Globalization and the Post-Creole Imagination is a major intervention into discussions of Caribbean practices gathered under the rubric of “creolization.” Examining sociocultural, political, and economic transformations in the Caribbean, Michaeline A. Crichlow argues that creolization—culture-creating processes usually associated with plantation societies and with subordinate populations remaking the cultural forms of dominant groups—must be liberated from and expanded beyond plantations, and even beyond the black Atlantic, to include productions of “culture” wherever vulnerable populations live in situations of modern power inequalities, from regimes of colonialism to those of neoliberalism. Crichlow theorizes a concept of creolization that speaks to how individuals from historically marginalized groups refashion self, time, and place in multiple ways, from creating art to traveling in search of homes. Grounding her theory in the material realities of Caribbean peoples in the plantation era and the present, Crichlow contends that creolization and Creole subjectivity are constantly in flux, morphing in response to the changing conditions of modernity and creatively expressing a politics of place. Engaging with the thought of Michel Foucault, Michel Rolph-Trouillot, Achille Mbembe, Henri Lefebvre, Margaret Archer, Saskia Sassen, Pierre Bourdieu, and others, Crichlow argues for understanding creolization as a continual creative remaking of past and present moments to shape the future. She draws on sociology, philosophy, postcolonial studies, and cultural studies to illustrate how national histories are lived personally and how transnational experiences reshape individual lives and collective spaces. Critically extending Bourdieu’s idea of habitus, she describes how contemporary Caribbean subjects remake themselves in and beyond the Caribbean region, challenging, appropriating, and subverting older, localized forms of creolization. In this book, Crichlow offers a nuanced understanding of how Creole citizens of the Caribbean have negotiated modern economies of power.

Issues of migration, environment, rurality, and the visceral "politics of place" and "space" have occupied center stage in recent electoral political struggles in the United States and Europe, suffused by an antiglobalization discourse that has come to resonate with Euro-American peoples. Race and Rurality in the Global Economy suggests that this present fractious global politics begs for closer attention to be paid to the deep-rooted conditions and outcomes of globalization and development. From multiple viewpoints the contributors to this volume propose ways of understanding the ongoing processes of globalization that configure peoples and places via a politics of rurality in a capitalist world economy, and through an optics of raciality that intersects with class, gender, identity, land, and environment. In tackling the dynamics of space and place, their essays address matters such as the heightened risks and multiple states of insecurity in the global economy; the new logics of expulsion and primitive accumulation dynamics shaping a new "savage sorting"; patterns of resistance and transformation in the face of globalization's political and environmental changes; the steady decline in the livelihoods of people of color globally and their deepened vulnerabilities; and the complex reconstitution of systemic and lived racialization within these processes. This book is an invitation to ask whether our dystopia in present politics can be disentangled from the deepening sense of "white fragility" in the context of the historical power of globalization's raced effects. This book is freely available in an open access edition thanks to Knowledge Unlatched—an initiative that provides libraries and institutions with a centralized platform to support OA collections and from leading publishing houses and OA initiatives. Learn more at the Knowledge Unlatched website at: https://www.knowledgeunlatched.org/, and access the book online at the SUNY Open Access Repository at http://hdl.handle.net/20.500.12648/7136 .

Country music's debt to African American music has long been recognized. Black musicians have helped to shape the styles of many of the most important performers in the country canon. The partnership between Lesley Riddle and A. P. Carter produced much of the Carter Family's repertoire; the street musician Tee Tot Payne taught a young Hank Williams Sr.; the guitar playing of Arnold Schultz influenced western Kentuckians, including Bill Monroe and Ike Everly. Yet attention to how these and other African Americans enriched the music played by whites has obscured the achievements of black country-music performers and the enjoyment of black listeners. The contributors to Hidden in the Mix examine how country music became "white," how that fictive racialization has been maintained, and how African American artists and fans have used country music to elaborate their own identities. They investigate topics as diverse as the role of race in shaping old-time record catalogues, the transracial West of the hick-hopper Cowboy Troy, and the place of U.S. country music in postcolonial debates about race and resistance. Revealing how music mediates both the ideology and the lived experience of race, Hidden in the Mix challenges the status of country music as "the white man’s blues." Contributors. Michael Awkward, Erika Brady, Barbara Ching, Adam Gussow, Patrick Huber, Charles Hughes, Jeffrey A. Keith, Kip Lornell, Diane Pecknold, David Sanjek, Tony Thomas, Jerry Wever

