Around the globe, dances that originate in village, temple, and court rituals have been adapted and transformed to carry secular meanings and serve new national purposes. In stage performances, dance competitions, and festivals worldwide, dance has become an emblem of ethnicity and an index of national identity. But what are the “backstage” stories of those dances chosen to bear such meanings, and what have been the consequences for their communities of origin? In Dance and the Nation, Susan A. Reed brings to light the complexities of aesthetic politics in a multi-faceted exploration and analysis of Kandyan dance in Sri Lanka.
    As the national dance of Sri Lanka, Kandyan dance is identified with the majority Sinhala ethnic group and heavily supported by the state. Derived from the kohomba kankariya—an elaborate village ritual performed by men of the hereditary drummer caste—the dance was adopted by the state as a symbol of traditional Sinhala culture in the post-independence period. When state officials introduced the dance into the school curriculum, it was opened to individuals of all castes, and high-caste women have emerged as prominent teachers and performers. Reed’s evocative account traces the history and consequences of this transition from ritual to stage, situating the dance in relation to postcolonial nationalism and ethnic politics and emphasizing the voices and perspectives of the hereditary dancers and of women performers.
    Although Kandyan dance is related to other south Asian dance forms, it is unique, distinguished by an elegant, energetic style, and lively displays of acrobatics and agility. The companion DVD includes unparalleled footage of this vibrant dance in ritual, stage, and training contexts, and features the most esteemed performers of the Kandyan region.

Special Citation book award, Society for Dance History Scholars

Winner, Outstanding Publication Award, Congress on Research in Dance

In the 1880s an oracle priest, Navosavakadua, mobilized Fijians of the hinterlands against the encroachment of both Fijian chiefs and British colonizers. British officials called the movement the Tuka cult, imagining it as a contagious superstition that had to be stopped. Navosavakadua and many of his followers, deemed "dangerous and disaffected natives," were exiled. Scholars have since made Tuka the standard example of the Pacific cargo cult, describing it as a millenarian movement in which dispossessed islanders sought Western goods by magical means. In this study of colonial and postcolonial Fiji, Martha Kaplan examines the effects of narratives made real and traces a complex history that began neither as a search for cargo, nor as a cult.
Engaging Fijian oral history and texts as well as colonial records, Kaplan resituates Tuka in the flow of indigenous Fijian history-making and rereads the archives for an ethnography of British colonizing power. Proposing neither unchanging indigenous culture nor the inevitable hegemony of colonial power, she describes the dialogic relationship between plural, contesting, and changing articulations of both Fijian and colonial culture.
A remarkable enthnographic account of power and meaning, Neither Cargo nor Cult addresses compelling questions within anthropological theory. It will attract a wide audience among those interested in colonial and postcolonial societies, ritual and religious movements, hegemony and resistance, and the Pacific Islands.