This edited volume considers performance in its engagement with expanding Indian cities, with a particular focus on festivals and performances in Karnataka, Tamil Nadu and Kerala. The editors ask how performance practices are affected by urbanisation, the effects of such changes on their cultural economy, and the environmental impacts of performance itself. This project also considers how performance responds to its context, and the potential for performance to be critical of the city’s development, and of its own compromises. Bringing together perspectives from the humanities, natural and social sciences, the book takes a multi-faceted analytical view of live performance, connecting contemporary with heritage forms, and human with more-than-human actors. The three sections, themed around heritage, everyday life, and future ecologies, will be of great interest to students and scholars in performance, heritage studies, ecology and art history.

In What's in a Name? editors Richard Harris and Charlotte Vorms have gathered together experts from around the world in order to provide a truly global framework for the study of the urban periphery.

The countryside has often been marginalised in discussions of economic and societal development, in favour of the urban. This book aims to stimulate a debate and a re-evaluation of how the concepts of the rural, peripheral and marginal are treated in academia and policy. Approaching this theme from geographic, demographic and economic perspectives, Peter de Souza makes a compelling case for giving the periphery a prominent role as an integral part of a holistic and balanced society. The book carefully deconstructs the concept of the urban, and critiques the idea of urban-rural or centre-periphery comparisons, and presents an alternative approach to spark future discussions. Winner of the Regional Studies Association Best Book Award 2020, The Rural and Peripheral in Regional Development will be of interest to those studying and researching in the areas of rural economics, sustainability and development, as well as those involved in rural policymaking.

This book focuses attention on groups of performing people that are unique aesthetic objects, the focus of an artist’s vision, but at the same time a collective being; a singular, whole mass that exists and behaves like an individual entity. This text explores this unique experience, which is far from rare or special. Indeed, it is pervasive, ubiquitous and has, since the dawn of performance, been with us. Surveying installation art from Vanessa Beecroft & Kanye West, Greek tragedy, back-up dancing groups and even the mass dance of clubbing crowds, this text examines and names this phenomenon: Aesthetic Collectives. Drawing on a range of methods of investigation spanning performance studies, acting theory, studies of atmosphere and affect and sociology it presents an intervention in the literature for something that has long deserved its own attention. This book will be of great interest to scholars, students and practitioners in performance studies, theatre, live art, sociology (particularly of groups and subcultures), cultural studies and cultural geography.

The edges of cities are increasingly understood as places of dynamism and change, but there is little research on African urban peripheries, the nature of building, growth, investment and decline that is shaping them and how these are lived. This co-authored monograph draws on findings from an extensive comparative study on Ethiopia and South Africa, in conversation with a related study on Ghana. It examines African urban peripheries through a dual focus on the experiences of living in these changing contexts, alongside the logics driving their transformation. Through its conceptualisation and application of five ‘logics of periphery’, it offers unique, contextually-informed insights into the generic processes shaping urban peripheries, and the variable ways in which these are playing out in contemporary Africa for those living the peripheries.

Butoh America unearths the people and networks that popularized Butoh dance in the Americas through a focused look at key artists, producers, and festivals in the United States and Mexico. This is the first book to gather these histories into one narrative and look at the development of American Butoh. From its inception in San Francisco in 1976, American Butoh aligned with avant-garde performance art in alternative venues such as galleries and experimental theaters. La MaMa in New York and the Festival Internacional Cervantino in Guanajuato both served to legitimize the form as esteemed experimental performance. A crystallizing moment in each of the three locations—San Francisco, New York, and Mexico City—has been a grand-scale festival featuring prominent Japanese and numerous other international artists, as well as fostering local communities. This book stitches together the flow of people and ideas, highlights the connections in the Butoh diaspora, and incorporates interviewee perspectives regarding future directions for the genre in the Americas.

This volume analyses the nature of the mime art of Deburau and of the pantomime performances of the Théâtre des Funambules in Paris in the context of Romantic art, literature and socio-political thought. Deburau and the Théâtre des Funambules are characteristic of Romantic art in that they are closely associated with certain aspirations for social reform, even revolution. Deburau was an iconic figure for intellectuals such as George Sand who effectively considered him to be part of the ‘poète-maçon’ movement. Edward Nye examines this fascination as well as the myth which developed from it. With its unique framing in art, literature and politics, this book is a must read for undergraduates and postgraduates in theatre, literary studies and the Romantic period.