culty achieving domestically. In an astonishing example, Dunham initiated social change when she and her company were denied reservations at an exclusive hotel in São Paulo because they were black. Dunham filed a lawsuit against the hotel and Dunham’s Brazilian lawyer, mobilizing the publicity, then successfully cosponsored a bill in the legislature that made it illegal to discriminate on the basis of race in Brazil. Das also discusses Dunham’s performance of Southland, an antilynching dance drama that was performed across the world, to the dismay of the American government. Southland resonated with global audiences during a period of global movements for decolonization. Dunham, therefore, not only brought aesthetics of the African diaspora to global stages, but also inspired newly decolonized populations to create space for self-representation and cultural expression. The final two chapters of Das’s book explore Dunham’s work as a cultural ambassador in Haiti and Senegal (chapter 7) and as a critical figure in the Black Arts Movement and the arts more broadly in the United States (chapter 8). Upon relocating to Haiti full-time in the early 1960s, Dunham attempted to fashion herself as a development consultant, a venture for which she was ill-suited. Dunham’s proposed projects to revitalize Haiti through the arts were well intentioned, but she lacked the institutional support and financial management skills to see the projects through. Dunham traveled to Dakar in 1964 for the Dakar Festival, a project of various state institutions both in the United States and Senegal. Dunham’s visions for “developing” Senegal’s cultural institutions, again, proved to be too much to take on, prompting her return to the United States. Dunham then turned her focus to East St. Louis, where she founded the Performing Arts Training Center (PATC) in 1967. PATC students performed nationally, creating a sense of pride for Africanist performance traditions and inspiring generations of youth and adults, alike. While Dunham identified with a “radical humanist” approach that diverged from more radical forms of black activism, Dunham leveraged her position as a board member of mainstream cultural institutions to advocate on behalf of black history and black performing arts organizations and institutions, creating the foundation for a worldwide diasporic community of artists. Das brings together compelling performance analysis and previously unknown archives— particularly personal correspondences and unpublished manuscripts—to flesh out a portrait of one of the twentieth century’s most venerated and complex performers. Katherine Dunham is an important addition to the field of dance studies, critical race studies, and transnational American studies, as the book, like its subject, defies easy categorization. At once a cogent biography and an exemplary case study in the messiness and, often, the riskiness of diasporic politics and performance, Katherine Dunham will no doubt prove instructive to scholars and students across disciplines.

中文翻译：

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Playable Body：Kiri Miller 的舞蹈游戏和亲密媒体。2017. 纽约：牛津大学出版社。256 页，39 个半色调，注释，参考，索引。29.95 美元纸张，ISBN：9780190257842。99.00 美元。布，ISBN：9780190257835，配套网站：www.oup.com/us/playablebodies。

邪教在国内实现。在一个惊人的例子中，邓纳姆发起了社会变革，当时她和她的公司被拒绝预订圣保罗的一家高档酒店，因为他们是黑人。邓纳姆对酒店和邓纳姆的巴西律师提起诉讼，动员宣传，然后成功地在立法机关共同发起了一项法案，该法案将巴西的种族歧视定为非法。达斯还讨论了邓纳姆对南国的表演，这是一部在世界各地上演的反私刑舞剧，令美国政府感到沮丧。在全球非殖民化运动期间，南国引起了全球观众的共鸣。因此，邓纳姆不仅将非洲侨民的美学带到了全球舞台，但也激发了新的非殖民化人群为自我表现和文化表达创造空间。达斯这本书的最后两章探讨了邓纳姆作为海地和塞内加尔文化大使（第 7 章）以及作为黑人艺术运动和美国更广泛艺术领域的关键人物（第 8 章）的工作。1960 年代初全职搬到海地后，邓纳姆试图将自己塑造成一名发展顾问，但她并不适合从事这项事业。邓纳姆提出的通过艺术振兴海地的项目是善意的，但她缺乏机构支持和财务管理技能来完成这些项目。邓纳姆于 1964 年前往达喀尔参加达喀尔节，这是美国和塞内加尔各个国家机构的一个项目。邓纳姆“发展”塞内加尔文化机构的愿景再次被证明难以接受，促使她返回美国。邓纳姆随后将注意力转移到东圣路易斯，她于 1967 年在那里创立了表演艺术培训中心 (PATC)。PATC 学生在全国演出，为非洲表演传统创造了一种自豪感，并鼓舞了一代又一代的青年和成年人。虽然邓纳姆认同一种不同于更激进形式的黑人激进主义的“激进人文主义”方法，但邓纳姆利用她作为主流文化机构董事会成员的地位代表黑人历史和黑人表演艺术组织和机构进行倡导，创建了基金会面向全球的海外艺术家社区。Das 将引人注目的表演分析和以前不为人知的档案——特别是个人信函和未发表的手稿——结合在一起，充实了二十世纪最受尊敬和最复杂的表演者之一的肖像。凯瑟琳·邓纳姆是舞蹈研究、批判种族研究和跨国美国研究领域的重要补充，因为这本书与其主题一样，难以分类。凯瑟琳·邓纳姆 (Katherine Dunham) 既是一本令人信服的传记，又是在混乱中进行的典型案例研究，而且通常还涉及侨民政治和表演的风险，毫无疑问，凯瑟琳·邓纳姆 (Katherine Dunham) 将证明对跨学科的学者和学生具有指导意义。凯瑟琳·邓纳姆是舞蹈研究、批判种族研究和跨国美国研究领域的重要补充，因为这本书与其主题一样，难以分类。凯瑟琳·邓纳姆 (Katherine Dunham) 既是一本令人信服的传记，又是在混乱和通常情况下散居的政治和表演的风险方面的模范案例研究，毫无疑问，凯瑟琳·邓纳姆 (Katherine Dunham) 将对跨学科的学者和学生具有指导意义。凯瑟琳·邓纳姆是舞蹈研究、批判种族研究和跨国美国研究领域的重要补充，因为这本书与其主题一样，难以分类。凯瑟琳·邓纳姆 (Katherine Dunham) 既是一本令人信服的传记，又是在混乱和通常情况下散居的政治和表演的风险方面的模范案例研究，毫无疑问，凯瑟琳·邓纳姆 (Katherine Dunham) 将对跨学科的学者和学生具有指导意义。