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A Scattering of Texas Folklore
Texas has a large population who has lived on both sides of the border and created a folkloric mix that makes Texas unique. Both Sides of the Border gets its name from its emphasis on recently researched Tex-Mex folklore. But we recognize that Texas has other borders besides the Rio Grande. We use that title with the folklorist’s knowledge that all of this state’s songs, tales, and traditions have lived and prospered on the other sides of Texas borders at one time or another before they crossed the rivers and became “ours.” Chapters are organized thematically, and include favorite storytellers like James Ward Lee, Thad Sitton, and Jerry Lincecum. Lee’s beloved “Hell is for He-Men” appears here, along with Sitton’s informative essay on Texas freedman’s settlements. Both Sides of the Border contains something to delight everyone interested in Texas folklore.
Radical Theories of Folk and Fairy Tales
This revised, expanded, and updated edition of the 1979 landmark Breaking the Magic Spell examines the enduring power of fairy tales and the ways they invade our subjective world. In seven provocative essays, Zipes discusses the importance of investigating oral folk tales in their socio-political context and traces their evolution into literary fairy tales, a metamorphosis that often diminished the ideology of the original narrative. Zipes also looks at how folk tales influence our popular beliefs and the ways they have been exploited by a corporate media network intent on regulating the mystical elements of the stories. He examines a range of authors, including the Brothers Grimm, Hans Christian Anderson, Ernst Bloch, Tolkien, Bettelheim, and J.K. Rowling to demonstrate the continuing symbiotic relationship between folklore and literature.
Spellbinding Performance in the Asias
Tropicália and the Emergence of a Brazilian Counterculture
In the late 1960s, Brazilian artists forged a watershed cultural movement known as Tropicalia. Music inspired by that movement is today enjoying considerable attention at home and abroad. Few new listeners, however, make the connection between this music and the circumstances surrounding its creation, the most violent and repressive days of the military regime that governed Brazil from 1964 to 1985. With key manifestations in theater, cinema, visual arts, literature, and especially popular music, Tropicalia dynamically articulated the conflicts and aspirations of a generation of young, urban Brazilians.
Focusing on a group of musicians from Bahia, an impoverished state in northeastern Brazil noted for its vibrant Afro-Brazilian culture, Christopher Dunn reveals how artists including Caetano Veloso, Gilberto Gil, Gal Costa, and Tom Ze created this movement together with the musical and poetic vanguards of Sao Paulo, Brazil's most modern and industrialized city. He shows how the tropicalists selectively appropriated and parodied cultural practices from Brazil and abroad in order to expose the fissure between their nation's idealized image as a peaceful tropical "garden" and the daily brutality visited upon its citizens.
Vol. 14 (2007) through current issue
Buildings & Landscapes examines the built world-houses and cities, farmsteads and alleys—churches and courthouses, subdivisions and shopping malls—that make up the spaces that most people experience every day. Strongly based on fieldwork and archival work that views buildings as windows into human life and culture, articles are written by historians, preservationists, architects, cultural and urban geographers, cultural anthropologists, and others whose work involves the documentation, analysis and interpretation of the built world. Formerly titled Perspectives in Vernacular Architecture, Buildings & Landscapes is presently an annual publication that will begin publishing two issues a year beginning in 2009.
Italian American Imagination and Catholic Material Culture in New York City
Honor, Vengeance, and Love in Four Plays of the 18th and 19th Centuries
The four plays presented here—“Moritsuna’s Camp,” “The Mountains Scene,” “Vengeance at Iga Pass,” “The True Tale of Asagao”—were first performed between 1769 and 1832, a time when the Japanese puppet theatre known as Bunraku was beginning to lose its pre-eminence to Kabuki. During this period, however, several important puppet plays were created that went on to become standards in both the Bunraku and Kabuki repertoires; three are found in this volume. This span of some sixty-odd years was also a formative one in the development of how plays were presented, an important feature in the modern staging of works from the traditional plebeian theatre. Only a handful of complete and uncut plays—often as much as ten hours long—are produced in Bunraku or Kabuki nowadays. Included here is one of these. There are also two examples of the much more common practice of staging a single popular act or scene from a much longer drama that itself is seldom, if ever, performed in its entirety today.
