Theories of Art, Performance and Society in Aotearoa 4

Theories of Art, Performance and Society in Aotearoa, 4. The winds of international change affect Aotearoa. The discussion of Janinka Greenwood’s work in the last section spoke of the sense of excitement here with the Treaty of Waitangi, biculturalism and other matters. That may have been echoed, bolstered by decolonisation, the civil rights movement feminism and other international movements. Our next theoretical position is, I would argue, a radical, local step. While gay rights had developed internationally, in parts of the globe at least, in the 1990s- Simon Napier-Bell’s book, Black Vinyl, White Powder of 2002 being a good explication of this in the British music scene- Mika and the thesis on him by Hamilton is as good a contribution to transvestite expression as might be found anywhere. Mark Hamilton’s Canterbury University doctoral thesis is Martial Dance Theatre: A Comparative Study of Torotoro Urban Māori Dance Crew (New Zealand) & Samudra Performing Arts (India). Hamilton’s thesis is an excellent discussion of the contribution made by Mika and Torotoro and the challenges faced by them. The discussion of haka and bodily display makes this thesis striking and in many respects original. The thesis looks at ‘martial arts theatre’s masculinist potential and its contribution to the intercultural negotiation of identities’. Torotoro was a dance company that operated from 2000 to 2009. It started with Mika HAKA in 2001 in Auckland. Who was or is Mika? Hamilton says; ‘The ironic distance evident in Mika’s self-presentation might be considered a consequence of him growing up as a flamboyant gay Māori boy in a suburban Pākehā family.Mika was adopted at birth by a Pākehā couple who lived in a predominantly Pākehā town. Till he was eighteen his principle contact with Māori culture was through representations of Māori targeted at non-Māori viewers – materials comparable to the Adidas advert discussed in the thesis’ introduction.12 Mika has not visited his birth father’s marae and he lives and works without a specific tribal affiliation. Mika stands outside of usual Māori hierarchies and has no elders to whom he is obliged to defer when creating his representations of Māori culture. This made him the sole authority under which Torotoro worked when performing Mika HAKA. On the one hand, Mika’s adoption separated him from marae life and tribal culture, but at the same time his dark skin invited people to identify him as Māori and not Pākehā. In addition, his homosexuality further distanced him from the heteronormative orders of both Māori and Pākehā society. Mika’s persona in Mika HAKA was the product of a twenty-year performing career that staged, and largely celebrated, his experiences of not belonging and of always being the Other. Mika HAKA invited Torotoro to join Mika in this project, and the creation of stage personae similarly keyed. Mika’s stage persona queers both his gender and ethnicity. He presents male and female, and Māori and non-Māori attributes.’ 2012: 111-112 Who were in Torotoro? ‘Certainly, the company’s processes of casting and performance were not guided by the particularities of tribal affiliation which Papesch identifies as the factor that authenticates kapa haka as a valid expression of Māori identity (Papesch 2006:37). Torotoro operated without tribal affiliation, uniting simply as ‘Māori’.’ 2012: 111-112 Hamilton is interested in looking closely at martial arts; ‘Indeed, the examples of contemporary martial dance theatre that this thesis explores might more accurately be called ‘martial arts dance theatre’. In part, performers in these productions present ‘as’ dance theatre the codified and ritualised movements that create the drills and displays intrinsic to their hereditary martial arts. This invites consideration of the ways in which these apparently combative disciplines might be considered always already aesthetic and expressive forms, and one task of this thesis is to elaborate new understandings of what the ‘martial arts’ are.’ Cf 2012: 1-30 In ‘Hongi’ Torotoro shifts back and forth between martial movements that prevent a challenge to their audience and dance movements that invite and welcome their gaze. Hamilton sees this as both confrontational and inviting; ‘The dancers’ minimal clothing might also be seen to contribute to the confrontational-inviting tone of their performance, for it displays their well-toned bodies in a way that might be seen underline their martial readiness but also to offer a potentially erotic spectacle. What is more, when a difference of ethnicity, or race, distinguishes the companies from their audiences this might be seen to contribute additional tensions and ambiguities to the bodily spectacle created in their martial dance theatre.’ 