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An insight into the struggles of paid domestic workers in Latin America through an exploration of films, texts, and digital media produced since the 1980s in collaboration with them or inspired by their experiences.

Paid domestic work in Latin America is often undervalued, underpaid, and underregulated. Exploring a wave of Latin American cultural texts since the 1980s that draw on the personal experiences of paid domestic work or intimate ties to domestic employees, Paid to Care offers insights into the struggles domestic workers face through an analysis of literary testimonials, documentary and fiction films, and works of digital media.

From domestic workers’ experiences of unionization in the 1980s to calls for their rights to be respected today, the cultural texts analyzed in Paid to Care provide additional insight into public debates about paid domestic work. Rachel Randall examines work made in Brazil, Argentina, Chile, Mexico, Peru, and Uruguay. The most recent of these texts respond to the Covid-19 pandemic, which put many domestic workers’ health and livelihoods at risk. Engaging with the legal histories of domestic work in multiple distinct national contexts, Randall demonstrates how the legacy of colonialism and slavery shapes the profession even today. Focusing on personal or coproduced cultural representations of domestic workers, Paid to Care explores complex ethical issues relating to consent, mediation, and appropriation.

Palestinian cinema arose during the political cinema movements of the late 1960s and early 1970s, yet it was unique as an institutionalized, though modest, film effort within the national liberation campaign of a stateless people. Filmmakers working within the Palestinian Liberation Organization (PLO) and through other channels filmed the revolution as it unfolded, including the Israeli bombings of Palestinian refugee camps, the Jordanian and Lebanese civil wars, and Palestinian life under Israeli occupation, attempting to create a cinematic language consonant with the revolution and its needs. They experimented with form both to make effective use of limited material and to process violent events and loss as a means of sustaining active engagement in the Palestinian political project.

Palestinian Cinema in the Days of Revolution presents an in-depth study of films made between 1968 and 1982, the filmmakers and their practices, the political and cultural contexts in which the films were created and seen, and their afterlives among Palestinian refugees and young filmmakers in the twenty-first century. Nadia Yaqub discusses how early Palestinian cinema operated within emerging public-sector cinema industries in the Arab world, as well as through coproductions and solidarity networks. Her findings aid in understanding the development of alternative cinema in the Arab world. Yaqub also demonstrates that Palestinian filmmaking, as a cinema movement created and sustained under conditions of extraordinary precarity, offers important lessons on the nature and possibilities of political filmmaking more generally.

The untold story of how the Chicago Symphony Orchestra forged its place among the world’s foremost performing arts institutions through 135 years of change.

The Chicago Symphony Orchestra boasts a tradition and staying power that few cultural institutions can rival—a legacy that is tested each time one music director passes the conductor’s baton to another. In this first narrative account of the orchestra’s 135-year history, music critic and historian Phillip Huscher delivers a passionate description of how an upstart ensemble rose to international prominence and established itself as the premier symphony orchestra in the United States. 

With a scholar’s care for detail and a novelist’s attention to drama, Huscher invites us into the tangled machinations behind the success or failure of each chapter in the orchestra’s storied past. We see how legendary directors such as Fritz Reiner, Sir Georg Solti, and Riccardo Muti carried the orchestra to new heights of technical perfection and sonic brilliance, but also how others provoked public outcry, caved to insider hostility, or fell to cruel press. The result is a vivid portrait of an orchestra fighting to sustain its identity amid the constant contest between past and present, supporters and critics, and artistic and financial vision.

Woven into this saga are personal stories drawn from newly uncovered documents and interviews with players, conductors, and policymakers about the burden of inheritance, the price of ambition, and the yearning to forge a legacy. Taken together, this is a tale about the power of music—how it can help us navigate our lives and leave a lasting impact on the world around us.

