Christopher J Smith – författare

The Creolization of American Culture examines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807–1868) as a lens through which to see the multiethnic antebellum world that gave birth to blackface minstrelsy. As a young man living in the multiethnic working-class community of New York's Lower East Side, Mount took part in the black-white musical interchange his paintings depict. An avid musician and tune collector as well as an artist, he was the among the first to depict vernacular fiddlers, banjo players, and dancers precisely and sympathetically. His close observations and meticulous renderings provide rich evidence of performance techniques and class-inflected paths of musical apprenticeship that connected white and black practitioners.   Looking closely at the bodies and instruments Mount depicts in his paintings as well as other ephemera, Christopher J. Smith traces the performance practices of African American and Anglo-European music-and-dance traditions while recovering the sounds of that world. Further, Smith uses Mount's depictions of black and white music-making to open up fresh perspectives on cross-ethnic cultural transference in Northern and urban contexts, showing how rivers, waterfronts, and other sites of interracial interaction shaped musical practices by transporting musical culture from the South to the North and back. The "Africanization" of Anglo-Celtic tunes created minstrelsy's musical "creole synthesis," a body of melodic and rhythmic vocabularies, repertoires, tunes, and musical techniques that became the foundation of American popular music.   Reading Mount's renderings of black and white musicians against a background of historical sites and practices of cross-racial interaction, Smith offers a sophisticated interrogation and reinterpretation of minstrelsy, significantly broadening historical views of black-white musical exchange.

Throughout American history, patterns of political intent and impact have linked the wide range of dance movements performed in public places. Groups diverse in their cultural or political identities, or in both, long ago seized on street dancing, marches, open-air revival meetings, and theaters, as well as in dance halls and nightclubs, as a tool for contesting, constructing, or reinventing the social order. Dancing Revolution presents richly diverse case studies to illuminate these patterns of movement and influence in movement and sound in the history of American public life. Christopher J. Smith spans centuries, geographies, and cultural identities as he delves into a wide range of historical moments. These include the God-intoxicated public demonstrations of Shakers and Ghost Dancers in the First and Second Great Awakenings; creolized antebellum dance in cities from New Orleans to Bristol; the modernism and racial integration that imbued twentieth-century African American popular dance; the revolutionary connotations behind images of dance from Josephine Baker to the Marx Brothers; and public movement's contributions to hip hop, antihegemonic protest, and other contemporary transgressive communities' physical expressions of dissent and solidarity. Multidisciplinary and wide-ranging, Dancing Revolution examines how Americans turned the rhythms of history into the movement behind the movements.

The Creolization of American Culture examines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807–1868) as a lens through which to see the multiethnic antebellum world that gave birth to blackface minstrelsy. As a young man living in the multiethnic working-class community of New York's Lower East Side, Mount took part in the black-white musical interchange his paintings depict. An avid musician and tune collector as well as an artist, he was the among the first to depict vernacular fiddlers, banjo players, and dancers precisely and sympathetically. His close observations and meticulous renderings provide rich evidence of performance techniques and class-inflected paths of musical apprenticeship that connected white and black practitioners.   Looking closely at the bodies and instruments Mount depicts in his paintings as well as other ephemera, Christopher J. Smith traces the performance practices of African American and Anglo-European music-and-dance traditions while recovering the sounds of that world. Further, Smith uses Mount's depictions of black and white music-making to open up fresh perspectives on cross-ethnic cultural transference in Northern and urban contexts, showing how rivers, waterfronts, and other sites of interracial interaction shaped musical practices by transporting musical culture from the South to the North and back. The "Africanization" of Anglo-Celtic tunes created minstrelsy's musical "creole synthesis," a body of melodic and rhythmic vocabularies, repertoires, tunes, and musical techniques that became the foundation of American popular music.   Reading Mount's renderings of black and white musicians against a background of historical sites and practices of cross-racial interaction, Smith offers a sophisticated interrogation and reinterpretation of minstrelsy, significantly broadening historical views of black-white musical exchange.

Throughout American history, patterns of political intent and impact have linked the wide range of dance movements performed in public places. Groups diverse in their cultural or political identities, or in both, long ago seized on street dancing, marches, open-air revival meetings, and theaters, as well as in dance halls and nightclubs, as a tool for contesting, constructing, or reinventing the social order. Dancing Revolution presents richly diverse case studies to illuminate these patterns of movement and influence in movement and sound in the history of American public life. Christopher J. Smith spans centuries, geographies, and cultural identities as he delves into a wide range of historical moments. These include the God-intoxicated public demonstrations of Shakers and Ghost Dancers in the First and Second Great Awakenings; creolized antebellum dance in cities from New Orleans to Bristol; the modernism and racial integration that imbued twentieth-century African American popular dance; the revolutionary connotations behind images of dance from Josephine Baker to the Marx Brothers; and public movement's contributions to hip hop, antihegemonic protest, and other contemporary transgressive communities' physical expressions of dissent and solidarity. Multidisciplinary and wide-ranging, Dancing Revolution examines how Americans turned the rhythms of history into the movement behind the movements.

China in the Post-Utopian Age is an interdisciplinary book about China in the post-utopian age, focusing on the transformations that have occurred during the leaderships of Deng Xiaoping and Jiang Zemin throughout the 1980s and 1990s.

China in the Post-Utopian Age is an interdisciplinary book about China in the post-utopian age, focusing on the transformations that have occurred during the leaderships of Deng Xiaoping and Jiang Zemin throughout the 1980s and 1990s.

First published in 1988, Location and Stigma offers a comprehensive exploration of an increasingly significant area of socio-medical studies. At the time, mental illness and disability were recognized as major health challenges, particularly as developed countries had made substantial strides in combating the severe and often fatal diseases of pre-industrial and industrial eras. While medical resources were largely focused on chronic and degenerative diseases, awareness was growing about the immense economic costs and profound personal impact of mental illness and related disorders, which affected far more individuals than those formally registered under care.The book examines the overall mental health of populations as shaped by the interplay of four key factors: individual influences, environmental conditions, the structure of service delivery systems, and the broader social, economic, and political context. Recognizing the interconnectedness of these factors, the book is divided into four parts. Part I situates the treatment of mental illness within its historical, political, and geographical-cultural context. Part II investigates the causes of mental illness, emphasizing social, environmental, and economic contributors. Part III reviews contemporary policies in the UK and USA, while Part IV assesses the state of mental health and policy at the time and considers future directions.This volume was a significant contribution to the field, providing meaningful perspectives for social scientists studying mental health and mental illness.

FRIEND is a social, communication and play-based program to help school-aged children with social challenges. All students deserve a positive school experience where they can reach their social and academic potential. However, this can prove difficult for students with challenges such as attention deficit, anxiety, or autism spectrum disorders, who may struggle daily with social situations. This manual provides everything educators need to support these students with their social skills in everyday situations, throughout their school years. This program is designed to help any student with social challenges, no matter how subtle. For students without social challenges, it teaches tolerance, acceptance and understanding. The characteristics of successful social skills programs are described, with an emphasis on how FRIEND implements them through three key components: the Peer Sensitivity Curriculum, the FRIEND Lunch Program and the FRIEND Playground Program. These can be implemented individually or in any combination as a comprehensive program. Parents and family are offered information on working together with schools and implementing FRIEND strategies at home and in the community. Emphasizing peer sensitivity, education and a supportive environment, FRIEND is for any educator wanting to create an inclusive and safe atmosphere for students to learn social skill-building strategies.