2012:13 There are juxtapositions of wero and haka and ‘the globalised form of breakdance’. The eye contact in Torotoro’s interaction with their audience seems at times imperious and at times compliant. Hamilton refers to Grotowski and Zavilli, to an ‘aesthetic inner bodymind’. This compares with Mazer’s discussion, considered below, of the rehearsals of Kapa Haka where she refers to a memorialisation of Maori matters, internalisation of identity through dance or as seen in dance. There are some extremely interesting things in this thesis such as the discussion of space, audience and internalisation; ‘Torotoro and Samudra’s martial dance theatre makes theatrical performance from the movements of the intimidation displays and pattern practices that are intrinsic to their Māori and Malayā i martial arts. Training in such activities initially requires practitioners to master combative movements in the fixed order and rhythmic and spatial arrangements prescribed by their teachers. Most significantly, like dance theatre performances, these intimidation displays and pattern practices are drilled while facing an empty space – a space later occupied in ritualised contexts and theatrical settings by witnesses and audiences with varying expertise about Māori and Malayāḷi martial arts. As such – advancing Klens-Bigman’s suggestion that kata are dramatic scenaria – Torotoro and Samudra’s incorporation of intimidation displays and pattern practices in their martial dance theatre creates martial ‘soliloquies’.’ 2012; 37 And then there are the possible reasons for the appeal of the show to overseas audiences outside of erotic or martial considerations; ‘Participating in Mika HAKA can be seen to have engaged Torotoro in a process of self-exoticisation, because the allure of their difference from non-Māori audiences was the principal focus of their martial dance theatre. Indeed, their martial dance theatre might be seen as the vehicle through which Mika endeavoured to teach them his use of self-exoticising and self-eroticising performance as a means of self-empowerment. In particular, Mika can be seen to have encouraged Torotoro to indulge Eurocentric erotic fantasies about exotic natives.’ cf2012: 30-50: Hamilton brings a good mix of local and international writing to bear on his subject; ‘In Pacific Performances Balme speaks of how traditional performance – especially that created for presentation to foreign audiences – often engages in a temporal ‘freezing’ which suggests that quintessence of the culture being staged is located in the past and not the present. Balme connects this phenomena to James Clifford’s “salvage paradigm,” through which certain schools of ethnography “desire to rescue ‘authenticity’ out of destructive historical change” (Balme 2007:186). Balme also considers how such cultural freezing might be seen as part of the ‘invention of tradition. .According to this thesis, varied in different nuances by MacCannell, Culler, Urry, and Frow, the condition of alienation constitutive of modernity [...] has bred as its antithesis the ‘invention of tradition’ and the increasing priority placed on authenticity in objects, peoples and places apparently located outside the realm of modernity (Balme 2007:187).’ 2012; 108 We are considering the equation or otherwise of contemporary society and dance. Hamilton points out that in When the Body Becomes All Eyes Zavilli notes that Kalarippayattu achieved its contemporary totemic value during the founding of the modern state of Kerala. Hamilton compares this to references to the writing of King and Walker about Te Puea and Ngata in the 1930s and talks about the connections between contemporary consciousness and performance (2012: 23). Coming back to space, stage and audience; ‘When the creation of Mika HAKA began he was performing sexually provocative solo cabaret at arts festivals in Australasia and the UK. Mika HAKA targeted the popular British market in a bid to change Mika’s international performance career from that of a queer artist addressing arthouse audiences to a main house performer addressing a general audience.’ 