Eleanor Nesbitt's introduction contextualises the life of Kailash Puri, Punjabi author and agony aunt, providing the story of the book itself and connecting the narrative to the history of the Punjabi diaspora and themes in Sikh Studies. She suggests that representation of the stereotypical South Asian woman as victim needs to give way to a nuanced recognition of agency, multiple voices and a differentiated experience. The narrative presents sixty years of Kailash's life. Her memories of childhood in West Punjab evoke rural customs and religious practices consistent with recent scholarship on Punjabi religion' rather than with the currently dominant Sikh discourse of a religion sharply distinguished from Hindu society. Her marriage, as a shy 15-year-old, with no knowledge of English, to a scientist, Gopal Puri, brought ever-widening horizons as husband and wife moved from India to London, and later to West Africa, before returning to the UK in 1966. This life experience, and Gopal's constant encouragement, brought confidence to write and publish numerous stories and articles. Kailash writes of the contrasting experiences of life as an Indian in the UK of the 1940s and the 1960s. She points up differences between her own outlook and the life-world of the post-war community of Sikhs from East Punjab now living in the West. In their distress and dilemmas many people consulted Kailash for assistance, and the descriptive narrative of her responses and advice and increasingly public profile provides insight into Sikhs' experience in their adopted country. In later years, as grandparents and established citizens of Liverpool, Kailash and Gopal revisited their ancestral home, now in Pakistan a reflective and moving experience. An Afterword by Eleanor contextualises the current UK Sikh scene. The book includes a glossary of Punjabi words and suggestions for further reading.

An exciting account of the international adventures of fashion model Pat Cleveland-one of the first black supermodels during the wild sixties and seventies. "Taking her reader through fifty years of fashion from the intersection of the Civil Rights Movement, the disco era's decadence, and the grandeur of Hollywood's late 70s renaissance, Cleveland provides a glimpse at some of design's most important moments-and her own personal history." -Vogue "Pat Cleveland is to fashion what Billie Holiday is to the blues; a muse for all ages." -Essence Chronicling of the glamorous life and adventures of Pat Cleveland-one of the first black supermodels-this compelling memoir evokes the bohemian lifestyle and creative zeitgeist of 1970s New York City and features some of today's most prominent names in fashion, art, and entertainment as they were just gaining their creative footage. New York in the sixties and seventies was glamorous and gritty at the same time, a place where people like Warhol, Avedon, and Halston as well as their muses came to pursue their wildest ambitions, and when the well began to run dry they darted off to Paris. Though born on the very fringes of this world, Patricia Cleveland, through a combination of luck, incandescent beauty, and enviable style, soon found herself in the center of all that was creative, bohemian, and elegant. A "walking girl," a runway fashion model whose inimitable style still turns heads on the runways of New York, Paris, Milan, and Tokyo, Cleveland was in high demand. Ranging from the streets of New York to the jet-set beaches of Mexico, from the designer drawing rooms of Paris to the offices of Vogue, here is Cleveland's larger-than-life story. One minute she's in a Harlem tenement making her own clothes and dreaming of something bigger, the next she's about to walk Halston's show alongside fellow model Anjelica Huston. One minute she's partying with Mick Jagger and Jack Nicholson, the next she's sharing the dance floor next to a man with stark white hair, an artist the world would later know as Warhol. In New York, she struggles to secure her first cover of a major magazine. In Paris, she's the toast of the town. And through the whirlwind of it all, she is forever in pursuit of love, truth, and beauty in this "riveting, celeb-drenched account of her astonishing life in fashion" (Simon Doonan, author of The Asylum).

One of the most significant developments in current literary studies is the rediscovery and reevaluation of texts by British writers of African descent. This volume combines popular texts with hard-to-find selections in a format that enables students to place them in their historical and cultural contexts. For instructors, the collection offers reliable texts, stimulating context pieces, and the most useful modern critical essays. The book is divided into four sections: Narratives, Poetry, Voices (letters), and Criticism. Native African and African-heritage authors living in Great Britain and British colonies include Ukawasaw Gronniosaw, an African prince; John Jea, a preacher; Mary Prince, a slave living in the West Indies; and Juan Francisco Manzano, a slave living in Cuba.

