Australians have been transported to an imaginary Spain from at least the 1830s, when cachuchas were first danced on the Sydney stage. In Take Me to Spain John Whiteoak explores the rich tapestry of Australians’ fascination with all thing Spanish, from the voluptuous sensuality of Lola Montez to operas featuring señoritas, toreadors and Gypsies, and from evocative silent and later Spain-themed Hollywood movies to the dazzlingly creative artistry of the flamenco dancers and guitarists who toured Australia in the 1960s and ’70s. Examining the diverse ways that Spanish music and dance have been mediated or hybridised to cater for Australian popular taste, this landmark study reveals how Hispanic traditions have become integral to the cultural history of the nation.

The Routledge Companion to Diasporic Jazz Studies recognizes the proliferation of jazz as global music in the 21st century. It illustrates the multi-vocality of contemporary jazz studies, combining local narratives, global histories, and cultural criticism. It rests on the argument that diasporic jazz is not a passive, second-hand reflection of music originating in the US, but possesses its own integrity, vitality, and distinctive range of identities. This companion reveals the contradictions of cultural globalization from which diasporic jazz cultures emerge, through 45 chapters within seven thematic parts: • What is Diasporic Jazz? • Histories and Counter-Narratives • Making, Disseminating, and Consuming Diasporic Jazz • Culture, Politics, and Ideology • Communities and Distinctions • Presenting and Representing Diasporic Jazz • Challenges and New Directions The Routledge Companion to Diasporic Jazz Studies traces how cultural dynamics related to "race", coloniality, gender, and politics traverse and shape jazz. Employing a cross section of approaches to the study of diasporic jazz as eloquently showcased by the entries, this book seeks to challenge the dominant jazz narratives through championing a more all-encompassing, multi-paradigmatic alternative. Bringing together contributions from authors all over the world, this volume is a vital resource for scholars of jazz, as well as professionals in the music industries and those interested in learning about the cultural and historical origins of jazz.

The islands of Chiloé, in southern Chile, have developed a distinct culture over several centuries, blending indigenous traditions and Spanish settler heritage to create a vibrant pattern of folklore, music, dance, and related creative practices. This cultural heritage has become an important aspect of the islands’ identity and is key to their successful marketing as a tourist destination. However, these elements exist in tension with new developments, most particularly the introduction of salmon aquaculture, which has disrupted traditional livelihood patterns and polluted the region’s marine environment. This volume analyzes the development of the islands’ distinct culture with a particular focus on music and dance. Key topics include the relation of tradition and modernity, the impact of tourism on cultural practice, and the relationship between social activism and music culture. The authors complement this focus with a discussion of their own creative engagements with the region through the production of the music album Viaje a Chiloé (2018) and through the work of the audiovisual ensemble The Moviolas (in 2015–2018).

Georges Bizet's Carmen and its staging of an exoticized Spain was progressively reimagined between its 1875 Paris premiere and 1915. This book explores Carmen's dynamic interaction with Spanishness in this cosmopolitan age of spectacle, across operatic productions, parodies, and theatrical adaptations from Spain to Paris, London, and New York.

This publication is unique in its comprehensiveness and recognision of cultural diversity and a broad notion of community. It covers the history of concert music, opera, ballet, music teaching, composition, instruments, venues, union activity, Aboriginal music, and all forms of popular and folk music and dance. It embraces the wide variety of immigrant influences from Europe, America and particularly the Pacific. There's sound art, computer music, electroacoustics, belly dance, debutante balls, subcultures, music videos and much more. Over two hundred academics, practitioners and private researchers from all parts of Australia and beyond are among this book's contributors.

Unaccountably, Percy Grainger has remained on the margins of both American music history and twentieth-century modernism. This volume reveals the well-known composer of popular gems to be a self-described ’hyper-modernist’ who composed works of uncompromising dissonance, challenged the conventions of folk song collection and adaptation, re-visioned the modern orchestra, experimented with ’ego-less’ composition and designed electronic machines intended to supersede human application. Grainger was far from being a self-sufficient maverick working in isolation. Through contact with innovators such as Ferrucio Busoni, Léon Theremin and Henry Cowell; promotion of the music of modern French and Spanish schools; appreciation of vernacular, jazz and folk musics; as well as with the study and transcription of non-Western music; he contested received ideas and proposed many radical new approaches. By reappraising Grainger’s social and historical connectedness and exploring the variety of aspects of modernity seen in his activities in the British, American and Australian contexts, the authors create a profile of a composer, propagandist and visionary whose modernist aesthetic paralleled that of the most advanced composers of his day, and, in some cases, anticipated their practical experiments.

In this ground breaking history of music-making in Australia, Dr John Whiteoak explores for the first time the importance of improvisatory musical practices in a country famous for its ingenuity and self reliance. Starting from the 1830s, the book explores the improvised performances of musicians in concert and in the circus, theatre and dancehall, in the cinema and the Church. It charts the influences both direct and indirect of African American music from the blackface minstrel show through ragtime to new forms of jazz. This provocative study, a heroic work of original research, is enhanced by a wealth of musical examples and contemporary illustrations.

The ultimate unreliable narrator takes readers on a thrill ride in this highly acclaimed novel. Prepare to grasp for truth until the very last page. Micah is a liar. That's the one thing she won't lie about. Over the years, she's duped her classmates, her teachers, and even her parents. But when her boyfriend Zach dies under brutal circumstances, Micah sets out to tell the truth. At first the truth comes easily. Other truths are so unbelievable, so outside the realm of normal, they must be a lie. And the honest truth is buried so deep in Micah's mind even she doesn't know if it's real. "Readers will get chills . . . [and] be guessing and theorizing long after they've finished this gripping story." -Publishers Weekly, starred review "[Micah's] suspenseful, supernatural tale is engrossing. . . . The chilling story she spins will have readers' hearts racing." -School Library Journal, starred review "An engrossing story of teenage life on the margins." -Kirkus Reviews, starred review An ALA Best Book for Young Adults A School Library Journal Best Book of the Year A Kirkus Reviews Best Young Adult Book of 2009

First published in New Zealand in 1957, Owls Do Cry, was Janet Frame's second book and the first of her thirteen novels. Now approaching its 60th anniversary, it is securely a landmark in Frame's catalog and indeed a landmark of modernist literature. The novel spans twenty years in the Withers family, tracing Daphne's coming of age into a post–war New Zealand too narrow to know what to make of her. She is deemed mad, institutionalized, and made to undergo a risky lobotomy. Margaret Drabble calls Owls Do Cry "a song of survival"—it is Daphne's song of survival but also the author's: Frame was herself misdiagnosed with schizophrenia and scheduled for brain surgery. She was famously saved only when she won New Zealand's premier fiction prize. Frame was among the first major writers of the twentieth century to confront life in mental institutions and Owls Do Cry is important for this perspective. But it is equally valuable for its poetry, its incisive satire, and its acute social observations. A sensitively rendered portrait of childhood and adolescence and a testament to the power of imagination, this early novel is a first–rate example of Frame's powerful, lyric, and original prose.

From the ivory tower to the barricades! Radical intellectuals explore the relationship between research and resistance.