New Books in Performing Arts

In Becoming Palestine: Toward an Archival Imagination of the Future (Duke UP, 2021), Gil Z. Hochberg examines how contemporary Palestinian artists, filmmakers, dancers, and activists use the archive in order to radically imagine Palestine's future. She shows how artists such as Jumana Manna, Kamal Aljafari, Larissa Sansour, Farah Saleh, Basel Abbas, and Ruanne Abou-Rahme reimagine the archive, approaching it not through the desire to unearth hidden knowledge, but to sever the identification of the archive with the past. In their use of archaeology, musical traditions, and archival film and cinematic footage, these artists imagine a Palestinian future unbounded from colonial space and time. By urging readers to think about archives as a break from history rather than as history's repository, Hochberg presents a fundamental reconceptualization of the archive's liberatory potential.

Gil Hochberg is Ransford Professor of Hebrew and Comparative Literature, and Middle East Studies at Columbia University and Chair of MESAAS.

Fulya Pinar is a PhD candidate in the department of Anthropology at Rutgers University. Her work focuses on alternative solidarities, refugee care, and displacement in Turkey and the Middle East.

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How can we make creative industries fair and inclusive? In Reimagining the Creative Industries: Youth Creative Work, Communities of Care (Routledge, 2021), Miranda Campbell, an associate professor in the School of Creative Industries at Ryerson University, explores this question theoretically and empirically to present a new vision for both young creative workers and creative production itself. Drawing on ideas of ordinariness and the everyday, along with the need for care and inclusivity, the book is critical of current creative industry practice at corporate level, whilst offering new models and new methods for making culture. With examples from a range of art and cultural forms, the book is essential reading for creative industries, arts and humanities, and social science scholars, as well as for creative practitioners everywhere.

Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art.

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Edited by Charles Hiroshi Garrett and Carol J. Oja, Sounding Together: Collaborative Perspectives on U.S. Music in the Twenty-21st Century (University of Michigan Press, 2021) is a multi-authored, collaboratively conceived book of essays that tackles key challenges facing scholars studying music of the United States in the early twenty-first century. This book encourages scholars in music circles and beyond to explore the intersections between social responsibility, community engagement, and academic practices through the simple act of working together. The chapters of the volume address issues of race, nationalism, mobility, cultural domination, and identity; as well as the crisis of the Trump era and the political power of music. Each contribution to the volume is written collaboratively by two scholars, bringing together contributors who represent a mix of career stages and positions. Through the practice of and reflection on collaboration, Sounding Together breaks out of long-established paradigms of solitude in humanities scholarship and works toward social justice in the study of music.

See the book's companion site here. 

Dr. Charles Hiroshi Garrett is Professor of Musicology at the University of Michigan and Dr. Carol J. Oja is William Powell Mason Professor of Music and Professor of American Studies at Harvard University. Learn more about the Eileen Southern Initiative, for which Dr. Oja is co-director, here. 

Emily Ruth Allen (@emmyru91) holds a Ph.D. in musicology from Florida State University. Her current research focuses on parade musics in Mobile, Alabama's carnival. 

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Wim Wenders: Making Films That Matter (Bloomsbury, 2020) is the first book in 15 years to take a comprehensive look at Wim Wenders's extensive filmography. In addition to offering new insights into his cult masterpieces, the 10 essays in this volume highlight the thematic and aesthetic continuities between his early films and his latest productions. Wenders's films have much to contribute to current conversations on intermediality, whether it be through his adaptations of important literary works or his filmic reinventions of famous paintings by Edward Hopper or Andrew Wyeth. Wenders has also positioned himself as a decidedly transnational and translingual filmmaker taking on the challenge of representing peripheral spaces without falling into the trap of a neo-colonial gaze. Making Films That Matter argues that Wenders remains a true innovator in both his experiments in 3D filmmaking and his attempts to define a visual poetics of peace.

Olivier Delers is Associate Professor of French and Chair of the Department of Languages, Literatures, and Cultures at the University of Richmond, USA.

Martin Sulzer-Reichel is Director of Arabic at the University of Richmond, USA.

Gustavo E. Gutiérrez Suárez is MA in Anthropology, and BA in Social Communication. His areas of interest include Andean and Amazonian Anthropology, Film theory and aesthetics. You can follow him on Twitter vía @GustavoEGSuarez.

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What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System: The Art of Parasitical Resistance (Duke UP, 2020), Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism, a tactic of complicity that effect subversion from within hegemonic structures.

Anna Watkins Fisher speaks to Pierre d'Alancaisez about the underhand tactics of the parasite - artists like the collective Ubermorgen, Núria Güell, the writer Chris Krauss, or Roisin Byrne - by which it appropriates the logic of their hosts - Amazon, the Spanish State, Dick, and in the case of Byrne, Watkins Fisher herself.

Anna Watkins Fisher is a cultural and media theorist whose research spans the fields of digital studies, performance studies, visual culture, environmental humanities, and critical theory. She is an associate professor in the Department of American Culture at the University of Michigan, Ann Arbor.

The Play in the System is available as an open-source download.

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

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Stephanie M. Pridgeon's book Revolutionary Visions: Jewish Life and Politics in Latin American Film (U Toronto Press, 2020) examines recent cinematic depictions of Jewish involvement in 1960s and 1970s revolutionary movements in Latin America. In order to explore the topic, the book bridges critical theory on religion, politics, and hegemony from regional Latin American, national, and global perspectives. Placing these theories in dialogue with recent films, the author asks the following questions: How did revolutionary commitment change Jewish community and families in twentieth-century Latin America? How did Jews contribute to revolutionary causes, and what is the place of Jews in the legacies of revolutionary movements? How is film used to project self-representations of Jewish communities in the national project for a mainstream audience?

