Anya Peterson Royce turns the anthropological gaze on the performing arts, attempting to find broad commonalities in performance, art, and artists across space, time, and culture. She asks general questions as to the nature of artistic interpretation, the differences between virtuosity and artistry, and how artists interplay with audience, aesthetics, and style. To support her case, she examines artists as diverse as Fokine and the Ballets Russes, Tewa Indian dancers, 17th century commedia dell'arte, Japanese kabuki and butoh, Zapotec shamans, and the mime of Marcel Marceau, adding her own observations as a professional dancer in the classical ballet tradition. Royce also points to the recent move toward collaboration across artistic genres as evidence of the universality of aesthetics. Her analysis leads to a better understanding of artistic interpretation, artist-audience relationships, and the artistic imagination as cross-cultural phenomena. Over 29 black and white photographs and drawings illustrate the wide range of Royce's cross-cultural approach. Her well-crafted volume will be of great interest to anthropologists, arts researchers, and students of cultural studies and performing arts.

Some field sites have hosted anthropologists for as long as half a century. Chronicling Cultures collects articles from principals of many of the longest and best-known anthropology projects from four continents-the Kung, Harvard Chiapas Project, Gwembe Valley, Tzintzuntzan, and Navajo among others. These projects have brought a new understanding of change and persistence in communities over time. They have forced researchers to develop methods of involving local communities in research, of using data over generations of scholars, and of resolving ethical issues of research versus advocacy. The projects range from individual scholars who return ''home'' year after year to large-scale institutionalized projects involving many researchers and numerous studies. This volume will be an important addition to the literature on fieldwork, on the history of ethnology, and on ethnographers'' role in their host cultures.

Some field sites have hosted anthropologists for as long as half a century. Chronicling Cultures collects articles from principals of many of the longest and best-known anthropology projects from four continents—the Kung, Harvard Chiapas Project, Gwembe Valley, Tzintzuntzan, and Navajo among others. These projects have brought a new understanding of change and persistence in communities over time. They have forced researchers to develop methods of involving local communities in research, of using data over generations of scholars, and of resolving ethical issues of research versus advocacy. The projects range from individual scholars who return 'home' year after year to large-scale institutionalized projects involving many researchers and numerous studies. This volume will be an important addition to the literature on fieldwork, on the history of ethnology, and on ethnographers' role in their host cultures.

Some field sites have hosted anthropologists for as long as half a century. Chronicling Cultures collects articles from principals of many of the longest and best-known anthropology projects from four continents—the Kung, Harvard Chiapas Project, Gwembe Valley, Tzintzuntzan, and Navajo among others. These projects have brought a new understanding of change and persistence in communities over time. They have forced researchers to develop methods of involving local communities in research, of using data over generations of scholars, and of resolving ethical issues of research versus advocacy. The projects range from individual scholars who return "home" year after year to large-scale institutionalized projects involving many researchers and numerous studies. This volume will be an important addition to the literature on fieldwork, on the history of ethnology, and on ethnographers' role in their host cultures.

Anya Peterson Royce turns the anthropological gaze on the performing arts, attempting to find broad commonalities in performance, art, and artists across space, time, and culture. She asks general questions as to the nature of artistic interpretation, the differences between virtuosity and artistry, and how artists interplay with audience, aesthetics, and style. To support her case, she examines artists as diverse as Fokine and the Ballets Russes, Tewa Indian dancers, 17th century commedia dell'arte, Japanese kabuki and butoh, Zapotec shamans, and the mime of Marcel Marceau, adding her own observations as a professional dancer in the classical ballet tradition. Royce also points to the recent move toward collaboration across artistic genres as evidence of the universality of aesthetics. Her analysis leads to a better understanding of artistic interpretation, artist-audience relationships, and the artistic imagination as cross-cultural phenomena. Over 29 black and white photographs and drawings illustrate the wide range of Royce's cross-cultural approach. Her well-crafted volume will be of great interest to anthropologists, arts researchers, and students of cultural studies and performing arts.

A striking look at the death rituals of an indigenous community in North America.Powerful and beautifully written, this is the story of the Isthmus Zapotecs of southern Mexico and their unbroken chain of ancestors and collective memory over the generations. Mortuary beliefs and actions are collective and pervasive in ways not seen in the United States, a resonant deep structure across many domains of Zapotec culture.Anthropologist Anya Peterson Royce draws upon forty years of participant research in the city of Juchitán to offer a finely textured portrait of the vibrant and enduring power of death in the Isthmus of Tehuantepec of Mexico. Focusing especially on the lives of Zapotec women, Becoming an Ancestor highlights the aesthetic sensibility and durability of mortuary traditions in the past and present. An intricate blending of Roman Catholicism and indigenous spiritual tradition, death through beliefs and practices expresses a collective solidarity that connects families, binds the living and dead, and blurs the past and present.A model of ethnographic research and presentation, Becoming an Ancestor not only reveals the luminescent heart of Zapotec culture but also provides important clues about the cultural power and potential of mortuary traditions for all societies.

