Shortlisted for the 2014 Royal Historical Society’s Gladstone Prize and the 2014 Templer Award for the Best First Book by a New Author. Sex and alcohol preoccupied European officers across India throughout the nineteenth century, with high rates of venereal disease and alcohol-related problems holding serious implications for the economic and military performance of the East India Company. These concerns revolved around the European soldiery in India – the costly, but often unruly, 'thin white line' of colonial rule. This book examines the colonial state's approach to these vice-driven health risks. In doing so it throws new light on the emergence of social and imperial mindsets and on the empire, fuelled by fear of the lower orders, sexual deviation, disease and mutiny. An exploration of these mindsets reveals a lesser-explored fact of rule – the fractured nature of the Company state. Further, it shows how the measures employed by the state to deal with these vice-driven health problems had wide-ranging consequences not simply for the army itself but for India and the empire more broadly. By refocusing our attention on to the military core of the colonial state, Wald demonstrates the ways in which army decision-making stretched beyond the cantonment boundary to help define the state's engagement with and understanding of Indian society.

As stories of Indian dance’s renaissance span almost a full century, there has emerged a globally dispersed community of Indian dancers, scholars and audiences who are deeply committed to keeping these traditions alive and experimenting with traditional dance languages to grapple with contemporary themes and issues. Scripting Dance in Contemporary India is an edited volume that contributes to this field of Indian dance studies. The book engages with multiple dance forms of India and their representations. The contributions are eclectic, including writings by both scholars and performers who share their experiential knowledge. There are four sections in the book – section I titled, “Representations’ has three chapters that deal with textual representations and illustrations of dance and dancers, and the significance of those representations in the present. Section II titled, “Histories in Process” consists of two chapters that engage with the historiographies of dance forms and suggest that histories are narratives that are continually created. In the third section, “Negotiations”, the four chapters address the different ways in which dance is embedded in society, and the different ways in which the aesthetics of a form has to negotiate with social, economic and political imperatives. The final section, “Other Voices/ Other Bodies” brings voices which are outside the mainstream of dance as ‘serious’ art.

This book covers a range of issues and phenomena around gender-related violence in specific cultural and regional conditions. Using an interdisciplinary approach, it discusses historical and contemporary developments that trigger violence while highlighting the social conditions, practices, discourses, and cultural experiences of gender-related violence in India. Beginning with the issues of gender-based violence within the traditional context of Indian history and colonial encounters, it moves on to explore the connections between gender, minorities, marginalisation, sexuality, and violence, especially violence against Dalit women, disabled women, and transgender people. It traces and interprets similarities and differences as well as identifies social causes of potential conflicts. Further, it investigates the forms and mechanisms of political, economic, and institutional violence in the legitimation or de-legitimation of traditional gender roles. The chapters deal with sexual violence, violence within marriage and family, influence of patriarchal forces within factory-based gender violence, and global processes such as demand-driven surrogacy and the politics of literary and cinematic representations of gender-based violence. The book situates relevant debates about India and underlines the global context in the making of the gender bias that leads to violence both in the public and private domains. An important contribution to feminist scholarship, this book will be useful to scholars and researchers of gender studies, women’s studies, history, sociology, and political science.

In Theologising with the Sacred ‘Prostitutes’ of South India, Eve Rebecca Parker theologises with the Dalit women who from childhood have been dedicated to village goddesses and used as ‘sacred’ sex workers.

The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint. Synthesizing myriad views on danced reenactment and the manner in which this branch of choreographic performance intersects with important cultural concerns around appropriation this Handbook addresses originality, plagiarism, historicity, and spatiality as it relates to cultural geography. Others topics treated include transmission as a heuristic device, the notion of the archive as it relates to dance and as it is frequently contrasted with embodied cultural memory, pedagogy, theory of history, reconstruction as a methodology, testimony and witnessing, theories of history as narrative and the impact of dance on modernist literature, and relations of reenactment to historical knowledge and new media.

Racism after Apartheid, volume four of the Democratic Marxism series, brings together leading scholars and activists from around the world studying and challenging racism. In eleven thematically rich and conceptually informed chapters, the contributors interrogate the complex nexus of questions surrounding race and relations of oppression as they are played out in the global South and global North. Their work challenges Marxism and anti-racism to take these lived realities seriously and consistently struggle to build human solidarities.