Suchergebnisse

Title Page -- Copyright Page -- Table of Contents -- ACKNOWLEDGMENTS -- 1 Introduction: What's Wrong with Benevolence? -- 2 A Short History of (Imperial) Benevolence -- Part 1 Colonial Burdens? -- 3 Thomas Fowell Buxton and the Networks of British Humanitarianism -- 4 Settler Colonialism, Utility, Romance: E. G. Wakefield's Letter from Sydney -- 5 Benevolence, Slavery, and the Periodicals -- 6 ''This Nineteenth Century of Progress and Humanity'': The Life and Times of Frederick Weld (1823-1891) -- 7 Women, Philanthropy, and Imperialism in Early Nineteenth-Century Britain -- 8 Blixen's Africa: Wonderland of the Self -- Part 2 Contemporary Benefits? -- 9 From Benevolence to Partnership: The Persistence of Colonial Legacies in Aotearoa-New Zealand -- 10 Refusing Benevolence: Gandhi, Nehru, and the Ethics of Postcolonial Relations -- 11 Rescuing African Women and Girls from Female Genital Practices: A Benevolent and Civilizing Mission -- 12 Benevolence and Humiliation: Thinking Migrants, Integration, and Security in Europe -- 13 Hearts, Minds, and Wetlands: Stakeholders and Ecological Restoration from the Everglades to the Mesopotamian Marshlands -- Contributors -- Index

Indigenous artists frequently voice concerns over the commodification of their cultures, a process acutely felt by those living with the consequences of colonialism. This timely book, which features color illustrations throughout, examines the ways in which contemporary indigenous peoples in different parts of the Americas have harnessed performance practices to resist imposed stereotypes and shape their own complex identities. Essays by leading academics and practitioners show the vibrancy of a wide array of indigenous arts and cultural events in the United States, Mexico, Peru, Bolivia, Canada, Nicaragua, Ecuador, and Belize. As well as analyzing performance idioms, the authors trace the circulation of creative products and practices as commodities, as cultural capital, and/or as heritage. Making reference to aesthetic forms, intellectual property, and political empowerment, these essays weigh the impact of music, festivities, film, photography, theater, and museum installations among diverse audiences and discuss ways in which spectacles of cultural difference are remodeled in the hands of indigenous practitioners.