In the first half of the twentieth century, a number of American theatres and theatre artists fostered interracial collaboration and socialization on stage, behind the scenes, and among audiences. In an era marked by entrenched racial segregation and inequality, these artists used performance to bridge America’s persistent racial divide and to bring African American, Latino/Latina, Asian American, Native American, and Jewish American communities and traditions into the nation’s broader cultural conversation.
 
In Experiments in Democracy, edited by Cheryl Black and Jonathan Shandell, theatre historians examine a wide range of performances—from Broadway, folk plays and dance productions to scripted political rallies and radio dramas. Contributors look at such diverse groups as the Theatre Union, La Unión Martí-Maceo, and the American Negro Theatre, as well as individual playwrights and their works, including Theodore Browne’s folk opera Natural Man, Josefina Niggli’s Soldadera, and playwright Lynn Riggs’s Cherokee Night and Green Grow the Lilacs (the basis for the musical Oklahoma!). Exploring the ways progressive artists sought to connect isolated racial and cultural groups in pursuit of a more just and democratic society, contributors take into account the blind spots, compromised methods, and unacknowledged biases at play in their practices and strategies. Essays demonstrate how the gap between the ideal of American democracy and its practice—mired in entrenched systems of white privilege, economic inequality, and social prejudice—complicated the work of these artists.
 
Focusing on questions of race, ethnicity, gender, and sexuality on the stage in the decades preceding the Civil Rights era, Experiments in Democracy fills an important gap in our understanding of the history of the American stage—and sheds light on these still-relevant questions in contemporary American society. 

The Indian powwow, with its colorful war dance, is among the most vital aspects of American Indian culture. William Powers has witnessed both the traditions and trends in Plains Indian music and dance over the past thirty years, and here encapsulates his long career in what may be the first book that deals with Plains Indian musical culture as a unit. After providing background material on the study of American Indian music, Powers gives a full description of the popular war dance, discusses the powwow as the context in which the war dance appears, and describes associated dances. While observing that a fascination with "pan-Indianism" temporarily misdirected the study of Plains Indian music and dance by focusing too sharply on what many believed was a nationalization of American Indians, Powers notes that individual tribes continue to be concerned with maintaining their ethnic identities through their styles of music and dance. In the balance of the book, Powers offers essays describing Plains songs available on disc and tape, including notes on the history and culture of tribes and some translations of Lakota songs. A concluding essay offers some observations of why Plains Indian music and dance have received the interest they have and why they will continue to symbolize a burgeoning contemporary American Indian culture--not only on the Plains, but in every corner of the world where American Indians are respected, admired, and imitated.