Presenting the voices of a unique group within contemporary Japanese society-Zainichi women-this book provides a fresh insight into their experiences of oppression and marginalization that over time have led to liberation and empowerment. Often viewed as unimportant and inconsequential, these women's stories and activism are now proving to be an integral part of both the Zainichi Korean community and Japanese society. Featuring in-depth interviews from 1994 to the present, three generations of Zainichi Korean women-those who migrated from colonial Korea before or during WWII and the Asia-Pacific War and their Japan-born descendants-share their version of history, revealing their lives as members of an ethnic minority. Discovering voices within constricting patriarchal traditions, the women in this book are now able to tell their history. Ethnography, interviews, and the women's personal and creative writings offer an in-depth look into their intergenerational dynamics and provide a new way of exploring the hidden inner world of migrant women and the different ways displacement affects subsequent generations. This book goes beyond existing Anglophone and Japanese literatures, to explore the lives of the Zainichi Korean women. As such, it will be invaluable to students and scholars of Japanese and Korean history, culture and society, as well as ethnicity and Women's Studies.

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

South Korea known as the hermit kingdom was wrenched from its isolation in the mid-seventies with the forced industialisation of its economy by Park Chung-hee during his dictatorial regime. This led South Korea to becoming the most rapidly industialised country in the world with world class technology and a population who are largely digitally proficient. The course is charted from the rule of Park Chung-hee to his democratically elected daughter President Park Geun-hye who is now on trial for corruption. The legacy of the Park to Park era is not only the most fruitful in Korean history but the most tumultuous, most recently because of the accelerated nuclear ambitions of North Korea. The analysis is through the framework of investment, innovation and intellectual property rights and the double edged sword of cult and rapid action, so central to Korean culture.

This book is a comprehensive introduction to Dalits in India from their origin to the present day. Despite a plethora of provisions for affirmative action in the Indian Constitution, Dalits still suffer exclusion on various counts. The book traces the multifarious changes that befell them through history, germination of Dalit consciousness during the colonial period and its f lowering under the legendary leadership of Babasaheb Ambedkar. It provides critical insights to their degeneration during the post-Ambedkar period, taking stock of all significant developments therein such as the rise of the Bahujan Samaj Party, Dalit capitalism, NGOization of the Dalit discourse and the various implicit or explicit emancipation schemas thrown up by them. It also discusses ideology, implicit strategy and tactics of the Dalit movement, touches upon one of the most contentious issues of increasing divergence between the Dalit and Marxist movements, and delineates the role of the state, both colonial and post-colonial, in shaping Dalit politics in particular ways. This new edition includes a new chapter providing the causal analysis of the rise of Hindutva under Narendra Modi, its fascist march obliterating the idea of India sketched out by the Constitution, and forecasts its future as the Hindu Rashtra - the Brahmanic-fascist state - which has been the goal of its progenitors. A tour de force, this book brings to the fore many key contemporary concerns and will be of great interest to activists, students, scholars and teachers of politics, political economy, sociology, anthropology, history and social exclusion studies.

*Selected as one of openDemocracy's Best Political Books of 2017* This is the history of the black radicals who organised as Communists between the two imperialist wars of the twentieth century. It explores the political roots of a dozen organisations and parties in New York City, Mexico and the Black Caribbean, including the Anti-Imperialist League, and the American Negro Labour Congress and the Haiti Patriotic League, and reveals a history of myriad connections and shared struggle across the continent. This book reclaims the centrality of class consciousness and political solidarity amongst these black radicals, who are too often represented as separate from the international Communist movement which emerged after the Russian Revolution in 1917. Instead, it describes the inner workings of the 'Red International' in relation to struggles against racial and colonial oppression. It introduces a cast of radical characters including Richard Moore, Otto Huiswoud, Navares Sager, Grace Campbell, Rose Pastor Stokes and Wilfred Domingo. Challenging the 'great men' narrative, Margaret Stevens emphasises the role of women in their capacity as laborers; the struggles of peasants of colour; and of black workers in and around Communist parties.

