This groundbreaking book explores why and how to encourage physical and sensory engagement with works of art.
 
An essential resource for museum professionals, teachers, and students, the award winning Teaching in the Art Museum (Getty Publications, 2011) set a new standard in the field of gallery education. This follow-up book blends theory and practice to help educators—from teachers and docents to curators and parents—create meaningful interpretive activities for children and adults.
 
Written by a team of veteran museum educators, Activity-Based Teaching in the Art Museum offers diverse perspectives on embodiment, emotions, empathy, and mindfulness to inspire imaginative, spontaneous interactions that are firmly grounded in history and theory. The authors begin by surveying the emergence of activity-based teaching in the 1960s and 1970s and move on to articulate a theory of play as the cornerstone of their innovative methodology. The volume is replete with sidebars describing activities facilitated with museum visitors of all ages.

Table of Contents
Introduction
 
Part I History
 
1 The Modern History of Presence and Meaning
A philosophical shift from a language-based understanding of the world to direct, physical interaction with it.
 
2 A New Age in Museum Education: The 1960s and 1970s
A brief history of some of the innovative museum education programs developed in the United States in the late 1960s and 1970s. The sudden and widespread adoption of nondiscursive gallery activities during this period, especially but not exclusively in programs designed for younger students and school groups, expressed the spirit of the times.
 
Part II Theory
 
3 Starts and Stops
Two attempts by American museum educators to articulate a theory for their new, nondiscursive programs: the first deriving from the early work of Project Zero, the Harvard Graduate School of Education program founded by the philosopher Nelson Goodman to study arts learning as a cognitive activity; the second stemming from the work of Viola Spolin, the acclaimed theater educator and coach whose teaching methods, embodied in a series of “theater games,” were detailed in her well-known book Improvisation for the Theater (1963).
 
4 A Theory of Play in the Museum
A theory of play that posits activities in the museum as forms of play that take place in spaces (or “playgrounds”) temporarily designated as such by educators and their adult visitors or students. Play is defined essentially as movement—both physical and imaginary (metaphorical)—toward and away from, around, and inside and outside the works of art that are foregrounded within those spaces. Gallery activities conceived in this way respond to the possibilities that the objects themselves offer for the visitor to explore and engage with them. The particular movements characterizing an activity are crucially conditioned by the object in question; they constitute a process of discovery and learning conceptually distinct from, but supportive of, traditional dialogue-based modes of museum education, which they supplement rather than supplant.
 
Part III Aspects of Play
 
5 Embodiment, Affordances
The idea of embodiment adopted here recognizes that both mind and body are joined in their interactions with things. Investigating works of art thus involves apprehending them physically as well as intellectually—in the sense of responding to the ways in which a particular work allows and even solicits the viewer’s physical grasp of it.
 
6 Skills
Ways in which objects present themselves to us, as viewers, and what we might do in response as they fit with the bodily skills we have developed over the course of our lives. Such skills might be as simple as getting dressed, washing, or eating; or as specialized as doing one’s hair, dancing, playing an instrument, or acting—all of which may allow us to “grasp” and even feel that we inhabit particular works of art.
 
7 Movement
Embodied looking is always looking from somewhere. We apprehend objects as we physically move around and in front of them; they reveal themselves differently as we approach them from different viewpoints. Viewers orient themselves spatially to both the surfaces of objects and to the things and spaces depicte4d in or suggested by representational works of art. Activity-based teaching gets visitors and students to move among the objects—away from them, close to them, and even into them.
 
8 The Senses
Both adult visitors and younger students come to the museum expecting to use their eyes, yet “visual” art appeals to several of the senses at once, though rarely to the same degree. Sculpture, for example, almost always appeals to touch (whether or not that is actually possible or allowed) as well as sight. A painting depicting a scene in which people appear to be talking may induce viewers to not only look but also “listen” to what the figures might be saying.
 
9 Drawing in the Museum
Looking at art with a pencil in hand amplifies viewers’ ability to imaginatively touch and feel their way across and around an artwork. Contour drawing by its nature requires participants to imagine that they are touching the contours of an object beneath the tips of their pencils. Other types of drawing allow viewers to feel their way around objects through observation and movement.
 
