If Colors Could Be Heard: Narratives About Racial Identity in Music Education is a platform of by and for People of Color who are music educators artists activists and students. For this book we asked authors to consider their race and ethnicity as an intimate and essential part of their music learning making and teaching.



The narratives in this collection include tales of being a music student stories of growing up and finding one’s place in musical worlds and accounts of teaching students about race ethnicity culture and identity. The chapters in this book are not research studies unless explicitly stated by the author.



Instead the chapters in tandem represent a stunning mosaic with shades of melanated skin that will serve as a scholarly picture that represents a portion of music education in the United States. Here you will find self-told stories by people from the Global Majority—a term used to describe Black African Asian Brown Latin Dual-heritage and Indigenous people.

Architectural expressions resonant with Islamic traditions appear in diverse modes across the Americas from Andalusian-inspired colonial patios in Peru to the modern and contemporary patronage of immigrant communities in the United States and Canada. This volume examines the multiple manifestations of Islamic architecture that permeate the region’s built environment to invite an expanded framing of this architectural legacy via a hemispheric consideration of aesthetics narrative and patronage.

Chapters consider a broad range of topics from the migration of aesthetic traditions and construction techniques tied to the architectural forms of the Islamic world in the colonial “New World” to the direct contributions of modern and contemporary migrants in shaping a collective identity and the built environment.

By placing in productive dialogue sites that represent Islamic and Islamicate architecture across North and South America – two areas outside of the traditional conceptions of the Islamic world– this volume bridges transregional and transcultural gaps in the current literature.

The Handbook of Documentary is an important go-to resource for practitioners scholars and students in this burgeoning field. It tackles key topics and debates – from the role of documentary in post-truth culture to the rise of streaming giants (and the implications for national documentary cultures) and the shifting (increasingly hybrid) practices of documentary activism and the professionalization of impact. Featuring work by key figures in international documentary scholarship and talented emerging scholars the Handbook is a landmark publication for documentary studies in the twenty-first century.

The Handbook is broad in its scope incorporating historical theoretical empirical and practical scholarship. It is organized around ten key themes/debates: What and where is documentary (studies)?; Documentary in an Age of epistemic uncertainty; Documentary histories; Documentary and the Archive; Audio/Visualities; Documentary Relationalities; Beyond the Anthropocene?; Digital/documentary practices; Documentary and (new) politics?; A golden age? Documentary distribution and funding. Importantly the Handbook challenges the dominance of Western voices in documentary scholarship incorporating the voices and practices of practitioners from the Global South.

What happens to contemporary dance costumes when the show is over and their surrounding legacy slips from view? How might costumes be mobilised towards representational repair post-performance? Located within Lea Anderson’s choreographic archive this book charts a series of hands-on interventions with the fabric remains of her companies The Cholmondeleys and The Featherstonehaughs. Centred on practices of Disintegration Preservation Transaction and Display they offer provocative modes of engaging with the physical leftovers of performance the degrading of memory and legacy around pre-digital theatre work and the temporal material transitions of artefacts enduring outside of traditional museological contexts.



How might we regard these mercurial items? As precious relics to be protected in museum holdings ghostly harbingers of residual performance histories or inconvenient detritus? The book travels from props-makers’ studios to auction houses and galleries incorporating film-making artefact handling and curation along the way in lively dialogue with perspectives from dance history material culture sociology and performance studies. The choreographic archive is envisioned as repository of the awkward scattered remains of legacy blown apart into fragments. Smithereens which can if we allow them demand an alternative after-life that disrupts the vanishing inflicted on these costumes and the companies who danced in them.

The book traces the story of how a song recorded in 1981 by a young punk rock band from a cultural backwater on the English-Welsh border and released on a tiny independent record label became famous in a Yugoslavia formed in the image of Marshall Tito? Why was it 30 years before the members of the band found out? How did this ‘socialist’ country have one of the most vibrant punk scenes in the world?

Gloucester England 1981; multi-racial teenage street-punk band Demob recorded and released what would become their best known and most enduring song No Room For You. A rasping vocal told the story of the 1979 closure of a short-lived punk rock venue at a disused motel on the edge of the provincial city. Depending on your mind-set the lyrics were either a howl of rage at the injustice a wail at the loss or a love-song to an era.