Passionate Amateurs tells a new story about modern theater: the story of a romantic attachment to theater’s potential to produce surprising experiences of human community. It begins with one of the first great plays of modern European theater—Chekhov’s Uncle Vanya in Moscow—and then crosses the 20th and 21st centuries to look at how its story plays out in Weimar Republic Berlin, in the Paris of the 1960s, and in a spectrum of contemporary performance in Europe and the United States. This is a work of historical materialist theater scholarship, which combines a materialism grounded in a socialist tradition of cultural studies with some of the insights developed in recent years by theorists of affect, and addresses some fundamental questions about the social function and political potential of theater within modern capitalism. Passionate Amateurs argues that theater in modern capitalism can help us think afresh about notions of work, time, and freedom. Its title concept is a theoretical and historical figure, someone whose work in theater is undertaken within capitalism, but motivated by a love that desires something different. In addition to its theoretical originality, it offers a significant new reading of a major Chekhov play, the most sustained scholarly engagement to date with Benjamin’s “Program for a Proletarian Children’s Theatre,” the first major consideration of Godard’s La chinoise as a “theatrical” work, and the first chapter-length discussion of the work of The Nature Theatre of Oklahoma, an American company rapidly gaining a profile in the European theater scene.

Passionate Amateurs contributes to the development of theater and performance studies in a way that moves beyond debates over the differences between theater and performance in order to tell a powerful, historically grounded story about what theater and performance are for in the modern world.

Actor and singer Paul Robeson's performances in Othello, Show Boat, and The Emperor Jones made him famous, but his midcentury appearances in support of causes ranging from labor and civil rights to antilynching and American warmongering made him notorious. When Robeson announced at the 1949 Paris Peace Conference that it was "unthinkable" for blacks to go to war against the Soviet Union, the mainstream American press declared him insane. 
 
Notions of Communism, blackness, and insanity were interchangeably deployed during the Cold War to discount activism such as Robeson's, just a part of an array of social and cultural practices that author Tony Perucci calls the Cold War performance complex. Focusing on two key Robeson performances---the concerts in Peekskill, New York, in 1949 and his appearance before the House Committee on Un-American Activities in 1956---Perucci demonstrates how these performances and the government's response to them are central to understanding the history of Cold War culture in the United States. His book provides a transformative new perspective on how the struggle over the politics of performance in the 1950s was also a domestic struggle over freedom and equality. The book closely examines both of these performance events as well as artifacts from Cold War culture---including congressional documents, FBI files, foreign policy papers, the popular literature on mental illness, and government propaganda films---to study the operation of power and activism in American Cold War culture.

In September of 1963, Reverend Lawrence Roberts and the Angelic Choir of the First Baptist Church of Nutley, New Jersey, teamed with rising gospel star James Cleveland to record Peace Be Still. The LP and its haunting title track became a phenomenon. Robert M. Marovich draws on extensive oral interviews and archival research to chart the history of Peace Be Still and the people who created it. Emerging from an established gospel music milieu, Peace Be Still spent several years as the bestselling gospel album of all time. As such, it forged a template for live recordings of services that transformed the gospel music business and Black worship. Marovich also delves into the music's connection to fans and churchgoers, its enormous popularity then and now, and the influence of the Civil Rights Movement on the music's message and reception.

The first in-depth history of a foundational recording, Peace Be Still shines a spotlight on the people and times that created a gospel music touchstone.

Marvin D'Lugo offers a concise, informed, and insightful commentary on a preeminent force in modern cinema. D'Lugo follows Almodóvar's career chronologically, tracing the director's works and their increasing complexity in terms of theme and the Spanish film tradition. Drawing on a wide range of critical sources, D'Lugo explores Almodóvar's use of melodrama and Hollywood genre film, his self-invention as a filmmaker, and his on-screen sexual politics. D'Lugo also discusses what he calls "geocultural positioning," that is, Almodóvar's paradoxical ability to use his marginal positions—in terms of his class, geographical origin, and identity—to develop an expressive language that is emotionally recognizable by audiences worldwide. Two fascinating interviews with the director round out the volume.

An exciting consideration of an arthouse giant, Pedro Almodóvar mixes original interpretations into an analysis sure to reward film students and specialists alike.

