European Medi@Culture-Online http://www.european-mediaculture.org
Author: Axtmann, Ann.
Title: Transcultural Performance in Classroom Learning.
Source: Gerd Bräuer (Ed.): Body and Language. Intercultural Learning Through Drama. Westport, Connecticut & London 2002. P. 37-49
Publisher: Ablex Publishing.
Published with kind permission of the editor.
Ann Axtmann
Transcultural Performance in Classroom Learning
Great Spirit. Grant that I may not criticize my neighbor until I have walked a mile in his moccasins.
-Native American Indian prayer
Entering the Mexico City airport, we are bombarded with busy chatter as several men ask: "podemos llevar las maletas?" "necesitan algo, ustedes?" or "los puedo ayudar'?" Rapid and chaotic sights, smells, and sounds surround us. It's the 1970s. We have just arrived from New York City in order to take part in the formation of a new dance company at the National Autonomous University of Mexico or U.N.A.M. None of us speaks Spanish.
In the next days and weeks, with dictionaries in hand, we grapple with the complexity of learning a language as we ride the bus to work, buy groceries, and, in general, adapt to a new environment. Making friends and speaking only Spanish facilitate the learning process. Every weekend we take off to distant places. Around the country we ride second-class buses that bumble along winding mountain roads packed with men, women, and children carrying bags of frijoles and maiz, flowers, and live chickens. By necessity, we surrender to the process of sensory experience, socialization, and mobilization; our bodies, minds, and spirits are jolted, activated, and transformed. No American-style hotels for us, no hot water or streamlined air-conditioned vehicles. This shared experience was my first course in personal transculturation.
Cross-cultural exchange, whether in our daily lives or in pedagogy, is a sensorial and somatic experience that challenges us in new and exciting ways. In Mexico, my colleagues and I were thrown into a language and cultural learning process that was filtered through the senses. Our trips in the evening to the panadaria to select, buy, and consume delicious pastry were part of the experience. Within a few months, we were all fluent Spanish language speakers. Several years later, as founder/director of a dance department at the State University of Puebla, I further developed my own reading and writing skills. Within the context of intercultural learning situations in which the verbal and the nonverbal mutually inform one another, the body is a primary site where difference and universality can be sorted out. Through experience, we deepen our awareness of self and others. In the classroom, the multiple intelligences, personal and collective narrative, and interdisciplinary art practices support this process.
This chapter offers an analysis of how what I call "transcultural performance" stimulates and facilitates the pedagogical moment and, more specifically, second-language classroom learning. Framed by Howard Gardner's theory of multiple intelligences (1993, 1999) and an analysis of the terms transculturation, culture, performance, and transcultural performance, I will suggest practical exercises in which identity, time, and space can be explored across cultures. These activities were developed with two radically different student populations in the United States: classroom teachers (K-12) from the Appalachian region of southern Ohio engaged in a Masters Program in the arts and students in a private, urban liberal arts college in New York City. I propose that an understanding of transculturation can contribute to a more effective and transdisciplinary teaching practice.
I first discovered the concept of transculturation during my fieldwork, archival research, and writing on Native American intertribal powwows. As a former dancer/choreographer, I wanted to appreciate what was for me a "foreign" dance language: powwow dancing. "Transculturation" best describes the mobile interrelationships that occur at powwows as well as my own ethnographic process of looking at and moving across cultural borders. At powwows, people from the Americas, Europe, and elsewhere speak English, Spanish, and many indigenous languages; they also represent different socioeconomic classes, genders, ages, ethnicities, and geographical regions. Within an inclusive environment of welcoming hospitality, powwow participants socialize, dance, eat, and celebrate together. North American powwows are ongoing, increasingly popular, and ever-changing; they are transcultural performances. In general, transcultural performances can be examined as "case studies" that perform culture across diversity and represent cultural difference, conflict, and transformation. Therefore, transcultural performance is a useful tool with which to teach across cultures.
