Archaeology of Performance: Theaters of Power, Community, and Politics (Archaeology in Society)
By: Lawrence S. Coben (editor), Takeshi Inomata (editor)Hardback
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Performances in the premodern communities shaped identities, created meanings, generated and maintained political control. But unlike other social scientists, archaeologists have not worked much with these concepts. Archaeology of Performance shows how the notions of theatricality and spectacle are as important economics and politics in understanding how ancient communities work. Without sacrificing conceptual rigor, the contributors draw on the wide-ranging literature on performance. Without sacrificing material evidence, they try to see how performance creates meaning and ideology. Drawing on evidence from societies large and small, Archaeology of Performance offers an important new ways of understanding ancient theaters of power.
Takeshi Inomata is an associate professor in anthropology at University of Arizona. Lawrence S. Coben is the director of Proyecto Inkallakta (Incallajta), a multidisciplinary project centered at the monumental Inka site of that name in central Bolivia.
Part 1 Prologue Chapter 2 Prologue: Behind the Scenes: Producing the Performance Part 3 Act I: Concepts and Approaches Chapter 4 Scene 1: Overture: An Invitation to the Archaeological Theater Part 5 Act II: Senses, Spectacle, and Performance Chapter 6 Scene 2: "The Indians Were Much Given to Their Taquis": Drumming and Generative Categories in Ancient Andean Funerary Processions Chapter 7 Scene 3: The Spectacle of Daily Performance at Catalhoyuk Chapter 8 Scene 4: Representational Aesthetics and Political Subjectivity: The Spectacular in Urartian Images of Performance Chapter 9 Scene 5: Impersonation, Dance, and the Problem of Spectacle among the Classic Maya Part 10 Act III: Public Performance of Power and Community Chapter 11 Scene 6: Dancing Gods: Ritual, Performance, and Political Organization in the Prehistoric Southwest Chapter 12 Scene 7: Politics and Theatricality in Mayan Society Chapter 13 Scene 8: Other Cuzcos: Replicated Theaters of Inka Power Chapter 14 Scene 9: Public Ceremonial Performance in Ancient Egypt: Exclusion and Integration Chapter 15 Scene 10: Visible and Vocal: Sovereigns of the Early Merina (Madagascar) State Chapter 16 Index Chapter 17 About the Contributors
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