Choreographing Copyright provides a historical and cultural analysis of U.S.-based dance-makers' investment in intellectual property rights. Although federal copyright law in the U.S. did not recognize choreography as a protectable class prior to the 1976 Copyright Act, efforts to win copyright protection for dance began eight decades earlier. In a series of case studies stretching from the late nineteenth century to the early twenty-first, the book reconstructs those efforts and teases out their raced and gendered politics. Rather than chart a narrative of progress, the book shows how dancers working in a range of genres have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power. A number of the artists featured in Choreographing Copyright are well-known white figures in the history of American dance, including modern dancers Loie Fuller, Hanya Holm, and Martha Graham, and ballet artists Agnes de Mille and George Balanchine. But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it. Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into such issues as: the raced and gendered hierarchies that govern the theatrical marketplace, white women's historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the tension between dance's ephemerality and its reproducibility.

Intersectionality theory has emerged over the past thirty years as a way to think about the avenues by which inequalities (most often dealing with, but not limited to, race, gender, class and sexuality) are produced. Rather than seeing such categories as signaling distinct identities that can be adopted, imposed or rejected, intersectionality theory considers the logic by which each of these categories is socially constructed as well as how they operate within the diffusion of power relations. In other words, social and political power are conferred through categories of identity, and these identities bear vastly material effects. Rather than look at inequalities as a relationship between those at the center and those on the margins, intersectionality maps the relative ways in which identity politics create power. Though intersectionality theory has emerged as a highly influential school of thought in ethnic studies, gender studies, law, political science, sociology and psychology, no scholarship to date exists on the evolution of the theory. In the absence of a comprehensive intellectual history of the theory, it is often discussed in vague, ahistorical terms. And while scholars have called for greater specificity and attention to the historical foundations of intersectionality theory, their idea of the history to be included is generally limited to the particular currents in the United States. This book seeks to remedy the vagueness and murkiness attributed to intersectionality by attending to the historical, geographical, and cross-disciplinary myopia afflicting current intersectionality scholarship. This comprehensive intellectual history is an agenda-setting work for the theory.

Audre Lorde was not only a famous poet; she was also one of the most important radical black feminists of the past century. Her writings and speeches grappled with an impressive broad list of topics, including sexuality, race, gender, class, disease, the arts, parenting, and resistance, and they have served as a transformative and important foundation for theorists and activists in considering questions of power and social justice. Lorde embraced difference, and at each turn she emphasized the importance of using it to build shared strength among marginalized communities.
I Am Your Sister is a collection of Lorde's non-fiction prose, written between 1976 and 1990, and it introduces new perspectives on the depth and range of Lorde's intellectual interests and her commitments to progressive social change. Presented here, for the first time in print, is a major body of Lorde's speeches and essays, along with the complete text of A Burst of Light and Lorde's landmark prose works Sister Outsider and The Cancer Journals. Together, these writings reveal Lorde's commitment to a radical course of thought and action, situating her works within the women's, gay and lesbian, and African American Civil Rights movements. They also place her within a continuum of black feminists, from Sojourner Truth, to Anna Julia Cooper, Amy Jacques Garvey, Lorraine Hansberry, and Patricia Hill Collins. I Am Your Sister concludes with personal reflections from Alice Walker, Gloria Joseph, Johnnetta Betsch Cole, Beverly Guy-Sheftall, and bell hooks on Lorde's political and social commitments and the indelibility of her writings for all who are committed to a more equitable society.

Mini-set E: Sociology & Anthropology re-issues 10 volumes originally published between 1931 and 1995 and covers topics such as japanese whaling, marriage in japan, and the japanese health care system. For institutional purchases for e-book sets please contact [email protected] (customers in the UK, Europe and Rest of World)

Mini-set A:History re-issues 10 volumes originally published between 1902 and 1984 and examines the legacy of British control in Persia and the origins of the conflict between Iran & Iraq. For institutional purchases for e-book sets please contact [email protected] (customers in the UK, Europe and Rest of World)