In the 1940s, in his book Cuban Counterpoint: Tobacco and Sugar, Cuban anthropologist Fernando Ortiz first defined "transcultural" as an alternative to "acculturation." In an introduction to Ortiz's text, Bronislaw Malinowski explains:
Every change of culture ... every transculturation, is a process in which something is always given in return for what one receives, a system of give and take. It is a process in which both parts of the equation are modified, a process from which a new reality emerges, transformed and complex, a reality that is not a mechanical agglomeration of traits, nor even a mosaic, but a new phenomenon, original and independent. (Ortiz, 1995, p. xi)
Thus, as people interact in mutual give-and-take through the transcultural performances of Native American intertribal powwows, they produce, together, a "new phenomenon, original and independent" (Ortiz, 1995, p. xi).
In learning a second or third language we necessarily go through some kind of transculturation in which both our native language and our new language are transformed. Within the context of that transformation, Gardner's (1993, 1999) theory on multiple intelligences has influenced me to shape the activities proposed in this chapter. Though most people are familiar with Gardner's theoretical premise, we have yet to fully utilize his ideas within classroom practice; I venture to say that though the multiple intelligences and interdisciplinary arts are often used on K-12 levels, they are less prevalent in colleges and universities.
Moreover, in discussing transdisciplinary education we often speak of crossing over and in-between disciplines; yet, how often do we dare to move our students from their seats in order to integrate the body into the theory and practice of interdisciplinarity? Because second-language learning IS so much about sensory input and the relationship between a particular "foreign" language, the culture(s) from which it emerges, and our own native language/culture, we must activate the body as well as the mind. Many educators, philosophers, psychologists, artists, and cultural theorists have contributed to this debate. In order to more fully involve the body, Gardner's theory in particular provides a vast array of possibilities.
Gardner, a developmental psychologist, offers an alternative to the notion of monolithic intelligence in which cultural context plays a role. Thus, he states that "an intelligence [is] a biopsychological potential to process information that can be activated in a cultural setting to solve problems or create products that are of value in a culture" (Gardner, 1999, pp. 34-35). He further asserts:
I regard MI theory as a ringing endorsement of three propositions: We are not the same; we do not all have the same kinds of minds (that is, we are not all distinct points on a single bell curve); and education works most effectively if these differences are taken into account rather than denied or ignored. Taking human differences seriously lies at the heart of the MI perspective. At the theoretical level, this means that all individuals cannot be profitably arrayed on a single intellectual dimension. At the practical level, it suggests that any uniform educational approach is likely to serve only a small percentage of children optimally. (Gardner, 1999, p. 91)
Moreover, each individual learns differently through linguistic, musical, logical-mathematical, spatial, bodily-kinesthetic, intrapersonal and interpersonal intelligence, or a combination thereof. Recently, Gardner has also introduced the possibility of three new intelligences: a naturalist intelligence, a spiritual intelligence, and an existential intelligence (for further discussion, see Gardner, 1999, pp. 47-66).
Though all the intelligences are often separately conceived, if grouped in clusters, we can develop an infinite variety of learning experiences that will enhance our students' reception and assimilation of didactic material. In second-language learning, pedagogical practices that incorporate multiple intelligences as well as the interdisciplinary arts are both somatic and sensorial. These practices, juxtaposed by a general understanding and clarification of the term culture, facilitate personal and social intercultural learning.
We have come a long way since 1952 when Alfred L. Kroeber and Clyde Kluckhohn published their seminal text on the definition of culture, Culture: A Critical Review of Concepts and Definitions. Since then, many uses of the word have emerged. For instance, Edward T. Hall, an anthropologist, Raymond Williams, a sociologist, and Ngugi wa Thiong'o, an African playwright, novelist, and cultural theorist from Kenya (who writes in English and his native language of Gikuyu), offer us many constructive ideas. In reference to the vast diverse and multiple layers of cultural production, these three scholars point to a more accessible use of the word "culture" within pedagogical applications. Hall, who worked for many years in the corporate world as a consultant in cross-cultural behavior, is my first example.
