Between Sound and Sight: Framing the Exotic in Roysten Abel's The Manganiyar Seduction

Roysten Abel’s The Manganiyar Seduction is perhaps the most popular performance of Indian folk music on the global festival market today. This performance of Rajasthani folk music is an apt exemplification of an auto-exoticism framed as cultural commodity. Its mise en scéne of musicians framed, literally, by illuminated red square boxes ‘theatricalises’ Rajasthan’s folk culture of orality and renders such a tradition the quality of strangeness that borders on theatre and music, contemporary and traditional. The ‘dazzling’ union of the Manganiyar’s music and scenography of Amsterdam’s red light district engendered an exotic seduction that garnered raving reviews on its global tour. This paper then examines the production’s performative interstices: the in betweenness of sound and sight where aural tradition is ‘spectacularised’, and the shifting convergences of tradition and cultural consumption. It further interrogates the role of reception in the construction of such ‘exotic’ spectacles.

Exotic Domain States in Ferroelectrics: Searching for Vortices and Skyrmions

Very recent experimental and theoretical work has sought to find out whether or not complex arrangements of dipoles (such as flux-closure, vortex or skyrmion patterns) exist in ferroelectrics. While there is undoubtedly still considerable work to be done, enough insight has now been gained to warrant a brief discussion of progress to date. This review article attempts to undertake such a discussion.

'Dancing at the English Opera':'Marie Salle's letter to the Duchess of Richmond

A letter from dancer Marie Salle to her patroness dated 1731 reveals her ambitions to dance at the English opera.

“Do You Want to See My Hornpipe?”: The Traditional Irish Dancing Body at Play in the Work of Jean Butler and Colin Dunne.

This chapter considers the radical re-imaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne. In Butler's Does She Take Sugar (2007) and Dunne's Out of Time (2008), the Irish step dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works, which are both solo pieces performed by the choreographers themselves, the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step dance technique becomes a springboard for creative experimentation. In order to consider the importance of the creative potential revealed by these works, this chapter will contextualize them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the "modernization" of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland's national folk theatre, Siamsa Tíre.

Exotic Endurance: Tourism, Fitness and the Marathon des Sables

This paper critically examines the intersections of global tourism and fitness in the Marathon des Sables, an annual ultramarathon in the Sahara desert in which over a thousand athletes run the equivalent of five marathons in six days. It demonstrates how the globalization of health and fitness resonates with familiar Western productions of exotic cultures for the purposes of tourist consumption. Of particular interest here is how established colonial asymmetries are recast in a neoliberal context as runners test their resilience, endurance and strength against an ‘extreme’ Saharan landscape. While the paper calls attention to these asymmetries, it is more concerned with troubling reductive colonial encounters in order to reveal their instability, heterogeneity and ambivalence. Indeed, the central conceit of the Marathon des Sables – that superior Western fitness regimes and technologies will dominate the race – is inverted by the overwhelming success of Moroccan runners and disaggregated by the biopolitical regulation of elite running bodies. These unexpected intersections of global tourism and fitness demand further attention because they reconfigure our received notions of who (and what) is capable of exerting agency in postcolonial encounters.

Chapter Six – The Increase of Exotic Zoonotic Helminth Infections: The Impact of Urbanization, Climate Change and Globalization

Zoonotic parasitic diseases are increasingly impacting human populations due to the effects of globalization, urbanization and climate change. Here we review the recent literature on the most important helminth zoonoses, including reports of incidence and prevalence. We discuss those helminth diseases which are increasing in endemic areas and consider their geographical spread into new regions within the framework of globalization, urbanization and climate change to determine the effect these variables are having on disease incidence, transmission and the associated challenges presented for public health initiatives, including control and elimination.

‘Do you want to see my hornpipe?’: the traditional Irish dancing body at play in the work of Jean Butler and Colin Dunne’, in Anthony Shay and Barbara Sellers-Young (eds.), The Oxford Handbook of Dance and Ethnicity, Oxford: Oxford University Press, 2016, pp.41-65.

This chapter considers the radical reimaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne, in which the Irish step-dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step-dance technique becomes a springboard for creative experimentation. To consider the importance of the creative potential revealed by these works, this chapter contextualizes them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the “modernization” of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland’s national folk theater, Siamsa Tíre.