Mini-set D:Politics and Sociology re-issues 13 volumes originally published between 1977 and 1991. It discusses the revolution in Iran and what that has meant for the wider region of the Persian Gulf in terms of stability and relations with other countries, as well as issues of poverty in Iran and the position of minorities. For institutional purchases for e-book sets please contact [email protected] (customers in the UK, Europe and Rest of World)

Placed within the context of the past decade's war on terror and emergent and countervailing Latino rights movement, Reform without Justice addresses the issue of state violence against migrants in the United States. It questions why it is that, despite its success in mobilizing millions, the Latino immigrant rights movement has not been able to effectively secure sustainable social justice victories for itself or more successfully defend the human rights of migrants. Gonzales argues that the contemporary Latino rights movement faces a dynamic form of political power that he terms "anti-migrant hegemony". This anti-migrant hegemony, found in sites of power from Congress, to think tanks, talk shows and the prison system, is a force through which a rhetorically race neutral and common sense public policy discourse, consistent with the rules of post-civil rights racism, is deployed to criminalize migrants. Critically, large sectors of "pro-immigrant" groups, including the Hispanic Congressional Caucus and the National Council of La Raza, have conceded to coercive immigration enforcement measures such as a militarized border wall and the expansion of immigration policing in local communities in exchange for so-called Comprehensive Immigration Reform. Gonzales says that it is precisely when immigration reformers actively adopt the discourse and policies of the leading anti-immigrant forces that the power of anti-migrant hegemony can best be observed.

Mini-set D: Politics re-issues works originally published between 1920 & 1987 and examines the government, political system and foreign policy of Japan during the twentieth century.

The era of official color-blindness in Latin America has come to an end. For the first time in decades, nearly every state in Latin America now asks their citizens to identify their race or ethnicity on the national census. Most observers approvingly highlight the historic novelty of these reforms, but National Colors shows that official racial classification of citizens has a long history in Latin America. Through a comprehensive analysis of the politics and practice of official ethnoracial classification in the censuses of nineteen Latin American states across nearly two centuries, this book explains why most Latin American states classified their citizens by race on early national censuses, why they stopped the practice of official racial classification around mid-twentieth century, and why they reintroduced ethnoracial classification on national censuses at the dawn of the twenty-first century. Beyond domestic political struggles, the analysis reveals that the ways that Latin American states classified their populations from the mid-nineteenth century onward responded to changes in international criteria for how to construct a modern nation and promote national development. As prevailing international understandings of what made a political and cultural community a modern nation changed, so too did the ways that Latin American census officials depicted diversity within national populations. The way census officials described populations in official statistics, in turn, shaped how policymakers viewed national populations and informed their prescriptions for national development-with consequences that still reverberate in contemporary political struggles for recognition, rights, and redress for ethnoracially marginalized populations in today's Latin America. "While Loveman is not the only scholar paying attention to governmental census taking, this book stands out for its theoretical depth, the remarkable mastery of historical context and agency, and its long-term historical breath. Loveman shows that rather than reflecting domestic politics or specific demographic configurations, Latin American states collected data on the kind of racial or ethnic categories that they thought would help document, to a global audience of other states, their efforts and achievements in becoming modern nations."-Andreas Wimmer, Hughes-Rogers Professor of Sociology, Princeton University

Show Boat: Performing Race in an American Musical tells the full story of the making and remaking of the most important musical in Broadway history. Drawing on exhaustive archival research and including much new information from early draft scripts and scores, this book reveals how Oscar Hammerstein II and Jerome Kern created Show Boat in the crucible of the Jazz Age to fit the talents of the show's original 1927 cast. After showing how major figures such as Paul Robeson and Helen Morgan defined the content of the show, the book goes on to detail how Show Boat was altered by later directors, choreographers, and performers up to the end of the twentieth century. All the major New York productions are covered, as are five important London productions and four Hollywood versions.
Again and again, the story of Show Boat circles back to the power of performers to remake the show, winning appreciative audiences for over seven decades. Unlike most Broadway musicals, Show Boat put black and white performers side by side. This book is the first to take Show Boat's innovative interracial cast as the defining feature of the show. From its beginnings, Show Boat juxtaposed the talents of black and white performers and mixed the conventions of white-cast operetta and the black-cast musical. Bringing black and white onto the same stage--revealing the mixed-race roots of musical comedy--Show Boat stimulated creative artists and performers to renegotiate the color line as expressed in the American musical. This tremendous longevity allowed Show Boat to enter a creative dialogue with the full span of Broadway history. Show Boat's voyage through the twentieth century offers a vantage point on more than just the Broadway musical. It tells a complex tale of interracial encounter performed in popular music and dance on the national stage during a century of profound transformations.