10 Emotion
Visitors’ emotional responses to art represent a complex process with many components, from physiological to cognitive, and a particular work of art may elicit a wide range of emotional reactions. This chapter describes specific ways in which museum educators can go well beyond merely asking visitors how a work of art makes them feel.
 
11 Empathy and Intersubjectivity
One aspect of viewers’ emotional responses to art that is often taken for granted, if not neglected altogether: the empathetic connections that human beings make to images of other people. This chapter advocates an approach that prompts viewers to physically engage with the representations of people they see.
 
12 Mindful Looking
Mindfulness involves awareness and attention, both as a conscious practice and as an attitude that gallery teachers can encourage in museum visitors. This is not solely a matter of cultivating the mind, however; it is also a matter of cultivating the body, since mindfulness is only possible when mind and body are in a state of harmonious, relaxed attentiveness. Mindfulness practice in the art museum actively directs the viewer’s focus on the object itself and insists on returning to it over and over; yet it also balances activity with conscious stillness.
 
Afterword
 
Acknowledgments
 
 
 

Growing out of the music scene, afrofuturism has emerged as an important aesthetic through films such as Black Panther and Get Out. While the significance of these sonic and visual avenues for afrofuturism cannot be underestimated, literature remains fundamental to understanding its full dimensions. Isiah Lavender’s Afrofuturism Rising explores afrofuturism as a narrative practice that enables users to articulate the interconnection between science, technology, and race across centuries.
 
By engaging with authors as diverse as Phillis Wheatley, David Walker, Frederick Douglass, Harriet Ann Jacobs, Samuel R. Delany Jr., Pauline Hopkins, Zora Neale Hurston, and Richard Wright, Afrofuturism Rising extends existing scholarly conversations about who creates and what is created via science fiction. Through a trans-historical rereading of texts by these authors as science fiction, Lavender highlights the ways black experience in America has always been an experience of spatial and temporal dislocation akin to science fiction. Compelling and ambitious in scope, Afrofuturism Rising redefines both science fiction and literature as a whole.
 

 

Although it failed in its ultimate goal of ending hangings across the United States, the movement did achieve various improvements in the practices of the justice system, including reducing the number of capital crimes, eliminating public executions in most northern states, and abolishing capital punishment completely in three states.

 

Although a few historians have studied the antebellum movement against capital punishment, until now very little attention has been paid to the role of America’s writers in these efforts. Jones’s study recovers the relationship between the nation’s literary figures and the movement against the death penalty, illustrating that the editors of literary journals actively encouraged and published antigallows writing, that popular crime novelists created a sympathy toward criminals that led readers to question the state’s justifications for capital punishment, that poets crafted verse that advocated strongly for Christian sympathy for criminals that coincided with an antipathy to the death penalty, and that female sentimental writers fashioned melodramatic narratives that illustrated the injustice of the hanging and reimagined the justice system itself as a sympathetic subject capable of incorporating compassion into its workings and seeing reform rather than revenge as its ends.

Over the past two decades, Latin America has seen an explosion of experiments with autonomy, as people across the continent express their refusal to be absorbed by the logic and order of neoliberalism. The autonomous movements of the twenty-first century are marked by an unprecedented degree of interconnection, through their use of digital tools and their insistence on the importance of producing knowledge about their practices through strategies of self-representation and grassroots theorization. The Book in Movementexplores the reinvention of a specific form of media: the print book. Magalí Rabasa travels through the political and literary underground of cities in Mexico, Bolivia, Argentina, and Chile to explore the ways that autonomous politics are enacted in the production and circulation of books.
 

This important collection examines deportation as an increasingly global mechanism of state control. Anthropologists, historians, legal scholars, and sociologists consider not only the physical expulsion of noncitizens but also the social discipline and labor subordination resulting from deportability, the threat of forced removal. They explore practices and experiences of deportation in regional and national settings from the U.S.-Mexico border to Israel, and from Somalia to Switzerland. They also address broader questions, including the ontological significance of freedom of movement; the historical antecedents of deportation, such as banishment and exile; and the development, entrenchment, and consequences of organizing sovereign power and framing individual rights by territory.