Ahead of his time, Hall (1973, 1982, 1983, 1989) articulated new ways to look at society through nonverbal communication, and contributed to what Williams would call a "converging" of disciplines that include both anthropology and sociology as well as artistic practices, theory, criticism, history, and political science (Williams, 1982). Hall suggests innovative ways to think about culture through bodily movement, time, space, and the senses. His emphasis on the body and bodily movement relates directly to performance and pedagogy. Hall focuses on what people do, not what they say. For him, cultural expressions, in response to what one is surrounded by, are in continual transformation.
Hall suggests that culture is "the way of life of a people [or] the sum of their learned behavior patterns, attitudes, and material things" (1973, p. 20). He adds that it is crucial for each one of us to grasp our own individual notion of culture. Nevertheless, Hall (1989) proposes that most anthropologists agree that culture has three general characteristics:
It is not innate, but learned; the various facets of culture are interrelated-you touch a culture in one place and everything else is affected; it is shared and in effect defines the boundaries of different groups.... Culture is man's medium; there is not one aspect of human life that is not touched and altered by culture. (p.16).
It has been my experience that when students explore this expansive view of culture, they become more aware of the infinite variety of culture within themselves as individuals, in their communities, and throughout the globe.
In order to facilitate our examination of WHAT culture IS, I share two exercises that I have incorporated into courses in both Appalachia and New York City: one, a collective free-writing exercise on the blackboard; two, a small group activity.
Practice (I): At the blackboard, chalk in hand, I ask students, "What is culture for you?" Thus, we begin to produce together a rather messy, open-ended diagram that might include "categories" such as social structures, religion, fashion, gender, race, class, ethnicity, food, health, ideology, morals, geography, transportation, and so forth.
In my several years of doing this, each class names and organizes cultural categories differently; discussions ensue, confusion reigns, and people are usually amazed by how broad culture really is; and, how interrelated. In examining the blackboard diagram, we also discuss commonly used terms such as multicultural, cross-cultural, intercultural, intracultural, and transcultural in order to analyze the many ways in which cultural aspects relate, connect, blend, and transform.
Multicultural refers to a kind of mosaic or salad bowl of cultural aspects that appear as places in space; these rarely touch, intersect, or overlap. In second-language learning, multicultural allows us to observe differences but not necessarily to make the embodied transition from one language to another. Cross-cultural initiates some movement between categories as they cross over, this way and that, to the "other side" or "side(s)"; yet, crossing over does not imply that those elements mix in any way.
In contrast, intercultural and intracultural point to relationships, motion, and mediation. Intracultural indicates those cultural elements that are shared between a people-for example, a marriage between two persons from the same cultural background or traditional theater forms such as Japanese Kabuki or Indian Bharata Natyam that reflect a particular group of people, their language, and customs. Intercultural would imply that there are two or more aspects coming together, not necessarily in any particular way, but, nevertheless, connecting. Transcultural takes us one step further as cultural elements mesh in modification into something new.
Practice (2): In the second exercise, students cluster in threes or fours. Using large paper, crayons, scissors, and cellophane tape, each group creates a threedimensional, visual representation of culture. Before working on their "object," each group converses amongst themselves about "what culture is."
As students engage in this transcultural process, the results can be astounding. Materials transform into myriad representations of "culture." Chains are built; globes constructed with the "categories" etched along the outside; elaborate sculptural forms are produced with paper cut-out shapes; and three-dimensional maps that might include homes, libraries, and gardens are constructed.
In both of these exercises, students are challenged to conceptualize, to incorporate their bodies into the learning process, and to work together. In addition, they collaborate intellectually and artistically through a linguistic definition of terms and a joint creative and visual arts project. Collaboration is key to both exercises.
