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Cultural heritage and national identity have been significant themes in debates concerning Central Asia following the dissolution of the Soviet Union, not only in academic circles, but more importantly among the general public in the newly independent Central Asian states. Inspired by insights from a popular form of traditional cultural performance in Kyrgyzstan, this book goes beyond cultural revival discourse to explore these themes from a historically informed anthropological perspective. Based on fourteen months of fieldwork and archival research in Kyrgyzstan, this historical ethnography analyses the ways in which political elite in Central Asia attempts to exercise power over its citizens through cultural production from early twentieth century to the present.
A musical practice used for centuries the world over, improvisation too often has been neglected by scholars who dismiss it as either technically undissectible or inexplicably mysterious. At different times and in different cultures, performing music that is not "precomposed" has constituted an artful expression of the performer's individuality (the Baroque); a wild, unthinking form of expression (jazz antagonists); and the best method to train inexperienced musicians to use their instruments (the Middle East). This wide-ranging collection of essays considers musical improvisation from a variety of approaches, including ethnomusicology, education, performance, historical musicology, and music theory. Laying the groundwork for even further research into improvisation, the contributors of this volume delve into topics as diverse as the creative minds of Mozart and Beethoven, the place of improvised musics in Western and non-Western societies, and the development of jazz as a musical and cultural phenomenon.
Based on eighteen months of research in the lowland Myanmar town of Pathein, this book investigates manifold economic activities on the ground. Particular attention is paid to the self-employed and their relationships with relatives, workers, and community members. The ethnography covers a range of topics, including business formation and succession, recruitment, child labour, ethnicity, indebtedness and charity. It is demonstrated that, amidst rapidly changing socio-economic conditions, values rooted in kinship morality and Buddhism remain significant and continue to shape people's economic reasoning and activities. These values und moral aspects stand in a dialectical relationship with changing economic realities.
This book engages critically with mainstream accounts of ‘Anatolian Tigers’ in contemporary Turkey. Based on her fieldwork in Çorum, Deniz explores the dynamics of medium-size businesses with a dual optic of political economy and moral economy. She demonstrates that the formation of the entrepreneurial stratum is a multifaceted process and zooms into a range of workplaces to show the entanglements of market and non-market dynamics in everyday life. This innovative work sheds original light on the role of kinship, religion and social values in shaping the everyday politics of labour.
The Compass began in a storefront theater near the U. of Chicago campus in the summer of 1955 and lasted only a few years before its players--including Paul Sills, Elaine May, Mike Nichols, Barbara Harris, Severn Darden, and Shelley Berman--moved on. Coleman recreates the time, the place, the personalities, and the neurotic magic whereby the Campus made theater history in America. Annotation copyrighted by Book News, Inc., Portland, OR.
More than a quarter-century after his death, James Baldwin remains an unparalleled figure in American literature and African American cultural politics. In Who Can Afford to Improvise? Ed Pavlić offers an unconventional, lyrical, and accessible meditation on the life, writings, and legacy of James Baldwin and their relationship to the lyric tradition in black music, from gospel and blues to jazz and R&B. Based on unprecedented access to private correspondence, unpublished manuscripts and attuned to a musically inclined poet’s skill in close listening, Who Can Afford to Improvise? frames a new narrative of James Baldwin’s work and life. The route retraces the full arc of Baldwin’s passage across the pages and stages of his career according to his constant interactions with black musical styles, recordings, and musicians. Presented in three books — or movements — the first listens to Baldwin, in the initial months of his most intense visibility in May 1963 and the publication of The Fire Next Time. It introduces the key terms of his lyrical aesthetic and identifies the shifting contours of Baldwin’s career from his early work as a reviewer for left-leaning journals in the 1940s to his last published and unpublished works from the mid-1980s. Book II listens with Baldwin and ruminates on the recorded performances of Billie Holiday and Dinah Washington, singers whose message and methods were closely related to his developing world view. It concludes with the first detailed account of “The Hallelujah Chorus,” a performance from July 1, 1973, in which Baldwin shared the stage at Carnegie Hall with Ray Charles. Finally, in Book III, Pavlić reverses our musically inflected reconsideration of Baldwin’s voice, projecting it into the contemporary moment and reading its impact on everything from the music of Amy Winehouse, to the street performances of Turf Feinz, and the fire of racial oppression and militarization against black Americans in the 21st century. Always with an ear close to the music, and avoiding the safe box of celebration, Who Can Afford to Improvise? enables a new kind of “lyrical travel” with the instructive clarity and the open-ended mystery Baldwin’s work invokes into the world.
