For hundreds of years, Barcelona and Madrid have shared a deep rivalry. Throughout history, they have competed in practically every aspect of social life, sport, politics, and culture. While competition between cities is commonplace in many nations around the world, in the case of Barcelona and Madrid it has been, on occasion, excessively antagonistic. Over time they have each tried to demonstrate that one was more modern than the other, or more avant-garde, or richer, or more athletic, and so on. Fortunately, the Spain of today is a democracy and every nation and region of the State has the liberty to act. As such, the rivalry between these two capitals has become productive not only for the cities themselves, but also for Spain as a whole. One hundred years ago, at the onset of the Historical Avant-Garde in Spain, the connections between Barcelona and Madrid consisted of a complicated web of politics, friendships, publications, and inter-art collaborations. Over the last century, the antagonistic relationship between these two cultural capitals has been dismissed as simply a fact of life and thereby scholars, for the most part, have focused only on Barcelona or Madrid when addressing this cultural moment. By delving deep into the myriad of cultural and political complexities that surround these two cities from the onset of Futurism (1909) to the arrival of Surrealism in Spain (1929), a complex social and cultural network is revealed. Networking between artists, poets, journalists and thinkers connected avant-garde Barcelona and Madrid, thereby creating synergy for this artistic and literary movement. In a hybrid, transdisciplarian, translingual and historical approach using a wide range of visual and textual artifacts, the complexity of interactions described here opens our imagination to new ways of thinking about culture.

Dancing with the Gods: Essays in Ga Ritual explores cosmological concepts and ritual actions of the Ga people of southeastern Ghana through case studies of calendrical agricultural rites, social status transition rites, and redressive rites. Based on fieldwork in the 1960s, the essays present descriptive analyses of verbal and non-verbal ritual action. While verbal ritual actions specify ideas pertinent to a particular rite, non-verbal ritual actions express more general concepts. Kilson's analyses show how the same motifs of non-verbal ritual action recur in sacred and secular Ga rites. Whenever and wherever such motifs occur, they convey the same basic underlying Ga concepts, thereby creating a unified conceptual network of belief that is the foundation of the Ga ritual system. The essays in this collection previously appeared in Anthropos, Journal of African Studies, Journal of Religion in Africa, Parabola, and Sextant.

This study of clothing during British colonial America examines items worn by the well-to-do as well as the working poor, the enslaved, and Native Americans, reconstructing their wardrobes across social, economic, racial, and geographic boundaries. Clothing through American History: The British Colonial Era presents, in six chapters, a description of all aspects of dress in British colonial America, including the social and historical background of British America, and covering men's, women's, and children's garments. The book shows how dress reflected and evolved with life in British colonial America as primitive settlements gave way to the growth of towns, cities, and manufacturing of the pre-Industrial Revolution. Readers will discover that just as in the present day, what people wore in colonial times represented an immediate, visual form of communication that often conveyed information about the real or intended social, economic, legal, ethnic, and religious status of the wearer. The authors have gleaned invaluable information from a wide breadth of primary source materials for all of the colonies: court documents and colonial legislation; diaries, personal journals, and business ledgers; wills and probate inventories; newspaper advertisements; paintings, prints, and drawings; and surviving authentic clothing worn in the colonies.

Seminal works on the tribes of the South West by one of its earliest authorities
The author of this book is a well known and highly regarded author on the history of the American south-west during the 19th century. His works-On the Border with Crook and An Apache Campaign in the Sierra Madre (both published by Leonaur)-concerning the wars fought by the United States Army against the Apache Indian tribes, and based on his experiences whilst a serving cavalry officer on General Crook's staff, are rightly considered classics of the subject. Those who know anything about the author know that Bourke not only fought the Apache and served with Apache scouts but also developed an abiding affection for them as a people and an interest in the culture and customs of the indigenous Indian tribes of the region in general. This resulted in the writing of several small works of ethnography which have been gathered together in this special Leonaur edition-possibly for the first time.
Leonaur editions are newly typeset and are not facsimiles; each title is available in softcover and hardback with dustjacket; our hardbacks are cloth bound and feature gold foil lettering on their spines and fabric head and tail bands.