More than three decades later the author – and Demob’s bass player in 1981 – set out to follow the song across a country that no longer exists. On the road he heard the life stories of the heroes of Yugoslavian punk and the punks themselves; from the Tito era through the disintegration and wars forced displacements and permanent exiles to today’s turbulent ‘reconstruction. Who were ’Tito’s punks’ and who are they now?

An unvarnished but also affectionate portrait of Yugoslavia in the years before its demise through to the present seen through the unlikely lens of punk and punk rockers. Part travelogue part history the book is both and neither of those things. Rather it is a mural and soundtrack of a journey through a time and place which no longer exists.

The latest addition to the Global Punk series from Intellect.

In the aftermath of the deliberate destruction of cultural heritage pursued by Islamist groups like ISIS many observers have erroneously come to associate Islamic doctrine and practice with such acts. This book explores the diverse ways Muslims have engaged with the material legacies of ancient and pre-Islamic societies as well as how Islam’s own heritage has been framed and experienced over time.

This is a new collection of articles previously available in issues of the International Journal of Islamic Architecture.

The tragically familiar spectacles of cultural heritage destruction performed by the Islamic State group (ISIS) in Syria and Iraq are frequently presented as barbaric baffling and far outside the bounds of what are imagined to be normative 'civilized' uses of the past. Often superficially explained as an attempt to stamp out idolatry or as a fundamentalist desire to revive and enforce a return to a purified monotheism analysis of these spectacles of heritage violence posits two things: that there is fact an 'Islamic' manner of imagining the past – its architectural manifestations its traces and localities – and that actions carried out at these localities whether constructive or destructive have moral or ethical consequences for Muslims and non-Muslims alike. In this reading the iconoclastic actions of ISIS and similar groups for example the Taliban or the Wahhabi monarchy in Saudi Arabia are represented as one albeit extreme manifestation of an assumedly pervasive and historically on-going Islamic antipathy toward images and pre-contemporary holy localities in particular and more broadly toward the idea of heritage and the uses to which it has been put by modern nationalism.



But long before the emergence of ISIS and other so-called Islamist iconoclasts and perhaps as early as the rise of Islam itself Muslims imagined Islamic and pre-Islamic antiquity and its localities in myriad ways: as sites of memory spaces of healing or places imbued with didactic historical and moral power. Ancient statuary were deployed as talismans paintings were interpreted to foretell and reify the coming of Islam and temples of ancient gods and churches devoted to holy saints were converted into mosques in ways that preserved their original meaning and sometimes even their architectural ornament and fabric. Often such localities were valued simply as places that elicited a sense of awe and wonder or of reflection on the present relevance of history and the greatness of past empires a theme so prevalent it created distinct genres of Arabic and Persian literature (aja’ib fada’il). Sites like Ctesiphon the ancient capital of the Zoroastrian Sasanians or the Temple Mount where the Jewish temple had stood were embraced by early companions of the Prophet Muhammad and incorporated into Islamic notions of the self. Furthermore various Islamic interpretive communities as well as Jews and Christians often shared holy places and had similar haptic sensorial and ritual connections that enabled them to imagine place in similar ways. These engagements were often more dynamic and purposeful than conventional scholarly notions of 'influence' and 'transmission' can account for. And yet Muslims also sometimes destroyed ancient places or powerfully reimagined them to serve their own purposes as for example in the aftermath of the Crusader presence in the Holy Land or in the destruction reuse and rebuilding of ancient Buddhist and Hindu sites in the Eastern Islamic lands and South Asia.

This volume presents thirteen essays by leading scholars that address the issue of Islamic interest in the material past of the ancient and Islamic world with essays examining attitudes about antiquarianism in the Islamic world from medieval times to the present.

Main readership will be among scholars graduate and undergraduate students researchers educators and academic libraries working or studying in the fields of the ancient world antiquities heritage and the Islamic world.

Much more than an archive these are the vivid still pertinent voices and messages of the pioneers worldwide.

The nineteen articles chosen by the editors of Applied Theatre Research represent key themes and elements from the early days of applied theatre that are still – and indeed now more than ever – relevant. They are all high-quality articles some of which were highly influential in their own time. All of them still have plenty to say to today’s applied theatre both in their own terms and sometimes in terms of how their publication influenced the development at the time of this still-expanding field or refracted it in ways that give us new insights with hindsight.