Defining culture a bit differently than Hall, Williams begins, in his first chapter of The Sociology of Culture, by noting that culture is a cultivation of sorts, a process of what he describes as the "informing spirit" (Williams, 1982, p. 10). In distinguishing between idealist and materialist culture, Williams discusses how these two seemingly disparate elements intersect through "mediation," a central concept within intercultural learning situations that incorporate the body and transcultural performance. He proposes:
At its most complex, the analysis of social material in art extends into the study of social relations. This is especially so when the idea of 'reflection' - in which art works directly embody pre-existing social material - is modified or replaced by the idea of "mediation." (p. 24)
Thus, mediation becomes an important component of transcultural experience and learning as we shift between languages and across cultures. Williams takes this a step further when he addresses the issue of ideology or belief systems. He adds:
What the cultural sociologist or the cultural historian studies are the social practices and social relations which produce not only 'a culture' or 'an ideology' but, more significantly, those dynamic actual states and works within which there are not only continuities and persistent determinations but also tensions, conflicts, resolutions and irresolutions, innovations and actual changes. (Williams, 1982, p. 29)
In other words, society performs, as culture, the spiritual, ideological, social, and material aspects of individuals, communities, and nations. In linking the ideal and the material, Williams emphasizes a wide-ranging vision of culture that includes the body, mind, and spirit in relation to the social.
Also emphasizing the social, Ngugi proposes that culture is very much "a product of a peoples' history and embodies a whole set of values by which a people view themselves and their place in time and space" (Ngugi, 1993, p. 42). When contemplating culture, Ngugi further underlines the crucial notion of change when he writes:
[I]t is important to see phenomena in nature, society, and even in academia, not in its isolation but in its dynamic connections with other phenomena. It is important to remember that social and intellectual processes, even academic disciplines, act and react on each other not against a spatial and temporal ground of stillness but of constant struggle, of movement, and change which brings about more struggle, more movement, and change, and even in human thought. (pp. 28-29)
As someone who experiences on a daily basis the difficulty of living, teaching, and writing across languages, he suggests that "cultural contact can therefore play a great part in bringing about mutual understanding between peoples of different nations" (p. 42). This visceral "cultural contact" leads us to the myriad ways in which culture is performed through relationships not only in our local community, nation, and global travels but in our classrooms.
I find that as my students are able to share aspects of their own culture(s), they grow and develop skills in cross-cultural communication and learning. By performing personal narratives, they draw upon the linguistic, musical, spatial, bodily-kinesthetic, intrapersonal, and interpersonal intelligences. In the last decade I have been including the autobiographical collage in my classes in Transcultural Performance (NYC) and Multicultural Arts (Ohio). Collage making and the subsequent presentation of the collages have been a powerful, poignant, and revelatory experience for all participants, myself included.
Practice (3): Collages are usually made with large, white poster boards. To prepare, I ask students to think about themselves as cultural beings: who they are, where they come from, their families and friends, their heritage, and their identities in relation to race, class, ethnicity, gender, and age; they also collect all kinds of objects, photographs, magazine and newspaper cutouts, and the like, and bring them to class. (If time permits, collages are created together in class, but may also be assigned as an outside activity.) As an in-class activity, I suggest that people bring in music that reflects their own culture(s) so that while they work they listen and share yet another aspect of themselves. They are also invited to use crayons, glue sticks, and scissors. In the process, it is important that each person be allowed the time she or he needs to complete the task. Completed collages are placed on the wall and around the room. Each individual shares, others ask questions, and a lively discussion develops.
Consequently, the classroom becomes a site of sharing. While students share their cultural memories amongst themselves, they are also, using Williams's concept of mediation, negotiating their differences. The experience becomes both intrapersonal and interpersonal (Gardner, 1993).
In Appalachia, I observed a rich reservoir of distinctive voices come forth. A student who hadn't "faced up" to her Native American ancestry is encouraged to do so; others look at issues such as farm loss, alcoholism, and ever-changing family values. With tears in their eyes, some students feel compelled to share painful memories. Some of my younger students in New York City suddenly discover that, indeed, they do have a rich cultural heritage-even if they are only 18 or 19 years old. Groups in both Appalachia and NYC discover differences and universality between themselves. Moreover, their sense of one another changes through performed, visceral cultural knowledge of self and others.
