Following the Drums: African American Fife and Drum Music in Tennessee is an epic history of a little-known African American instrumental music form. John M. Shaw follows the music from its roots in West Africa and early American militia drumming to its prominence in African American communities during the time of Reconstruction, both as a rallying tool for political militancy and a community music for funerals, picnics, parades, and dances. Carefully documenting the music's early uses for commercial advertising and sports promotion, Shaw follows the strands of the music through the nadir of African American history during post-Reconstruction up to the form's rediscovery by musicologists and music researchers during the blues and folk revival of the late 1960s and early 1970s. Although these researchers documented the music, and there were a handful of public performances of the music at festivals, the story has a sad conclusion. Fife and drum music ultimately died out in Tennessee during the early 1980s. Newspaper articles from the period and interviews with music researchers and participants reawaken this lost expression, and specific band leaders receive the spotlight they so long deserved. Following the Drums is a journey through African American history and Tennessee history, with a fascinating form of music powering the story.

This book explores the mutual constitutions of visuality and empire from the perspective of gender, probing how the lives of China's ethnic minorities at the southwest frontiers were translated into images. Two sets of visual materials make up its core sources: the Miao album, a genre of ethnographic illustration depicting the daily lives of non-Han peoples in late imperial China, and the ethnographic photographs found in popular Republican-era periodicals. It highlights gender ideals within images and develops a set of "visual grammar" of depicting the non-Han. Casting new light on a spectrum of gendered themes, including femininity, masculinity, sexuality, love, body and clothing, the book examines how the power constructed through gender helped to define, order, popularise, celebrate and imagine possessions of empire.

Is there a "return to the religious" in post-Communist Eastern Europe that differs from religious trends in the West and the Middle East? Looking beyond immediate events, this book situates public talk about religion and religious practice in the longue duree of the two entangled pasts -Byzantine and Ottoman-that implicitly underpin contemporary politics. Islam, Christianity, and Secularism situates Bulgaria in its wider region, indicating ongoing Middle Eastern, Russian, and other European influences shaping patterns of religious identity. The chapters point to overlapping and complementary views of ethno-religious belonging and communal practices among Orthodox Christians and Muslims throughout the region. Contributors are Dale F. Eickelman, Simeon Evstatiev, Kristen Ghodsee, Galina Evstatieva, Ilia Iliev, Daniela Kalkandjieva, Plamen Makariev, Momchil Metodiev, Daria Oreshina, Ivan Zabaev and Angeliki Ziaka.

The stories of the Cherokee people presented here capture in written form tales of history, myth, and legend for readers, speakers, and scholars of the Cherokee language. Assembled by noted authorities on Cherokee, this volume marks an unparalleled contribution to the linguistic analysis, understanding, and preservation of Cherokee language and culture. Cherokee Narratives spans the spectrum of genres, including humor, religion, origin myths, trickster tales, historical accounts, and stories about the Eastern Cherokee language. These stories capture the voices of tribal elders and form a living record of the Cherokee Nation and Eastern Band of Cherokee Indians' oral tradition. Each narrative appears in four different formats: the first is interlinear, with each line shown in the Cherokee syllabary, a corresponding roman orthography, and a free English translation; the second format consists of a morpheme-by-morpheme analysis of each word; and the third and fourth formats present the entire narrative in the Cherokee syllabary and in a free English translation. The narratives and their linguistic analysis are a rich source of information for those who wish to deepen their knowledge of the Cherokee syllabary, as well as for students of Cherokee history and culture. By enabling readers at all skill levels to use and reconstruct the Cherokee language, this collection of tales will sustain the life and promote the survival of Cherokee for generations to come.

