the deep ambivalence of
“
ethnography-at-home
”
scholarship. This reviewer wonders, however, if further analyses of the visceral, embodied dilemmas of the ethnographic experience housed within the body of the
“
unruly spectator
”
might have served to parse this commentarial persona further, rendering itmore accessible to ethnographers and theorists contemplating ongoing debatesabout ethnographic subjectivity and reflexivity.Theimmensedetail,thecarefuldeploymentofscholarlyandpersonalnarrative,and the dexterity of weaving history and ethnography together in
Sweating Saris
results in a beautiful and critical piece of scholarship for those interested in AsianAmerican embodied practices. Srinivasan
’
s adept interdisciplinary study is an essen-tial read for those exploring transnational embodied practices across historicalperiods and ideologies. Its most important contribution, perhaps, is its framing of Bharata Natyam and other dance forms not as staged events subject to the gazeof spectators, but rather as continuous forms of physical, intellectual, interpretive,and performative labor that contribute to the honing of (personal, national, and cul-tural) identity, both in the public domain and within practitioners
’
bodies. Here, theauthor continues ongoing efforts in the fields of dance and performance studies toattend to kinesthesia as a quintessential aspect of human experience, and demon-strates the intellectual opportunities of this analytic perspective for South Asianstudies, Asian-American studies, and other humanistic disciplines.