'Dancing the Downward Slide: Spaces of Affective Adjacency in Rian and Bird with Boy'

This chapter examines how the choreography of affect in two dance theatre works creates a space of affective adjacency—a space in which the building of an alternative structure of feeling and an alternative economy of the body can be experienced. Focusing on the choreographic use of repetition in Junk Ensemble’s Bird With Boy (2011) and Fabulous Beast Dance Theatre’s Rian (2011), it shows how the work required to build an alternative affective space can become visible. Although affect is most often viewed as a preconscious, ephemeral phenomenon (a passage of intensities), that can have little or no lasting impact on socio-political action, theorists such as Megan Watkins have argued for a consideration of the ‘cumulative aspects of affect’. Highlighting Spinoza’s distinction between affectus (the capacity for a body to affect and be affected), and affectio (the impact the affecting body leaves on the affected), Watkins points out that affectio can ‘leave a residue’ allowing for the ‘capacity of affect to be retained, to accumulate, to form dispositions and thus shape subjectivities’. The choreography of repetition in Bird With Boy and Rian presents sites for an examination of this accumulation of affect and its capacity not only to form and shape dispositions, but also, as Lauren Berlant suggests, ‘to move along and make worlds, situations, and environments’.

Un episodio en la recepción cultural dieciochesca de lo exótico: la llegada del elefante a Madrid en 1773

At the end of 1773 an Indian elephant, brought for the royal ménagerie at Aranjuez, was shown in the streets of Madrid. The resulting public fascination provoked by the intrusion of this exotic animal can be traced through poems (Tomás de Iriarte), short plays (Ramón de la Cruz), articles in the periodical press, popular and scientific prints representing the animal, and even in the costumbrista pastels of Lorenzo Tiepolo. The mythic and premodern knowledge of animal nature collides in a debate with the new scientific observation. In the final decades of the 18th century, the image of the captive elephant acquired in Europe a new symbolic meaning linked with the political fight against slavery. All these very different elements converge in Goya's Disparate de bestia.

Muldoon's Betweenness

Muldoon’s poetry frequently explores states of being ‘in-between’ and this can plausibly be related to his Catholic Northern Irish identity. He seems to be aware of the effects comprised in Derrida’s concept of différance, one version of which is the entre (‘between’). Nevertheless, Muldoon is more interested in exploring the experience of postmodernity than in offering a theory, or relating it to one culture. But this exploration has as many similarities with the concerns of existentialism and phenomenology as with deconstruction. Poems from Why Brownlee Left to Moy Sand and Gravel are discussed, and topics addressed include the South American exotic (new sources are suggested) and the troping on yarrow (compare Derrida’s pharmakon) in The Annals of Chile. Formal effects of repetition and difference reflect the themes. The redemption of repetition is studied with the help both of Kierkegaard and of Muldoon’s thoughts on the ‘magic mist’ of Irish romance.

Experimental realisation of electromagnetic metamaterials

By engineering the internal structure of artificial materials it is possible to reproduce effective electromagnetic properties, including some which were previously unavailable in nature. Since the first experimental demonstration of artificial composites with exotic electromagnetic properties at microwaves less than 10 years ago, metamaterials has emerged as a rapidly growing multidisciplinary branch of science and engineering. Significant efforts have been placed in scaling the response of metamaterials to optical frequencies as well as demonstrate pertinent applications of the newly available technology. In this article we review recent developments in the area of experimental realisation of electromagnetic metamaterials and their applications.

Electronic Structure of an XUV Photogenerated Solid-Density Aluminum Plasma

By use of high intensity XUV radiation from the FLASH free-electron laser at DESY, we have created highly excited exotic states of matter in solid-density aluminum samples. The XUV intensity is sufficiently high to excite an inner-shell electron from a large fraction of the atoms in the focal region. We show that soft-x-ray emission spectroscopy measurements reveal the electronic temperature and density of this highly excited system immediately after the excitation pulse, with detailed calculations of the electronic structure, based on finite-temperature density functional theory, in good agreement with the experimental results.