Modern Moves examines the movement of social dances between black and white cultural groups and immigrant and migrant communities during the early twentieth century. It focuses on Manhattan, a Black Atlantic capital into which diverse people and dances flowed and intermingled, and out of which new dances were marketed globally.

In 1921 Sam Rodia, an Italian laborer and tile setter, started work on an elaborate assemblage in the backyard of his home in Watts, California. The result was an iconic structure now known as the Watts Towers. Rodia created a work that was original, even though the resources available to support his project were virtually nonexistent. Each of his limitations—whether of materials, real estate, finances, or his own education—passed through his creative imagination to become a positive element in his work. In The Modern Moves West, accomplished cultural historian Richard Cándida Smith contends that the Watts Towers provided a model to succeeding California artists that was no longer defined through a subordinate relationship to the artistic capitals of New York and Paris. Tracing the development of abstract painting, assemblage art, and efforts to build new arts institutions, Cándida Smith lays bare the tensions between the democratic and professional sides of modern and contemporary art as California developed a distinct regional cultural life. Men and women from groups long alienated—if not forcibly excluded—from the worlds of "high culture" made their way in, staking out their participation with images and objects that responded to particular circumstances as well as dilemmas of contemporary life, in the process changing the public for whom art was made. Beginning with the emergence of modern art in nineteenth-century France and its influence on young Westerners and continuing through to today's burgeoning border art movement along the U.S.-Mexican frontier, The Modern Moves West dramatically illustrates the paths that California artists took toward a more diverse and inclusive culture.

Much theoretical and historical work engaged with the question of the "postcolonial" is built upon an imagined, unified premodern "Middle Ages" in Europe. One of the results of this has been that in recent years scholars in medieval and early modern studies have been critically assessing the uses of postcolonial and subaltern theoretical perspectives in their fields, and considering what their periods have to say to postcolonial theorists. This book offers a series of original essays that explore with specificity the methodological, textual, cultural, and historiographic moves required for postcolonial engagements with premodern times.

An exploration of what it means to be fabulous--and why eccentric style, fashion, and creativity are more political than ever Prince once told us not to hate him 'cause he's fabulous. But what does it mean to be fabulous? Is fabulous style only about labels, narcissism, and selfies--looking good and feeling gorgeous? Or can acts of fabulousness be political gestures, too? What are the risks of fabulousness? And in what ways is fabulous style a defiant response to the struggles of living while marginalized? madison moore answers these questions in a timely and fascinating book that explores how queer, brown, and other marginalized outsiders use ideas, style, and creativity in everyday life. Moving from catwalks and nightclubs to the street, moore dialogues with a range of fabulous and creative powerhouses, including DJ Vjuan Allure, voguing superstar Lasseindra Ninja, fashion designer Patricia Field, performance artist Alok Vaid-Menon, and a wide range of other aesthetic rebels from the worlds of art, fashion, and nightlife. In a riveting synthesis of autobiography, cultural analysis, and ethnography, moore positions fabulousness as a form of cultural criticism that allows those who perform it to thrive in a world where they are not supposed to exist.

From saved souls to saved wholes, from transactional to transformational, this book describes fifteen paradigm shifts in how gospel-driven Christian leaders are thinking about churches and ministry in today's world. The church was never designed to be a fortress for the righteous, but a flood of revolutionaries, bringing the Good News of the Kingdom to broken lives and broken communities in a broken world. Today, millions of Christians are awakening to the holism, or wholeness, of the gospel call, expanding their understanding of church from an institution to a movement. Recognizing the Church's past missteps and re-envisioning its role in modern society, Missional Moves, will fundamentally alter your understanding of the church and how its mission is lived out. Rob Wegner and Jack Magruder are church founders and Christian thought-leaders who will walk you through three distinct categories of changes that today’s churches have to understand in order to have the greatest, positive impact: The paradigm shift of our missional imagination. The centralized shift of our local church mission field. The decentralized shift of the global family of Christ. If this calling toward movement and transformation is to be realized, it will require some earth-shaking shifts in our concept of the evangelistic mission: "Missional Moves." This book provides a plan of action for your church that will empower you to unleash each member on a mission, both locally and globally.

With more than 400 illustrations, and detailed maps, this immense and deeply researched account of the history of chess covers not only the modern international game, derived from Persian and Arab roots, but a broad spectrum of variants going back 1500 years, some of which are still played in various parts of the world. The evolution of strategic board games, especially in India, China and Japan, is discussed in detail. Many more recent chess variants (board sizes, new pieces, 3-D, etc.) are fully covered. Instructions for play are provided, with historical context, for every game presented.

Marilyn Kallet's The Love That Moves Me is a collection of love poems inspired by Dante's Inferno, as well as by Rimbaud's relationship with Verlaine, and by Orpheus and Euridice. These days Beatrice and Dante find themselves in France, Indiana, and in East Tennessee, bickering at Nascar. Love is the unifying factor, song is the vehicle, descent is a constant, with re-emergence thankfully part of the narrative. Surrealist humor abounds as Benjamin Péret bursts some Romantic bubbles with his exclamations. This is a sensual and resonant collection offering hints of heaven in the love lyrics, touching upon a range of emotions and forms, from traditional pantoums to experimental verse.