Rejection. Loss. Confusion. Pain. Our past and our future are intertwined. Each distinct memory becomes one life. What once hurt, eventually heals, and the lesson (or lessons) to be learned becomes one with our soul and our spirit. Our experiences provide strength instead of destruction. Our great-grandmothers, grandmothers, mothers -- all women of power who came before us -- were great descendants of the coastal lands of West Africa. They arrived in strange lands with their Gumbo - -their memories, rhythms, ingenuity, creativity, strength, and compassion. Their lived stories and conversation were recipes mixed with unique combinations of ingredients, dropped into the cast iron pot -- stirred, dropped in, seasoned, dropped in, stirred again, and again, and again, until done. This Gumbo is savory like the soul, carefully prepared, recipes rich with what our foremothers brought with them from their homeland. They brought the best of what they had to offer. Gumbo or Gombo is a Bantu word meaning `okra'. Okra is a rich vegetable that serves as the base (or gravy) for a delicately prepared stew. (Today's Gumbo cooks use a `roux' as the base- see the recipe on page 3). Gumbo's West African origins have been modified over the past two centuries by people of varied ancestry: Native American, German, Spanish, and French (Moss, 2014). It is essential to understand the manner in which Gumbo is prepared: each ingredient must be placed into the stew at its specified time so that it can cook in and savor its own flavor. When completed, Gumbo is usually served over grits or rice. Gumbo has become a cornerstone of life in African-descended communities across the south and southwest spanning from South Carolina to Louisiana and Texas. Gumbo is a treasure... a reminder of the greatness that lived in the village in a time of strength and abundance...a reminder of the resilience and richness of our people over generations. This book -- a collection of memoirs written by Women of Color is shared to inspire and motivate readers. The authors of these precious, soulful stories are from across the globe and represent various backgrounds and professions. What these women have in common, though, is their drive to tell their story. Stories of pain, discovery, strength, and stories of beginnings. Many of the experiences, as difficult as they may have been, made the women who they are today. Telling these stories to a new generation will empower and encourage them in their experiences no matter how troubling or challenging (Harris, 2015). These stories, like our foremothers offering their Gumbo, present the best these women have to offer. These authors want the world to know that deep inside of each of us is a rich, vibrant, purposeful beginning. As our lives develop and we are "stirred and stirred again", like Gumbo, our experiences begin to shape who we are and who we become. When the stirring is complete, a comforting meal -- one that says no matter what has gone into the dish, it's going to be amazingly magnificent!! The authors hope these stories will inspire and motivate girls and Women of Color to trust their experiences -- whether good or bad -- to help them become. Our becoming means that after all that life has thrown our way, we are strong, purposeful, and powerful people who are a great treasure to a world that sometimes rejects and ignores our existence. Embedded in this book are stories of abuse and triumph, sadness and victory, disappointment and resilience, discovery and victory. We are very proud to be the keepers of these rich recipes. They represent the first in what we hope will become a collection or series of inspirational memoirs that will be shared to help others live out their destiny and become the women they were born to be.

New perspectives on Anglo-Jewish history via the poetry and song of Yiddish-speaking immigrants in London from 1884 to 1914. Archive material from the London Yiddish press, songbooks, and satirical writing offers a window into an untold cultural life of the Yiddish East End. Whitechapel Noise: Jewish Immigrant Life in Yiddish Song and Verse, London 1884-1914 by Vivi Lachs positions London's Yiddish popular culture in historical perspective within Anglo-Jewish history, English socialist aesthetics, and music-hall culture, and shows its relationship to the transnational Yiddish-speaking world. Layers of cultural references in the Yiddish texts are closely analysed and quoted to draw out the complex yet intimate histories they contain, offering new perspectives on Anglo-Jewish historiography in three main areas: politics, sex, and religion. The acculturation of Jewish immigrants to English life is an important part of the development of their social culture, as well as to the history of London. In the first part of the book, Lachs presents an overview of daily immigrant life in London, its relationship to the Anglo-Jewish establishment, and the development of a popular Yiddish theatre and press, establishing a context from which these popular texts came. The author then analyzes the poems and songs, revealing the hidden social histories of the people writing and performing them. Lachs also explores how themes of marriage, relationships, and sexual exploitation appear regularly in music-hall songs, alluding to the changing nature of sexual roles in the immigrant London community influenced by the cultural mores of their new location. In the theme of religion, Lachs examines how ideas from Jewish texts and practice were used and manipulated by the socialist poets to advance ideas about class, equality, and revolution; and satirical writings offer glimpses into how the practice of religion and growing secularization was changing immigrants' daily lives in the encounter with modernity. The detailed and nuanced analysis found in Whitechapel Noise offers a new reading of Anglo-Jewish, London, and immigrant history. It is a must-read for Jewish and Anglo-Jewish historians and those interested in Yiddish, London, and migration studies.