New Books in Performing Arts

The
early twenty-first century ushered in a period of change in Bolivia.
The country welcomed its first Indigenous president, a new constitution,
and a profusion of laws that recognized individual music and dance
expressions as intangible cultural heritage. Using cultural heritage
lawmaking as a window through which to view the de-centered workings of the Indigenous-focused Plurinational Bolivian State, Heritage Fever: Law and Cultural Politics in a Decolonizing State
(Oxford University Press, 2025) by Dr. Michelle Bigenho and Dr. Henry
Stobart unpacks the myriad motivations for heritage making in this this
politically transformative moment. Heritage Fever reorients
UNESCO-driven heritage debates towards a different set of questions—a pivot the authors call “heritage otherwise.”

These
inquiries focus on how citizens use law to frame expressive culture and
engage their new state. Through grounded case studies, Bigenho and
Stobart reveal how competing claims over cultural expressions stimulate
aficionado research and produce an abundance of cultural activities.
Managing these productive conflicts often involves strategic uses of
scale within the country's new political autonomies, even as old-style
nationalisms lurk beneath a plurinational sheen. One case study highlights
imagined Indigenous autonomy as bolstered by decolonizing
historiography that predates the Plurinational State by several decades.

Privileging
the stories told by those who championed or who were bureaucratically
involved in the respective heritage-making campaigns, Heritage Fever's
research draws from the authors' combined fieldwork in Bolivia over the
last 30 years, recent multi-sited fieldwork conducted as a team, and
ethnographic interviews conducted with Bolivians involved in
heritage-making projects. Contributing to legal anthropology, critical
heritage studies, ethnomusicology, and anthropology of the state, Heritage Fever
looks beyond intellectual property frames, opens new perspectives on
archival thinking, reflects on decolonizing practices in expertise and
knowledge production, and uncovers the agency of mid-level citizens in a
decolonizing state.

This interview was conducted by Dr. Miranda Melcher whose book
focuses on post-conflict military integration, understanding treaty
negotiation and implementation in civil war contexts, with qualitative
analysis of the Angolan and Mozambican civil wars. You can find
Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts. 
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What happens when performance defies social and political boundaries? Performing Transgression: Crowds and Bodies in Heian Japan (Harvard University Press, 2026) offers
a new cultural history of non-elite spectacle in Heian Japan
(794–1185), uncovering how performances on the margins—boisterous
dengaku music and dance, daring sangaku acrobatics, and the infectious
lyrics of imayō songs—challenged and fascinated the aristocracy.

Ashton Lazarus reveals how these unruly arts were documented by the
very elites they unsettled, appearing in historical chronicles, diaries,
prose, poetry, and illustrated scrolls. More than mere precursors to
later forms like noh and kyōgen, these performances formed a dynamic
cultural force with real political impact. By tracing their influence
through literary studies, performance studies, and historiography,
Lazarus rethinks the interplay between politics, class, and culture in
Heian Japan.

Performing Transgression illuminates how acts of defiance
and creative expression resonate across time, offering fresh insights
into the ways performance bridges the vanished past and the present.
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In Female Art and Agency in Yugoslavia, 1971–2001 (Bloomsbury, 2024), Anja Foerschner offers a compelling exploration of the women artists, curators, scholars, and activists who shaped the cultural landscape of Yugoslavia and its successor states. Drawing on both original research and existing scholarship, she traces the emergence of the New Art Practice of the late 1960s and 1970s, highlighting the pivotal role of Belgrade’s Student Cultural Centre, where women were instrumental in forging a progressive artistic and curatorial vision.

Through insightful examinations of performance art, video art, and the development of feminist thought in Yugoslavia, Foerschner reveals how the region carved out a distinctive place within the international postwar avant-garde. Situating Yugoslav feminism in dialogue with Western and neighbouring contexts, she sheds new light on the complex intersections of art, politics, and social change. By exploring artistic responses to the breakup of Yugoslavia in the 1990s, and the enduring political dimensions of cultural production, this book invites readers to reconsider the legacies of activist art and their resonance in our present time.
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This panel discussion will explore the remarkable influence of Latin American music and dance on the culture of Yiddish speaking communities in the United States. Ronald Robboy will discuss Latin American musical influences upon Yiddish theater composers, including Sholom Secunda, Abraham Ellstein, and Alexander Olshanetsky; Sonia Gollance will discuss the popularity of dances like the Tango and Mambo in the Borscht Belt, as exemplified by movies like Dirty Dancing and Mamboniks; and Josh Kun will discuss the influence of Latin American music on post-war Jewish music and the influence of Jewish music on U.S. Latino/a artists.

This event forms part of Carnegie Hall’s Nuestros sonidos festival.

This panel discussion originally took place on March 10, 2025.
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Today’s guest, Krzysztof Rowiński, is the author of Failure Narratives Beyond Redemption: Twentieth Century Literature and Film
(Routledge, 2026). This book focuses on the concept of non- redemptive
failure, a type of failure that is not part of a larger narrative of
success or narrative redemption, with attention to how the concept
functions between literature, critical theory, and other fields.
Examining literature and film from mid- twentieth- century Poland,
Italy, and the United States, it traces productive effects of failure
which cannot survive into the future, yet have an important,
transformative impact in the moment in which they occur. The book
engages with the work of John Williams, Pier Paolo Pasolini, and Bruno
Jasieński, proposing a theory of failure at the intersection of literary
study, performance theory, and political thought. In discussing these
examples, the book examines the place of failure in the broader context
of modern and contemporary US American, Italian, and Polish literary and
cultural traditions.

Because of its interdisciplinary potential, this study might appeal
to readers in art history, philosophy, political theory, and other
fields within the humanities and social sciences. Failure Narratives Beyond Redemption
offers a framework that could not only spotlight the contribution of
literary studies to the topic, in the form of narrative analysis but
also become part of the theoretical apparatus for further research in
these fields.

Jane Hwang Degenhardt is Professor English at the University of Massachusetts Amherst. She is the author of Globalizing Fortune on the Early Modern Stage (Oxford UP, 2022) and Islamic Conversion and Christian Resistance on the Early Modern Stage (Edinburgh UP, 2012). She is also a co-editor of the academic journal English Literary Renaissance.
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