The Bearlake Athapaskan-speaking Indians of Canada's Northwest Territories have valued industriousness, generosity, individual autonomy, and emotional restraint for many generations. They also highly esteem "control" in human thought and behavior. The latter value integrates the others in a coherent framework of moral responsibility that persists as a central feature of Bearlake culture. Rushforth here provides an ethnographic description and analysis of these beliefs and values, which considers their relationship to examples of Bearlake social behavior.

This expanded new edition of Edith Clarke's groundbreaking work, My Mother Who Fathered Me includes material taken from her personal collection in the Jamaican archives, published reviews of the earlier edition and a foreword by Rex Nettleford.

Positions Revelation within an ancient Jewish context and demonstrates how the author used humor to resist Roman power.

Complementing Ethnomusicology: An Introduction, this volume of studies, written by world-acknowledged authorities, places the subject of ethnomusicology in historical and geographical perspective. Part I deals with the intellectual trends that contributed to the birth of the discipline in the period before World War II. Organized by national schools of scholarship, the influence of 19th-century anthropological theories on the new field of "comparative musicology" is described. In the second half of the book, regional experts provide detailed reviews by geographical areas of the current state of ethnomusicological research.

Trinidadian sitarist, composer, and music authority, Mangal Patasar once remarked about tãn-singing, "You take a capsule from India, leave it here for a hundred years, and this is what you get." Patasar was referring to what may be the most sophisticated and distinctive art form cultivated among the one and a half million East Indians whose ancestors migrated as indentured laborers from colonial India to the West Indies between 1845 and 1917. Known in Trinidad and Guyana as "tãn-singing" or "local-classical music" and in Suriname as "baithak gãna" ("sitting music"), tãn-singing has evolved into a unique idiom, embodying the rich poetic and musical heritage brought from India as modified by a diaspora group largely cut off from its ancestral homeland. In recent decades, however, tãn-singing has been declining, regarded as quaint and crude by younger generations raised on MTV, Hindi film music, and disco. At the same time, Indo-Caribbeans have been participating in their countries' economic, political, and cultural lives to a far greater extent than previously. Accompanying this participation has been a lively cultural revival, encompassing both an enhanced assertion of Indianness and a spirit of innovative syncretism. One of the most well-known products of this process is chutney, a dynamic music and dance phenomenon that is simultaneously a folk revival and a pop hybrid. In Trinidad, it has also been the vehicle for a controversial form of female empowerment and an agent of a new, more inclusive, conception of national identity. Thus, East Indian Music in the West Indies is a portrait of a diaspora community in motion. It documents the social and cultural development of a people "without history," a people who have sometimes been dismissed as foreigners who merely perpetuate the culture of the homeland rather than becoming "truly" Caribbean. Professor Manuel shows how inaccurate this characterization is. On the one hand, in the form of tãn-singing, it examines the distinctiveness of traditional Indo-Caribbean musical culture. On the other, in the form of chutney, it examines the new assertiveness and syncretism of Indo-Caribbean popular music. Students of Indo-Caribbean music and curious world-music fans alike will be fascinated by Professor Manuel's guided tour through the complex and exciting world of Indo-Caribbean musical culture. Author note: Peter Manuel, an authority on the music of both North India and the Caribbean, is Associate Professor in the Department of Art, Music, and Philosophy at John Jay College. He is the author of several books, including Popular Musics of the Non-Western World (Oxford University Press), Cassette Culture: Popular Music and Technology in North India, and Caribbean Currents: Caribbean Music from Rumba to Reggae (Temple University Press).

Words and Deeds is a collection of articles on rituals in South Asia with a special focus on their texts and context. The volume presupposes that a comprehensive definition of "ritual" does not exist. Instead, the papers in it avoid essentialist definitions, allowing for a possible polythetic definition of the concept to emerge. Papers in this volume include those on Initiation, Pre-Natal Rites, Religious Processions, Royal Consecration, Rituals which mark the commencement of ritual, Rituals of devotion and Vedic sacrifice as well as contributions which address the broader theoretical issues of engaging in the study of ritual texts and ritual practice, both from the etic and the emic perspective. These studies show that any study of the relationship between the text and the context of rituals must also allow for the possibility that different categories of performers can and do subjectively constitute the relationship between their ritual knowledge and ritual practice, between text and context in differing and nuanced ways.