Whether investigating the power that individual and corporate sponsors have over the fate of foreign laborers in Bahrain, the implications of Germany’s temporary suspension of deportation orders for pregnant and ill migrants, or the significance of the detention camp, the contributors reveal how deportation reflects and reproduces notions about public health, racial purity, and class privilege. They also provide insight into how deportation and deportability are experienced by individuals, including Arabs, South Asians, and Muslims in the United States. One contributor looks at asylum claims in light of an unusual anti-deportation campaign mounted by Algerian refugees in Montreal; others analyze the European Union as an entity specifically dedicated to governing mobility inside and across its official borders. The Deportation Regime addresses urgent issues related to human rights, international migration, and the extensive security measures implemented by nation-states since September 11, 2001.

Contributors: Rutvica Andrijasevic, Aashti Bhartia, Heide Castañeda , Galina Cornelisse , Susan Bibler Coutin, Nicholas De Genova, Andrew M. Gardner, Josiah Heyman, Serhat Karakayali, Sunaina Marr Maira, Guillermina Gina Nuñez, Peter Nyers, Nathalie Peutz, Enrica Rigo, Victor Talavera, William Walters, Hans-Rudolf Wicker, Sarah S. Willen

Beneath the nonstop cacophony of voices across social media, online forums, and news outlets lie the stubborn facts at the heart of the everyday struggles of women today: more than a third of single moms live in poverty; the United States sees more maternal deaths than anywhere else in the developed world; one in five women will be raped in her lifetime; and women still make eighty cents for every dollar earned by a man. Between these brutal statistics and the ill-informed, often contentious public debate stand millions of women who feel alienated, disaffected, or just plain worn out.
 
In the era of #MeToo, Trump, and online harassment, innovative progressive feminist voices are more essential than ever. With her latest book, Deborah Cameron considers feminism from all sides—as an idea, as a theoretical approach, and as a political movement. Written in the succinct, sharp style that has made Cameron’s feminist linguistics blog so popular, this short book lays out past and present debates on seven key topics: domination, rights, work, femininity, sex, culture, and the future. Feminism emphasizes the diversity of feminist thought, including queer, women-of-color, and trans perspectives. Cameron’s clear and incisive account untangles the often confusing strands of one of history’s most important intellectual and political movements.
 
Broad in scope but refreshingly concise, this book is perfect for anyone who needs a straightforward primer on the complex history of feminism, a nuanced explanation of key issues and debates, or strategic thinking about the questions facing activists today.

This collection of thirteen life stories recaptures the history of a political and intellectual movement that created feminist sociology as a field of inquiry. As the editors' introduction notes, the life history is a crucial tool for sociological thought. Life histories can be a bridge between individual experience and codified knowledge, between human agency and social structure. Life histories can enhance social theory by revealing categories of meaning usually submerged in the conventions of social science. The authors in this volume, all sociologists who have had great impact upon the field in which they write, show how personal relationships, experiences of inequality, and professional conflict and camaraderie interweave with the formation of social theory, political movements, and intellectual thought. The book makes a powerful impression upon anyone who has struggled with the relationship between social theory and everyday life. -- Accessible, lively articles that combine personal narrative with sociological theory. -- Contributors are some of the leading voices in feminist sociology.

In Finding the Movement, Anne Enke reveals that diverse women’s engagement with public spaces gave rise to and profoundly shaped second-wave feminism. Focusing on women’s activism in Detroit, Chicago, and Minneapolis-St. Paul during the 1960s and 1970s, Enke describes how women across race and class created a massive groundswell of feminist activism by directly intervening in the urban landscape. They secured illicit meeting spaces and gained access to public athletic fields. They fought to open bars to women and abolish gendered dress codes and prohibitions against lesbian congregation. They created alternative spaces, such as coffeehouses, where women could socialize and organize. They opened women-oriented bookstores, restaurants, cafes, and clubs, and they took it upon themselves to establish women’s shelters, health clinics, and credit unions in order to support women’s bodily autonomy.

