the book highlights a secondary objective: not to provide answers allowing Asian America to cohere, but to advance critical conversation. Despite such success, the treatment might not always match the necessary scope of the content. While Ahlgren acknowledges omissions due to “brevity and focus,” the book may have been more effective by providing a fuller representation of the complexity of the art form. For instance, Ahlgren critiques San Jose Taiko’s Ei Ja Nai Ka? as “eclips[ing] other aspects of Japanese American history . . . omit [ting] internment indicates that the piece has more to do with the connection between the issei and sansei [firstand third-generation Japanese Americans] than it does with relating a complete and accurate timeline of Japanese American history” (39). However, to expect that a single piece of repertoire, intended as a joyous communal dance, somehow ought to address the darkness of wartime internment, is not only an unjustified critique but perhaps demonstrates an incomplete understanding of the choreographic project. Expanding the scope of discussion to compare the dance with actual taiko repertoire from the ensemble, such as their internment-themed DoR (Day of Remembrance, 2007), might create better analytical terrain. Scholars with interests in Asian American studies, ethnomusicology, dance, theater and performance, social sciences, and gender and identity studies might strongly consider reading this book, albeit with an awareness of the diverse roads musicking may take the reader. I echo Ahlgren’s encouragement for the taiko community to advance its own critical awareness, understanding, and engagement on issues concerning race, sexuality, gender, Orientalism, identities, and activism.

中文翻译：

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约瑟芬·贝克和凯瑟琳·邓纳姆：汉娜·杜尔金在文学和电影中的舞蹈。2019.厄巴纳：伊利诺伊大学出版社。272 页，20 幅插图。27.95 美元的纸张。国际标准书号：978-0-252-08445-4

这本书强调了一个次要目标：不是提供让亚裔美国人团结一致的答案，而是推进批判性对话。尽管取得了这样的成功，但处理可能并不总是与内容的必要范围相匹配。虽然 Ahlgren 承认由于“简洁和专注”而导致的遗漏，但通过更全面地展示艺术形式的复杂性，这本书可能更有效。例如，Ahlgren 批评 San Jose Taiko 的 Ei Ja Nai Ka？作为“黯然失色”的日裔美国人历史的其他方面。. . 省略 [ting] internment 表明这篇文章更多地与 issei 和 sansei [第一代和第三代日裔美国人] 之间的联系有关，而不是与完整而准确的日裔美国人历史时间表相关”（39）。然而，期待一首曲目，旨在作为一种欢乐的公共舞蹈，以某种方式应该解决战时拘留的黑暗，这不仅是一种不合理的批评，而且可能表明对舞蹈项目的不完整理解。扩大讨论范围，将舞蹈与乐团中的实际太鼓曲目进行比较，例如他们以拘留为主题的 DoR（纪念日，2007 年），可能会创造更好的分析领域。对亚裔美国人研究、民族音乐学、舞蹈、戏剧和表演、社会科学以及性别和身份研究感兴趣的学者可能会强烈考虑阅读这本书，尽管他们了解音乐可能带给读者的不同道路。我赞同 Ahlgren 鼓励太鼓社区在种族、性、