Compared to the wealth of information available to us about classical tragedy and comedy, not much is known about the culture of pantomime, mime, and dance in late antiquity. Charges of obscenity and polemical anti-theater discourse have, at times, erased these popular performance traditions from the modern imagination. Demons and Dancers returns us to the times and places where those great ancient theaters were more than picturesque ruins dotting the Mediterranean landscape.

Ruth Webb fills this gap in our knowledge of the ancient world and provides us with a richly detailed look at social life in the late antique period through an investigation of its performance culture. The book focuses on the eastern empire, from Greece proper to modern-day Turkey and Egypt, between the second and sixth centuries CE. Using some of the tools provided by modern performance theory, this book explains how audiences interpreted the actions on stage, how the status of male and female performers shifted across time and place, how skilled the actors actually were (it was commonplace to dismiss these performers for their lack of skill), and what role spectacles involving spoken and sung words, as well as stylized gestures, had in Greco-Roman civic life.

Creating a sensation with her risqué nightclub act and strolls down the Champs Elysées, pet cheetah in tow, Josephine Baker lives on in popular memory as the banana-skirted siren of Jazz Age Paris. In Josephine Baker and the Rainbow Tribe, Matthew Pratt Guterl brings out a little known side of the celebrated personality, showing how her ambitions of later years were even more daring and subversive than the youthful exploits that made her the first African American superstar.

Her performing days numbered, Baker settled down in a sixteenth-century chateau she named Les Milandes, in the south of France. Then, in 1953, she did something completely unexpected and, in the context of racially sensitive times, outrageous. Adopting twelve children from around the globe, she transformed her estate into a theme park, complete with rides, hotels, a collective farm, and singing and dancing. The main attraction was her Rainbow Tribe, the family of the future, which showcased children of all skin colors, nations, and religions living together in harmony. Les Milandes attracted an adoring public eager to spend money on a utopian vision, and to worship at the feet of Josephine, mother of the world.

Alerting readers to some of the contradictions at the heart of the Rainbow Tribe project—its undertow of child exploitation and megalomania in particular—Guterl concludes that Baker was a serious and determined activist who believed she could make a positive difference by creating a family out of the troublesome material of race.

Whether she knows it or not, every girl who has ever dreamed of taking her place in a line of high-kicking dancers on a football field at halftime has been inspired by the Kilgore College Rangerettes, the world's first precision dance drill team. Founded in Kilgore, Texas, in 1939-1940 by the incomparable Gussie Nell Davis, the Rangerettes have performed for national and international audiences, appearing frequently at events such as the Macy's Thanksgiving Day Parade and major football bowl games across the nation, including the New Year's Cotton Bowl Classic in Dallas each year since 1951.

An icon of Americana, the red-white-and-blue clad Rangerettes have drawn the attention of numerous photographers and writers seeking to understand the enduring appeal of a group that some might view as anachronistic. O. Rufus Lovett, a fine art photographer who has taught at Kilgore College for more than thirty years, began photographing the 'Rettes in 1989. His interpretive photo essay in this book expresses his fascination with "the glamour of the Rangerettes' performances juxtaposed with the small-town atmosphere, football turf, metal bleachers, chain-link fences, and asphalt and concrete environment." In Lovett's masterfully composed photographs, the Rangerette performances captivate with their multiplicity of "shapes, patterns, and designs."

While Lovett treats the 'Rettes as an artistic subject, he also captures the esprit de corps that keeps the girls smiling even when they have to march on icy pavement and prompts their mothers to wear T-shirts that proudly proclaim "Rette Mom." An affectionate, yet unsentimental and occasionally irreverent portrait, Kilgore Rangerettes beautifully conveys the timeless quality of this unique subculture of young American womanhood.

In Egypt, singing and dancing are considered essential on happy occasions. Professional entertainers often perform at weddings and other celebrations, and a host family's prestige rises with the number, expense, and fame of the entertainers they hire. Paradoxically, however, the entertainers themselves are often viewed as disreputable people and are accorded little prestige in Egyptian society.

This paradox forms the starting point of Karin van Nieuwkerk's look at the Egyptian entertainment trade. She explores the lives of female performers and the reasons why work they regard as "a trade like any other" is considered disreputable in Egyptian society. In particular, she demonstrates that while male entertainers are often viewed as simply "making a living," female performers are almost always considered bad, seductive women engaged in dishonorable conduct. She traces this perception to the social definition of the female body as always and only sexual and enticing—a perception that stigmatizes women entertainers even as it simultaneously offers them a means of livelihood.

Drawn from extensive fieldwork and enriched with the life stories of entertainers and nightclub performers, this is the first ethnography of female singers and dancers in present-day Egypt. It will be of interest to a wide audience in anthropology, women's studies, and Middle Eastern culture, as well as anyone who enjoys belly dancing.