2012: 24 Hamilton is talking about a meshing of attractions and support for Mika from a variety of sources; ‘A representative of the late Māori Queen attended the debut of Mika HAKA, and The Ministries of Social Development and Māori Development supported Torotoro’s development. The UK tours were funded by Trade New Zealand – a government enterprise agency.performance might be seen to have created a work with an interracial exotic erotic appeal. MikaHAKA secured domestic support for its revised image of New Zealand’s bicultural identity while also engaging Eurocentric fantasies about native men. What might this dual appeal suggest about the persistence of imperialist values in New Zealand and the UK?’ 2012: 27 Hamilton refers to Brendon Hokowhitu and to Irving Goffman as he considers athletes and dancers, notably Goffman’s dancers and boxers and their ambiguities. This argument goes that boxers and tennis players do bodily display only on an incidental basis while dancers do it on an intentional basis. This may be a tad disingenuous when it comes to people like Sonny Bill Williams, the rugby star with the great body but in general the argument holds; sports people have to be good at their specific tasks regardless of looks. Hamilton sees wero and haka as in between and agues that Mika frames wero and haka in terms of bodily display, as something more than intimidation and more like dancing than boxing. On gender and performance; ‘It is pertinent here to acknowledge that this thesis’ focus on male dancers perpetuates the bias observed in contemporary martial dance theatre productions. Women perform in the genre, but they are outnumbered by the men and have limited roles: the genre’s focus is on the men’s performance. Mika HAKA largely duplicates the gender roles of kapa haka. During haka the women give centre stage to the men, but they are prominent in the lyrical action songs and poi items (dances with balls on string). When the company dances in unison the movement vocabulary is based on wero, haka and breaking, all idioms conventionally gendered as masculine. In search of commercial success Mika cast women in Mika HAKA to accommodate the gaze of male heterosexual audience members, but significantly the production features no male-female partner dances.’ 2012: 49 And then; ‘Moreover, the productions’ potential to affirm gender norms is destabilised when the women step aside and leave the men centre stage. The heterosexual male erotic gaze their presence invites may potentially fall on the men– highlighting the homoerotic potential of their performance, and the potential slippage from homosocial identification to homosexual desire that is present in martial dance theatre.’ 2012: 53 Intentionality runs right through all discussions of identity considered here. One thinks of Mazer’s earthquake function discussed below. Hamilton takes the reader from dance to race, to Butler, Lee and identity; ‘Butler’s theorising about performativity has informed analysis of ethnic and racial identity. In the 1999 preface to her book Gender Trouble: Feminism and the Subversion of Identity Butler says:; ‘the question to ask is not whether the theory of performativity is transposable to race, but what happens to the theory of performativity when it tries to come to grips with race (Butler 1999:xvi).’ 2012: 39 In her 2001 journal article “Bodies, Revolutions, and Magic: Cultural Nationalism and Racial Fetishism” Josephine Lee adapts Butler’s theorising of gender as the legacy of sedimented acts to explore race as a comparable performative construct. Lee says: ‘The particular ways in which we perceive, interpret, and value racial difference in the United States today can be understood as a kind of ‘performance’ that takes its significance from not one but, in fact, many layers of social meaning, that history has deposited on bodies (Lee 2001:72).’ 2012: 40 Hamilton seems to be asking whether such representation of wero and haka renders it impotent and nostalgic. In a central part of his argument Hamilton refers to Goffman’s idea of keying. The example here is wero or haka where, as Hamilton sees it there is a rekeying involved. When wero is performed overseas there is a ‘keying that is tangential to this history of keying’. And then; ‘Mika HAKA is a rekeying of the theatrical staging of the wero and haka presented in kapa haka. Whereas kapa haka is seen to stage and preserve inherited Māori culture for Māori benefit, Mika HAKA maximises on the appeal of these martial practices for non-Māori Western audiences. In this way, Mika HAKA constructs sensational images of Māori men by elaborating upon three largely disavowed aspects of kapa haka: the presentation of Māori performers as Other to New Zealand’s European settlers; the use of cultural syncretism to create a performance that communicates across this stated cultural divide (and cultural differences within Māori society today); and the potentially (homo)erotic display of the male Māori body that is created by the haka. By exaggerating these aspects, Mika HAKA might be seen to expose how this traditional performance practice – and the martial masculinity it promotes – is a form of exotic-erotic mimetic capital shaped through intercultural interactions, rather than a spontaneous and unchanging expression of Māori indigenous identity.’ 