Since the founding of California's El Pueblo de San JosAA(c) de Guadalupe in 1777, people of Mexican ancestry have contributed to make San JosAA(c) a rich cultural, political, and economic epicenter. Mexican miners who worked in the local mines helped San JosAA(c) become one of the top mercury producers in the world. In the 20th century, Mexicans labored in the "Valley of Heart's Delight," as the Santa Clara Valley region was called, picking, canning, drying, and packaging fruits and vegetables for America's dinner table. They paid homage to their cultural heritage as they formed ballet folklAA3rico groups, established mariachi bands, painted murals, and wrote literature. Through grassroots organizing and collective action, countless heroines and heroes, such as labor leader Cesar Chavez, dedicated their lives to improving conditions in their neighborhoods and communities. In 1999, the City of San JosAA(c) acknowledged the contributions of Mexicans with the grand opening of the Mexican Heritage Plaza, a cultural center for the performing arts.

Every weekday, the wildly popular Tom Joyner Morning Show reaches more than eight million radio listeners. The show offers broadly progressive political talk, adult-oriented soul music, humor, advice, and celebrity gossip for largely older, largely working-class black audience. But it's not just an old-school show: it's an activist political forum and a key site reflecting on popular aesthetics. It focuses on issues affecting African Americans today, from the denigration of hard-working single mothers, to employment discrimination and sexual abuse, to the racism and violence endemic to the U.S. criminal justice system, to international tragedies. In Black Radio/Black Resistance, author Micaela di Leonardo dives deep into the Tom Joyner Morning Show's 25 year history inside larger U.S. broadcast history. From its rise in the Clinton era and its responses to key events-9/11, Hurricane Katrina, President Obama's elections and presidency, police murders of unarmed black Americans and the rise of Black Lives Matter, and Donald Trump's ascendancy-it has broadcast the varied, defiant, and darkly comic voices of its anchors, guests, and audience members. di Leonardo also investigates the new synergistic set of cross-medium ties and political connections that have affected print, broadcast, and online reporting and commentary in antiracist directions. This new multiracial progressive public sphere has extraordinary potential for shaping America's future. Thus Black Radio/Black Resistance does far more than simply shed light on a major counterpublic institution unjustly ignored for reasons of color, class, generation, and medium. It demonstrates an alternative understanding of the shifting black public sphere in the digital age. Like the show itself, Black Radio/Black Resistance is politically progressive, music-drenched, and blisteringly funny.

Sound Relations delves into histories of Inuit musical life in Alaska to register the significance of sound as integral to self-determination and sovereignty. Offering radical and relational ways of listening to Inuit performances across a range of genres-from hip hop to Christian hymnody and traditional drumsongs to funk and R&B -author Jessica Bissett Perea registers how a density (not difference) of Indigenous ways of musicking from a vast archive of presence sounds out entanglements between structures of Indigeneity and colonialism. This work dismantles stereotypical understandings of "Eskimos," "Indians," and "Natives" by addressing the following questions: What exactly is "Native" about Native music? What does it mean to sound (or not sound) Native? Who decides? And how can in-depth analyses of Native music that center Indigeneity reframe larger debates of race, power, and representation in twenty-first century American music historiography? Instead of proposing singular truths or facts, this book invites readers to consider the existence of multiple simultaneous truths, a density of truths, all of which are culturally constructed, performed, and in some cases politicized and policed. Native ways of doing music history engage processes of sound worlding that envision otherwise, beyond nation-state notions of containment and glorifications of Alaska as solely an extraction site for U.S. settler capitalism, and instead amplifies possibilities for more just and equitable futures.