Kabuki, while better known outside Japan, has been a great beneficiary of the puppet theatre, borrowing perhaps as much as half of its body of work from Bunraku dramas. Bunraku, in turn, has raided the Kabuki repertoire but to a far more modest degree. The fourth play in this collection, “Asagao,” is an instance of this uncommon reverse borrowing. Moreover, it is an example of yet another way in which some plays have come to be presented: a coherent subplot of a longer work that gained an independent theatrical existence while its parent drama has since disappeared from the stage. These later eighteenth-century works display a continued development toward greater attention to the theatrical features of puppet plays as opposed to the earlier, more literary approach found most notably in the dramas of Chikamatsu Monzaemon (d. 1725).
Newly translated and illustrated for the general reader and the specialist, the plays in this volume are accompanied by informative introductions, extensive notes on stage action, and discussions of the various changes that Bunraku underwent, particularly in the latter half of the eighteenth century, its golden age. Because many of the features we see in Bunraku plays today owe their origins largely to the changes the theatre experienced more than two centuries ago, this volume will be a valuable reference for those interested in contemporary Japanese theatre as well as its historical antecedents.
Indigenous Ritual Wind Instruments in Lowland South America
Youth Music in Contemporary Egypt
Cairo Pop is the first book to examine the dominant popular music of Egypt, shababiyya. Scorned or ignored by scholars and older Egyptians alike, shababiyya plays incessantly in Cairo, even while Egyptian youth joined in mass protests against their government, which eventually helped oust longtime Egyptian president Hosni Mubarak in early 2011. Living in Cairo at the time of the revolution, Daniel Gilman saw, and more importantly heard, the impact that popular music can have on culture and politics. Here he contributes a richly ethnographic analysis of the relationship between mass-mediated popular music, modernity, and nationalism in the Arab world.
Before Cairo Pop, most scholarship on the popular music of Egypt focused on musiqa al-ṭarab. Immensely popular in the 1950s and ’60s and even into the ’70s, musiqa al-ṭarab adheres to Arabic musical theory, with non-Western scales based on tunings of the strings of the ‘ud—the lute that features prominently, nearly ubiquitously, in Arabic music. However, today one in five Egyptians is between the ages of 15 and 24; half the population is under the age of 25. And shababiyya is their music of choice. By speaking informally with dozens of everyday young people in Cairo, Gilman comes to understand shababiyya as more than just a musical genre: sometimes it is for dancing or seduction, other times it propels social activism, at others it is simply sonic junk food.
In addition to providing a clear Egyptian musical history as well as a succinct modern political history of the nation, Cairo Pop elevates the aural and visual aesthetic of shababiyya—and its role in the lives of a nation’s youth.
Modern Pleasures in a Postmodern World
Queen Ida. Danny Poullard. Documentary filmmaker Les Blank. Chris Strachwitz and Arhoolie Records. These are names that are familiar to many fans of Cajun music and zydeco, and they have one other thing in common--longtime residence in the San Francisco Bay Area. They are all part of a vibrant scene of dancing and live Louisiana-French music that has evolved over several decades. Cajun and Zydeco Dance Music in Northern California traces how this region of California has been able to develop and sustain dances several times a week with more than a dozen bands. Description of this active regional scene opens into a discussion of several historical trends that have affected life and music in Louisiana and the nation. The book portrays the diversity of people who have come together to adopt Cajun and Creole dance music as a way to cope with a globalized, media-saturated world. Ethnomusicologist Mark F. DeWitt innovatively weaves together interviews with musicians and dancers (some from Louisiana, some not), analysis of popular media, participant observation as a musician and dancer, and historical perspectives from wartime black migration patterns, the civil rights movement, American folk and blues revivals, California counterculture, and the rise of cultural tourism in "Cajun Country." In so doing, he reveals the multifaceted appeal of celebrating life on the dance floor, Louisiana-French style.