2026 Dance Studies Association de la Torre Bueno First Book Award Shortlist Finalist

A Beautiful Fight examines the potentials and limits of capoeira Angola to cohere a multiracial community committed to antiracist struggle. Capoeira, a musical fight-game that originated among enslaved Africans in Brazil, holds special significance for Black Brazilian activists as a spiritual and political practice that affirms the value of Black lives, thus countering anti-Black violence sanctioned by the Brazilian state. However, many capoeira groups count more white practitioners than Black, especially groups of the politicized, Afrocentric style capoeira Angola, raising debates about appropriation of Black culture that resonate across the Americas. A Beautiful Fight addresses these tensions. Drawing on ethnographic research with a multiracial capoeira Angola group in Brazil’s Bahian sertão or backlands, Esther Viola Kurtz explores diverse group members’ understandings of capoeira’s spiritual and political meanings and considers how white participation impacts capoeira’s antiracist politics. A Beautiful Fight argues that white practitioners occupying space in capoeira divert attention from Black members’ concerns and reproduce racist and colonialist ideologies, albeit unintentionally. In this way, the book complicates claims that shared music and dance bridge differences and facilitate cross-racial unity, yet Kurtz proposes that capoeira still transmits knowledge and tools that, when used with intention, commitment, and care, can be wielded to collaboratively contest racism and imagine a more just world.

The vital role of dance in enacting the embodied experiences of Indigenous peoples
 

In Dancing Indigenous Worlds, Jacqueline Shea Murphy brings contemporary Indigenous dance makers into the spotlight, putting critical dance studies and Indigenous studies in conversation with one another in fresh and exciting new ways. Exploring Indigenous dance from North America and Aotearoa (New Zealand), she shows how dance artists communicate Indigenous ways of being, as well as generate a political force, engaging Indigenous understandings and histories.

Following specific dance works over time, Shea Murphy interweaves analysis, personal narrative, and written contributions from multiple dance artists, demonstrating dance’s crucial work in asserting and enacting Indigenous worldviews and the embodied experiences of Indigenous peoples. As Shea Murphy asserts, these dance-making practices can not only disrupt the structures that European colonization feeds upon and strives to maintain, but they can also recalibrate contemporary dance. 

Based on more than twenty years of relationship building and research, Shea Murphy’s work contributes to growing, and largely underreported, discourses on decolonizing dance studies, and the geopolitical, gendered, racial, and relational meanings that dance theorizes and negotiates. She also includes discussions about the ethics of writing about Indigenous knowledge and peoples as a non-Indigenous scholar, and models approaches for doing so within structures of ongoing reciprocal, respectful, responsible action.

Winner, Oscar G. Brockett Book Prize in Dance Research, 2014
Honorable Mention, Sally Banes Publication Prize, American Society for Theatre Research, 2014
de la Torre Bueno® Special Citation, Society of Dance History Scholars, 2013

From Christopher Columbus to “first anthropologist” Friar Bernardino de Sahagún, fifteenth- and sixteenth-century explorers, conquistadors, clerics, scientists, and travelers wrote about the “Indian” dances they encountered throughout the New World. This was especially true of Spanish missionaries who intensively studied and documented native dances in an attempt to identify and eradicate the “idolatrous” behaviors of the Aztec, the largest indigenous empire in Mesoamerica at the time of its European discovery.

Dancing the New World traces the transformation of the Aztec empire into a Spanish colony through written and visual representations of dance in colonial discourse—the vast constellation of chronicles, histories, letters, and travel books by Europeans in and about the New World. Scolieri analyzes how the chroniclers used the Indian dancing body to represent their own experiences of wonder and terror in the New World, as well as to justify, lament, and/or deny their role in its political, spiritual, and physical conquest. He also reveals that Spaniards and Aztecs shared an understanding that dance played an important role in the formation, maintenance, and representation of imperial power, and describes how Spaniards compelled Indians to perform dances that dramatized their own conquest, thereby transforming them into colonial subjects. Scolieri’s pathfinding analysis of the vast colonial “dance archive” conclusively demonstrates that dance played a crucial role in one of the defining moments in modern history—the European colonization of the Americas.

