Through empowered movement that centers the lives, stories, and dreams of marginalized women, Ananya Dance Theatre has revealed how the practice of and commitment to artistic excellence can catalyze social justice. With each performance, this professional dance company of Black, Brown, and Indigenous gender non-conforming women and femmes of color challenges heteronormative patriarchies, white supremacist paradigms, and predatory global capitalism. Their creative artistic processes and vital interventions have transformed the spaces of contemporary concert dance into sites of empowerment, resistance, and knowledge production. Drawing from more than fifteen years of collaborative dance-making and sustained dialogues based on deep alliances across communities of color, Dancing Transnational Feminisms offers a multigenre exploration of how dance can be intersectionally reimagined as practice, methodology, and metaphor for feminist solidarity. Blending essays with stories, interviews, and poems, this collection explores timely questions surrounding race and performance, gender and sexuality, art and politics, global and local inequities, and the responsibilities of artists toward their communities.

Performed Ethnography and Communication explores the relationships between these three key terms, addressing the impact of ethnography and communication on the cutting edge of performance studies. Ranging from digital performance, improvisation and the body, to fieldwork and staged collaboration, this volume is divided into two main sections: "Embodied technique and practice," which addresses improvisation, devised theatre-making, and body work to consider what makes bodies move, sound, behave, mean, or appear differently, and the effects of these differences on performance; "Oral history and personal narrative performance," which is concerned with the ways personal stories and histories might be transformed into public events, looking at questions of perspective, ownership, and reception. Including specific historical and theoretical case studies, exercises and activities, and practical applications for improvisation, ethnography, and devised and digital performance, Performed Ethnography and Communication represents an invaluable resource for today's student of performance studies, communication studies or cultural studies.

Performed Ethnography and Communication explores the relationships between these three key terms, addressing the impact of ethnography and communication on the cutting edge of performance studies. Ranging from digital performance, improvisation and the body, to fieldwork and staged collaboration, this volume is divided into two main sections: "Embodied technique and practice," which addresses improvisation, devised theatre-making, and body work to consider what makes bodies move, sound, behave, mean, or appear differently, and the effects of these differences on performance; "Oral history and personal narrative performance," which is concerned with the ways personal stories and histories might be transformed into public events, looking at questions of perspective, ownership, and reception. Including specific historical and theoretical case studies, exercises and activities, and practical applications for improvisation, ethnography, and devised and digital performance, Performed Ethnography and Communication represents an invaluable resource for today's student of performance studies, communication studies or cultural studies.

Through empowered movement that centers the lives, stories, and dreams of marginalized women, Ananya Dance Theatre has revealed how the practice of and commitment to artistic excellence can catalyze social justice. With each performance, this professional dance company of Black, Brown, and Indigenous gender non-conforming women and femmes of color challenges heteronormative patriarchies, white supremacist paradigms, and predatory global capitalism. Their creative artistic processes and vital interventions have transformed the spaces of contemporary concert dance into sites of empowerment, resistance, and knowledge production. Drawing from more than fifteen years of collaborative dance-making and sustained dialogues based on deep alliances across communities of color, Dancing Transnational Feminisms offers a multigenre exploration of how dance can be intersectionally reimagined as practice, methodology, and metaphor for feminist solidarity. Blending essays with stories, interviews, and poems, this collection explores timely questions surrounding race and performance, gender and sexuality, art and politics, global and local inequities, and the responsibilities of artists toward their communities.

"Critical Ethnography is a rare and beautiful synthesis of deft theorizing and principled pragmatics. The complexities of ethnography demand a grasp of both theory and practice, but rarely have they come together so clearly and completely as in this passionately written text. I especially appreciate the thoughtful attention to the intellectual roots of the critical tradition in ethnography, and to the way students are rigorously led through the methodological consequences of critical epistemology." -Judith Hamera, Texas A&M University "I would strongly recommend this book for use in any course that explores the role of critical analysis in research. This book thoughtfully discusses and teaches about trying to understand the meanings attributed by others in regard to their expertise." -Amy Paul-Ward, Florida International University What is critical ethnography? How do we use theory to interpret research data? What is performance ethnography? Readers can find answers to these fundamental questions in D. Soyini Madison's engaging and highly multidisciplinary Third Edition of Critical Ethnography: Methods, Ethics, and Performance. The book presents a fresh new look at critical ethnography by emphasizing the significance of ethics and performance in the art and politics of fieldwork. The productive links between theory and method are celebrated in this title. Theoretical concepts range from queer theory, feminist theory, and critical race theory to Marxism and phenomenology. The methodological techniques range from designing and asking in-depth interview questions and developing rapport to coding and interpreting data. The various theories and methods culminate in three fictional ethnographic case studies that "enact" the interdependence between theory and method and the significance of social theory, ethics, and performance.

Dress and fashion practices in Africa and the diaspora are dynamic and diverse, whether on the street or on the fashion runway. Focusing on the dressed body as a performance site, African Dress explores how ideas and practices of dress contest or legitimize existing power structures through expressions of individual identity and the cultural and political order. Drawing on innovative, interdisciplinary research by established and up and coming scholars, the book examines real life projects and social transformations that are deeply political, revolving around individual and public goals of dignity, respect, status, and morality. With its remarkable scope, this book will attract students and scholars of fashion and dress, material culture and consumption, performance studies, and art history in relation to Africa and on a global scale.

The revised Second Edition of Critical Ethnography guides readers through theories, methods, and ethics of ethnographic research creating a confidence to complete fieldwork while demonstrating analytical and theoretical depth. This text highlights the productive links between theory and method and how both become more valuable as they interact through fieldwork. Theoretical concepts range from queer theory, feminist theory, and critical race theory to Marxism and phenomenology. The methodological techniques range from designing and asking in-depth interview questions and developing rapport to coding and interpreting data. The various theories and methods culminate in three fictional ethnographic case studies that guide readers on how to incorporate theoretical concepts with their interpretations and data analysis.

This book was first published in 2010. Madison presents the neglected yet compelling and necessary story of local activists in South Saharan Africa who employ modes of performance as tactics of resistance and intervention in their day-to-day struggles for human rights. The dynamic relationship between performance and activism are illustrated in three case studies: Act One presents a battle between tradition and modernity as the bodies of African women are caught in the cross-fire. Act Two focuses on 'water democracy' as activists fight for safe, accessible public water as a human right. Act Three examines the efficacy of street performance and theatre for development in the oral histories of Ghanaian gender activists. Unique to this book is the continuing juxtaposition between the everyday performances of local activism and their staged enactments before theatre audiences in Ghana and the USA. Madison beautifully demonstrates how these disparate sites of performance cohere in the service of rights, justice, and activism.

This book was first published in 2010. Madison presents the neglected yet compelling and necessary story of local activists in South Saharan Africa who employ modes of performance as tactics of resistance and intervention in their day-to-day struggles for human rights. The dynamic relationship between performance and activism are illustrated in three case studies: Act One presents a battle between tradition and modernity as the bodies of African women are caught in the cross-fire. Act Two focuses on 'water democracy' as activists fight for safe, accessible public water as a human right. Act Three examines the efficacy of street performance and theatre for development in the oral histories of Ghanaian gender activists. Unique to this book is the continuing juxtaposition between the everyday performances of local activism and their staged enactments before theatre audiences in Ghana and the USA. Madison beautifully demonstrates how these disparate sites of performance cohere in the service of rights, justice, and activism.