2012: 30-34 Where there is instability and indeterminacy there might be ‘serial rekeying’. Following Goffman (1975: 159) the idea is that once keyed then rekeying might follow and ‘each subsequent rekeying would seem to require less work’. And then there is the ‘negative experience’ when you can’t find the key for what you are doing. (cf 2012:34) Hamilton then walks through a tour of Huizinga (1949) and play, Bateson (1972) and frames and writers like Schechner (1993) who prefers the idea of nets rather than frames. Hamilton asks some good questions. How do we give frames, keys or nets to Mika and Torororo? Best refers somewhere to play fighting and one wonders about distinctions between real fighting, play fighting and ritual. The ‘He tama, Tu tama’ skit in concert parties of the sixties and seventies where people did hand slapping, stop-start routines seemed to me, at least to be part o a light heated or light relief type of theatre. I have never seen that ‘camped up’ but it was a feature of concert party activity where irreverence and asides were expected. Anyhow, coming back to this thesis it seems that if you play with keys or frames long enough then you are playing with play itself and Hamilton turns again to Goffman (1975:57) on this. Is it like wrestling or boxing on television where once you start to make it entertainment the process goes on, more and more quickly? Hamilton talks about fictional bites in martial arts after Bateson (Bateson1972:182 cf Hamilton 2012:35).. There is a gap between action and intention and Hamilton says the ‘participants deliberately present the idealised ethnically specific masculinities that wero and haka might be seen to sustain. And so we have a ‘genre formed by the perception of the audience rather than the action of the performers’. Hamilton then takes us through a discussion of the identity of the self and the consideration of Butler here is fascinating; ‘self as arising through the performance construction of gender’. The idea here is that gender is constructed through repetitive performance (cf 2012: 30-39). At this point a wider set of questions occur about Hamilton’s work. Quite rightly Hamilton is talking about identity and dance. That is his thesis topic. But it brings things up short to ask whether identity is always found through the body. In the wero and haka examples that Hamilton is using this all goes back to two traditions both involving kapa haka. One is the tradition of performing for tourists coming out of Rotorua and the other is the tradition starting with Ngata and Te Puea of retaining their reo and tikanga through concert party work involving tours and participation in major state events like welcoming dignitaries. But since the late nineties there has been the Maori Radio and then television as ways to learn these things. There are books. There are Maori language classes. There is the Kohanga Reo. But for a period say from the 1930s until the late eighties dance and dance related activity, kapa haka wero, powhiri and the like were major vehicles of cultural and language transmission as they still are even though new vehicles like radio, television, the internet, books and the classroom have appeared. Dance as a key or critical vehicle for cultural retention in the absence of other strategies is not really considered by Hamilton or other writers in the set of readings discussed. I learnt Maori from people in the bush who did not do a lot of kapa haka until cultural festivals started in the early 1970s and even then some of the people I knew were a bit shy of it all. That was an exceptional situation though and most people wanting to learn Maori were victims of language loss with only the world of dance and performance to turn to through Kapa Haka and hui. There is an equation here of body and language, body and culture. People did not lean the reo by sitting at home and writing letters, they gathered in groups and got to know their language by singing it, chanting it and writing songs and chants for their groups to take on tour where they would hear others who had been through similar processes. So somehow in Aotearoa there had been a fusion of body, dance, group activity, language and culture and Mika and Torotoro performed in this context. And as part of this there are issues of vocabulary and Hamilton picks up on this; ‘In his monograph Haka! The Dance of a Noble People Tīmoti Kāretu (quoting haka exponents Ngāpō Wehi and Kīngi Īhaka) states: Without the word there is no haka and this is the one aspect of contemporary haka that needs attention [...] The language, which is fundamental to the issue, is becoming peripheral while the actions and movements, the peripheral elements, are becoming the prime focus (Kāretu 1993:83-4). Kāretu’s proposition is somewhat challenged by Nathan Mathews article “The Physicality of Maori Message Transmission,” which offers a detailed examination of the extensive movement vocabulary of haka and its expressive value (Mathews 2003). He argues that physicality should be attributed greater importance in the analysis of how haka communicates.’ 