By considering the development of feminism through an analysis of public space, Enke expands and revises the historiography of second-wave feminism. She suggests that the movement was so widespread because it was built by people who did not identify themselves as feminists as well as by those who did. Her focus on claims to public space helps to explain why sexuality, lesbianism, and gender expression were so central to feminist activism. Her spatial analysis also sheds light on hierarchies within the movement. As women turned commercial, civic, and institutional spaces into sites of activism, they produced, as well as resisted, exclusionary dynamics.

This first book-length study of Irish educator, clergyman, and author Gilbert Austin as an elocutionary rhetor investigates how his work informs contemporary scholarship on delivery, rhetorical history and theory, and embodied communication. Authors Sara Newman and Sigrid Streit study Austin’s theoretical system, outlined in his 1806 book Chironomia; or A Treatise on Rhetorical Delivery—an innovative study of gestures as a viable, independent language—and consider how Austin’s efforts to incorporate movement and integrate texts and images intersect with present-day interdisciplinary studies of embodiment.

Austin did not simply categorize gesture mechanically, separating delivery from rhetoric and the discipline’s overall goals, but instead he provided a theoretical framework of written descriptions and illustrations that positions delivery as central to effective rhetoric and civic interactions. Balancing the variable physical elements of human interactions as well as the demands of communication, Austin’s system fortuitously anticipated contemporary inquiries into embodied and nonverbal communication. Enlightenment rhetoricians, scientists, and physicians relied on sympathy and its attendant vivacious and lively ideas to convey feelings and facts to their varied audiences. During the seventeenth and eighteenth-centuries, as these disciplines formed increasingly distinct, specialized boundaries, they repurposed existing, shared communication conventions to new ends. While the emerging standards necessarily diverged, each was grounded in the subjective, embodied bedrock of the sympathetic, magical tradition.

 

During the era of the Weimar Republic, Germany was characterized by deep contradictions and polarizations. New, progressive social mores and artistic developments mixed uneasily with growing reactionary politics. When the 1929 stock market crash produced a severe economic shock, voters began to shift their allegiances from the parties of the center to radicals on both the left and the right. By 1933, amidst crisis and chaos, the Nazis had taken over.

In The Honor Dress of the Movement, Torsten Homberger contends that the brown-shirted Stormtrooper uniform was central to Hitler's rise to power. By analyzing its design and marketing, he investigates how Nazi leaders used it to project a distinct political and military persona that was simultaneously violent and orderly, retrograde and modern—a dual image that proved popular with the German people and was key to the Nazis' political success. Based on a wealth of sources that includes literature, films, and newspapers of the era, Homberger exhibits how the Nazis shaped and used material culture to destroy democracy.

An engrossing history of the century that transformed our knowledge of the body’s inner senses 

The years between 1833 and 1945 fundamentally transformed science’s understanding of the body’s inner senses, revolutionizing fields like philosophy, the social sciences, and cognitive science. In How We Became Sensorimotor, Mark Paterson provides a systematic account of this transformative period, while also demonstrating its substantial implications for current explorations into phenomenology, embodied consciousness, the extended mind, and theories of the sensorimotor, the body, and embodiment.

Each chapter of How We Became Sensorimotor takes a particular sense and historicizes its formation by means of recent scientific studies, case studies, or coverage in the media. Ranging among a diverse array of sensations, including balance, fatigue, pain, the “muscle sense,” and what Maurice Merleau-Ponty termed “motricity,” Paterson’s analysis moves outward from the familiar confines of the laboratory to those of the industrial world and even to wild animals and their habitats. He uncovers important stories, such as how forgotten pain-measurement schemes transformed criminology, or how Penfield’s outmoded concepts of the sensory and motor homunculi of the brain still mar psychology textbooks.

Complete with original archival research featuring illustrations and correspondence, How We Became Sensorimotor shows how the shifting and sometimes contested historical background to our understandings of the senses are being extended even today.