The first major exhibition and catalog dedicated to the work of groundbreaking painter and filmmaker Mike Henderson. Mike Henderson (b. 1944) is a painter, filmmaker, and professor emeritus at University of California, Davis. Published to accompany his first museum retrospective, this catalog surveys Henderson's paintings and films from 1965 to 1985, which are rooted as much in Francisco Goya's horror of humanity as in Sun Ra's hope for a new Black future. In the work of that time, Henderson depicted scenes of racial violence, heteromasculinity, and abject social conditions with force and unflinching directness. In 1985, a studio fire damaged much of Henderson's output from the previous two decades, obscuring vital ideas about a time of tumult and change, often referred to as a world on fire. Mike Henderson: Before the Fire, 1965-1985 addresses Henderson's multifaceted art of that period, which examined and offered new ideas about Black life in the visual languages of protest, Afrofuturism, and surrealism. Published in association with the Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis Exhibition dates: Jan Shrem and Maria Manetti Shrem Museum of Art January 29-June 25, 2023

Black Theology emerged in the 1960s as a response to black consciousness. In South Africa it is a critique of power; in the UK it is a political theology of black culture. The dominant form of Black Theology has been in the USA, originally influenced by Black Power and the critique of white racism. Since then it claims to have broadened its perspective to include oppression on the grounds of race, gender and class. In this book the author contests this claim, especially by Womanist (black women) Theology. Black and Womanist Theologies present inadequate analyses of race and gender and no account at all of class (economic) oppression. With a few notable exceptions Black Theology in the USA repeats the mantras of the 1970s, the discourse of modernity. Content with American capitalism it fails to address the source of the impoverishment of black Americans at home. Content with a romantic imaginaire of Africa, this 'African-American' movement fails to defend contemporary Africa against predatory American global ambitions.

Exporting Japanese Aesthetics brings together historical and contemporary case studies addressing the evolution of international impacts and influences of Japanese culture and aesthetics. The volume draws on a wide range of examples from a multidisciplinary team of scholars exploring transnational, regional and global contexts. Studies include the impact of traditional Japanese theatre and art through to the global popularity of contemporary anime and manga. Under the banner of soft power or Cool Japan, cultural commodities that originate in Japan have manifested new meanings outside Japan. By (re)mapping meanings of selected Japanese cultural forms, this volume offers an in-depth examination of how various aspects of Japanese aesthetics have evolved as exportable commodities, the motivations behind this diffusion, and the extent to which the process of diffusion has been the result of strategic planning. Each chapter presents a case study that explores perspectives that situate Japanese aesthetics within a wide-ranging field of inquiry including performance, tourism, and visual arts, as well as providing historical contexts. The importance of interrogating the export of Japanese aesthetics is validated at the highest levels of government, which formed the Office of Cool Japan in 2010, and which perhaps originated in the 19th century at governmentally endorsed cultural courts at world fairs. Increased international consumption of contemporary Japanese culture provides a much needed boost to Japans weakening economy. The case studies are timely and topical. As host of the 2020/2021 Tokyo Olympic Games and the 2025 Osaka Expo, Cool Japan will be under special scrutiny.

OSS Operation Black Mail is the story of a remarkable woman who fought World War II on the front lines of psychological warfare. Elizabeth "Betty" P. McIntosh spent eighteen months serving in the Office of Strategic Services in what has been called the "forgotten theater," China-Burma-India, where she met and worked with characters as varied as Julia Child and Ho Chi Minh. Her craft was black propaganda, and her mission was to demoralize the enemy through prevarication and deceit, and ultimately, convince him to surrender. Betty and her crew ingeniously obtained and altered personal correspondence between Japanese soldiers and their families on the home islands of Japan. She also ordered the killing of a Japanese courier in the jungles of Burma to plant a false surrender order in his mailbag. By the time Betty flew the Hump from Calcutta to China, she was acting head of the Morale Operations branch for the entire theater, overseeing the production of thousands of pamphlets and radio scripts, the generation of fiendishly clever rumors, and the printing of a variety of faked Japanese, Burmese, and Chinese newspapers. Her strategy involved targeting not merely the Japanese soldier but the man within: the son, the husband, the father. She knew her work could ultimately save lives, but never lost sight of the fact that her propaganda was a weapon and her intended target the enemy. This is not a typical war story. The only beaches stormed are the minds of an invisible enemy. Often a great deal of time and effort was expended in conception and production, and rarely was it known if even a shred reached the hands of the intended recipient. The process was opaque on both ends: the origin of a rumor or radio broadcast obscured, the target elusive. For Betty and her friends, time on the "front lines" of psychological warfare in China-Burma-India rushed by in a cascade of creativity and innovation, played out on a stage where a colonial world was ending and chaos awaited.

