New Books in Performing Arts

School shootings and suicides by young victims of bullying have spurred a proliferation of anti-bullying programs, yet most of the research done on school bullying has been from psychologists. The Sociology of Bullying: Power, Status and Aggression Among Adolescents edited by Christopher Donoghue and published by New York University Press in 2022 will be the first volume to present the leading ideas in sociology about bullying among adolescents that moves beyond an individualistic approach and instead offers ideas about how to address bullying as a by-product of social systems, biases, and status hierarchies. Sociologists investigate the impact of social forces on bullying among adolescents, such as inequality, heteronormativity, militarized capitalism, racism, cancel culture, power, and competition. Contributors explore a wide range of key topics, such as how homophobia and gender normativity encourage bullying; how anti-bullying curricula can ultimately lead to more bullying; and how adolescents use bullying against their friends to improve their own social standing. By advancing sociological perspectives on bullying, this important volume aims to shift the national conversation from one that focuses on villainizing bullies to one that encourages an inward look at the aspects of our culture that foster bullying behaviour among children.

Rituparna Patgiri, PhD is an Assistant Professor of Sociology at Indraprastha College for Women, University of Delhi. She has a PhD in Sociology from Jawaharlal Nehru University (JNU), New Delhi. Her research interests lie in the areas of food, media, gender and public. She is also one of the co-founders of Doing Sociology. Patgiri can be reached at @Rituparna37 on Twitter.

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The Jahriyya Sufis—a primarily Sinophone order of Naqshbandiyya Sufism in northwestern China—inhabit a unique religious soundscape. The hallmark of their spiritual practice is the “loud” (jahr) remembrance of God in liturgical rituals featuring distinctive melodic vocal chants.

The first ethnography of this order in any language, The Sound of Salvation: Voice, Gender, and the Sufi Mediascape in China (Columbia UP, 2021) draws on nearly a decade of fieldwork to reveal the intricacies and importance of Jahriyya vocal recitation. Guangtian Ha examines how the use of voice in liturgy helps the Jahriyya to sustain their faith and the ways it has enabled them to endure political persecution over the past two and a half centuries. He situates the Jahriyya in a global multilingual network of Sufis and shows how their characteristic soundscapes result from transcultural interactions among Middle Eastern, Central Asian, and Chinese Muslim communities. Ha argues that the resilience of Jahriyya Sufism stems from the diversity and multiplicity of liturgical practice, which he shows to be rooted in notions of Sufi sainthood. He considers the movement of Jahriyya vocal recitation to new media forms and foregrounds the gendered opposition of male voices and female silence that structures the group’s rituals.

Spanning diverse disciplines—including anthropology, ethnomusicology, Islamic studies, sound studies, and media studies—and using Arabic, Persian, and Chinese sources, The Sound of Salvation offers new perspectives on the importance of sound to religious practice, the role of gender in Chinese Islam, and the links connecting Chinese Muslims to the broader Islamic world.

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Investigating the development of Filipino popular dance and performance since the late 20th century, Choreographing in Color: Filipinos, Hip-Hop, and the Cultural Politics of Euphemism (Oxford UP, 2020) reveals how the Filipino dancing body has come to be, paradoxically, both globally recognized and indiscernible. The book draws from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers to ask: what does it mean for Filipinos to navigate the violent forces of empire and neoliberalism with street dance and Hip-Hop?

Dr. J. Lorenzo Perillo is Assistant Professor of Theatre and Dance and affiliated faculty with the Department of Women, Gender, and Sexuality Studies, Center for Philippine Studies, and Center for Southeast Asian Studies at the University of Hawaiʻi at Mānoa. His work as an interdisciplinary cultural studies scholar is grounded within the indigenous Filipino concept of kapwa which translates imperfectly to ‘self-in-other’ and ‘together with the person’. In this way, he focuses on bridging Dance, Theatre, and Performance Studies with Critical Race, Ethnic, Feminist, and Indigenous Studies, while broadening the types of knowledge established within these fields.

Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries.

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Teklife, Ghettoville, Eski: The Sonic Ecologies of Black Music in the Early 21st Century (Goldsmiths Press, 2021) uses three Black electronic musics – footwork, grime, and the work of the producer Actress – to provide a theory of how Black musical experimentation has disrupted the circuits of racialized domination and exclusion in the 21st Century city. The book carefully attends to the unique ‘sonic ecologies’ produced by these three musical forms in South/West Chicago; East London and South London respectively, steering a course between uncritical celebration narratives of ‘resistant’ cultural production and dystopian analyses of urban decay.