In a work of encyclopedic scope, International Trotskyism, 1929–1985 is sure to become the definitive reference work on a movement that has had a significant impact on the political culture of countries in every part of the world for more than half a century.
Renowned scholar Robert J. Alexander has amassed, from disparate sources, an unprecedented amount of primary and secondary material to provide a documentary history of the origins, development, and nature of the Trotskyist movement around the world. Drawing on interviews and correspondence with Trotskyists, newspaper reports and pamphlets, historical writings including the annotated writings of Trotsky in both English and French, historical memoirs of Trotskyist leaders, and documents of the Fourth International, Alexander recounts the history of the movement since Trotsky’s exile from the Soviet Union in 1929.
Organized alphabetically in a double-column, country-by-country format this book charts the formation and growth of Trotskyism in more than sixty-five countries, providing biographic information about its most influential leaders, detailed accounts of Trotsky’s personal involvement in the development of the movement in each country, and thorough reports of its various factions and splits. Multiple chapters are reserved for countries where the movement was more active or fully developed and various chapters are organized around crucial thematic issues, such as the Fourth International. The chapters are followed by extensive name, organization, publication, and subject indexes, which provide optimal access to the wealth of information contained in the main body of the work.

Analyzing the history of the movement to shorten the workday in late nineteenth-century New York City and Berlin, this book explores what Karl Polanyi has termed the “fictitious commodification” of labor. Despite the concept’s significance for present-day social movements, European and North American historiography has largely ignored the impact of free-market rhetoric on the formation of organized labor. Filling this gap, Philipp Reick provides both a contribution to the current reevaluation of Polanyian thought and theory and an interdisciplinary investigation of the trans-Atlantic transmission of ideas.

As Reick demonstrates, while on both sides of the Atlantic workers opposed the unchecked commodification of labor power as a violation of their political, social, and economic rights, the emerging movements for protection from commodification did not promote a universalist concept of rights. By showing that American and German workers drew upon a strikingly similar rationality when formulating demands, this book reveals that we cannot label either the US labor movement as a deviation from the supposed norm of industrial contestation or its German counterpart as the embodiment of that norm.

Landscapes of Movement and Predation is a global study of times and places where people were subject to brutality, displacement, and loss of life, liberty, livelihood, and possessions. Extensive landscapes of predation emerged in the colonial era when Europeans expanded across much of the world, appropriating land and demanding labor from Indigenous people, resulting in the enslavement of millions of Africans and Indigenous Americans.

Landscapes of predation also developed in precolonial times in places where people were subjected to repeated ruthless attacks and dislocation. With contributions from archaeologists and a historian, the book provides a startling new perspective on an aspect of the past that is often overlooked: the role of violence in shaping where, how, and with whom people lived. Using ethnohistoric, ethnographic, historic, and archaeological data, the authors explore the actions of both predators and their targets and uncover the myriad responses people took to protect themselves. 

Contributors
Fernando Almeida
Thomas John Biginagwa
Brenda J. Bowser
Catherine M. Cameron
Charles Cobb
Robbie Ethridge
Thiago Kater
Richard M. Leventhal
Lydia Wilson Marshall
Cliverson Pessoa
Neil Price
Ben Raffield
Andrés Reséndez
Samantha Seyler
Fabíola Andréa Silva

Dance improvisation, the intriguing phenomenon of the creative process alive in the moving body, exists powerfully, sublimely - lending insight, solving problems, allowing moments of transcendence, diversion, and delight.  Flourishing especially since the postmodern movement of the 1960s, it has come into its own in the performing arts.  While there are many books containing ideas for developing improvisations, few have tackled the difficult questions: “What is dance improvisation?”  “How does it work?” or “What is its body of knowledge?”

The Moment of Movement goes beyond lists of improvisations and into the heart of improvising.  As in their previous book, The Intimate Act of Choreography, the authors pursue both the philosophical and the practical.  They begin by examining the creative process as it applies to movement and especially the kinesthetic way in which the body knows and uses movement.  They answer the often unstated and pertinent questions of the novice; investigate the particular skills and traits needed by the leader; consider ways of working with specific populations; and provide challenging material for advanced movers.  They discuss the use of music, and the specific situation of improvisation in performance.  For leaders who want to design their own improvisations, they trace the evolution of an idea into an actual content and structure.  They also address the controversial issue of the legitimacy of improvisation in an academic curriculum.  A final chapter presents hundreds of improvs and improv ideas, grouped into units and cross-referenced.

