 2020) follows queer South Asian men across borders into gay neighborhoods, nightclubs, bars, and house parties in Bangalore and Chicago. Bringing the cultural practices they are most familiar with into these spaces, these men accent the aesthetics of nightlife cultures through performance.

Kareem Khubchandani develops the notion of “ishtyle” to name this accented style, while also showing how brown bodies inadvertently become accents themselves, ornamental inclusions in the racialized grammar of desire. Ishtyle allows us to reimagine a global class perpetually represented as docile and desexualized workers caught in the web of global capitalism.

The book highlights a different kind of labor, the embodied work these men do to feel queer and sexy together. Engaging major themes in queer studies, Khubchandani explains how his interlocutors’ performances stage relationships between: colonial law and public sexuality; film divas and queer fans; and race, caste, and desire.

Ultimately, the book demonstrates that the unlikely site of nightlife can be a productive venue for the study of global politics and its institutional hierarchies.

Kareem Khubchandani is Mellon Bridge Assistant Professor of Theatre, Dance, and Performance Studies and Women's, Gender, and Sexuality Studies at Tufts University. Khubchandani was awarded the 2019 CLAGS Fellowship from CLAGS: Center for LGBTQ Studies for the Ishtyle manuscript.

Sneha Annavarapu is a postdoctoral researcher at the University of Chicago.

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Through a feminist perspective, Carnival Is Woman: Feminism and Performance in Caribbean Mas (University Press of Mississippi, 2019) examines the presence of women in contemporary Carnival by demonstrating not only their strength in numbers, but also the ways in which they participate in the festivities. Exploring different themes, the authors in this volume explain the power of women in the evolution of Carnival mas’ in Trinidad and the Caribbean diaspora.

Dr. Dwaine Plaza is a Professor of Sociology in the School of Public Policy. From 2016-2018 he served in the College of Liberal Arts as an Associate Dean with a portfolio of student success and engagement. He has been at Oregon State University for twenty-three years and teaches a wide slate of classes both at the undergraduate and graduate levels. He has written extensively on the topics of Caribbean migration within the international diaspora, gender, racism, social justice and inequality.

Dr. Frances Henry, Professor Emerita, is considered to be one of Canada's leading experts in the study of racism and anti-racism and has published many books on this subject. However, she began her professional career as a Caribbeanist and did her Ph.D. research in Caribbean studies. She has maintained this interest and in addition to the current work, co-authored a book on Caribbean migration with Dwaine Plaza. Now retired from York University in Canada, she is still an active fellow of the Royal Society of Canada, and the Inter-American Network of Academies of Science and maintains an active research career.

Dr. Isabel Machado is a Postdoctoral Fellow in Gender and Sexuality Studies at the Department of History of the University of Memphis.

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