Focusing on the Anglophone Caribbean, The Making of a Caribbean Avant-Garde describes the rise and gradual consolidation of the visual arts avant-garde, which came to local and international attention in the 1990s. The book is centered on the critical and aesthetic strategies employed by this avant-garde to repudiate the previous generation’s commitment to modernism and anti-colonialism. In three sections, it highlights the many converging factors, which have pushed this avant-garde to the forefront of the region’s contemporary scene, and places it all in the context of growing dissatisfaction with the post-colonial state and its cultural policies. This generational transition has manifested itself not only in a departure from “traditional” in favor of “new” media (i.e., installation, performance, and video rather than painting and sculpture), but also in the advancement of a “postnationalist postmodernism,” which reaches for diasporic and cosmopolitan frames of reference. Section one outlines the features of a preceding “Creole modernism” and explains the different guises of postnationalism in the region’s contemporary art. In section two, its momentum is connected to the proliferation of independent art spaces and transnational networks, which connect artists across and beyond the region and open up possibilities unavailable to earlier generations. Section three demonstrates the impact of this conceptual and organizational evolution on the selection and exhibition of Caribbean art in the metropole.

This book reflects the broad reception of cosmopolitan thought in a variety of disciplines and across international borders.

Winner, 2022 Nicolás Cristóbal Guillén Batista Outstanding Book Award Creolizing the Nation identifies the nation-form as a powerful resource for political struggles against colonialism, racism, and other manifestations of Western hegemony in the Global South even as it acknowledges the homogenizing effects of the politics of nationalism. Drawing on Caribbean, decolonial, and Latina feminist resources, Kris F. Sealey argues that creolization provides a rich theoretical ground for rethinking the nation and deploying its political and cultural apparatus to imagine more just, humane communities. Analyzing the work of thinkers such as Édouard Glissant, Frantz Fanon, Gloria Anzaldúa, María Lugones, and Mariana Ortega, Sealey shows that a properly creolizing account of the nation provides an alternative imaginary out of which collective political life might be understood. Creolizing practices are always constitutive of anticolonial resistance, and their ongoing negotiations with power should be understood as everyday acts of sabotage. Sealey demonstrates that the conceptual frame of the nation is not fated to re-create colonial instantiations of nationalism but rather can support new possibilities for liberation and justice.

A dividing line, the border is usually perceived in terms of separation and rupture. It is a site of tension par excellence, at the origin of contestations, negotiations, and other conflicting patterns of inclusion/exclusion. This book takes us through an exploration of the border in the Caribbean region, both geographically fragmented and strongly tied through its history, culture and people. This collection of scholarly articles interrogates the border within the specificities of the Caribbean context, its socio-political dynamics and its literary and artistic representations. The transgression of borders and the consequent reconfiguring phenomena are thus applied to the Caribbean and its diasporas, through a transdisciplinary approach. The book combines a multiplicity of research fields, including Social Sciences, Cultural Geography, Geopolitics, Cultural and Literary Studies, hence it offers a global perspective on the topic and transcends disciplinary categories. The contents of the book also stretch beyond geographic and linguistic borders as the contributors come from diverse scholarly backgrounds, affiliations, linguistic areas, and research expertise.

Who Defines Me: Negotiating Identity in Language and Literature is a collection of insightful articles that represent an interdisciplinary study of identity. The articles start from the premise that identity is, and always has been, unstable and mutable; which is to say that identity is constructed and deconstructed and reconstructed – only to be deconstructed and reconstructed again, in turn to be deconstructed and reconstructed (and so on ad infinitum). Time and place are variables. So, too – as Who Defines Me underscores – are ethnicity, religion, politics and power, race and color, nationality, gender, culture, language, and socio-economic status. With all of these variables in mind, Who Defines Me focuses on language and literature as the portal through which identity is explored. The overarching rubrics under which the explorations are conducted are Arabs and Muslims, race identity in America, and language identity.

In The Chinese Atlantic, Sean Metzger charts processes of global circulation across and beyond the Atlantic, exploring how seascapes generate new understandings of Chinese migration, financial networks and artistic production. Moving across film, painting, performance, and installation art, Metzger traces flows of money, culture, and aesthetics to reveal the ways in which routes of commerce stretching back to the Dutch Golden Age have molded and continue to influence the social reproduction of Chineseness. With a particular focus on the Caribbean, Metzger investigates the expressive culture of Chinese migrants and the communities that received these waves of people. He interrogates central issues in the study of similar case studies from South Africa and England to demonstrate how Chinese Atlantic seascapes frame globalization as we experience it today. Frequently focusing on art that interacts directly with the sites in which it is located, Metzger explores how Chinese migrant laborers and entrepreneurs did the same to shape—both physically and culturally—the new spaces in which they found themselves. In this manner, Metzger encourages us to see how artistic imagination and practice interact with migration to produce a new way of framing the global.