This book sets out to search for the Second World - the (post)socialist context - in dance studies and examines the way it appears and reappears in today's globalized world. It traces hidden and invisibilized legacies over the span of one century, probing questions that can make viewers, artists, and scholars uncomfortable regarding dance histories, memories, circulations and production modes in and around the (post)socialist world. The contributions delve into a variety of dance practices (folk, traditional, ballet, modern, contemporary), modes of dance production (institutionalization processes, festival-making and market logics), and dance circulations (between centres and peripheries, between different genres and styles). The main focus is Eastern Europe (including Russia) but the book also addresses Cuba and China. The book's historical examples make the reader aware, too, of the (post)socialist bodies' influence in today's dance, including in contemporary dance scenes. The (post)socialist context promises to be a prosperous laboratory to explore uncomfortable questions of legitimacy. Whose choreographic work is staged as a 'quality' dance production? Which dance practices are worthy of scholarly study? What are the limits of dance studies' understanding of what dance is or should be? In view of reclaiming the Second World through dance, this book thus probes questions that should be asked today but are not easy to answer; questions that dance practitioners, facilitators, critics, and researchers, including ourselves, are often not at ease with either. In doing so, the cracks of dance history begin to be sealed, and neglected dance practices are written back into history, provided with the academic recognition that they deserve.

Preface: name-finding -- Invitation: city of dance -- Aesthetic politics, magical resources. Why authority needs magic ; Privatizing ballet ; The discipline of becoming: ballet's pedagogy -- Delicious inventions. Female strong men and the future of resemblance ; Core steps and passport moves: how to inherit a repertoire ; When big is not big enough: on excess in Guinean Sabar -- Epilogue: embodied infrastructure and generative imperfection.

The postsocialist contemporary joins a growing body of scholarship debating the definition and nature of contemporary art. It comes to these debates from a historicist perspective, taking as its point of departure one particular art programme, initiated in Eastern Europe by the Hungarian-American billionaire George Soros. First implemented in Hungary, the Soros Center for Contemporary Art (SCCA) expanded to another eighteen ex-socialist countries throughout the 1990s. Its mission was to build a western ‘open society’ by means of art. This book discusses how network managers and artists participated in the construction of this new social order by studying the programme’s rise, evolution, impact and broader ideological and political consequences. Rather than recounting a history, its engages critically with ‘contemporary art’ as the aesthetic paradigm of late-capitalist market democracy.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Revolutionary Bodies is the first English-language primary source–based history of concert dance in the People’s Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China’s dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.

Sarah D. Phillips examines the struggles of disabled persons in Ukraine and the other former Soviet states to secure their rights during the tumultuous political, economic, and social reforms of the last two decades. Through participant observation and interviews with disabled Ukrainians across the social spectrum -- rights activists, politicians, students, workers, entrepreneurs, athletes, and others -- Phillips documents the creative strategies used by people on the margins of postsocialist societies to assert claims to "mobile citizenship." She draws on this rich ethnographic material to argue that public storytelling is a powerful means to expand notions of relatedness, kinship, and social responsibility, and which help shape a more tolerant and inclusive society.

Music has long been an avenue for protest, seen as a way to promote freedom and equality, instill hope, and fight for change. Popular music, in particular, is considered to be an effective form of subversion and resistance under oppressive circumstances. But, as Nomi Dave shows us in The Revolution’s Echoes, the opposite is also true: music can often support, rather than challenge, the powers that be. Dave introduces readers to the music supporting the authoritarian regime of former Guinean president Sékou Touré, and the musicians who, even long after his death, have continued to praise dictators and avoid dissent. Dave shows that this isn’t just the result of state manipulation; even in the absence of coercion, musicians and their audiences take real pleasure in musical praise of leaders. Time and again, whether in traditional music or in newer genres such as rap, Guinean musicians have celebrated state power and authority. With The Revolution’s Echoes, Dave insists that we must grapple with the uncomfortable truth that some forms of music choose to support authoritarianism, generating new pleasures and new politics in the process.

This book explores childhood and schooling in late socialist societies by bringing into dialogue public narratives and personal memories that move beyond imaginaries of Cold War divisions between the East and West. Written by cultural insiders who were brought up and educated on the eastern side of the Iron Curtain - spanning from Central Europe to mainland Asia - the book offers insights into the diverse spaces of socialist childhoods interweaving with broader political, economic, and social life. These evocative memories explore the experiences of children in navigating state expectations to embody “model socialist citizens” and their mixed feelings of attachment, optimism, dullness, and alienation associated with participation in “building” socialist futures. Drawing on the research traditions of autobiography, autoethnography, and collective biography, the authors challenge what is often considered ‘normal’ and ‘natural’ in the historical accounts of socialist childhoods, and engage in (re)writing histories that open space for new knowledges and vast webs of interconnections to emerge. This book will be compelling reading for students and researchers working in education, sociology and history, particularly those within the interdisciplinary fields of childhood and area studies. ‘The authors of this beautiful book are professional academics and intellectuals who grew up in different socialist countries. Exploring “socialist childhoods” in myriad ways, they draw on memories, and collective history, emotional insider knowledge and the measured perspective of an analyst. What emerges is life that was caught between real optimism and dullness, ethical commitments and ideological absurdities, selfless devotion to children and their treatment as a political resource. Such attention to detail and examination of the paradoxical nature of this time makes this collective effort not only timely but remarkably genuine.’ —Alexei Yurchak, University of California, USA