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Damned Women

Sinners and Witches in Puritan New England

by Elizabeth Reis

In her analysis of the cultural construction of gender in early America, Elizabeth Reis explores the intersection of Puritan theology, Puritan evaluations of womanhood, and the Salem witchcraft episodes. She finds in those intersections the basis for understanding why women were accused of witchcraft more often than men, why they confessed more often, and why they frequently accused other women of being witches. In negotiating their beliefs about the devil's powers, both women and men embedded womanhood in the discourse of depravity.

Puritan ministers insisted that women and men were equal in the sight of God, with both sexes equally capable of cleaving to Christ or to the devil. Nevertheless, Reis explains, womanhood and evil were inextricably linked in the minds and hearts of seventeenth-century New England Puritans. Women and men feared hell equally but Puritan culture encouraged women to believe it was their vile natures that would take them there rather than the particular sins they might have committed.

Following the Salem witchcraft trials, Reis argues, Puritans' understanding of sin and the devil changed. Ministers and laity conceived of a Satan who tempted sinners and presided physically over hell, rather than one who possessed souls in the living world. Women and men became increasingly confident of their redemption, although women more than men continued to imagine themselves as essentially corrupt, even after the Great Awakening.

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Dams, Displacement and the Delusion of Development

Cahora Bassa and Its Legacies in Mozambique, 1965 - 2007

Allen F. Isaacman and Barbara S. Isaacman

Cahora Bassa Dam on the Zambezi River, built in the early 1970s during the final years of Portuguese rule, was the last major infrastructure project constructed in Africa during the turbulent era of decolonization. Engineers and hydrologists praised the dam for its technical complexity and the skills required to construct what was then the world’s fifth-largest mega-dam. Portuguese colonial officials cited benefits they expected from the dam — from expansion of irrigated farming and European settlement, to improved transportation throughout the Zambezi River Valley, to reduced flooding in this area of unpredictable rainfall. “The project, however, actually resulted in cascading layers of human displacement, violence, and environmental destruction. Its electricity benefited few Mozambicans, even after the former guerrillas of FRELIMO (Frente de Libertação de Moçambique) came to power; instead, it fed industrialization in apartheid South Africa.” (Richard Roberts)

This in-depth study of the region examines the dominant developmentalist narrative that has surrounded the dam, chronicles the continual violence that has accompanied its existence, and gives voice to previously unheard narratives of forced labor, displacement, and historical and contemporary life in the dam’s shadow.

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Dams, Parks and Politics

Resource Development and Preservation the Truman-Eisenhower Era

Elmo Richardson

This book is a chronicle of the myopia and gamesmanship that dominated Americans' understanding of their environment on the eve of the nation's ecology crisis. Based almost entirely on primary sources, Elmo Richardson's study examines the interplay between the national policies and programs for development and preservation of natural resources in the centralist Truman administration and the localist, enterprise-oriented Eisenhower administration. He shows that the decade examined brought about very little change in the values held by federal policy makers. Although the development of resources was a prominent issue in the elections of 1948, 1952, and 1956, what emerges from Richardson's account is the shallowness of understanding on the part of the decision makers and the public, and the ease with which policy direction could be deflected. The book demonstrates the persistence of the tradition of development and the nonpartisan character of the movement for preservation, which crossed party lines, regional lines, and economic interest groups.

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Dan Ge Performance

Masks and Music in Contemporary Côte d'Ivoire

Daniel B. Reed

Ge, formerly translated as "mask" or "masquerade," appears among the Dan people of Côte d’Ivoire as a dancing and musical embodiment of their social ideals and religious beliefs. In Dan Ge Performance, Daniel B. Reed sets out to discover what resides at the core of Ge. He finds that Ge is defined as part of a religious system, a form of entertainment, an industry, a political tool, an instrument of justice, and a form of resistance—and it can take on multiple roles simultaneously. He sees genu (pl.) dancing the latest dance steps, co-opting popular music, and acting in concert with Ivorian authorities to combat sorcery. Not only are the bounds of traditional performance stretched, but Ge performance becomes a strategy for helping the Dan to establish individual and community identity in a world that is becoming more religiously and ethnically diverse. Readers interested in all aspects of expressive culture in West Africa will find fascinating material in this rich and penetrating book.