The metaphor “beyond the pale” refers to something that’s unacceptable and, as James M. Harding argues in this book, “almost always refers to something—an activity, an action, or an act—that is performed.” In this book, Harding recalls that historically the pale marked contested political boundaries and that what lay beyond the pale was considered to be a dangerous frontier. Siding with seemingly excessive and unreasonable acts and with the artists and activists who produce them, Harding brings together a series of ideas and performances that operate beyond the pale and asks readers to examine them on their own terms.

Drawing on political science, critical theory, and philosophy, Harding investigates instances of self-immolation, life-threatening journeys across deserts and seas, radical political hoaxes, extreme speech acts, and anti-police activism. The book’s five chapters consist of a series of meditations, each with an easily identifiable scholarly logic and clear argument, though the connections between the meditations are left up to the reader. Together these meditations urge readers to understand that “beyond the pale” acts are frequently the product of a sense of urgency that preempts the dictates of accepted reason, conventional logic, and safety.

Offering a nuanced understanding of the performing arts’ relationship to politics

Through careful readings of key political performances in Chile's transition from military dictatorship to neoliberal democracy, Jennifer Joan Thompson examines how the production and aesthetics of theater are intertwined in processes of democratization, enactments of citizenship, and the development of cultural policy. Performing Citizenship in Postdictatorship Chile: Cultural Policy and the Making of Political Dramaturgies reveals how artists performed changing models of democratic citizenship. Thompson traces the ways artists confronted and resisted the military dictatorship of Augusto Pinochet, how they then reimagined the body politic during the early transitional period and challenged official constructions of history and memory as the transition to democracy progressed, how they critiqued Chile’s neoliberal economic model and its violence, and, finally, how they have made claims for feminist and Indigenous citizen subjectivities throughout Chile’s current social crisis. Incorporating archival and ethnographic research alongside readings of theatrical and political performances, this study offers a nuanced understanding of the performing arts’ relationship to politics, one that accounts for the ways artists and the state collaborate in the production of the political imagination.

A new account of the emergence of modern cultural politics through a study of music and theater in Berlin around 1800.

Berlin around 1800 has been seen—at the time and since—as somewhat behind other major European cities in terms of its musical culture, peripheral to the momentous developments attributed to the period. By contrast, early nineteenth-century Berlin has been exhaustively studied as the site of a nascent German-national movement and the Prussian Reforms. In Performing Politics, Katherine Hambridge examines the confluence of music and politics in Berlin around 1800, challenging the dichotomies of being behind or ahead, and central or peripheral, in order to tell new stories about nineteenth-century German history, musical and otherwise.

Performing Politics emphasizes events as much as repertoires, paying special attention to the noncanonical: dynastic birthday celebrations, the music of historical dramas, political song and communal singing, and popular music theater. By focusing our attention on the unfamiliar specificity of the Berlin Nationaltheater, Hambridge reenergizes our understanding of 1800–1815 as a key period in the development of musical and political modernity. Using sources largely unexploited by musicologists and phenomena neglected by historians, she reveals the quotidian aesthetics, values, and practices that shaped both the sociopolitical narratives and musical developments of the time. Performing Politics is thus not only a history of music and theater in Berlin at a critical moment, but a music history of modern cultural politics.

Performing Queer Latinidad highlights the critical role that performance played in the development of Latina/o queer public culture in the United States during the 1990s and early 2000s, a period when the size and influence of the Latina/o population was increasing alongside a growing scrutiny of the public spaces where latinidad could circulate. Performances---from concert dance and street protest to the choreographic strategies deployed by dancers at nightclubs---served as critical meeting points and practices through which LGBT and other nonnormative sex practitioners of Latin American descent (individuals with greatly differing cultures, histories of migration or annexation to the United States, and contemporary living conditions) encountered each other and forged social, cultural, and political bonds. At a time when latinidad ascended to the national public sphere in mainstream commercial and political venues and Latina/o public space was increasingly threatened by the redevelopment of urban centers and a revived anti-immigrant campaign, queer Latinas/os in places such as the Bronx, San Antonio, Austin, Phoenix, and Rochester, NY, returned to performance to claim spaces and ways of being that allowed their queerness and latinidad to coexist. These social events of performance and their attendant aesthetic communication strategies served as critical sites and tactics for creating and sustaining queer latinidad.

