Female "circumcision" or, more precisely, female genital cutting (FGC), remains an important cultural practice in many African countries, often serving as a coming-of-age ritual. It is also a practice that has generated international dispute and continues to be at the center of debates over women's rights, the limits of cultural pluralism, the balance of power between local cultures, international human rights, and feminist activism. In our increasingly globalized world, these practices have also begun immigrating to other nations, where transnational complexities vex debates about how to resolve the issue. Bringing together thirteen essays, Transcultural Bodies provides an ethnographically rich exploration of FGC among African diasporas in the United Kingdom, Europe, and Australia. Contributors analyze changes in ideologies of gender and sexuality in immigrant communities, the frequent marginalization of African women's voices in debates over FGC, and controversies over legislation restricting the practice in immigrant populations.

Challenging questions arise in the effort to adequately protect the cultural rights of individuals and communities worldwide, not the least of which are questions concerning the very understanding of ‘culture’. In Cultural Rights in International Law and Discourse: Contemporary Challenges and Interdisciplinary Perspectives, Pok Yin S. Chow offers an account of the present-day challenges to the articulation and implementation of cultural rights in international law. Through examining how ‘culture’ is conceptualised in different stages of contemporary anthropology, the book explores how these understandings of ‘culture’ enable us to more accurately put issues of cultural rights into perspective. The book attempts to provide analytical exits to existing conundrums and dilemmas concerning the protections of culture, cultural heritage and cultural identity.

David MacDougall is a pivotal figure in the development of ethnographic cinema and visual anthropology. As a filmmaker, he has directed in Africa, Australia, India, and Europe. His prize-winning films (many made jointly with his wife, Judith MacDougall) include The Wedding Camels, Lorang's Way, To Live with Herds, A Wife among Wives, Takeover, PhotoWallahs, and Tempus de Baristas. As a theorist, he articulates central issues in the relation of film to anthropology, and is one of the few documentary filmmakers who writes extensively on these concerns. The essays collected here address, for instance, the difference between films and written texts and between the position of the filmmaker and that of the anthropological writer. In fact, these works provide an overview of the history of visual anthropology, as well as commentaries on specific subjects, such as point-of-view and subjectivity, reflexivity, the use of subtitles, and the role of the cinema subject. Refreshingly free of jargon, each piece belongs very much to the tradition of the essay in its personal engagement with exploring difficult issues. The author ultimately disputes the view that ethnographic filmmaking is merely a visual form of anthropology, maintaining instead that it is a radical anthropological practice, which challenges many of the basic assumptions of the discipline of anthropology itself. Although influential among filmmakers and critics, some of these essays were published in small journals and have been until now difficult to find. The three longest pieces, including the title essay, are new.

This book examines the political alliances that are built across the diaspora in contemporary plays written by Black women playwrights in the UK. Through the concept of creative diasporic solidarity, it offers an innovative theoretical approach to examine the ways in which the playwrights respond creatively to the violence and marginalisation of Black communities, especially Black women. This study demonstrates that theatre can act as a productive space for the ethical encounter with the Other (understood in terms of alterity, as someone different from the self) by examining the possibilities of these plays to activate the spectators’ responsibility and solidarity towards different types of violence experienced by Black women, offering alternative modes of relationality. The book engages with a range of contemporary works written by Black women playwrights in the UK, including Mojisola Adebayo, Theresa Ikoko, Diana Nneka Atuona, Gloria Williams, Charlene James, or Yusra Warsama, bringing to the fore a gendered and intersectional approach to the analysis of the texts. This book will be of great interest to students and scholars in contemporary theatre, gender studies and diaspora studies.

This book examines the queer implications of memory and nationhood in transcultural U.S. literature and culture. Through an analysis of art and photography responding to the U.S. domestic response to 9/11, Iraq war fiction, representations of Abu Ghraib and Guantánamo Bay, and migrant fiction in the twenty-first century, Christopher W. Clark creates a queer archive of transcultural U.S. texts as a way of destabilizing heteronormativity and thinking about productive spaces of queer world-building. Drawing on the fields of transcultural memory, queer studies, and transculturalism, this book raises important questions of queer bodies and subjecthood. Clark traces their legacies through texts by Sinan Antoon, Mohamedou Ould Slahi among others, alongside film and photography that includes artists such as Nina Berman and Hasan Elahi. In all, the book queers forms of cultural memory and national identity to uncover the traces of injury but also spaces of regeneration.