A necessary reexamination of Indigenous mounds, demonstrating their sustained vitality and vibrant futurity by centering Native voices Typically represented as unsolved mysteries or ruins of a tragic past, Indigenous mounds have long been marginalized and misunderstood. In Earthworks Rising, Chadwick Allen issues a compelling corrective, revealing a countertradition based in Indigenous worldviews. Alongside twentieth- and twenty-first-century Native writers, artists, and intellectuals, Allen rebuts colonial discourses and examines the multiple ways these remarkable structures continue to hold ancient knowledge and make new meaning—in the present and for the future. Earthworks Rising is organized to align with key functional categories for mounds (effigies, platforms, and burials) and with key concepts within mound-building cultures. From the Great Serpent Mound in Ohio to the mound metropolis Cahokia in Illinois to the generative Mother Mound in Mississippi, Allen takes readers deep into some of the most renowned earthworks. He draws on the insights of poets Allison Hedge Coke and Margaret Noodin, novelists LeAnne Howe and Phillip Carroll Morgan, and artists Monique Mojica and Alyssa Hinton, weaving in a personal history of earthwork encounters and productive conversation with fellow researchers. Spanning literature, art, performance, and built environments, Earthworks Rising engages Indigenous mounds as forms of “land-writing” and as conduits for connections across worlds and generations. Clear and compelling, it provokes greater understanding of the remarkable accomplishments of North America’s diverse mound-building cultures over thousands of years and brings attention to new earthworks rising in the twenty-first century.
Free yourself from writer’s block and inner critics with the creative power of improv! “Jorjeana Marie’s generous, joyful, and oh-so-useful book shows writers—both seasoned and new—how to unleash their creativity and find their best story.”—Gayle Forman, New York Times bestselling author of If I Stay and I Have Lost My Way Improv instructor and writer Jorjeana Marie reveals a new way to generate idea after brilliant idea. Applying the rules of improv to fiction writing, Marie presents fun games and exercises you can do from the comfort of your desk at home. Surprise yourself with new plots, infinite characters and settings, and a supreme confidence in your own process. Armed with the power of improv—and liberating exercises like Ad Agency, Raise the Stakes, and Family Portraits—you’ll soon be an idea machine. With Improv for Writers, your creative storytelling well will never run dry again. Advance praise for Improv for Writers “Here’s a secret. Many authors started out as drama geeks and later found that theatrical skills like deep-diving into character and improvising on the fly were essential tools for writing fiction. Jorjeana Marie’s generous, joyful and oh-so useful book applies the principles of improv to writing and though a series of targeted, fun exercises shows writers—both the seasoned and the new—how to unleash their creativity and find their best story.”—Gayle Forman, New York Times bestselling author of If I Stay and I Have Lost My Way “Part practical, part playful, part encouraging and affirming, Jorjeana Marie’s Improv for Writers is a certain antidote to writing blocks—and writer’s block! This book is a necessary and vital tool for authors and storytellers everywhere.”—Karma Brown, bestselling author of The Life Lucy Knew “Thank you, Jorjeana Marie for infusing joy and play and experimentation in the often-arduous act of writing fiction. I'll be turning to these exercises whenever I need to jump-start my writing session and will be recommending many of my writing students to do the same.”—Nina LaCour, Michael L. Printz Award-winning author of We Are Okay, Hold Still, The Disenchantments, and Everything Leads to You; and You Know Me Well, a novel written in collaboration with David Levithan.
A provocative work of cultural history that reevaluates the lives and works of four of America's most discussed writers: Henry Adams, Henry James, Ezra Pound and T.S. Eliot.