They have been arranged in sections according to some of the key themes – and problematic issues – that were discovered thought out and sometimes stumbled across by the pioneer writers in the collection. Each section is preceded by a critical editorial commentary on those themes besides thorough introductions to all the articles and in some cases re-evaluations. The editors have added substantial additional new material to the collection and in doing so bring their own applied theatre experience to bear on these themes as they raise general questions that are wide-ranging contemporary and urgent: from the vital and contested issues of power partnerships and the giving of voice through theatre to applied theatre’s proactive response to COVID-19 to the need to identify take account of and address the needs of all stakeholders in any applied theatre project. 

The articles are grouped in six sections covering areas such as diversity of geography community contexts forms of applied theatre and organizational factors that characterize applied theatre; the definition and nature of applied theatre; how the best intentioned projects could be compromised by any of the many opportunities for applied theatre to go wrong; opportunities for change it can offer and the incorporation of new media technologies and ethnographic performance two factors that have now become major preoccupations for our field particularly in the years since the articles were written. The final section recognizes that applied theatre has been around not for 30 years but for thousands and in countless cultures.

The editorial chapters have strong connections with the rest of the book but are written with the editors’ deep insights into the field and are sharp in their focus and context. The book offers useful insights into the start of applied theatre and its development as an area of practice and research. The chapter collection is relevant and includes influential names in the field who have contributed significantly to the development of applied theatre over time.

The primary market will be academics and advanced practitioners in applied theatre drama education and theatre studies – including the expanding fields of drama therapy theatre and health etc. It will also be useful for educators exploring creative pedagogy and drama in education strategies across the curriculum. 

It will be valuable introductory background reading for advanced undergraduate and post-graduate students in drama theatre studies and theatre arts performance studies and community theatre.

This book looks at the representation of female characters in French comics from their first appearance in 1905. Organised into three sections the book looks at the representation of women as main characters created by men as secondary characters created by men and as characters created by women.



It focuses on female characters both primary and secondary in the francophone comic or bande dessinée as well as the work of female bande dessinée creators more generally. Until now these characters and creators have received relatively little scholarly attention; this new book is set to change this status quo.



Using feminist scholarship especially from well-known film and literary theorists the book asks what it means to draw women from within a phallocentric male-dominated paradigm as well as how the particular medium of bande dessinée its form as well as its history has shaped dominant representations of women.



This is the first book to study the representation of women in the French-language drawn strip. There are no other works with this specific focus either on women in Franco-Belgian comics or on the drawn representation of women by men.



This is a very useful addition to both general discussions of French-language comics and to discussions of women’s comics which are focused on comics by women only.



As it is written in English and due to the popularity of comic art in Britain and the United States this book will primarily appeal to an Anglo-American market. However the cultural and gender studies approach this text employs (theoretical frameworks still not widely seen in non-Anglophone studies of the bande dessinée) will ensure that the text is also of interest to a Franco-Belgian audience.



With a focus on an art-form which also inspires a lot of public (non-academic) enthusiasm it will also appeal to fans of the bande dessinée (or wider comic art medium) who are interested in the representation of women in comic art and to comics scholars on a broad scale.

This collection discusses the innovative and experimental architecture of Israel during its first three decades following the nation’s establishment in 1948. Written by leading researchers the volume highlights new perspectives on the topic discussing the inception modernization and habitation of historic and lesser-researched areas alike in its interrogation. Inbal Ben-Asher Gitler and Anat Geva show how Israeli nation building in its cultural political and historical contexts constituted an exceptional experiment in modern architecture. Examples include modern experiments in mass housing design; public architecture such as exhibition spaces youth villages and synagogues; a necessary consideration of climate in modern architectural experiments; and the exportation of Israeli modern architecture to other countries.

In this book Anthony Shay examines the life and works of renowned choreographer Igor Moiseyev and his dance company. Formed in 1937 The Igor Moiseyev Dance Company have performed across the globe and are the first major Soviet dance group to perform in the United States. Through The Igor Moiseyev Dance Company dance became a vital diplomatic tool ballerinas replaced atom bombs and helped usher in a new era of cultural exchange formalized by an agreement signed by the United States and the Soviet Union. Through this book Shay explores the multiple lenses of spectacle Russian nationalism and the Cultural Cold War to describe and analyse the history of Moiseyev’s company and the shock that ‘innocent’ folk dance gave the American government. Blending academic study and personal anecdote Shay provides a nuanced analysis of Moiseyev’s importance and his place in the world of dance. This is the first English language study of Igor Moiseyev and his dance company.