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.

Why do we travel? What are we doing – and what do we imagine we are doing – when we leave the house, get on a plane and thereby step into globalism? The Importance of Elsewhere is a collection of essays, rooted in Randy Malamud’s own lifetime of travel, that addresses those questions and more. Setting today’s tourism in the context of eighteenth- and nineteenth-century experiences of travel and travel writing, he uncovers motives and appreciations of movement, difference and novelty that are deeply woven into the imperial enterprise – and that remain key drivers of our interest in and enjoyment of travel today. Marrying concrete case studies and lively personal anecdotes, The Importance of Elsewhere will be of interest to any global traveler who has ever stopped to wonder what it is that draws her to faraway places.

Horror films have for decades commanded major global audiences, tapping into deep-rooted fears that cross national and cultural boundaries in their ability to spark terror. This book brings together a group of scholars to explore the ways that this fear is utilized and played upon by a wide range of filmmakers. Contributors take up such major figures as Guillermo del Toro, Lars Von Trier, and David Cronenberg, and they also offer introductions to lesser-known talents such as Richard Franklin, Kiyoshi Kurosawa, Juan López Moctezuma, and Alexandre Aja. Scholars and fans alike dipping into this collection will discover plenty of insight into what chills us.  

Immigration Cinema in the New Europe examines a variety of films from the early 1990s that depict and address the lives and identities of both first generation immigrants and children of the diaspora in Europe. Whether they are authored by immigrants themselves or by white Europeans who use the resources and means of production of dominant cinema to politically engage with the immigrants’ predicaments, these films, Isolina Ballesteros shows, are unmappable – a condition resulting from immigration cinema’s re-combination and deliberate blurring of filmic conventions pertaining to two or more genres. In an age of globalization and increased migration, this book theorizes immigration cinema in relation to notions such as gender, hybridity, transculturation, border crossing, transnationalism and translation.

The late nineteenth and early twentieth century marked a tumultuous period in Poland’s history, with artists and writers working under difficult sociopolitical conditions. This book contains the first English- language translations of four plays by Polish writers in the modernist tradition: Snow by Stanislaw Przybyszewski, In a Small House by Tadeusz Rittner, Ashanti by Wlodzimierz Perzynski, and All the Same by Leopold Staff. Well-chosen and carefully annotated, these translations provide important insight into this underexplored area of Polish dramatic history and practice and facilitate greater understanding of its role in the development of European theater. Also included is a broad discussion of the characteristics of translation for the theater.

Issues in Curating Contemporary Art and Performance proposes that the concept of curating is a complex field of enquiry. By drawing together artists, curators, architects and cultural theorists, it proposes new approaches to curating and ways of developing critical enquiry about this increasingly expanding field. Focusing on pertinent issues in curating contemporary art and performance, the book's four parts examine forms of thinking in contemporary curating; curating and the interdisciplinary; as intervention and contestation; as a form of reconsideration of conventional museum spaces and as a problematic in 'emerging' practices. Beginning with a contextual 'map' of recent thinking on curating which examines some of the issues that have emerged in curatorial discourse over the last ten years, the volume then investigates curating as a research process and a form of collaboration in considering contemporary photography and video. The relationships between writing and curating, reception and encounter is proposed as part of a way of thinking as a critical spatial practice, and cross-disciplinary issues are considered in curating science / art exhibitions. Historical and contemporary perspectives examine issues of gender and marginalisation and diversity; and the particular issues relating to curating and practices such as animation, site-specific dance and computer-based work are discussed.

Despite critical acclaim and a recent surge of popularity with Western audiences, Iranian cinema has been the subject of lamentably few academic studies—and those have by and large been limited to the films and filmmakers most visible on the international film circuit. Iranian Cinema and Globalization seeks to broaden readers’ exposure to other dimensions of Iranian cinema, including the works of the many prolific filmmakers whose films have received little outside attention despite being widely popular within Iran. Combining theories of globalization and national cinema with in-depth, interdisciplinary analyses of individual films, this volume expands the current literature on Iranian cinema with insights into the social, and religious political contexts involved.

When art and design students are asked for statements to accompany their work, reflective journals, or critiques, reviews and essays, they often freeze up because they have to put their thoughts in writing. Although these students are comfortable expressing themselves visually, they lack confidence working with words. Inspiring Writing in Art and Design is a practical aid for those students who are disheartened or overwhelmed by having to write. Pat Francis provides short writing exercises and creative writing techniques for tutors to use and which will help art and design students develop their ability to verbally articulate the concepts and aesthetics behind their art. Using Francis’s examples, students will build confidence and skills that can help them succeed in presenting their work and themselves in, and beyond, the studio world.

Do pictures enhance the communicative power of text?



Our society is becoming a more visual culture day-by-day. This book offers detailed analyses of how to combine words with pictures to communicate clearly across cultural barriers.



While some information is better communicated by one kind of media than another, some information is communicated most effectively through a combination of media. This book presents a critical framework within which iconic communication systems can be developed to truly bridge linguistic and cultural gaps and to provide effective computer-based systems for conveying information on a global scale.



With valuable insights for the Information and Communication industries, this book draws on the work presented at several conferences on the subject and is designed primarily for graphic designers and human-computer interface developers as well as supplementary reading on degree courses in Information Technology.