Roger Williams' guide to the language of the Native American tribes was the first of its kind ever published; as well as linguistic instruction, we receive stunning insights into the culture and customs of the New England tribes. This historic text was written to accomplish two goals: Firstly, it is a practical, instructional guidebook written with the colonial society in mind. Particularly where religious missions are concerned, but also in general, the author feels that colonialists should have a command of Native American languages. Williams passionately believed in peaceful coexistence, and realized that an understanding of the native speech was crucial for this. Secondly, the book aims to promote understanding of Native American culture. What customs the tribes practice, the foods they eat, their marital and social mores, their methods of communicating knowledge, how they regard the many beasts of nature, and how trade and commerce is practiced are but some of the topics Williams discusses.

Even though instant communications and strides in transportation have made it easier for individuals to travel and communicate, the great divide across global cultures continues. Nowhere is this more evident than between the cultures of China in the East and the United States in the West.

With China's elevation to global superpower status, it is vital for Americans to improve their understanding of the principles that are core to the way our friends and counterparts in China think and act. In "Confucius Says ... There Are No Fortune Cookies in China," authors Edward V. Yang, Kate Ou, and Dennis Smith discuss the customs, history, and business practices in China, with an eye toward enhancing relationships through a better understanding of the culture of the East through American eyes.

Yang, Ou, and Smith translate more than one hundred combined years of real-world living and working experience in China and across Asia into practical, everyday lessons intended for anyone wishing to build better business and personal relationships in China. This guide contains one hundred lessons, including common sayings, proverbs, idioms, quotes from ancient Chinese philosophers, and the authors' own experiences.

Yang shares fundamental lessons derived from his personal experience-knowledge gained through his upbringing, through his traditional Chinese and US education, through his work experience in Asia and the United States, and, most importantly, through his mistakes.

The aim of this book is to sustain the Mong cultural practices. It is based on the roaring views of fifteen Mong traditional leaders about the oral and cultural practices of the Mong people in the U.S. Maintaining the cultural legacies of a group of indigenous people such as the Mong Americans is imperative since they have more than 5,000 years of cultural traditions. The cultural and oral practices of the Mong New Year celebration, marriage custom, and traditional funeral rituals have been challenged as a result of the Mong migration from China, often through other host countries, to the United States. The Mong traditional leaders have been the vocal voices that are influential in regard to maintaining the Mong traditional culture. Roars of Traditional Leaders discusses this leadership role, a key component of organization development and transformation, played by contemporary leaders in the challenge of sustaining the Mong's rich cultural traditions in America. Leaders will have to come together in the discussion of cultural practices and traditions in the century to come.

Artistic residency has become widely adopted in Western countries while only recently having become popular and well-supported within Taiwan. This book explores the challenges that this form of art practice faced in contemporary Taiwan from the revocation of Martial Law in 1987 to the 2000s arguably one of the most exciting periods in the sociocultural history of the island. Case studies show what is at stake politically, historically, and socially in artists endeavours to give shape to a sense of Taiwanese identity. Despite the prevalence of artists engaged in social issues in today s world and the undeniable contributions of artistic residency to contemporary art practice, little literature or scholarly research has been conducted on the practical, conceptual, and ideological aspects of artist residency. Very often, it is perceived in very narrow terms, overlooking explicit or hidden issues of localism, nationalism and globalization. If artistic residence did indeed emerge from the radical movements of the 1960s and 70s in the Western world and especially Britain then this book argues that the contemporary sociocultural context of Taiwan calls for redefined, culturally-specific models of residency. The precarious geo-political situation of Taiwan has made issues of cultural identity tackled by artists and successive governments alike very sensitive. A new genre of artistic residence in Taiwan would mean that artists involved from whatever cultural background operate as engaging interpreters; their roles would not be confined to mirroring culture and society. These artists-in-residence would contribute to cultural awakening by offering ways of negotiating creatively with otherness, and this for the sake of a better social life and shared identity."