While academic and popular studies of Buddhism have often neglected race as a factor of analysis, the issues concerning race and racialization have remained not far below the surface of the wider discussion among ethnic Buddhists, converts, and sympathizers regarding representations of American Buddhism and adaptations of Buddhist practices to the American context. In Race and Religion in American Buddhism, Joseph Cheah provides a much-needed contribution to the field of religious studies by addressing the under-theorization of race in the study of American Buddhism. Through the lens of racial formation, Cheah demonstrates how adaptations of Buddhist practices by immigrants, converts and sympathizers have taken place within an environment already permeated with the logic and ideology of whiteness and white supremacy. In other words, race and religion (Buddhism) are so intimately bounded together in the United States that the ideology of white supremacy informs the differing ways in which convert Buddhists and sympathizers and Burmese ethnic Buddhists have adapted Buddhist religious practices to an American context.
Cheah offers a complex view of how the Burmese American community must negotiate not only the religious and racial terrains of the United States but also the transnational reach of the Burmese junta. Race and Religion in American Buddhism marks an important contribution to the study of American Buddhism as well as to the larger fields of U.S. religions and Asian American studies.

Throughout the Americas, indigenous people have been arguing that they should be entitled, as "first peoples, " to representation in local, national, and international fora in a capacity different from that of other civil society groups. Latin America's Multicultural Movements is a collection of empirically-based chapters that advance debates concerning multiculturalism and indigenous and minority group rights in Latin America by looking at the struggle between communitarianism, autonomy, and human rights. Rather than advancing a particular argument for or against multiculturalism, the book includes contributions from top Latin American scholars with a range of ideological positions to provide a comparative set of perspectives on the issue. While the book addresses highly polemical debates, it does so in a way that moves beyond the ideological clashes that characterize most of the literature and invites readers to explore how multicultural reforms affect people in their everyday lives, as well as in political parties, elected offices, and interest groups. The chapters, which include case studies from Mexico, Bolivia and Ecuador, look at the controversial role of the state regarding multicultural rights and discuss whether the state enables or hinders the advancement of multicultural rights.

Tracing Tangueros offers an inside view of Argentine tango music in the context of the growth and development of the art form's instrumental and stylistic innovations. Rather than perpetuating the glamorous worldwide conceptions that often only reflect the tango that left Argentina nearly 100 years ago, authors Kacey Link and Kristin Wendland trace tango's historical and stylistic musical trajectory in Argentina, beginning with the guardia nueva's crystallization of the genre in the 1920s, moving through tango's Golden Age (1925-1955), and culminating with the "Music of Buenos Aires" today. Through the transmission, discussion, examination, and analysis of primary sources currently unavailable outside of Argentina, including scores, manuals of style, archival audio/video recordings, and live video footage of performances and demonstrations, Link and Wendland frame and define Argentine tango music as a distinct expression possessing its own musical legacy and characteristic musical elements. Beginning by establishing a broad framework of the tango art form, the book proceeds to move through twelve in-depth profiles of representative tangueros (tango musicians) within the genre's historical and stylistic trajectory. Through this focused examination of tangueros and their music, Link and Wendland show how the dynamic Argentine tango grows from one tanguero linked to another, and how the composition techniques and performance practices of each generation are informed by that of the past.

When it comes to Irish America, certain names spring to mind Kennedy, O'Neill and Curley testify to the proverbial footsteps of the Gael in Boston. However, few people know of Sister Mary Anthony O'Connell, whose medical prowess carried her from the convent to the Civil War battlefields, earning her the nickname the Boston Irish Florence Nightingale, or of Barney McGinniskin, Boston's first Irish cop, who proudly roared at every roll call, McGinniskin from the bogs of Ireland present! Along with acclaim or notoriety, many forgotten Irish Americans garnered numerous historical firsts. In "Hidden History of the Boston Irish," Peter F. Stevens offers an entertaining and compelling portrait of the Irish immigrant saga and pays homage to the overlooked, yet significant, episodes of the Boston Irish experience.

