Reviews footing by distinguishing them according to the continent where they are spoken. In balance, this is a very useful book, and a welcome addition to the growing number of materials to teach and learn Portuguese now available in the market. On looking at the title, one cannot help thinking of the other leading volume in this category, 501 Portuguese Verbs by John N. Nitti and Michael J. Ferreira. Manuela Cook’s book, however, offers an easier start for the total beginner. For the more advanced student, it can be a useful complement to Nitti and Ferreira’s extensive conjugation tables. Amélia P. Hutchinson University of Georgia Holton, Kimberly DaCosta. Performing Folklore: Ranchos Folclóricos from Lisbon to Newark. Bloomington: Indiana University Press, 2005. Performing Folklore is rigorously researched, well argued and lucidly written. It uses ranchos folclóricos, a revivalist folklore performance genre involving both dance and music elements, as a lens through which to examine complex and shifting politics of place, locality, history and nation during a period of tremendous social and political change in Portugal (the early years of the Estado Novo through the early 2000s). Holton grounds her analysis in fieldwork conducted in Portugal (in Alenquer, Lisbon, and Belas) and in Newark, New Jersey, and in archival research conducted in the archives of the Federação de Folclore Português. Theoretically and methodologically, Performing Folklore is an interdisciplinary project. It draws on scholarship from the disciplines of performance studies, cultural anthropology and Portuguese studies (among others) and on diverse methodologies including oral history, ethnographic participant-observation and archival research. Building on contemporary scholarship in the social sciences on transnationalism, globalization and place, Performing Folklore argues through ethnographic and 168 Reviews historical detail for the “productive force” of “invented traditions” and for the centrality of expressive cultural performance to theorizing place, nation and global-local dialectics. Holton describes her initial motivation behind the project as a desire to understand why there was a proliferation of ranchos folclóricos in post-25 de Abril Portugal, given that the genre had been co-opted by the Estado Novo regime and thus bore some of its stigma. The book’s six chapters proffer nuanced and meticulously researched analyses guided by this question. The chapters range in focus from a foundational historical analysis of the relationship between ranchos and the política do espírito under Salazar, through a detailed examination of the politics of rancho repertoire, spectacle, venue, hospitality, sociability and “authenticity” in postrevolution years, to an investigation into the complex ways in which rancho performance in a contemporary LusoAmerican community in Newark, New Jersey negotiates both Luso and American belonging. The first chapter offers an historical account of the multiple roles that ranchos played during the Estado Novo in “choreographing the spirit” as a nationalist tool whose aesthetic and practices were shaped by the regime, foregrounding a “primordial past” (31) alongside performative spectacle and virtuosity in the context of staged competition. Holton argues that during the Estado Novo, rancho performance “neutralized local and regional differences” (41) in the service of the cohesiveness of nation while keeping Portugal’s rural populations in a “constant state of festivity” (27). Yet she stresses that, for some of her interlocutors, rancho practice also provided experiences of “everyday resistance” (46) to the regime’s strategies of panoptic surveillance, censorship and corporatism. Drawing on field research conducted with the Rancho Folclórico de Alenquer, chapters two through four discuss post-revolutionary rancho practices as understood against the historical foundation developed in the first chapter. Holton maintains that post-25 de Abril ranchos experienced both continuity and rupture (60) in relation to Salazar era 169 Reviews rancho ideology, aesthetics, sociability and repertoire. Chapter two examines post-revolutionary rancho reform in light of the “new standards of authenticity” (67) and the depoliticization of aesthetics enforced by the newly formed Federação de Folclore Português (FFP). Holton sees the post-revolution shift to historically “accurate” representation, where ethnographic authenticity itself becomes the spectacle (87), in part as backlash to globalization as Portuguese borders become increasingly permeable in the decades following the revolution. Drawing and expanding on theories of kinship and hospitality, Holton devotes chapters three and four, respectively, to discussions of how ranchos and rancho festivals participate in multiple kinds of networking and in refiguring local-regional-national dialectics. The final two chapters of Performing Folklore pan out to consider questions of both European and diasporic belonging in relation to cultural production and performance. In chapter five, Holton focuses on cultural policy and image-makeover decisions that went into preparing Lisbon for its international “performance” as Cultural Capital of Europe in 1994. Ranchos, and folkloric performance in general, were excluded from the extensive lineup of cultural events featured in the context of Lisboa 94. While Lisboa 94 excluded ranchos, most likely because of ways in which planners might have understood aspects of rancho performance to conflict with notions of European modernity and elite culture, Holton argues that ranchos in the 1990s organized alternative European performance spheres and that they were not “confined to the isolated nooks and crannies of Portuguese rurality” (143). Lastly, in the final chapter, Holton examines the role that ranchos and revivalist folklore play in negotiating the challenges and complexities of Portuguese immigrant belonging in a Newark community. She finds that revivalist folkloric performance in Newark simultaneously supports U.S. multi-culturalist ideologies and strengthens Portuguese-U.S. networks and “ethnic” belonging. All too often, when Portugal is represented in anthropological literature, it has been represented as geographically bounded or in terms of “rurality” and/or temporal “back170 Reviews wardness” (there are of course notable and important exceptions, I speak only of an historical trend). By examining rancho practice (and Portugal) in relation to issues of immigration, migration, transnational media flows, European belonging and modernity, Holton clearly departs from that model while also contributing to a burgeoning literature on the anthropology of Europe. In tracking shifts of an expressive cultural form through a longstanding dictatorial regime, a revolution, and a transition to democracy and E.U. inclusion, Performing Folklore presents an invaluable case study for understanding the complex links between aesthetics and politics as they play out in the interstices between cultural policies of state and the experiences of individuals. Lila Ellen Gray Columbia University Madureira, Luís. Cannibal Modernities: Postcoloniality and the Avant-garde in Caribbean and Brazilian Literature. Charlottesville: University of Virginia Press, 2005. The subtitle of Luís Madureira’s Cannibal Modernities pairs up two uncommon sets of terms. “Postcoloniality” is a term that appeared in academia during discussions about “postmodernity” or “postmodernism,” whereas “avantgarde” has been a key concept for discussions of “modernity” and/or “modernisms.” These traditional binaries are, in fact, part of what Madureira’s book is trying to undo, although he is careful not to state his case in an absolutist form. The other rare pairing is Brazilian and Caribbean literatures. Although to compare them is by no means an extravagant gesture, given several historical and cultural traits that unite the two regions, this is one of the first studies to do so, at least in the English language. Taking as his point of departure Derrida’s notion (in “Signature Event Context”) of context and its outcomes towards New World literatures and cultures, Madureira 171