By listening to one another's stories, students also learn to accept others by shifting their own cultural viewpoints in another aspect of give-and-take. As Ngugi (1993) has suggested, we must mobilize our centers of perception in order to develop multiple perspectives from which to understand the world. He further elaborates on this idea as he explains, "Moving the centre in the two senses - between nations and within nations - will contribute to the freeing of world cultures from the restrictive walls of nationalism, class, race, and gender" (p. xvii).
Besides the creation and sharing of collages, another way to experience multiple perspectives is illustrated by a fourth classroom exercise that mobilizes the body in space - an experience that happens naturally when we travel geographically from place to place. In classroom learning (and life) we often sit in the same seat day after day, the same job, or repeat old habits just because they feel safe and secure. The following sequence pushes students to confront stasis and mobilize both the bodily-kinesthetic and spatial intelligences.
Practice (4): Students get up from their chairs and walk around the room; as they examine details such as windows, exit signs, chairs, and so on, I also ask them to notice their own breathing, the motion of their walk, and how it feels TO BE in the space. Then, each person stands still and from that vantage point surveys all that she or he sees in the space. Again, everybody goes to an entirely different spot (this can be on top of a chair, in the corner, under the table); from this new perspective they look again at the size, shape, and contents of the room. This is repeated several times. Throughout I encourage people to enjoy the process and be creative as they choose different vantage points. This is a wonderful way to experience how it feels to look at the world from multiple perspectives.
As illustrated in this exercise, and by my own experience in Mexico, when we enter a new cultural world, our senses of both time and space are transformed through the body. Our center(s) of perception alter; "culture shock" often occurs. In other words, the more completely and intensely we experience cultural nuance, the deeper the transition from one world to another. Likewise, when we learn a new language, we must constantly "shift our centers of perception" through notions of time and space. These bodily experiences and expressions produce performance.
Performance, as historian Joseph Roach (1996) suggests, might refer to the completion of a purpose, the execution of an often effervescent act and "restored behavior" related to personal and collective memory (p. 3). For instance, everyday activities-such as a busy street at rush hour, a conversation between two people in a café, or children romping around a playground might be considered performance. The fine and performing arts, public and popular festivals, parades, and rituals as well as media events and television programs are performance. Performance also implies some kind of communication between the reciprocal and ever-changing interrelationships of all participants engaged in dialogic conversation; even if in performing for others, that other is oneself (Carlson, 1996, pp. 5-6).
Furthermore, the ephemeral quality of performance itself produces a fleeting temporal quality not unlike the immediate pedagogical moment. In both, continually changing interactions occur between people as they learn through the verbal, nonverbal, the individual and social, and the body, mind, and spirit. As we engage the body in learning about the multiple and varied aspects of culture - language being just one of these - differing notions of time and space offer many opportunities for understanding culture through performance.
As Hall (1982, 1983, 1989) proposes, time in the United States and most "Western" cultures is monochronic; that means it is linear, goal oriented - a progressive road that looks ahead to the future and demands schedules, segmentation, and promptness. On the other hand, in polychronic time several things happen at once; what is important is not the goal but the process; an event begins when the moment is ripe, not prescribed. Without leaving the United States, we can experience these differences as our diverse populations mix and mingle; the common expression "CPT time" refers to "Colored People's Time" - indicating more leisurely temporal practices; and, at Native American intertribal powwow celebrations, the Master of Ceremonies often says, "Okay, today we're going to start on time, on white peoples' time-not Indian time." Gender, age, class, and individual personality issues are also played out in monochronic and polychronic time. How many times have we waited in the grocery line as an elderly person slowly and carefully pulls out the exact change from her or his purse? The following exercise embodies these time distinctions.
