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Step inside a fascinating world of Jews who relate to their Jewishness through the vehicle of punk—from prominent figures in the history of punk to musicians who proudly put their Jewish identity front and center. Why did punk—a subculture and music style characterized by a rejection of established norms—appeal to Jews? How did Jews who were genuinely struggling with their Jewish identity find ways to express it through punk rock? Oy Oy Oy Gevalt! Jews and Punk explores the cultural connections between Jews and punk in music and beyond, documenting how Jews were involved in the punk movement in its origins in the 1970s through the present day. Author Michael Croland begins by broadly defining what the terms "Jewish" and "punk" mean. This introduction is followed by an exploration of the various ways these ostensibly incompatible identities can gel together, addressing topics such as Jewish humor, New York City, the Holocaust, individualism, "tough Jews," outsider identity, tikkun olam ("healing the world"), and radicalism. The following chapters discuss prominent Jews in punk, punk rock bands that overtly put their Jewishness on display, and punk influences on other types of Jewish music—for example, klezmer and Hasidic simcha (celebration) music. The book also explores ways that Jewish and punk culture intersect beyond music, including documentaries, young adult novels, zines, cooking, and rabbis.
Item reflects the first 18 months of Public Arts' activities in the TEA (Training, Education, Advocacy) Initiative.
This seminal book explores the complex relationship between popular geopolitics and nation branding among the Newly Independent States of Eurasia, and their combined role in shaping contemporary national image and statecraft within and beyond the region. It provides critical perspectives on international relations, nationalism, and national identity through the use of innovative approaches focusing on popular culture, new media, public diplomacy, and alternative "narrators" of the nation. By positing popular geopolitics and nation branding as contentious forces and complementary flows, the study explores the tensions and elisions between national self-image and external perceptions of the nation, and how this complex interplay has become integral to contemporary global affairs.
Laughter After will appeal to a number of audiences—from students and scholars of Jewish and Holocaust studies to academics and general readers with an interest in media and performance studies.
The connection between popular culture and religion is an enduring part of American life. With seventy-five percent new content, the third edition of this multifaceted and popular collection has been revised and updated throughout to provide greater religious diversity in its topics and address critical developments in the study of religion and popular culture. Ideal for classroom use, this expanded volume gives increased attention to the implications of digital culture and the increasingly interactive quality of popular culture provides a framework to help students understand and appreciate the work in diverse fields, methods, and perspectives contains an updated introduction, discussion questions, and other instructional tools
Tikim: Essays on Philippine Food and Culture by Doreen G. Fernandez is a groundbreaking work that introduces readers to the wondrous history of Philippine foodways through its people, places, feasts, and flavors.
Presenting an account of political culture, this work shows how the variety of cultural preferences creates the foundations of communication theory. Using the work of Aaron Wildavsky, it shows how individualism, egalitarianism, collectivism, and fatalism form the basis of culture in complex societies.
Places for Happiness explores two of the most important performance-based activities in the Philippines: the processions and Passion Plays associated with Easter and the mass-dance phenomenon known as “street dancing.” The scale of these handcrafted performances in terms of duration, time commitment, and productive labor marks the Philippines as one of the world’s most significant and undervalued performance-centered cultures. Drawing on a decade of fieldwork, William Peterson examines how people come together in the streets or on temporary stages, celebrating a shared sense of community and creating places for happiness. The first half of the book focuses on localized and often highly idiosyncratic versions of the Passion of Christ. Peterson considers not only what people do in these events, but what it feels like to participate. The book’s second half provides a window into the many expressions of “street dancing.” Street dancing is inflected by localized indigenous and folk dance traditions that are reinforced at school and practiced in conjunction with religious civic festivals. Peterson identifies key frames that shape and contain the individual in the Philippines, while tracking how the local expands its expressive home by engaging in a dialogue with regional, national, and diasporic Filipino imaginaries. Ultimately Places for Happiness explores how community-based performance responds to and fulfills basic human needs. Many Filipinos rely on family members and immediate neighbors for support and sustenance, and community-based performance assumes a unique and leading role in defining, reinforcing, and celebrating shared belief systems. By bringing forth the internal, phenomenological, and embodied aspects of a range of community-based practices contributing to human happiness, the book offers a cultural framework that interweaves the individual experience with that of the collective, plotting out what resides inside the body through the coordinates of culture.