2012: 86 Group learning in through oral interaction developed at the same time as Kohanga Reo in the 1970s with the rakau method. Along with kappa haka work and hui a lot of the learning takes place in face to face interaction. Coming back to Mika and Torotoro, Hamilton suggests that their productions rekey wero and haka ‘in ways that emphasise their aesthetic and theatrical dimensions and their presentation of images of ideal men’. Hamilton quotes Dyer as he considers ‘doing’ and ‘looking’ as masculine and ‘displaying’ and ‘being seen’ as feminine. This is an analysis that stretches back to Berger and compares with Laura Mulvey’s work of 1989 (2012: 46-7). Importantly Hamilton notes the complexities in this as he quotes Thomas’ work of 1993 suggesting that men too are objectified through the gaze. Hamilton asks the question how their ‘doing’ of martial actions might have contained notions of the male dancer as a passive figure on display.’ 2012: 46-7 Hamilton follows a suggestion from Burt that male dancers disturb western gender norms. He refers to heteronormative Eurocentric masculinity and to drawing the homosocial back into the realm of desire. And then there is the use of break dance or breaking. There is the idea of an international alliance of non-white people for Maori and Pacifika people through breaking. (2012: 51). Hamilton quotes Balme and Grenblatt to the effect that there is always something familiar in the exotic (otherwise it would be too far away to register) and applies the idea of rekeying and new signs to that. There a tension between the too exotic ad the too easy. Balme talks of things being non-decodable and sets out a contrast between alterity and familiarity, savagery and aesthetics (cf 2012: 81). Along with this Hamiton refers to Torgovnick (1990:8) in regard to ‘primitivist tropes’. Through these discussions the notions of camp and of flirtation are interspersed. In an interesting discussion Hamiton compares the role of the kaea or leader of the wero and haka and the role of the b-boy of the breaking group in Torotoro’s work (2012: 51). There is something of a contradiction in the highly masculine actor in haka and wero and the idea of a female primitivist world following Torgovnick (1997:14). Are things already rekeyed, already queered even before Mika sets out his work? Torgovnick (1990: 18) sets out a contrast between the dangerous and violent and the mystical and spiritual in the primitivist world. Hamilton puts this as follows; ‘In the UK Mika HAKA and The Sound of Silence became disconnected from their homeland cultures. They became, to a degree, elemental spectacles of foreign male bodies. These productions in such contexts evoke essentialist primitivist tropes about the exotic figure of the ‘native’ man. The companies’ might be seen to indulge or subvert the imperialism implicit in these imaginings.’ 2012: 56, 76 Throughout this fascinating thesis Hamilton drops a number of questions or, rather, a lot of questions occur to the reader. Does Kapa Haka perpetuate indigeneity? Hamilton discusses Lee’s fetishes and makes one think about wero and haka as exported (2012: 52). There is the assumption in the thesis that that Te Matatini, compared to other activities is not commercial. But it is a big operation benefitting the host region involving Maori radio and television. There are the two histories, high and low of Rotorua and Ngaruawahia regarding kapa haka. Commodificatpon obviously occurs in Rotorua but there are other considerations such as the survival of culture and language. The contrast between Mika and Matatini is familiar. With Mika HAKA is there something of a low local culture working as high culture in Edinburgh? There is Tania Kopytko’s Breakdance as an identity marker in New Zealand and she suggests (1986:26) breakdance is a ‘readily available connection to an international Black identity’ (Hamilton 2012:86). Mika saw breaking as a way to break up traditional haka and