Winner of the 2025 Dance Studies Association de la Torre Bueno Book Prize

Performing the Greek Crisis explores the impact of the Greek financial crisis (2009–19) on the performing arts sector in Greece, and especially on contemporary concert dance. When Greece became the first European Union member to be threatened with default, the resulting budget cuts pushed dance to develop in unprecedented directions. The book examines the repercussions that the crisis had on artists’ daily lives and experiences, weaving the personal with the political to humanize a phenomenon that, to date, had been examined chiefly through economic and statistical lenses. Informed by the author’s experience of growing up in Greece and including interviews and rich descriptions of performances,  the book offers a glimpse into a pivotal moment in Greek history. 

In Greece, dance (and, by extension, the body) has historically held a central role in the process of national identity construction. When the crisis broke out, artists had to navigate through a precariously fluctuating landscape, with their bodies as their only stable referent. By centering the analysis of the Greek crisis on the dancing bodies, Performing the Greek Crisis is able to examine the various ways that artists reconceptualized their history and reframed ideas of national belonging, race, citizenship, and immigration.

Performing the News: Identity, Authority, and the Myth of Neutrality explores how journalists from historically marginalized groups have long felt pressure to conform when performing for audiences. Many speak with a flat, “neutral” accent, modify their delivery to hide distinctive vocal attributes, dress conventionally to appeal to the “average” viewer, and maintain a consistent appearance to avoid unwanted attention. Their aim is what author Elia Powers refers to as performance neutrality—presentation that is deemed unobjectionable, reveals little about journalists’ social identity, and supposedly does not detract from their message. Increasingly, journalists are challenging restrictive, purportedly neutral forms of self-presentation. This book argues that performance neutrality is a myth that reinforces the status quo, limits on-air diversity, and hinders efforts to make newsrooms more inclusive. Through in-depth interviews with journalists in broadcasting and podcasting, and those who shape their performance, the author suggests ways to make journalism more inclusive and representative of diverse audiences.

A new exploration of how digital media assert the relevance of dance in a wired world

How has the Internet changed dance? Dance performances can now be seen anywhere, can be looped endlessly at user whim, and can integrate crowds in unprecedented ways. Dance practices are evolving to explore these new possibilities. In Perpetual Motion, Harmony Bench argues that dance is a vital part of civil society and a means for building participation and community. She looks at how, after 9/11, it became a crucial way of recuperating the common character of public spaces. She explores how crowdsourcing dance contributes to the project of performing a common world, as well as the social relationships forged when we look at dance as a gift in the era of globalization. Throughout, she asks how dance brings people together in digital spaces and what dance’s digital travels might mean for how we experience and express community. 

From original research on dance today to political economies of digital media to the philosophy of dance, Perpetual Motion provides an ambitious, invigorating look at a commonly shared practice.

A roster of experts on countries from Japan to Indonesia explores the complicated relationship between the gramophone industry and music genres in East and Southeast Asia. Extending the boundaries of their research across multiple disciplines, the contributors connect the gramophone industry to theories surrounding phonography and modernity. Their focus on phonography combines an interest in discs with an interest in the sounds contributing to the recent sonic-auditory turn in sound studies.

Ambitious and expansive, Phonographic Modernity examines the bloc of East and Southeast Asia within the larger global history of sound recording.

A philosophical investigation into the differing sensations of time in cinema and photography

Cinema and photography are both intimately associated with time—cinema with time in passing, the photograph with the lost moment. In Photography, Cinema, Memory, Damian Sutton explores time in both media to present a radical new understanding of the photographic image as always coming into being.