Performances That Change The Americas

This collection of essays explores activist performances, all connected to theater or performance training, that have changed the Americas—from Canada to the Southern Cone. Through the study of specific examples from numerous countries, the authors of this volume demonstrate a crucial, shared outlook: they affirm that ordinary people change the direction of history through performance. This project offers concrete, compelling cases that emulate the modus operandi of people like historian Howard Zinn. In the same spirit, the chapters treat marginal groups whose stories underscore the potentially unstoppable and transformative power of united, embodied voices. This book will be of great interest to students and scholars of theatre, performance, art and politics.

This collection of essays explores activist performances, all connected to theater or performance training, that have changed the Americas—from Canada to the Southern Cone. Through the study of specific examples from numerous countries, the authors of this volume demonstrate a crucial, shared outlook: they affirm that ordinary people change the direction of history through performance. This project offers concrete, compelling cases that emulate the modus operandi of people like historian Howard Zinn. In the same spirit, the chapters treat marginal groups whose stories underscore the potentially unstoppable and transformative power of united, embodied voices. This book will be of great interest to students and scholars of theatre, performance, art and politics.

Voting and elections may often be cited as the most entertaining aspect of political theatre, however, it is the arena of public policy that has the most direct impact on the lives of the citizenry. And as we have seen played out in recent debates over healthcare reform, policy changes can be dramatic, sweeping, and often hotly contested. Known for providing a trusted and comprehensive overview of the policy process, B. Guy Peters returns with the ninth edition of American Public Policy: Promise and Performance. Beyond walking students through the governmental structures and policy-making procedures, Peters efficiently covers a wide swath of policy areas, and then concludes with a look at both cost-benefit analysis and ethical analysis. Framed in context of the aftermath of the financial crisis and Great Recession, the ninth edition considers how policy has been impacted by persistent unemployment and growing income inequality. In addition, Peters discusses the strain on education budgets, increased oversight of financial activities, fiscal policies meant to stimulate the economy, and the political challenge of balancing the budget in light of increased public spending.

The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project. This book addresses a variety of specific themes in musicals that serve this general function: fairy tale and fantasy, idealism and inspiration, gender and sexuality, and relationships, among others. It also considers three overlapping genres that are central, in quite different ways, to the projection of personal identity: operetta, movie musicals, and operatic musicals. Among the musicals discussed are Camelot, Candide; Chicago; Company; Evita; Gypsy; Into the Woods; Kiss Me, Kate; A Little Night Music; Man of La Mancha; Meet Me in St. Louis; The Merry Widow; Moulin Rouge; My Fair Lady; Passion; The Rocky Horror Picture Show; Singin' in the Rain; Stormy Weather; Sweeney Todd; and The Wizard of Oz. Complementing the author's earlier work, The American Musical and the Formation of National Identity, this book completes a two-volume thematic history of the genre, designed for general audiences and specialists alike.

This book investigates transnational processes through the analytic lens of cultural performance. Structured around key concepts of performance studies––commons, skills, and traces––this edited collection addresses the political, normative, and historical implications of cultural performances beyond the limits of the (US) nation-state. These three central aspects of performance function as entryways to inquiries into transnational processes and allow the authors to shift the discussion away from text-centered approaches to intercultural encounters and to bring into focus the dynamic field that opens up between producer, art work, context, setting, and audience in the moment of performance as well as in its afterlife. The chapters provide fresh, performance-based approaches to notions of transcultural mobility and circulation, transnational cultural experience and knowledge formation, transnational public spheres, and identities’ rootedness in both specific local places and diasporic worlds beyond the written word. This book will be of great interest to scholars and students of American studies, performance studies, and transnational studies

This book examines the Civil Rights Movement from the perspective of a single year, 1964. The book analyses specific events that occurred in 1964 as benchmarks of the Civil Right Movement, making the case that 1964 was a watershed year. Each chapter considers individually politics, rhetoric, sports, dramatic literature, film, art, and music, breaking down the events and illustrating their importance to the social and political life in the United States in 1964. This study emphasizes 1964 as a nodal point in the history of the Civil Rights Movement, arguing that it was within this single year that the tide against racism and injustice turned markedly. This book will be of great interest to the scholars and students of civil rights, theatre and performance, art history, and drama literature.

Help students thrive with this systematic approach to culturally responsive instruction! Research shows that students of color learn best in classrooms that reflect their cultural values. This breakthrough book shows educators how to create culturally relevant RTI models that help diverse students thrive! Step-by-step, you’ll learn to skillfully apply 4 core characteristics critical to culturally responsive instruction: communalism, movement expressiveness, orality, and verve. Richly detailed case studies and evidence-based, process-focused strategies will help you to: Understand how and why culture mediates learning Dispel cultural biases and appreciate the assets among all student groups Address all tiers of the RTI model across grade levels Eliminate disproportionality in special education eligibility decisions Work collaboratively with African American parents and communities Use this thought-provoking handbook to confidently design high quality, culturally responsive instruction that fits the cultural needs of most African-American students! "All educators working with diverse students should read this book! Using personal experiences, the author provides examples of culturally responsive classroom instruction that brings tears to my eyes realizing what I missed in my own education." —Julie Esparza Brown, Assistant Professor in Special Education Portland State University "Diversity in race and culture is one of the greatest issues facing students and teachers in education today. Without changing our mindset and understanding how others learn, we will never meet the expectations of educating all people. This book is outstanding in addressing these issues. It is truly a powerful read and something all educators should keep as a resource when making decisions for students who do not fall into that stereotypical ′box′." —Cindy Lawrence, Curriculum Coordinator Lumberton ISD "This book presents salient and provocative ideas with regards to teaching the way students learn. These ideas are not readily spoken about in teacher preparation programs or in schools. This book provides an avenue to discuss the ways African American students learn best." —Lydia Adegbola, Assistant Principal NYC Department of Education

African American Performance and Theater History is an anthology of critical writings that explores the intersections of race, theater, and performance in America. Assembled by two esteemed scholars in black theater, Harry J. Elam, Jr. and David Krasner, and composed of essays from acknowledged authorities in the field, this anthology is organized into four sections representative of the ways black theater, drama, and performance interact and enact continual social, cultural, and political dialogues. Ranging from a discussion of dramatic performances of Uncle Tom's Cabin to the Black Art Movement of the 1960s and early 1970s, articles gathered in the first section, "Social Protest and the Politics of Representation," discuss the ways in which African American theater and performance have operated as social weapons and tools of protest. The second section of the volume, "Cultural Traditions, Cultural Memory and Performance," features, among other essays, Joseph Roach's chronicle of the slave performances at Congo Square in New Orleans and Henry Louis Gates, Jr.'s critique of August Wilson's cultural polemics. "Intersections of Race and Gender," the third section, includes analyses of the intersections of race and gender on the minstrel stage, the plight of black female choreographers at the inception of Modern Dance, and contemporary representations of black homosexuality by PomoAfro Homo. Using theories of performance and performativity, articles in the fourth section, "African American Performativity and the Performance of Race," probe into the ways blackness and racial identity have been constructed in and through performance. The final section is a round-table assessment of the past and present state of African American Theater and Performance Studies by some of the leading senior scholars in the field--James V. Hatch, Sandra L. Richards, and Margaret B. Wilkerson. Revealing the dynamic relationship between race and theater, this volume illustrates how the social and historical contexts of production critically affect theatrical performances of blackness and their meanings and, at the same time, how African American cultural, social, and political struggles have been profoundly affected by theatrical representations and performances. This one-volume collection is sure to become an important reference for those studying black theater and an engrossing survey for all readers of African American literature.