Sex scholarship has a long history in anthropology, from the studies of voyeuristic Victorian gentlemen ethnographers, to more recent analyses of gay sex, transsexualism, and the newly visible forms of contemporary sexuality in the West. "The Anthropology of Sex" draws on the comparative field research of anthropologists to examine the relationship between sex as identity, practice and experience. Sexual cultures vary enormously and, while often the topic of tabloid titillation, they are more rarely subjected to strict cultural analysis. "The Anthropology of Sex" is the first work to critically synthesize over a century of comparative expertise, knowledge and understanding of diverse sexual forms. The book: -Explores sexuality from diversity to perversity and asks how diverse sexual practices are linked.-Probes the cultural and comparative context of contemporary sexual practice and belief. -Examines the shaping of sex by global and globalizing forces. "The Anthropology of Sex" will be key reading for undergraduate and postgraduate courses in anthropology and related disciplines.

Sex is often regarded as a dangerous business that must be rigorously controlled, regulated, and subjected to rules. Sexual acts that defy acceptable practices may be seen as variously defiling, immoral, and even unnatural. They may challenge and subvert both cultural preconceptions and the social order in a politics of sexual transgression that threatens to transform permissible boundaries and restructure bodily engagements. This collection of essays explores acts of sexual transgression that have the power to reconfigure perceptions of bodily intimacy and the social norms of interaction. Considering issues such as domestic violence, child prostitution, health and sex, teenage sex, and sex with animals across a range of settings from contemporary Oceania, the Pacific, South Africa, and southeast Asia to Euro-America, this book should interest all those who question the "naturalness" of sex, including public health workers, clinical practitioners and students of sex, sexuality, and gender in the humanities and social sciences.

Sex is often regarded as a dangerous business that must be rigorously controlled, regulated, and subjected to rules. Sexual acts that defy acceptable practices may be seen as variously defiling, immoral, and even unnatural. They may challenge and subvert both cultural preconceptions and the social order in a politics of sexual transgression that threatens to transform permissible boundaries and restructure bodily engagements. This collection of essays explores acts of sexual transgression that have the power to reconfigure perceptions of bodily intimacy and the social norms of interaction. Considering issues such as domestic violence, child prostitution, health and sex, teenage sex, and sex with animals across a range of settings from contemporary Oceania, the Pacific, South Africa, and southeast Asia to Euro-America, this book should interest all those who question the "naturalness" of sex, including public health workers, clinical practitioners and students of sex, sexuality, and gender in the humanities and social sciences.

Presenting a range of ethnographic case studies from around the globe, this edited collection offers new ways of thinking about the interconnectivity of gender, place, and emotion in musical performance. While ethnomusicologists and anthropologists have long recognized the theoretical connections between gender, place, and emotion in musical performance, these concepts are seldom analyzed together. Performing Gender, Place, andEmotion in Music is the first book-length study to examine the interweaving of these three concepts from a cross-cultural perspective. Contributors show how a theoretical focus one dimension implicates the others, creating anexus of performative engagement. This process is examined across different regions around the globe, through two key questions: How are aesthetic, emotional, and imagined relations between performers and places embodied musically? And in what ways is this performance of emotion gendered across quotidian, ritual, and staged events? Through ethnographic case studies, the volume explores issues of emplacement, embodiment, and emotion in three parts: landscape and emotion; memory and attachment; and nationalism and indigeneity. Part I focuses on emplaced sentiments in Australasia through Vietnamese spirit possession, Balinese dance, and land rights in Aboriginal performance. PartII addresses memories of Aboriginal choral singing, belonging in Bavarian music-making, and gender-performativity in Polish song. Part III evaluates emotion and fandom around a Korean singer in Japan, and Sami interconnectivitiesin traditional and modern musical practices. Beverley Diamond provides a thought-provoking commentary in the afterword. Contributors: Beverley Diamond, Fiona Magowan, Jonathan McIntosh, Barley Norton, Tina K. Ramnarine, Muriel Swijghuisen Reigersberg, Sara R. Walmsley-Pledl, Louise Wrazen, Christine Yano. Fiona Magowan is Professor of Anthropology at Queen's University, Belfast. Louise Wrazen is Associate Professor of Music at York University.

Sound, music and storytelling are important tools of resistance, resilience and reconciliation in creative practice from protracted conflict to post-conflict contexts. When they are used in a socially engaged participatory capacity, they can create counter-narratives to conflict. Based on original research in three continents, this book advances an interdisciplinary, comparative approach to exploring the role of sonic and creative practices in addressing the effects of conflict. Each case study illustrates how participatory arts genres are variously employed by musicians, arts facilitators, theatre practitioners, community activists and other stakeholders as a means of 'strategic creativity' to transform trauma and promote empowerment. This research further highlights the complex dynamics of delivering and managing creativity among those who have experienced violence, as they seek opportunities to generate alternative arenas for engagement, healing and transformation.

Presents an ethnographical account of the way that song, dance and musical sensitivity weave into the lives of an aboriginal community of Australia. Invites the reader to rethink the place of ecology in music and emotion, and how emotions transcend cultural difference. It shows how sounds and the senses shape feelings for the land and seascape, exploring these themes in relation to Yolngu of north east Arnhem Land in Northern Australia. This rich ethnographic study makes a distinctive contribution to the tradition of anthropological analysis which focuses on the located nature of human sensual experience. FIONA MAGOWAN is a lecturer in Anthropology at Queen's University, Belfast Series editors: Wendy James and N. J. Allen Australia: University of Western Australia Press

Indigenous Music and Dance explores a range of Indigenous music and dance forms and performances in the Torres Strait and tropical Northern Territory. It reveals the way traditional music and dance have responded to colonial control and, more recently, to other external forces. The book explores the way musical past and present exist as a continuum of creativity and the contested nature of contemporary cultural performances. In addition, this book looks at the cross-cultural issues of recording and teaching music and dance. Individual contributors, both Indigenous and non-Indigenous, demonstrate how local music and dance have been subjected to missionary, institutional, popular and global influences. They provide a cultural background and history of Torres Strait music and discuss how contemporary Christian music and dance in Arnhem Land incorporates traditional ritual. They unpack the complex form and structure of an Australian Aboriginal song series and examine the transformation of