Brar instead theorises these musics as forms of popular experimentalism which are not just inseparable from questions of space, race and class, but are productive of social and spatial relations. The book draws upon, and intervenes in, Black Studies literature to contribute a set of examples, questions and provocations that help readers to think about how the ‘Blackness of Black electronic dance music’ has produced (and continues to produce) a fugitive urban aesthetic sociality that has flourished in spite of the degradations of state and capital.

At the end of the interview, Dhanveer recommended some music as good entry points into the three musical worlds that we discuss and that he analyses in the book:

Actress – Splazsh (2010)

DJ Rashad – Just a Taste Vol. 1 (2011)

Slimzee/Wiley/Dizzee Rascal and more – Sidewinder sessions (2002-2004)

Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds.

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Curtis Mayfield. The Chi-Lites. Chaka Khan. Chicago’s place in the history of soul music is rock solid. But for Chicagoans, soul music in its heyday from the 1960s to the 1980s was more than just a series of hits: it was a marker and a source of black empowerment. 

In Move On Up: Chicago Soul Music and Black Cultural Power (U Chicago Press, 2019), Aaron Cohen tells the remarkable story of the explosion of soul music in Chicago. Together, soul music and black-owned businesses thrived. Record producers and song-writers broadcast optimism for black America’s future through their sophisticated, jazz-inspired productions for the Dells and many others. Curtis Mayfield boldly sang of uplift with unmistakable grooves like “We’re a Winner” and “I Plan to Stay a Believer.” Musicians like Phil Cohran and the Pharaohs used their music to voice Afrocentric philosophies that challenged racism and segregation, while Maurice White of Earth, Wind, and Fire and Chaka Khan created music that inspired black consciousness. Soul music also accompanied the rise of African American advertisers and the campaign of Chicago’s first black mayor, Harold Washington, in 1983. This empowerment was set in stark relief by the social unrest roiling in Chicago and across the nation: as Chicago’s homegrown record labels produced rising stars singing songs of progress and freedom, Chicago’s black middle class faced limited economic opportunities and deep-seated segregation, all against a backdrop of nationwide deindustrialization.

Drawing on more than one hundred interviews and a music critic’s passion for the unmistakable Chicago soul sound, Cohen shows us how soul music became the voice of inspiration and change for a city in turmoil. Aaron Cohen covers the arts for numerous publications and teaches English, journalism, and humanities at City Colleges of Chicago. He is the author of Aretha Franklin's "Amazing Grace."

Aaron Cohen on Twitter.

Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter.

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Yi’s eyes soften as he watches Jiazhi sing a Chinese folk song with subtle, feminine movements in the film, Lust, Caution. The room fills with laughter when Ali Wong unabashedly enacts her vulgar, bodily desires. What is the affect created through these performances? At different localities and temporalities, an actress and a comedian Tang Wei and Ali Wong embody ever-failing meaning of Chineseness, offering themselves for consumption and survival.

In Vulgar Beauty: Acting Chinese in the Global Sensorium (Duke UP, 2022), Mila Zuo re-evaluates beauty to understand how it creates a feeling Chineseness, engendering a messy world of relationalities that challenge a stable binary of national identity. Using weidao, which escapes meaning in English as flavor and style of a person, object, or environment, Zuo challenges the Cartesian epistemology dividing mind/body and vision/hearing. Through in-depth analysis of films and shows, Zuo asks how five flavors of Chinese medicine, “bitter, salty, pungent, sweet, and sour” become “modalities of vulgar beauty” (33). Vulgar, often tied to the non-western and working-class bodies, becomes a means to complicate the relations between objecthood and subjecthood embodied in Chinese beauty.

This beautifully written and theoretically rich book will be helpful resource for any scholars and public interested in film and media studies, Asian American studies, object studies, and gender studies. 

