The book opens a rare window into Nordic culture seen through the prism of dance. While it grants the reader new insights into the critical role of dance in the formation and imagining of a region, it also raises questions about the interplay between dance practices and politics.
Gonzalves traces a genealogy of performance repertoire from the 1930s to the present. Culture nights serve several functions: as exercises in nostalgia, celebrations of rigid community entertainment, and occasionally forums for political intervention. Taking up more recent parodies of Pilipino Cultural Nights, Gonzalves discusses how the rebellious spirit that enlivened the original seditious performances has been stifled.
The dances, dramas, puppetry and music of Bali are more than icons for the island; they are part and parcel of life—as expressions of devotion to the gods, as entertainment, and as a way of instilling cultural values on each generation. Balinese Dance, Drama & Music is a lavishly illustrated introduction to Bali's celebrated temple orchestra, the gamelan, to its ancient shadow puppet theater, and to a myriad of traditional and contemporary dances and dance-dramas that continue to enthrall locals and visitors alike.
Ideal reading for visitors to the island as well as for anyone interested in Balinese culture, the book presents the history and function of each performance genre, with illustrations and photographs to aid in identification. Introductory sections discuss the way performing arts are learned in Bali and the basic Balinese values which are passed on in these forms, as well as some of the basic religious and cultural tenets that are expressed in the arts and the functions of the forms themselves.
Different sections describe particular forms of performing arts, such as Gong Angklung, Legong, the Keraton dance, Wayang Kulit, and the new phenomenon of women's gamelan groups, the evolution of each and the place it has in the culture of Bali. The book is enhanced with a bibliography and discography and over 150 specially prepared watercolors of Balinese performers and performances.
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.
In such leading architectural practitioners as B. Henry Latrobe, Alexander J. Davis, H. H. Richardson, Louis Sullivan, and Stanford White, Woods sees collaborators, partners, merchandisers, educators, and lobbyists rather than inspired creators. She documents their contributions as well as those, far less familiar, of women architects and people of color in the profession's early days.
Woods's extensive research yields a remarkable range of archival materials: correspondence among carpenters; 200-year-old lawsuits; architect-client spats; the organization of craft guilds, apprenticeships, university programs, and correspondence schools; and the structure of architectural practices, labor unions, and the building industry. In presenting a more accurate composite of the architectural profession's history, Woods lays a foundation for reclaiming the profession's past and recasting its future. Her study will appeal not only to architects, but also to historians, sociologists, and readers with an interest in architecture's place in America today.