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Cahora Bassa Dam on the Zambezi River, built in the early 1970s during the final years of Portuguese rule, was the last major infrastructure project constructed in Africa during the turbulent era of decolonization. Engineers and hydrologists praised the dam for its technical complexity and the skills required to construct what was then the world’s fifth-largest mega-dam. Portuguese colonial officials cited benefits they expected from the dam—from expansion of irrigated farming and European settlement, to improved transportation throughout the Zambezi River Valley, to reduced flooding in this area of unpredictable rainfall. “The project, however, actually resulted in cascading layers of human displacement, violence, and environmental destruction. Its electricity benefited few Mozambicans, even after the former guerrillas of FRELIMO (Frente de Libertação de Moçambique) came to power; instead, it fed industrialization in apartheid South Africa.” (Richard Roberts)

This in-depth study of the region examines the dominant developmentalist narrative that has surrounded the dam, chronicles the continual violence that has accompanied its existence, and gives voice to previously unheard narratives of forced labor, displacement, and historical and contemporary life in the dam’s shadow.

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

Hidden behind the much-touted success story of India’s emergence as an economic superpower is another, far more complex narrative of the nation’s recent history, one in which economic development is frequently countered by profoundly unsettling, and often violent, political movements. In Democracy against Development, Jeffrey Witsoe investigates this counter-narrative, uncovering an antagonistic relationship between recent democratic mobilization and development-oriented governance in India.

            
Witsoe looks at the history of colonialism in India and its role in both shaping modern caste identities and linking locally powerful caste groups to state institutions, which has effectively created a postcolonial patronage state. He then looks at the rise of lower-caste politics in one of India’s poorest and most populous states, Bihar, showing how this increase in democratic participation has radically threatened the patronage state by systematically weakening its institutions and disrupting its development projects. By depicting democracy and development as they truly are in India—in tension—Witsoe reveals crucial new empirical and theoretical insights about the long-term trajectory of democratization in the larger postcolonial world. 

Like many of the traditional medicines of South Asia, Ayurvedic practice transformed dramatically in the later nineteenth and early twentieth centuries. With Doctoring Tradition, Projit Bihari Mukharji offers a close look at that recasting, upending the widely held yet little-examined belief that it was the result of the introduction of Western anatomical knowledge and cadaveric dissection.
 
Rather, Mukharji reveals, what instigated those changes were a number of small technologies that were introduced in the period by Ayurvedic physicians, men who were simultaneously Victorian gentlemen and members of a particular Bengali caste. The introduction of these devices, including thermometers, watches, and microscopes, Mukharji shows, ultimately led to a dramatic reimagining of the body. By the 1930s, there emerged a new Ayurvedic body that was marked as distinct from a biomedical body. Despite the protestations of difference, this new Ayurvedic body was largely compatible with it. The more irreconcilable elements of the old Ayurvedic body were then rendered therapeutically indefensible and impossible to imagine in practice. The new Ayurvedic medicine was the product not of an embrace of Western approaches, but of a creative attempt to develop a viable alternative to the Western tradition by braiding together elements drawn from internally diverse traditions of the West and the East.