Mila Zuo is an assistant professor in the Department of Theatre and Film at UBC. Her first book Vulgar Beauty: Acting Chinese in the Global Sensorium (Duke University Press, 2022) focuses on the affective racialization of Chinese women film stars, demonstrating the ways which vulgar, flavourful beauty disrupts Western and colonial notions of beauty. In addition to scholarship, Zuo directs and writes narrative films, visual essays, documentaries and music videos. Her short films have screened in international film festivals and universities, including Carnal Orient (2016) which premiered at Slamdance Film Festival, and her short narrative film Kin (2021), which was the recipient of the 2019 Oregon Media Arts Fellowship, and screened at HollyShorts Film Festival.

Da In Ann Choi is a PhD student at UCLA in the Gender Studies department. Her research interests include care labor and migration, reproductive justice, social movement, citizenship theory, and critical empire studies. She can be reached at [email protected].

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Dr. Paul Geary’s Experimental Dining: Performance, Experience and Ideology in Contemporary Creative Restaurants (Intellect, 2022) examines the work of four of the world’s leading creative restaurants: Noma, elBulli, The Fat Duck and Alinea.

Using ideas from performance studies, cultural studies, philosophy and economics, Dr. Geary explores the creation of the dining experience as a form of multisensory performance. The book examines the construction of the world of the restaurants and their creative methods, the experience of dining and the broader ideological frames within which the work takes place. The book brings together ideas around food, philosophy, performance and cultural politics to offer an interdisciplinary understanding of the practice and experience of creative restaurants.

The book interrogates the experience of the performances in and of these restaurants, with a particular focus on the entanglement of sensory, embodied, and reflective experience with the broader cultural and ideological discourses that both frame and produce those seemingly individual, personal and intimate encounters with the work.

The author contends that the work of the experimental restaurant, while operating explicitly within an economy of experiences, is not absolutely determined by that political or economic context. Its practice has the potential to appeal to more than idle curiosity for novelty. It can be unsettling and revealing, provocative and evocative, personal and political, experimental and considered, thoughtful and sensual. Or in other words, that the food event can be art.

This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

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Nancy Barile shares her love of hardcore punk in her new memoir, I'm Not Holding Your Coat: My Bruises and All Memoir of Punk Rock Rebellion (Bazillion Points, 2022). From disaffected Catholic schoolgirl and glam maniac to instigator on the 1980s hardcore punk scene, Barile discovered freedom at a time when punk music was new and dangerous. She made her place behind the boards and right in the front row as insurgents such as SSD, Minor Threat, Bad Brains, the Dead Kennedys, and Black Flag wrote new rules and made history. She survived punk riots and urban decay, ran the streets with outcasts, and ultimately found true love as she fought for fairness and found her purpose. Her memoir archives her first-hand experiences in the early Philadelphia punk scene and forefronts the role of women in the scene. 

Rebekah Buchanan is an Associate Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music.

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Has the internet really been the main culprit behind the upheaval of the contemporary media industries? In Media Disrupted: Surviving Pirates, Cannibals, and Streaming Wars (MIT Press, 2021), Professor Amanda Lotz provides a rebuttal to persistent myths about disruption across the mediascape of the late 20th and early 21st Centuries. Through a granular reading of four media industries – newspapers, recorded music, film and television – Lotz demonstrates that the internet has had diffuse and divergent effects in each, none of which are adequately explained through simplistic narratives of piracy or cannibalism. Lotz suggests that the speed and scale of reconfiguration in these industries has stemmed more from built up consumer demand and business (mal)practices, often with deep historical roots, which have only then been catalysed by the advent of the internet.

Alongside laying out what we often get wrong about the internet and the media industries, Lotz provides detailed analyses of those media businesses which managed to negotiate this tumultuous period successfully. Media Disruption helps us understand how the media industries got to where they are today and provides valuable lessons for those seeking to weather disruptions to come.

Professor Amanda Lotz works at the Digital Media Research Centre at Queensland University of Technology.

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On this episode of New Books in Performing Arts, we talk with Andy Bragen about two plays of his published in a new volume by Northwestern University Press: This is My Office and Notes on My Mother's Decline. Both plays center on grief: Bragen's process of grieving his father in This is My Office and the slow, painful process of his mother's death in Notes on My Mother's Decline. Both plays are bravely emotionally bare yet unsentimental. They situate death and dying in a long continuum that both predates and antedates the individual person. In this way, both plays are as much about family, history, and family history as much as they are about the moment of death. 

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.

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