New Books in Performing Arts

Rania Karoula's The Federal Theatre Project, 1935-1939 (Edinburgh University Press, 2020) offers a readable and engaging summary of an important chapter in American theatre history. Now safe from the 30s-era anti-Communist backlash that led Hallie Flanagan and others to downplay the influence of Communist avant gardes on the FTP, Karoula reveals the intellectual and artistic dialogue between artists affiliated with the FTP and left-wing theatre artists including Meyerhold, Piscator, and Brecht. Karoula tracks how the FTP tried to incorporate these aesthetic innovations into the American stage but was ultimately unable to ward off HUAC persecution. This book will be of interest both to scholars of theatre history and historians of the New Deal more generally.

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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Stand-up comedians have a long history of walking a careful line between serious and playful engagement with social issues: Lenny Bruce questioned the symbolic valence of racial slurs, Dick Gregory took time away from the stage to speak alongside Martin Luther King Jr., and—more recently—Tig Notaro challenged popular notions of damaged or abject bodies. Stand-up comedians deploy humor to open up difficult topics for broader examination, which only underscores the social and cultural importance of their work.

Edited by Jared Champion and Peter Kunze, Taking a Stand: Contemporary US Stand-Up Comedians as Public Intellectuals (University Press of Mississippi, 2021) draws together essays that contribute to the analysis of the stand-up comedian as public intellectual since the 1980s. The chapters explore stand-up comedians as contributors to and shapers of public discourse via their live performances, podcasts, social media presence, and political activism.

Each chapter highlights a stand-up comedian and their ongoing discussion of a cultural issue or expression of a political ideology/standpoint: Lisa Lampanelli’s use of problematic postracial humor, Aziz Ansari’s merging of sociology and technology, or Maria Bamford’s emphasis on mental health, to name just a few. Taking a Stand offers a starting point for understanding the work stand-up comedians do as well as its reach beyond the stage. Comedians influence discourse, perspectives, and even public policy on myriad issues, and this book sets out to take those jokes seriously.

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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Why do corporations fund cultural organisations and events? In Black Culture, Inc: How ethnic community support pays for corporate America Patricia Banks, Professor of Sociology at Mount Holyoke College, explores the role of corporate funding in shaping cultural life, from historical examples of tobacco advertising and media, through to contemporary social media businesses’ presence at music festivals. The book draws on a wealth of examples and scholarship on Black culture in America, alongside analysis of diversity policy and practices. Most crucially, the book introduces the idea of ‘diversity capital’, showing the costs of corporate influence on culture, as well as the ambivalence and enthusiasm of cultural producers and audiences. Moving beyond simple explanations and analysis of race, corporate funding, and culture, the book is essential reading across the arts, humanities and social sciences, as well as for anyone interested in the arts today.

Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Sheffield.

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In the late ’90s, third-wave ska broke across the American alternative music scene like a tsunami. In sweaty clubs across the nation, kids danced themselves dehydrated to the peppy rhythms and punchy horns of bands like The Mighty Mighty Bosstones and Reel Big Fish. As ska caught fire, a swing revival brought even more sharp-dressed, brass-packing bands to national attention. Kenneth Partridge's Hell of a Hat: The Rise of '90s Ska and Swing (Pennsylvania State UP, 2021) dives deep into this unique musical moment.

Prior to invading the Billboard charts and MTV, ska thrived from Orange County, California, to NYC, where Moon Ska Records had eager rude girls and boys snapping up every release. On the swing tip, retro pioneers like Royal Crown Revue had fans doing the jump, jive, and wail long before The Brian Setzer Orchestra resurrected the Louis Prima joint. Drawing on interviews with heavyweights like the Bosstones, Sublime, Less Than Jake, and Cherry Poppin' Daddies—as well as underground heroes like Mustard Plug, The Slackers, Hepcat, and The New Morty Show—Kenneth Partridge argues that the relative economic prosperity and general optimism of the late ’90s created the perfect environment for fast, danceable music that—with some notable exceptions—tended to avoid political commentary.

An homage to a time when plaids and skankin’ were king and doing the jitterbug in your best suit was so money, Hell of a Hat is an inside look at ’90s ska, swing, and the loud noises of an era when America was dreaming and didn’t even know it.

Looking for the bands Partridge didn't get to highlight in the book? You can find his writing about them on his Substack. 

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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In A Vertical Art: On Poetry (Princeton UP, 2022), acclaimed poet Simon Armitage takes a refreshingly common-sense approach to an art form that can easily lend itself to grand statements and hollow gestures. Questioning both the facile and obscure ends of the poetry spectrum, he offers sparkling new insights about poetry and an array of favorite poets.

Based on Armitage’s public lectures as Oxford Professor of Poetry, A Vertical Art illuminates poets as varied as Emily Dickinson, Walt Whitman, Marianne Moore, W. H. Auden, Ted Hughes, Thom Gunn, A. R. Ammons, and Claudia Rankine. The chapters are often delightfully sassy in their treatment, as in “Like, Elizabeth Bishop,” in which Armitage dissects—and tallies—the poet’s predilection for similes. He discusses Bob Dylan’s Nobel Prize, poetic lists, poetry and the underworld, and the dilemmas of translating Sir Gawain and the Green Knight. Armitage also pulls back the curtain on the unromantic realities of making a living as a contemporary poet, and ends the book with his own list of “Ninety-Five Theses” on the principles and practice of poetry.