This book views the Neo-Sensation mode of writing as a traveling genre, or style, that originated in France, moved on to Japan, and then to China. The author contends that modernity is possible only on "the transcultural site"—transcultural in the sense of breaking the divide between past and present, elite and popular, national and regional, male and female, literary and non-literary, inside and outside. To illustrate the concept of transcultural modernity, three icons are highlighted on the transcultural site: the dandy, the flaneur, and the translator. Mere flaneurs and flaneurses simply float with the tide of heterogeneous information on the transcultural site, whereas the dandy/flaneur and the cultural translator, propellers of modernity, manage to bring about transformative creation. Their performance marks the essence of transcultural modernity: the self-consciousness of working on the threshold, always testing the limits of boundaries and tempted to go beyond them. To develop the concept of dandyism—the quintessence of transcultural modernity—the Neo-Sensation gender triad formed by the dandy, the modern girl, and the modern boy is laid out. Writers discussed include Liu Na’ou, a Shanghai dandy par excellence from Taiwan, Paul Morand, who looked upon Coco Chanel the female dandy as his perfect other self, and Yokomitsu Riichi, who developed the theory of Neo-Sensation from Kant’s the-thing-in-itself.

The disruptive power of montage has often been regarded as a threat to scholarly representations of the social world. This volume asserts the opposite: that the destabilization of commonsense perception is the very precondition for transcending social and cultural categories. The contributors—anthropologists, filmmakers, photographers, and curators—explore the use of montage as a heuristic tool for comparative analysis in anthropological writing, film, and exhibition making. Exploring phenomena such as human perception, memory, visuality, ritual, time, and globalization, they apply montage to restructure our basic understanding of social reality. Furthermore, as George E. Marcus suggests in the afterword, the power of montage that this volume exposes lies in its ability to open the very “combustion chamber” of social theory by juxtaposing one’s claims to knowledge with the path undertaken to arrive at those claims.

At the turn of the twenty-first century, American media abound with images and narratives of bodily transformations. At the crossroads of American, cultural, literary, media, gender, queer, disability and governmentality studies, the book presents a timely intervention into critical debates on body transformations and contemporary makeover culture.

This handbook looks at cross-cultural work on harmful cultural practices considered gendered forms of abuse of women. These include female genital mutilation (FGM), virginity testing, hymenoplasty, and genital cosmetic surgery. Bringing together comparative perspectives, intersectionality, and interdisciplinarity, it uses feminist methodology and mixed methods, with ethnography of central importance, to provide holistic, grounded theorizing within a framework of transformative research. Taking female genital mutilation, a topical, contested practice, and making it a heuristic reference for related procedures makes the case for global action based on understanding the complexity of harmful cultural practices that are contextually differentiated and experienced in intersectional ways. But because this phenomenon is enshrouded in matters of sensitivity and prejudice, narratives of suffering are muted and even suppressed, are dismissed as indigenous ritual, or become ammunition for racist organizing. Such conflicted and often opaque debates obstruct clear vision of the scale of both problem and solution. Divided into six parts: • Discourses and Epistemological Fault Lines • FGM and Related Patriarchal Inscriptions • Gender and Genitalia • Female Bodies and Body Politics: Economics, Law, Medicine, Public Health, and Human Rights • Placing Engagement, Innovation, Impact, Care • Words and Texts to Shatter Silence Comprised of 24 newly written chapters from experts around the world, this book will be of interest to scholars and students of nursing, social work, and allied health more broadly, as well as sociology, gender studies, and postcolonial studies.

This book focuses on yoga’s transcultural dissemination in the twentieth and twenty-first centuries. In the course of this process, the term “yoga” has been associated with various distinctive blends of mental and physical exercises performed in order to achieve some sort of improvement, whether understood in terms of esotericism, fitness, self-actualization, body aesthetics, or health care. The essays in this volume explore some of the turning points in yoga’s historico-spatial evolution and their relevance to its current appeal. The authors focus on central motivations, sites, and agents in the spread of posture-based yoga as well as on its successive (re-)interpretation and diversification, addressing questions such as: Why has yoga taken its various forms? How do time and place influence its meanings, social roles, and associated experiences? How does the transfer into new settings affect the ways in which yogic practice has been conceptualized as a system, and on what basis is it still identified as (Indian) yoga? The initial section of the volume concentrates on the re-evaluation of yoga in Indian and Western settings in the first half of the twentieth century. The following chapters link global discourses to particular local settings and explore meaning production at the micro-social level, taking Germany as the focal site. The final part of the book focuses on yoga advertising and consumption across national, social, and discursive boundaries, taking a closer look at transnational and deterritorialized yoga markets, as well as at various classes of mobile yoga practitioners.