In Exit of a Hero, Okechukwu Nwafor explores the cultural, political, and socioeconomic implications of photography in commemorative practices in southern Nigeria from the nineteenth century to the present. Focusing on obituary and commemorative photographs of late nineteenth and early twentieth-century Lagos to contemporary funeral posters, booklets, and social media posts, Nwafor tracks the historical evolution of the iconic and heroic image. He argues that the quest to produce an ideal memorial body is not just a personal aesthetic choice but a deliberate photographic project that resonates with the Igbo aspirations for heroic achievement. 

Exit of a Hero asserts that the visual canonization transforms the deceased from a fallible being to an unimpeachable character who transcends underachievement, imperfection, and failed social performance to emerge as a saintly icon of the Igbo public sphere. In seeking an alternative, hyper-visible public self, social media reclaims the lost hero image of the deceased, reconstituting the contested Igbo public space as a lived reality where heroes and icons are actively and eternally commemorated. Nwafor unveils the creative imaginations of colonial subjects and postcolonial citizens as memorialization has become entangled within the intersecting discursive spaces of print culture and the public sphere.

Home Team Away calls for a rethinking of sport fandom that is divorced from an attachment to location. As the first comprehensive account of the European football fandom in China, this book explores how the Chinese middle class subjectivity is formed through the cross-cultural, digital consumption of the Big Five leagues. Yuan Gong captures the embodied experiences of fans and fan clubs, fan discourses and activities unfolding on digital platforms on Weibo, Weixin, and Hupu, combining fieldwork in Shanghai and virtual ethnography. Gong argues that Chinese fans’ decisions to follow and engage with European football result from their material conditions, ideological contestation, and technology appropriation as a new demographic bloc arising during China’s transition to authoritarian digital capitalism. By engaging with their home teams away, the Chinese middle class fans perform as citizens with a global vision despite the resurgence of the nationalist and anti-Western sentiments.

An ethnography of mezcal and how it has become a global, "artisanal" good.

Mezcal is booming. Once considered a peasant drink—the rough, lowbrow cousin of the more refined tequila—the smoky spirit is now prized by connoisseurs the world over. It is also hailed as a savior of Oaxaca, powering a craft industry that can uphold rural economies and Indigenous traditions.

Ronda L. Brulotte traces mezcal’s swift rise and its effects on communities that have distilled and enjoyed the beverage for generations. Only in the late 1990s did mezcal begin to escape its longstanding associations with Indigenous and working-class life, even as these very qualities supply the “authenticity” that elite consumers crave. Through a detailed ethnography of the spirits industry in Oaxaca, Brulotte compares the ideal of the artisanal economy with the reality of participation in global markets. Her findings—focused on tourism-led development and gentrification, the exploitation of women and smallholders, and swelling regional migration pressures—raise troubling questions about the ecological and social sustainability of a new craft imaginary that rebrands rustic products as luxury goods.

The 1960s was a pivotal decade in dance, an era of intense experimentation and rich invention. In this volume an impressive range of dance critics and scholars examine the pioneering choreographers and companies of the era, such as Anna Halprin’s West Coast experiments, the innovative Judson Dance Theater, avant-garde dance subcultures in New York, the work of Meredith Monk and Kenneth King, and parallel movements in Britain. The contributors include Janice Ross, Leslie Satin, Noël Carroll, Gus Solomons jr., Deborah Jowitt, Stephanie Jordan, Joan Acocella, and Sally Banes.

Theatre Things: Material Theories and Histories considers key theatrical objects through a comparative approach, examining the uses and histories of different parts of the theatre throughout time and across culture and geography. The ten “theatre things” at the heart of the book are: entrances, tickets, programs, concessions, seats, lights, curtains, stages, trapdoors, and exits. For every object, three different scholars offer short chapters that examine it from different angles across eras, places, and performance traditions to result in a set of diverse and provocative accounts of the many ways objects have functioned throughout theatre history. Written in an accessible style, the book draws on real examples from theatre history around the world to reveal that even the smallest details—where you sit, how the lights shift, what the program says—carry meaning. Whether you’re a regular theatregoer or a curious fan, Theatre Things offers a fresh way to look at the spaces and objects that shape every night at the theatre—and makes them feel newly interesting long after the curtain call.