Anya Peterson Royce turns the anthropological gaze on the performing arts, attempting to find broad commonalities in performance, art, and artists across space, time, and culture. She asks general questions as to the nature of artistic interpretation, the differences between virtuosity and artistry, and how artists interplay with audience, aesthetics, and style. To support her case, she examines artists as diverse as Fokine and the Ballets Russes, Tewa Indian dancers, 17th century commedia dell'arte, Japanese kabuki and butoh, Zapotec shamans, and the mime of Marcel Marceau, adding her own observations as a professional dancer in the classical ballet tradition. Royce also points to the recent move toward collaboration across artistic genres as evidence of the universality of aesthetics. Her analysis leads to a better understanding of artistic interpretation, artist-audience relationships, and the artistic imagination as cross-cultural phenomena. Over 29 black and white photographs and drawings illustrate the wide range of Royce's cross-cultural approach. Her well-crafted volume will be of great interest to anthropologists, arts researchers, and students of cultural studies and performing arts.

Some field sites have hosted anthropologists for as long as half a century. Chronicling Cultures collects articles from principals of many of the longest and best-known anthropology projects from four continents-the Kung, Harvard Chiapas Project, Gwembe Valley, Tzintzuntzan, and Navajo among others. These projects have brought a new understanding of change and persistence in communities over time. They have forced researchers to develop methods of involving local communities in research, of using data over generations of scholars, and of resolving ethical issues of research versus advocacy. The projects range from individual scholars who return ''home'' year after year to large-scale institutionalized projects involving many researchers and numerous studies. This volume will be an important addition to the literature on fieldwork, on the history of ethnology, and on ethnographers'' role in their host cultures.

Some field sites have hosted anthropologists for as long as half a century. Chronicling Cultures collects articles from principals of many of the longest and best-known anthropology projects from four continents—the Kung, Harvard Chiapas Project, Gwembe Valley, Tzintzuntzan, and Navajo among others. These projects have brought a new understanding of change and persistence in communities over time. They have forced researchers to develop methods of involving local communities in research, of using data over generations of scholars, and of resolving ethical issues of research versus advocacy. The projects range from individual scholars who return 'home' year after year to large-scale institutionalized projects involving many researchers and numerous studies. This volume will be an important addition to the literature on fieldwork, on the history of ethnology, and on ethnographers' role in their host cultures.

Some field sites have hosted anthropologists for as long as half a century. Chronicling Cultures collects articles from principals of many of the longest and best-known anthropology projects from four continents—the Kung, Harvard Chiapas Project, Gwembe Valley, Tzintzuntzan, and Navajo among others. These projects have brought a new understanding of change and persistence in communities over time. They have forced researchers to develop methods of involving local communities in research, of using data over generations of scholars, and of resolving ethical issues of research versus advocacy. The projects range from individual scholars who return "home" year after year to large-scale institutionalized projects involving many researchers and numerous studies. This volume will be an important addition to the literature on fieldwork, on the history of ethnology, and on ethnographers' role in their host cultures.

Anya Peterson Royce turns the anthropological gaze on the performing arts, attempting to find broad commonalities in performance, art, and artists across space, time, and culture. She asks general questions as to the nature of artistic interpretation, the differences between virtuosity and artistry, and how artists interplay with audience, aesthetics, and style. To support her case, she examines artists as diverse as Fokine and the Ballets Russes, Tewa Indian dancers, 17th century commedia dell'arte, Japanese kabuki and butoh, Zapotec shamans, and the mime of Marcel Marceau, adding her own observations as a professional dancer in the classical ballet tradition. Royce also points to the recent move toward collaboration across artistic genres as evidence of the universality of aesthetics. Her analysis leads to a better understanding of artistic interpretation, artist-audience relationships, and the artistic imagination as cross-cultural phenomena. Over 29 black and white photographs and drawings illustrate the wide range of Royce's cross-cultural approach. Her well-crafted volume will be of great interest to anthropologists, arts researchers, and students of cultural studies and performing arts.

A striking look at the death rituals of an indigenous community in North America.Powerful and beautifully written, this is the story of the Isthmus Zapotecs of southern Mexico and their unbroken chain of ancestors and collective memory over the generations. Mortuary beliefs and actions are collective and pervasive in ways not seen in the United States, a resonant deep structure across many domains of Zapotec culture.Anthropologist Anya Peterson Royce draws upon forty years of participant research in the city of Juchitán to offer a finely textured portrait of the vibrant and enduring power of death in the Isthmus of Tehuantepec of Mexico. Focusing especially on the lives of Zapotec women, Becoming an Ancestor highlights the aesthetic sensibility and durability of mortuary traditions in the past and present. An intricate blending of Roman Catholicism and indigenous spiritual tradition, death through beliefs and practices expresses a collective solidarity that connects families, binds the living and dead, and blurs the past and present.A model of ethnographic research and presentation, Becoming an Ancestor not only reveals the luminescent heart of Zapotec culture but also provides important clues about the cultural power and potential of mortuary traditions for all societies.