An appealingly personal book that explores the volatile and disputed definitions of poetry from the viewpoint of a practicing writer and dedicated reader, A Vertical Art makes an insightful and entertaining case for the power and potential of poetry today.

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El Sistema is Venezuela's large scale classical music education program for poor and working class people on the economic, social, and physical margins. In Sonorous Worlds: Musical Enchantment in Venezuela (University of Michigan, 2021), anthropologist Yana Stainova follows the lives of musicians in examining the effects of the program on individuals and communities. Through conversations and interactions with musicians during music lessons, performances, and during their daily lives, Stainova finds that classical music education opens up a space to dream and makes possible different futures than those generally available to working class youth. Stainova theorizes that musicians engage in enchantment, which arises from, for example, the music itself, the labor of musical practice, and the relations between people and their instruments. Yet, enchantment also exceeds these components and gives way to escape, rupture, and resistance to power structures. Stainova examines these matters as Venezuela falls into violence from economic and governmental crisis. During our discussion we talked about the arguments of the book, the writing and structure of the book, and conducting field research in the circumstances described above. 

Yana Stainova is an Assistant Professor in the Department of Anthropology at McMaster University. 

Reighan Gillam is an Assistant Professor in the Department of Anthropology at the University of Southern California.

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Drawing on a rich body of archival and ethnographic research, Queering Drag: Redefining the Discourse of Gender-Bending (Indian UP, 2020) illuminates diverse examples of theatrical gender-bending. It shows how, in each case, standard drag discourses do not sufficiently capture the complexity of performers' intents and methods or provide a strong enough foundation for holistically evaluating the impact of this work. Queering Drag offers a redefinition of the genre centralized in the performer's construction and presentation of a "queer" version of hegemonic identity. It also models a new set of tools for analyzing drag as a process of intents and methods enacted to effect specific goals. The book won the 2021 John Leo and Dana Heller Award for Best Book in LGBTQ Studies from the Popular Culture Association and was named one of NBC's "10 LGBTQ books to watch out for in 2020.”

Dr. Meredith Heller is an Associate Teaching Professor in the Women’s and Gender Studies Program at Northern Arizona University, where she has taught since 2014. She earned a Ph.D. in Theater Studies with a Feminist Studies doctoral emphasis from the University of California, Santa Barbara. She specializes in queer theory and critical identity studies, with additional expertise in performance studies, digital media, and popular culture. 

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

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In this episode, Dr. Brandon J. Manning talks about his most recent book, Played Out: The Race Man in 21st Century Satire (Rutgers UP, 2022). Here's a short description: through contemporary examples, including the work of Kendrick Lamar, Key and Peele and the presidency of Barack Obama and many others, Played Out: The Race Man in 21st Century Satire examines how Black satirists create vulnerability to highlight the inner emotional lives of Black men.

Brittney Edmonds is an Assistant Professor of Afro-American Studies at UW-Madison. I specialize in 20th and 21st century African American Literature and Culture with a special interest in Black Humor Studies. Read more about my work at brittneymichelleedmonds.com.

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For better or worse, artists write. But why would a visual artist write a novel? How should such a novel be experienced? How does the artist’s novel compare or compete with literary fiction as we know it?

David Maroto, the author of The Artist's Novel: A New Medium (Mousse Publishing, 2020) considers the proliferation of artists writing novels as a sign of the emergence of a new medium. Artists engaging in this new medium do so in order to address artistic issues by means of novelistic devices, favouring a sort of art predicated on process and subjectivity, introducing notions such as fiction, narrative, and imagination. Maroto’s work is the first to explore the subject of the artist’s novel in depth.

David Maroto speaks to Pierre d’Alancaisez about the artist’s novel and the demands it makes on its readers and, as he found out through his own practice, on its curators and publishers. David reads from Benjamin Seror's Mime Radio and voices the mythical satyr Marsyas but, sadly, stops short of singing.

David Maroto is a visual artist, researcher, writer, and curator based in Rotterdam.



Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional.

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In his fascinating and riveting new book Soundtrack to a Movement: African American Islam, Jazz, and Black Internationalism (NYU Press, 2021), historian Richard Brent Turner tells a moving though rarely discussed narrative of the intersection and cross-pollination between Jazz and African American Islam from the 1940s to the 1970s. How did Islam and conversion to Islam inform the lives, careers, and musical productions of prominent jazz musicians in this period? And how did jazz spaces and culture provide the fodder for important African American Muslim movements and figures, such as the Nation of Islam and Malcolm X? Turner addresses these and other questions with profound historical depth and analytical ingenuity. Over the course of this book, the reader learns about such enormously interesting themes as the landscape of African American politics during the interwar period and beyond in major Northeastern cities (especially Boston), the intimate relationship between Jazz and the Ahmadiyya, the relationship between John Coltrane and Malcolm X, and the encounter of Jazz with Black internationalism. This lucidly written book will also animate great discussions in the classroom.

SherAli Tareen is Associate Professor of Religious Studies at Franklin and Marshall College. His research focuses on Muslim intellectual traditions and debates in early modern and modern South Asia. His book Defending Muhammad in Modernity (University of Notre Dame Press, 2020) received the American Institute of Pakistan Studies 2020 Book Prize and was selected as a finalist for the 2021 American Academy of Religion Book Award. His other academic publications are available here. He can be reached at [email protected]. Listener feedback is most welcome.

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