The Moment of Movement is not tied to any one point of view.  The authors’ presentation of a broad range of material is flexible enough for use by choreographers, directors, educators, and therapists.  In its perceptive investigation of the experiential and conceptual aspects of dance improvisation, this book articulates the ephemeral.

In this critical study, Terri Mester makes solid biographic, thematic, technical, and figurative cases that W. B. Yeats, T. S. Eliot, D. H. Lawrence, and William Carlos Williams turned to dance and dancers—actual and mythic—to reinvigorate their literary practices.

We live within political systems that increasingly seek to control movement, organized around both the desire and ability to determine who is permitted to enter what sorts of spaces, from gated communities to nation-states. In Movement and the Ordering of Freedom, Hagar Kotef examines the roles of mobility and immobility in the history of political thought and the structuring of political spaces. Ranging from the writings of Locke, Hobbes, and Mill to the sophisticated technologies of control that circumscribe the lives of Palestinians in the Occupied West Bank, this book shows how concepts of freedom, security, and violence take form and find justification via “regimes of movement.” Kotef traces contemporary structures of global (im)mobility and resistance to the schism in liberal political theory, which embodied the idea of “liberty” in movement while simultaneously regulating mobility according to a racial, classed, and gendered matrix of exclusions.

A collection of the papers presented at the Twentieth Anniversary Southwest Symposium, Movement, Connectivity, and Landscape Change in the Ancient Southwest looks back at the issues raised in the first symposium in 1988 and tackles three contemporary domains in archaeology: landscape use and ecological change, movement and ethnogenesis, and connectivity among social groups through time and space. Across these sections the authors address the relevance of archaeology in the modern world; new approaches and concerns about collaboration across disciplines, communities, and subgroups; and the importance of multiple perspectives.

Particular attention is paid to the various ways that archaeology can and should contribute to contemporary social and environmental issues. Contributors come together to provide a synthetic volume on current research and possibilities for future explorations. Moving forward, they argue that archaeologists must continue to include researchers from across political and disciplinary boundaries and enhance collaboration with Native American groups.

This book will be of interest to professional and academic archaeologists, as well as students working in the field of the American Southwest.

“This book will—no question—make you think in new ways. Why have we surrendered our cities to cars? What might it be like to inhabit a space designed for people instead? It’s exciting and hopeful—this we can do!”
—Bill McKibben, author of The Flag, The Cross, and the Station Wagon

Almost everywhere in the world, streets are designed for travel at the highest speed, giving precedence to the chunkiest vehicles. We take for granted that the streets outside of our homes are designed only for movement from one point to another. But what happens if we radically rethink how we use these public spaces? Could we change our lives for the better?  

In Movement: How to Take Back Our Streets and Transform Our Lives, journalist Thalia Verkade and mobility expert (“the cycling professor”) Marco te Brömmelstroet take a three-year shared journey of discovery into the possibilities of our streets. They investigate and question the choices and mechanisms underpinning how these public spaces are designed and look at how they could be different. Verkade and te Brömmelstroet draw inspiration from the Netherlands and look at what other countries are doing, and could do, to diversify how they use their streets and make them safer.
 
During the pandemic, decision-makers in cities around the world were confronted with the questions of who our streets belong to, how we want to use them, and who gets to decide. Making our communities safer, cleaner, and greener starts with asking these fundamental questions. To truly transform mobility, we need to look far beyond the technical aspects and put people at the center of urban design. Movement will change the way that you view our streets.

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In Parables for the Virtual Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models.

Renewing and assessing William James's radical empiricism and Henri Bergson's philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, Parables for the Virtual tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan's acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument.