wero for the Edinburgh audience. Breaking functioned as a cool bridge with street cred. And then there is a quote from Banes; ‘Banes says breaking involves: “using your body to publicly inscribe your identity on the surface of the city, to flaunt a unique personal style within a conversational format” (Banes 2004:14)’ 2012: 53 Hamilton proceeds from Banes to Balme and other theorists; ‘My analysis of Mika HAKA and The Sound of Silence asks how their rekeying of martial arts and dance forms, in particular in the UK, might create a sexualisation and commodification of the identities articulated by these corporeal styles. In his introduction to Looking Out: Perspectives on Dance and Criticism in a Multicultural World David Gere proposes the need for examination of “the aesthetics of transfer” – that is, the implications of the presentation of non-Western dance on proscenium theatre stages in the West. In his book Pacific Performances: Theatricality and Cross-Cultural Encounters in the South Seas, Christopher Balme’s analysis of intercultural performance determines some of the implications (also noted by Lee) involved in such “cross-cultural contacts” (Balme 2007:7).’ Cf 2012: 55 And on to primitivism where things are; ‘exempt “from the repression of sexuality and control of aggression” that constrain Western life (Torgovnick 1990:228). Moreover, the companies’ martial dance theatre interact with tropes that, says Torgovnick in her book Primitive Passions: Men, Women, and the Quest for Ecstasy, code the primitive as the feminine collective counterpart to masculine individualistic civilisation (Torgovnick 1997:14)? Their performances emphasise the “double valance” that identifies the primitive as “both violent and spiritual” (Torgovnick 1997:14).’ 2012: 56 It is probably important to consider eros and money at some stage. Hamilton only does this in passing but obviously Mika is in the zone of the male stripper, the world of clubs, pole dancers and so on; ‘Furthermore, Torotoro’s performance in Mika HAKA has a pronounced erotic potential, in that the dancers are deliberately costumed to display their athletic bodies in a titillating way, and they do so alongside Mika’s own overtly sexualised and queer performance. Torotoro’s martial dance theatre might be seen to theatricalise wero, haka and breaking to create a sexualised performance with a commercial value.’ Cf 2012: 48-50 And then there is the Other; ‘Contemporary Māori culture necessarily negotiates with the ethnically (and racially) determined Othering that the bicultural structure of New Zealand sustains.’ And on to identity; ‘As such, Māori identity is necessarily anchored to the period when European settlement began in particular. As such, though the kapa haka that Te Matatini promotes could be seen to promote a nativist Māori cause, it could also be seen to perpetuate notions of indigeneity that are in keeping with the neocolonial agenda of New Zealand’s government. Paradoxically, however, perhaps in doing so kapa haka successfully contributes to the Māori participation in New Zealand’s political discourse, in as much that Māori find their strongest voice when addressing the Pākehā establishment through a historicised identity.’ We might make connections between Mika and the sapeur- the dress conscious male out of Brazzaville- or the French flaneur or Tame Iti and his dress in court as well as his dance activity. Is the significance of Mika a look, an air, a ‘dress’ more than a matter of, say, wero, haka and breaking? There is a home and away aspect to the thesis where Hamilton considers the knowing local audience and the unknowing audience or the audience that okows something else. Tourism in its various shades runs through this. The audience in Edinburgh is as foreign as the tourists in Rotorua. Hamilton draws on Shennan (1984:5) to speak of Auguste de Sainson’s visit to New Zealand in the 1820s when he compared haka to a lovers’ contest and it was unclear to him whether the performers were celebrating victory or love (2012: 91). Hamlton refers to Solomon-Godeau and talks about an ephebe, an ambisexual figure. Moore (1988:33 talks about the’ codification of men via gay discourse enables a female erotic gaze. The phrase ‘ephebic cohort’ rings true (2012: 95). Hamilton draws a contrast between the historicized local tradition of haka and wero and suggests a vertical axis for this as compared to a horizontal axis for breaking stretching to a contemporary global situation. Hamilton turns to Belich’s four fold classification of Maori as Red, Brown, Black or White (2006:370). He talks about Papesch’s combination of Kapa Haka and tribal identity (2012:104). Through