Jewish involvement in revolutionary movements is rife with contradictions. On the one hand, it was a natural progression of patterns of political participation, based on the ideological affinities shared between socialist movements and Marxist revolutionary politics. On the other hand, involvement in revolutionary politics would also upset the status quo of Jewish communities because of the extreme nature of revolutionary practices (e.g., guerrilla warfare), revolutionary groups' alignment with Palestine, and the assimilation into non-Jewish culture that revolutionary involvement often entailed. These contradictions between Jewish self-identification and revolutionary activity continue to confound cultural understandings of the points of contact between identities and political affinities. In this way, Revolutionary Visions contributes to timely debates within cultural studies surrounding identities and politics.

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In 1963, sisters Barbara Ann and Rosa Hawkins and their cousin Joan Marie Johnson traveled from the segregated South to New York City under the auspices of their manager, former pop singer Joe Jones. With their wonderful harmonies, they were an immediate success. To this day, the Dixie Cups’ greatest hit, “Chapel of Love,” is considered one of the best songs of the past sixty years. In Chapel of Love: The Story of New Orleans Girl Group the Dixie Cups (University Press of Mississippi, 2021), Rosa Hawkins and Steve Bergsman discuss the ups and downs of one of the most successful girl groups of the early 1960s. Telling their story for the first time, in their own words, Chapel of Love reintroduces the Louisiana Music Hall of Famers to a new audience.

Podcast guest Steve Bergsman is a longtime journalist who has written over a dozen books. His most recent book was a biography of Screamin’ Jay Hawkins.

Emily Ruth Allen (@emmyru91) holds a PhD in Musicology from Florida State University. Her current research focuses on parade musics in Mobile, Alabama’s Carnival celebrations. 

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Quyền Văn Minh (b. 1954) is not only a jazz saxophonist and lecturer at the prestigious Vietnam National Academy of Music, but he is also one of the most preeminent jazz musicians in Vietnam. Considered a pioneer in the country, Minh is often publicly recognized as the “godfather of Vietnamese jazz.” Playing Jazz in Socialist Vietnam: Quyền Văn Minh and Jazz in Hà Nội (UP of Mississippi, 2021) tells the story of the music as it intertwined with Minh’s own narrative. Stan BH Tan-Tangbau details Minh’s life story, telling how Minh pioneered jazz as an original genre even while navigating the trials and tribulations of a fervent socialist revolution, of the ideological battle that was the Cold War, of Vietnam’s war against the United States, and of the political changes during the Đổi Mới period between the mid-1980s and the 1990s.

Minh worked tirelessly and delivered two breakthrough solo recitals in 1988 and 1989, marking the first time jazz was performed in the public sphere in the socialist state. To gain jazz acceptance as a mainstream musical art form, Minh founded Minh Jazz Club. With the release of his debut album of original compositions in 2000, Minh shaped the nascent genre of Vietnamese jazz.

Minh’s endeavors kickstarted the momentum, from his performing jazz in public, teaching jazz both formally and informally, and contributing to the shaping of an original Vietnamese voice to stand out among the many styles in the jazz world. Most importantly, Minh generated a public space for musicians to play and for the Vietnamese to listen. His work eventually helped to gain jazz the credibility necessary at the national conservatoire to offer instruction in a professional music education program.

Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi’i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com.

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Haaz Sleiman (هاز سليمان) is a Lebanese actor who has appeared as Tarek in Tom McCarthy’s 2007 award-winning film The Visitor, for which he was nominated for the Independent Spirit Award for Best Supporting Male and the role of Jesus in the American TV mini-series Killing Jesus. He’s also appeared alongside Edie Falco and Anna Deavere Smith (guest on The Proust Questionnaire) in the hit show Nurse Jackie, and stars in Chloe Zhao’s 2021 blockbuster Eternals, where he plays (spoiler alert!) the path-breaking role of Ben, the husband of superhero Phastos as the first wonderful, compelling, and courageous same-sex couple in the Marvel universe. 

Ulrich Baer is University Professor at New York University where he teaches literature and photography, and writes frequently about photography, art, literature, and other subjects. He is also the host of the podcast “Think About It” and editorial director at Warbler Press. Twitter: @UliBaer; Intragram. Caroline Weber is a specialist of French literature, history, and culture. She is Professor of French and Comparative Literature at Barnard College and Columbia University in New York City. Twitter: @CorklinedRoom. Instagram.

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Why does a clarinet play at lower pitches than a flute? What does it mean for sounds to be in or out of tune? How are emotions carried by music? Do other animals perceive sound like we do? How might a musician use math to come up with new ideas?

This book offers a lively exploration of the mathematics, physics, and neuroscience that underlie music in a way that readers without scientific background can follow. David Sulzer, also known in the musical world as Dave Soldier, explains why the perception of music encompasses the physics of sound, the functions of the ear and deep-brain auditory pathways, and the physiology of emotion. He delves into topics such as the math by which musical scales, rhythms, tuning, and harmonies are derived, from the days of Pythagoras to technological manipulation of sound waves. Sulzer ranges from styles from around the world to canonical composers to hip-hop, the history of experimental music, and animal sound by songbirds, cetaceans, bats, and insects. He makes accessible a vast range of material, helping readers discover the universal principles behind the music they find meaningful.

Written for musicians and music lovers with any level of science and math proficiency, including none, Music, Math, and Mind: The Physics and Neuroscience of Music (Columbia UP, 2021) demystifies how music works while testifying to its beauty and wonder.

Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland. To discuss and propose the book for an interview you can reach her at [email protected].

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