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and because O'Shea's descriptions of key diasporic choreographers and their reworking of bharatanatyam dance vocabulary in the global diaspora is quite arresting. Yet I express my reservations about the book as it is neither a traditional Foucaudian archaeology, as it claims to be, nor is it a dance anthropology. Located liminally in between the two fields, O'Shea weaves her grand story of the resilience of Bharatanatyam, without in fact honouring the trace of the dead, nor the temporality of the dead in who's absent trace the book is written. O'Shea's book , in other words erases history, memory, and the lived vision of the intercultural other, present as historical trace in the global dance practice, in deeply incommensurable and provocative manner. Avanthi Meduri Roehamption Universtity
Asian Theatre Journal – University of Hawai'I Press
Published: Feb 6, 2009
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