The Russian Empire is usually thought of as an expansive continental realm, consisting of contiguous territories. The existence of Russian America challenges this image. The Russian Empire claimed territory and people in North America between 1741 and 1867 but not until 1799 was this colonial activity was organized and coordinated under a single entity-the Russian-American Company, a monopolistic charter company analogous to the West European-based colonial companies of the time. When the ships of Russia's first circumnavigation voyage arrived on the shores of Russian America in 1804, a clash of arms between the Russians and the Tlingit Indians ensued, and a new Russian fortpost was established at Sitka. Russian America was effectively transformed from a remote extension of Russia's Siberian frontier penetrated mainly by Siberianized Russians into an ostensibly modern overseas colony operated by Europeanized Russians. This book examines how Russians conceived and practiced the colonial rule that resulted from this transformation. Under the rule of the Russian-American Company, the colony was governed on different terms from the rest of the empire, a hybrid of elements carried over from Siberia and those imported from rival colonial systems. This approach was particularly evident in Russian strategies to convert the indigenous peoples of Russian America into loyal subjects of the Russian Empire. The first comprehensive history bringing together the history of Russia, the history of colonialism, and the history of contact between native peoples and Europeans on the American frontier, this work is invaluable for understanding the history of Alaska before its sale to the United States.

Little Mexico was Dallas's earliest Mexican barrio. "Mexicanos" had lived in Dallas since the mid-19th century. The social displacement created by the Mexican Revolution of 1910, however, caused the emergence of a distinct and vibrant neighborhood on the edge of the city's downtown. This neighborhood consisted of modest homes, small businesses, churches, and schools, and further immigration from Mexico in the 1920s caused its population to boom. By the 1930s, Little Mexico's population had grown to over 15,000 people. The expanding city's construction projects, urban renewal plans, and land speculation by developers gradually began to dismantle Little Mexico. By the end of the 20th century, Little Mexico had all but disappeared, giving way to upscale high-rise residences and hotels, office towers of steel and glass, and the city's newest entertainment district. This book looks at Little Mexico's growth, zenith, demise, and its remarkable renaissance as a neighborhood.

She is Cuba: A Genealogy of the Mulata Body traces the history of the Cuban mulata and her association with hips, sensuality and popular dance. It examines how the mulata choreographs her racialised identity through her hips and enacts an embodied theory called hip(g)nosis. By focusing on her living and dancing body in order to flesh out the process of identity formation, this book makes a claim for how subaltern bodies negotiate a cultural identity that continues to mark their bodies on a daily basis. Combining literary and personal narratives with historical and theoretical accounts of Cuban popular dance history, religiosity and culture, this work investigates the power of embodied exchanges: bodies watching, looking, touching and dancing with one another. It sets up a genealogy of how the representations and venerations of the dancing mulata continue to circulate and participate in the volatile political and social economy of contemporary Cuba.

The book speaks to antiquity of black African people as well as the, the backward condition in which black people find themselves today. The book also speaks to the progress black people made during the early years of the 20th century.

Since the Arab Spring, Arab states have become the new front line in the struggle for democratization and for open societies. As the experience of other regions has shown, one of the most significant challenges facing democratization relates to minority rights. This book explores how minority claims are framed and debated in the region, and in particular, how political actors draw upon, re-interpret, or resist both the new global discourses of minority rights and more local traditions and practices of co-existence. The contributors examine a range of pre-colonial, colonial, and post-colonial factors that shape contemporary minority politics in the Arab world, and that encumber the reception of international norms of multiculturalism. These factors include the contested legacies of Islamic doctrines of the `dhimmi' and the Ottoman millet system, colonial-era divide and rule strategies, and post-colonial Arab nation-building. While these legacies complicate struggles for minority rights, they do not entail an `Arab exceptionalism' to global trends to multiculturalism. This volume explores a number of openings for new more pluralistic conceptions of nationhood and citizenship, and suggests that minority politics at its best can serve as a vehicle for a more general transformative politics, supporting a broader culture of democracy and human rights, and challenging older authoritarian, clientalistic, or patriarchal political tendencies. The chapters include both broad theoretical and historical perspectives as well as more focused case studies (including Western Sahara/Morocco, Algeria, Israel/Palestine; Sudan; United Arab Emirates, and Iraq).