these and his own lenses Hamilton, at the end, sees Mika as exploring intercultural and intergender identity, playing to European fantasies of native ephebes. He suggests Kapa Haka rekeys a threat into a thrill. Mika is living in a ‘space of otherness’. A selection from Hamilton’s reading list is offered below. Here are some correspondences with that of Greenwood. Zarrilli and others are included by both in their bibliographies. Elsewhere (Cleave 2013) I have noted the quality of superviso that this thesis might have had but, of course at the end of the day the superb contribution that has been made is Mark Hamilton’s. As suggested at the beginning of this article it may be that Mark Hamilton is breaking new ground with this thesis. One would need to know the literature on transvestism thoroughly and I do not but the idea that the martial arts may be used to express the things that Hamilton speaks of in his discussion of Mika above seems original, Also, Hamilton brings together a set of analytical threads in a refreshing and sometimes exhilarating way. Recently a film called Matariki about a transvestite Pacific Islander who plays netball has appeared and it may be that Hamilton has provided theory for more than dance. Bibliography Allen, Matthew Harp. 1997. Rewriting the Script for South Indian Dance. TDR 41 (3):63-100. Anderson, Aaron D. 2001. Asian Martial Arts Cinema, Dance, and the Cultural Languages of Gender. Asian Journal of Communication 11 (2):58-78. Armstrong, Stephen. Cabaret Muscles in on the Act. The Times. 9 July 2006. [cited: 14 August 2010.] Balakrishnan, P. 1995. Kalarippayattu: The Ancient Martial Art of Kerala. Trivandrum: C.V. Govindankutty Nair Gurukkal. Bagenal, Flora. 2008. Enter the Dragon. The New Statesman. 08 May 2008. [cited: 3 April 2010.] Balme, Christopher. 1996. Between Separation and Integration: Intercultural Strategies inContemporary Maori Theatre. In The Intercultural Performance Reader, edited by P. Pavis. London; New York: Routledge. ———. 2007. Pacific Performances: Theatricality and Cross-Cultural Encounters in the South Seas. New York: Palgrave Macmillan. Banerji, Projesh. 1983. Erotica in Indian Dance. New Delhi: Cosmo Publications. Banes, Sally. 2004. Breaking. In That's the Joint!: The Hip-Hop Studies Reader, edited by M.A. Neal and M. Forman. New York: Routledge. Barba, Eugenio. 1995. The Paper Canoe: A Guide to Theatre Anthropology. London; New York: Routledge. Barba, Eugenio, Richard Gough, Nicola Savarese, and International School of Theatre Anthropology (Holstebro Denmark). 1991. A Dictionary of Theatre Anthropology: The Secret Art of the Performer. London; New York: Published for the Centre for Performance Research by Routledge. Barba, Eugenio, and Ferdinando Taviani. 1986. Beyond the Floating Islands. New York: Paj. Bateson, Gregory. 1972. Steps to an Ecology of Mind. New York: Ballantine Books. Behl, Benoy K. 2008. Beauty of Devotion. Frontline: India's National Magazine 25 (10): 64-73 Belich, James. 1994. "Race and New Zealand: Some Social History of Ideas." The Macmillan Brown Lectures, 1994. Berger, John. 1972. Ways of Seeing. London: British Broadcasting Corporation; Penguin. Best, Elsdon. 2001. Notes on the Art of War: As Conducted by the Maori of New Zealand, with Accounts of Various Customs, Rites, Superstitions, &c., Pertaining to War, as Practised and Believed in by the Ancient Maori. Auckland, NZ: Reed in association with the Polynesian Society. Bharucha, Rustom. 1995. Chandralekha: Woman, Dance, Resistance. New Delhi: Indus. Bhansali, Sanjay Leela. 2007. Saawariya. India: Sony Pictures Entertainment/Columbia Entertainment Pictures. Boccadoro, Patricia 2008. Spartacus and his Gladiator Slaves Battle Roman Legions at The Bolshoi. www.culturekiosque.com [cited: 19 August 2010.] Bordo, Susan. 1993. Unbearable Weight: Feminism, Western Culture, and the Body. Berkeley: University of California Press. ———. 1999. The Male Body: A New Look at Men in Public and in Private. New York: Farrar Straus and Giroux. Bose, Mandakranta. 2001. Speaking of Dance: The Indian Critique. New Delhi: D.K. Printworld. Bourdieau, Pierre, and Loic Wacquant. 1999. On the Cunning of Imperialist Reason. Theory, Culture & Society 16 (1):41-58. Burt, Ramsay. 2006. The Male Dancer: Bodies, Spectacle, Sexualities. 2nd ed. London; New York: Routledge. Butler, Judith. 1990a. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. In Performing Feminisms: Feminist Critical Theory and Theatre, edited by S.E. Case. Baltimore: Johns Hopkins University Press. ———. 1990b. Gender Trouble: Feminism and the Subversion of Identity. 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