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Dance

A Creative Art Experience

Margaret N. H'Doubler; with a new essay by Mary Alice Brennan

A landmark book in dance education is now back in print, its message as valid today as it was more than fifty years ago

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Dance and American Art

A Long Embrace

Sharyn R. Udall

From ballet to burlesque, from the frontier jig to the jitterbug, Americans have always loved watching dance, whether in grand ballrooms, on Mississippi riverboats, or in the streets. Dance and American Art is an innovative look at the elusive, evocative nature of dance and the American visual artists who captured it through their paintings, sculpture, photography, and prints from the early nineteenth century through the mid-twentieth century. The scores of artists discussed include many icons of American art: Winslow Homer, George Caleb Bingham, Mary Cassatt, James McNeill Whistler, Alexander Calder, Joseph Cornell, Edward Steichen, David Smith, and others.
    As a subject for visual artists, dance has given new meaning to America’s perennial myths, cherished identities, and most powerful dreams. Their portrayals of dance and dancers, from the anonymous to the famous—Anna Pavlova, Isadora Duncan, Loïe Fuller, Josephine Baker, Martha Graham—have testified to the enduring importance of spatial organization, physical pattern, and rhythmic motion in creating aesthetic form.
    Through extensive research, sparkling prose, and beautiful color reproductions, art historian Sharyn R. Udall draws attention to the ways that artists’ portrayals of dance have defined the visual character of the modern world and have embodied culturally specific ideas about order and meaning, about the human body, and about the diverse fusions that comprise American culture.

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Dance and Gender

An Evidence-Based Approach

Edited by Wendy Oliver and Doug Risner

Driven by facts and hard data, this volume reveals how gender dynamics affect the lives of dancers, choreographers, directors, students, educators, and others who are involved in the world of dance. It unpacks real issues that matter--not just to dance communities but also to broader societal trends in the West.

In these studies, dancers and dance scholars take readers into classrooms, rehearsals, performances, festivals, competitions, college dance departments, and company administrations. They ask incisive questions and analyze data to learn about the role of gender in attitudes, stereotypes, pedagogy, funding inequities, representation, casting, and body image. Dance is an important part of our larger cultural fabric, and this volume adds powerful findings to today’s discussions about living in a gendered society.

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Dance and the Body Politic in Northern Greece

Jane K. Cowan

Valued for their sensual and social intensity, Greek dance-events are often also problematical for participants, giving rise to struggles over position, prestige, and reputation. Here Jane Cowan explores how the politics of gender is articulated through the body at these culturally central, yet until now ethnographically neglected, celebrations in a class-divided northern Greek town. Portraying the dance-event as both a highly structured and dynamic social arena, she approaches the human body not only as a sign to be deciphered but as a site of experience and an agent of practice.

In describing the multiple ideologies of person, gender, and community that townspeople embody and explore as they dance, Cowan presents three different settings: the traditional wedding procession, the "Europeanized" formal evening dance of local civic associations, and the private party. She examines the practices of eating, drinking, talking, gifting, and dancing, and the verbal discourse through which celebrants make sense of each other's actions. Paying particular attention to points of tension and moments of misunderstanding, she analyzes in what ways these social situations pose different problems for men and women.

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Dance and the Hollywood Latina

Race, Sex, and Stardom

Priscilla Peña Ovalle

Dance and the Hollywood Latina asks why every Latina star in Hollywood history began as a dancer or danced onscreen. Introducing the concepts of "inbetween-ness" and "racial mobility" to further illuminate how racialized sexuality and the dancing female body operate in film, this book focuses on the careers of Dolores Del Rio, Rita Hayworth, Carmen Miranda, Rita Moreno, and Jennifer Lopez and helps readers better understand how the United States grapples with race, gender, and sexuality through dancing bodies on screen.

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Dance and the Music of J. S. Bach, Expanded Edition

Meredith Little and Natalie Jenne

Stylized dance music and music based on dance rhythms pervade Bach's compositions. Although the music of this very special genre has long been a part of every serious musician's repertoire, little has been written about it.

The original edition of this addressed works that bore the names of dances—a considerable corpus. In this expanded version of their practical and insightful study, Meredith Little and Natalie Jenne apply the same principals to the study of a great number of Bach's works that use identifiable dance rhythms but do not bear dance-specific titles.

Part I describes French dance practices in the cities and courts most familiar to Bach. The terminology and analytical tools necessary for discussing dance music of Bach's time are laid out.

Part II presents the dance forms that Bach used, annotating all of his named dances. Little and Jenne draw on choreographies, harmony, theorists' writings, and the music of many seventeenth- and eighteenth-century
composers in order to arrive at a model for each dance type.

In Appendix A all of Bach's named dances are listed in convenient tabular form; included are the BWV number for each piece, the date of composition, the larger work in which it appears, the instrumentation, and the meter.
Appendix B supplies the same data for pieces recognizable as dance types but not named as such.

More than ever, this book will stimulate both the musical scholar and the performer with a new perspective at the rhythmic workings of Bach's remarkable repertoire of dance-based music.

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