From its earliest manifestations on the street corners of nineteenth-century Buenos Aires to its ascendancy as a global cultural form, tango has continually exceeded the confines of the dance floor or the music hall. In Tango Lessons, scholars from Latin America and the United States explore tango's enduring vitality. The interdisciplinary group of contributors—including specialists in dance, music, anthropology, linguistics, literature, film, and fine art—take up a broad range of topics. Among these are the productive tensions between tradition and experimentation in tango nuevo, representations of tango in film and contemporary art, and the role of tango in the imagination of Jorge Luis Borges. Taken together, the essays show that tango provides a kaleidoscopic perspective on Argentina's social, cultural, and intellectual history from the late nineteenth to the early twenty-first centuries.

Contributors. Esteban Buch, Oscar Conde, Antonio Gómez, Morgan James Luker, Carolyn Merritt, Marilyn G. Miller, Fernando Rosenberg, Alejandro Susti

In Trans Exploits Jian Neo Chen explores the cultural practices created by trans and gender-nonconforming artists and activists of color. They argue for a radical rethinking of the policies and technologies of racial gendering and assimilative social programming that have divided LGBT communities and communities of color along the lines of gender, sexuality, class, immigration status, and ability. Focusing on performance, film/video, literature, digital media, and other forms of cultural expression and activism that track the displaced emergences of trans people of color, Chen highlights the complex and varied responses by trans communities to their social dispossession. Through these responses, trans of color cultural workers such as performance artist Yozmit, writer Janet Mock, and organizer Jennicet Gutiérrez challenge dominating perceptions and institutions that kill, confine, police, and discipline trans people.

Since the colonial days, American women have traveled, migrated, and relocated, always faced with the challenge of reconstructing their homes for themselves and their families. Women, America, and Movement offers a journey through largely unexplored territory—the experiences of migrating American women. These narratives, both real and imagined, represent a range of personal and critical perspectives; some of the women describe their travels as expansive and freeing, while others relate the dreadful costs and sacrifices of relocating.

Despite the range of essays featured in this study, the writings all coalesce around the issues of politics, poetry, and self- identity described by Adrienne Rich as the elements of the "politics of location," treated here as the politics of relocation. The narratives featured in this book explore the impact of race, class, and sexual economics on migratory women, their self-identity, and their roles in family and social life. These issues demonstrate that in addition to geographic place, ideology is itself a space to be traversed.

By examining the writings of such women as Louise Erdrich, Zora Neale Hurston, and Gertrude Stein, the essayists included in this volume offer a variety of experiences. The book confronts such issues as racist politicking against Native Americans, African Americans, and Asian immigrants; sexist attitudes that limit women to the roles of wife, mother, and sexual object; and exploitation of migrants from Appalachia and of women newly arrived in America.

These essays also delve into the writings themselves by looking at what happens to narrative structure as authors or their characters cross geographic boundaries. The reader sees how women writers negotiate relocation in their texts and how the written word becomes a place where one finds oneself.

Between 1967 and 1972, a previously obscure group of authors entered the US cultural spotlight. During this five-year period, at least thirty anthologies of poetry and prose by African American, Latinx, Asian American, and Native American children came out of adult-led workshops, classrooms, and sites of juvenile incarceration. Mass-market publishers, independent imprinters, and local mimeograph machines produced volumes with titles such as I Am Somebody! and The Me Nobody Knows: Children’s Voices from the Ghetto. These young writers actively participated in the Black Arts Movement, and some collaborated with well-known adult authors, most prominently June Jordan. Their anthologies gained national media coverage, occasionally became bestsellers, were quoted by James Baldwin, and even inspired a hit Broadway musical. While writings by children had long attracted adult attention, this flurry of youth writing and publishing was distinguished by the widespread belief that children of color from poor and working-class neighborhoods were uniquely able to speak truth about American racism and inequality.

Focusing on Black and Latinx youth authorship within New York City, and using deep archival research and elegant close readings, Amy Fish examines child-authored texts of this era within the context of their literary production and reception. These young writers were often supervised and edited by white adults, raising concerns about the authenticity and agency of their voices. Fish contends that young authors themselves shared these concerns and that they employed savvy rhetorical strategies of address, temporality, and trope to self-consciously interrogate the perils and possibilities of their adult-influenced work. Young writers thus contributed to the era’s important debates about the nature of authorship and readership within a racist society, while also using their writing as an intimate occasion of self-discovery.