Practice (5): 1 invite students to stand, choose a distant spot in the room, and focus intensely on it. At the clap or drum beat, each person walks quickly, without running, as directly and urgently as possible to the place of choice; I instruct people to move as if it were "a matter of life or death." The activity is repeated several times. After several rounds, the room fills with a sensation almost of anxiety. To demonstrate the polychronic, once again everybody chooses a spot, a goal; now, they have "all day" to get there; they can chat along the way, dream, plan their dinners.
In this fifth exercise, students learn that there are many ways to reach a destination through time and space. Often cultural preferences are defined by how particular peoples mesh time and space-for example, Native American cultures generally think in terms of blending time and space in relation to the land (Deloria, 1994), whereas Euroamericans usually conceive of them as separate entities. Other differences emerge from how people feel about their personal space.
The notion of personal space has been articulated by numerous scholars: for example, Irmgard Bartenieff (1980), Hall (1982, 1989), and movement theorist Rudolf Laban (1971). Basically, personal space surrounds each one of us like an enormous balloon; within that space, we have three layers of closeness: near, mid, and far. The close, near-reach area is where we groom as well as touch ourselves and others intimately. In the mid-reach space, we gesture in conversation and perform work activities such as typing and caring for a baby. Finally, stretching our bodies outward as far as possible, we touch the edge of an invisible spatial globe that spirals and circles around us. How we use our personal space and distance ourselves from one another are largely affected by cultural distinctions. Latinos frequently touch one another as they converse, whereas other people may be offended or uncomfortable with physical proximity. In the following sequence, students become familiar with their own preferences.
Practice (6): In an open space, I tell students to explore the space closest to their bodies. Simultaneously, they say aloud and do (perform) movements such as combing their hair, applying lipstick, or dressing. As they move outward to the mid-reach, people enlarge their gestures with moves commonly used in conversation, manual tasks like computer work, washing dishes, and so forth. When they reach the outer edge of their personal "balloons," or far-reach, they enact activities that require the body to extend itself out into space as in sports, dance, or actions such as hailing a cab or window washing. In each reach space, I encourage a full consciousness of the body and its surrounding area-for example, the space behind the body and close to the ground. As students move around the room, they meet others-get close or keep their distance.
After doing the exercise, questions might be asked: What does personal space mean to you? In general, how close do you want to get to other people? Does gender play a role in all this? Age? Ethnicity? How does the use of personal space manifest in different cultures? My students have varied responses to their own comfort zones; generalizations cannot be drawn; some people feel better when interacting at a distance, whereas others like the security of closeness; many agree that mid-reach is the most commonly used area in social interactions.
By embodying notions of time and space, we are performing culture and developing ways in which to contemplate cultural difference. The body comes alive through movement in time and space just as our blackboard diagram and visual representations of culture involved the students in a broad, inclusive mode of thinking.
In this chapter, I have suggested six exercises that incorporate transcultural performance: (1) a collective analysis of the term "culture" on the blackboard; (2) the creation/production of visual art renditions of culture; (3) the creation/production and sharing of personal collages; (4) moving in the classroom space from multiple perspectives; (5) moving urgently or slowly to different spots in the room to experience different senses of time; (6) moving through the three levels of personal space in relation to one's self and one's classmates.
From one semester to another, students have responded in surprising ways to these activities. Each group of individuals relates differently to the collective definition of culture as well as the creation/production of personal collages. As people activate their bodies in time and space, they stimulate sensory and somatic channels. In addition, because students work as a group, these exercises reinforce a social experience of culture. The depth of personal and collective transculturation depends a great deal on the chemistry of each class. When sharing, listening to one another, and moving together, people dare to explore multiple perspectives and mediate their views of themselves and others. Thus, transformation happens on a transcultural level through performance.