The early years of the twentieth century were a formative time in the long history of struggle for black representation. More than any other medium, movies reflected the tremendous changes occurring in American society. Unfortunately, since they drew heavily on the nineteenth-century theatrical conventions of blackface minstrelsy and the "Uncle Tom Show" traditions, early pictures persisted in casting blacks in demeaning and outrageous caricatures that marginalized and burlesqued them and emphasized their comic or servile behavior. By contrast, race films-that is, movies that were black-cast, black-oriented, and viewed primarily by black audiences in segregated theaters-attempted to counter the crude stereotyping and regressive representations by presenting more authentic racial portrayals. This volume examines race filmmaking from numerous perspectives. By reanimating a critical but neglected period of early cinema-the years between the turn-of-the-century and 1930, the end of the silent film era-it provides a fascinating look at the efforts of early race film pioneers and offers a vibrant portrait of race and racial representation in American film and culture.

This book examines how the media approached long-standing and long-simmering issues of race, class, violence, and social responsibility in Baltimore during the demonstrations, violence, and public debate in the spring of 2015. Contributors take Baltimore to be an important place, symbol, and marker, though the issues are certainly not unique to Baltimore: they have crucial implications for contemporary journalism in the U.S. These events prompt several questions: How well did journalism do, in Baltimore, nearby and nationally, in explaining the endemic issues besetting Baltimore? What might have been done differently? What is the responsibility of journalists to anticipate and cover these problems? How should they cover social problems in urban areas? What do the answers to such questions suggest about how journalists should in future cover such problems?

In recent years exclusionary policies of the Indian state have raised questions concerning social harmony and economic progress. During the last few decades the emergence of identity politics has given new lease of life to exclusionary practices in the country. Castes, communities and ethnic groups have re-emerged in almost every sphere of social life. This book analyses different aspects of social exclusion in contemporary India. Divided into three sections - 1. New Forms of Inclusion and Exclusion in Contemporary India; 2. Religious Identities and Dalits; 3. Ethnicity and Politics of Inclusion and Exclusion in the North-eastern Frontier - the book shows that a shift has taken place in the discourse on inclusion and exclusion. Chapters by experts in their fields explore issues of inclusion and exclusion that merit special attention such as dalit identity, ethnicity, territoriality and minorities. Authors raise questions about developmental programmes of the state aimed at making India more inclusive and discuss development projects initiated to alleviate socio-economic conditions of the urban poor in the cities. As far as North-east region is concerned, the authors argue that there is a tendency to highlight the homogenizing nature of the Indian culture by stressing one history, one language, one social ethos. Diversity is hardly accepted as a social reality, which has adversely affected the inclusive nature of the state. Against this development the final part of the book looks at questions regarding ethnic minorities in the northeast. Offering new insights into the debate surrounding social exclusion in contemporary India, this book will be of interest to academics studying anthropology, sociology, politics and South Asian Studies.

Revisiting the Elegy in the Black Lives Matter Era is an edited collection of critical essays and poetry that investigates contemporary elegy within the black diaspora. Scores of contemporary writers have turned to elegiac poetry and prose in order to militate against the white supremacist logic that has led to recent deaths of unarmed black men, women, and children. This volume combines scholarly and creative understandings of the elegy in order to discern how mourning feeds our political awareness in this dystopian time as writers attempt to see, hear, and say something in relation to the bodies of the dead as well as to living readers. Moreover, this book provides a model for how to productively interweave theoretical and deeply personal accounts to encourage discussions about art and activism that transgress disciplinary boundaries, as well as lines of race, gender, class, and nation.

This book focuses on the significant role that professional education programs play at historically Black colleges and universities (HBCUs) and these programs' impact on society. Chapter authors discuss the contexts and experiences of students who have attended these programs, including their relationships with faculty, research opportunities, professional growth, personal enrichment, and institutional support. Taking into account social supports, identity development, and doctoral student socialization patterns, this book sheds light on what development and status of such professional education programs mean for future research and practice, while emphasizing issues of race, oppression, and marginalization.

In Insignificant Things Matthew Francis Rarey traces the history of the African-associated amulets that enslaved and other marginalized people carried as tools of survival in the Black Atlantic world from the seventeenth to the nineteenth centuries. Often considered visually benign by white Europeans, these amulet pouches, commonly known as “mandingas,” were used across Africa, Brazil, and Portugal and contained myriad objects, from herbs and Islamic prayers to shells and coins. Drawing on Arabic-language narratives from the West African Sahel, the archives of the Portuguese Inquisition, sixteenth- and seventeenth-century European travel and merchant accounts of the West African Coast, and early nineteenth-century Brazilian police records, Rarey shows how mandingas functioned as portable archives of their makers’ experiences of enslavement, displacement, and diaspora. He presents them as examples of the visual culture of enslavement and critical to conceptualizing Black Atlantic art history. Ultimately, Rarey looks to the archives of transatlantic slavery, which were meant to erase Black life, for objects like the mandingas that were created to protect it.

From the highest hill above the town of Ripley, Ohio, you can see five bends in the Ohio River. You can see the hills of northern Kentucky and the rooftops of Ripley's riverfront houses. And you can see what the abolitionist John Rankin saw from his house at the top of that hill, where for nearly forty years he placed a lantern each night to guide fugitive slaves to freedom beyond the river.

In "Beyond the River, " Ann Hagedorn tells the remarkable story of the participants in the Ripley line of the Underground Railroad, bringing to life the struggles of the men and women, black and white, who fought "the war before the war" along the Ohio River. Determined in their cause, Rankin, his family, and his fellow abolitionists -- some of them former slaves themselves -- risked their lives to guide thousands of runaways safely across the river into the free state of Ohio, even when a sensational trial in Kentucky threatened to expose the Ripley "conductors." Rankin, the leader of the Ripley line and one of the early leaders of the antislavery movement, became nationally renowned after the publication of his "Letters on American Slavery, " a collection of letters he wrote to persuade his brother in Virginia to renounce slavery.

A vivid narrative about memorable people, "Beyond the River" is an inspiring story of courage and heroism that transports us to another era and deepens our understanding of the great social movement known as the Underground Railroad.

This book examines the ways in which contemporary works of black satire make black racial madness legible in ways that allow us to see the connections between suffering from racism and suffering from mental illness. Showing how an understanding of racism as a root cause of mental and emotional instability complicates the ways in which we think about racialized identity formation and the limits of socially accepted definitions of (in)sanity, it concentrates on the unique ability of the genre of black satire to make knowable not only general qualities of mental illness that are so often feared or ignored, but also how structures of racism contribute a specific dimension to how we understand the different ways in which people of color, especially black people, experience and integrate mental instability into their own understandings of subjecthood. Drawing on theories from ethnic studies, popular culture studies, cultural studies, psychoanalysis, and trauma theory to offer critical textual analyses of five different instances of new millennial black satire in television, film, and literature - the television show Chappelle's Show, the Spike Lee film Bamboozled, the novel The White Boy Shuffle by Paul Beatty, the novels Erasure and I Am Not Sidney Poitier by Percival Everett, and the television show Key & Peele - Crazy Funny presents an account of the ways in which contemporary black satire rejects the boundaries between sanity and insanity as a way to animate the varied dimensions of being a racialized subject in a racist society.

James Cone cuts through the superficial assessments of King and Malcolm as polar opposites to reveal two men whose visions were complementary and moving towards convergence.