With my graduate students in rural Appalachia and undergraduates in urban New York City, I have observed distinct responses from these populations. The graduate students, mostly seasoned classroom teachers, older women who are mothers and grandmothers, bring issues of family into their personal collages. Often, these are people who have never traveled out of southern Ohio or West Virginia. They are intrigued with how their own newly learned insights about different languages, peoples, and cultures can feed into their own class plans; students tell us that a deeper transculturation happens for them as they return to their own schools and apply their knowledge. The undergraduates in NYC are more preoccupied with forming an identity of their own and often come away from class with a greater capacity for understanding the complexity of culture and language. Frequently, the students of color in both Appalachia and New York City take the lead; by contributing views of culture that may be new to their classmates, they open eyes, ears, and hearts.
In general, motion, mediation, and multiple perspectives are key to a transcultural pedagogical experience as two or more elements meet, negotiate, and transform into something new. Performing identity, time, and space through multiple intelligences and the interdisciplinary arts can facilitate the learning of a new language. Thus, as we learn words, pronunciation, idiomatic expressions, grammar, spelling, accent, and so forth, the entire cultural context and history of that language also comes alive as we speak, read, write, and relate to others. Likewise, our native language - which influences how we speak, write, act, and understand the newly learned language-shifts and is, perhaps, forever transformed by a circular process of transculturation.
Acknowledging that change is paramount in all cultural manifestations, Ngugi brings us back to the corporeal by comparing transformation in human society to the body. He states that "society is like a human body which develops as a result of the internal working out of all its cells and biological processes - those dying and those being born and their different combinations - and also in the external context of the air and other environmental factors" (Ngugi, 1993, pp. xv). By linking visceral bodily experience, as both sensorial and somatic, we as teachers guide our students in the complexity of transcultural learning.
Almost thirty years after my first trip to Mexico, as I return time and again through the Mexico City airport, the Benito Juarez, I am reminded of my first experience: the shock, but also the challenge and excitement of entering a new and unknown world. Shock can disorient. It can also give us that extra push as we delve into another culture and a new language.
Bartenieff, Irmgard (with Dori Lewis). (1980). Body movement: Coping with the environment. New York: Gordon & Breach Science Publishers.
Carlson, Martin. (1996). Performance: A critical introduction. London and New York: Routledge.
Deloria, Vine, Jr. (1994). God is red: A native view of religion. Golden, CO: Fulcrum Pub.
Gardner, Howard. (1993). Frames of mind: The theory of multiple intelligences. (10th anniversary edition). With a new introduction by Howard Gardner. New York: Basic Books. (Original work published in 1983).
Gardner, Howard. (1999). Intelligence reframed: Multiple intelligences for the 21st century. New York: Basic Books.
Hall, Edward T. (1973). The silent language. Garden City, NY: Anchor Books. (Original work published in 1959).
Hall, Edward T. (1982). The hidden dimension. New York: Doubleday. (Original work published in 1966).
Hall, Edward T. (1983). The dance of life: The other dimension of time. New York: Doubleday.
Hall, Edward T. (1989). Beyond culture. New York: Doubleday. (Original work published in 1976).
Kroeber, A. L., & Clyde Kluckhohn. (1952). Culture: a critical review of concepts and definitions. New York: Vintage Books
Laban, Rudolf. (1971). The mastery of movement. Revised by Lisa Ullmann. Third Edition. Boston: Plays, Inc. (Original work published 1950).
Ngugi wa Thiong'o. (1993). Moving the centre: The struggle for cultural freedoms. Portsmouth, NH: Heinemann.
Ortiz, Fernando. (1995). Cuban counterpoint: Tobacco and sugar. Introduction by Bronislaw Malinowski. With a new introduction by Fernando Coronil. Durham & London: Duke University Press. (Original work published in 1947).
Roach, Joseph. (1996). Cities of the dead. Circum-Atlantic performance. New York: Columbia University Press.
Williams, Raymond. (1982). The sociology of culture. New York: Schocken Books. (Original work published in 1981).
This work, and any part of it, is copyright. Putting any part of this work to any unauthorised use is a punishable offence and liable to prosecution. This applies in particular to reproduction, translation, copying, micro-filming, electronic storage or any other electronic re-working.