During the Age of Sail, black seamen could be found in many shipboard roles in the Royal Navy, such as gunners, deck-hands and 'top men', working at heights in the rigging. In the later Age of Steam, black seamen were more likely to be found on merchantmen below deck; as cooks, stewards and stokers. Nevertheless, the navy was possibly a unique institution in that black and white could work alongside each other more than in any other occupation. In this fascinating work, Dr. Ray Costello examines the work and experience of seamen of African descent in Britain's navy, from impressed slaves to free Africans, British West Indians, and British-born Black sailors. Seamen from the Caribbean and directly from Africa have contributed to both the British Royal Navy and Merchant Marine from at least the Tudor period and by the end of the period of the British Slave Trade at least three percent of all crewmen were black mariners. Black sailors signed off in British ports helped the steady growth of a black population. In spite of racial prejudice in port, relationships were forged between sailors of different races which frequently ignored expected norms when working and living together in the isolated world of the ship. Black seamen on British ships have served as by no means a peripheral force within the British Royal and Mercantile navies and were not only to be found working in both the foreground and background of naval engagements throughout their long history, but helping to ensure the supply of foodstuffs and the necessities of life to Britain. Their experiences span the gamut of sorrow and tragedy, heroism, victory and triumph.

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.

Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th-20th Centuries explores women's and men's contributions to the arts and gendered visual representations in China, Korea, and Japan from the premodern through modern eras. A critical introduction and nine essays consider how threads of continuity and exchanges between the cultures of East Asia, Europe, and the United States helped to shape modernity in this region, in the process revealing East Asia as a vital component of the trans-Pacific world. The essays are organized into three themes: representations of femininity, women as makers, and constructions of gender, and they consider examples of architecture, painting, woodblock prints and illustrated books, photography, and textiles. Contributors are: Lara C. W. Blanchard, Kristen L. Chiem, Charlotte Horlyck, Ikumi Kaminishi, Nayeon Kim, Sunglim Kim, Radu Leca, Elizabeth Lillehoj, Ying-chen Peng, and Christina M. Spiker. Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th-20th Centuries is now available in paperback for individual customers.

In 2007, while researching mountain culture in upstate South Carolina, anthropologist John M. Coggeshall stumbled upon the small community of Liberia, in the Blue Ridge foothills. There he met Mable Owens Clarke and her family, the remaining members of a small African American community still living on land obtained immediately after the Civil War. This intimate history tells the story of five generations of the Clarke family and their friends and neighbors, chronicling their struggles through slavery, Reconstruction, the Jim Crow era, and the desegregation of the state. Through hours of interviews with Mable and her relatives, as well as friends and neighbors, Coggeshall presents an ethnographic history that allows a largely ignored community to speak and record their own history for the first time. This story sheds new light on the African American experience in Appalachia, and in it Coggeshall documents the community's 150-year history of resistance to white oppression, while offering a new way to understand the symbolic relationship between residents and the land they occupy, tying together family, memory, and narratives to explain this connection.

At once deeply personal and yet universal, the poet's reflections, musings, and chronicles of life from birth to death impart a plethora of emotions, from tenderness to outrage, but also an intellectual grasp and appreciation of the astronomically low odds of being born at all. His poems both celebrate and commiserate, embrace and embroil, tantalize and deny, but, always and in all ways, depict what it means to be human.

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.

Rewrites our understanding of the last 50 years of Chicana/o cultural production. Chicana/o Remix casts new light not only on artists-such as Sandra de la Loza, Judy Baca, and David Botello, among others-but on the exhibitions that feature their work, and the collectors, curators, critics, and advocates who engage it. Combining feminist theory, critical ethnic studies, art historical analysis, and extensive archival and field research, Karen Mary Davalos argues that narrow notions of identity, politics, and aesthetics limit our ability to understand the full capacities of Chicana/o art. She employs fresh vernacular concepts such as the "errata exhibit," or the staging of exhibits that critically question mainstream art museums, and the "remix," or the act of bringing new narratives and forgotten histories from the background and into the foreground. These concepts, which emerge out of art practice itself, drive her analysis and reinforce the rejection of familiar narratives that evaluate Chicana/o art in simplistic, traditional terms, such as political versus commercial, or realist versus conceptual. Throughout Chicana/o Remix, Davalos explores undocumented or previously ignored information about artists, their cultural production, and the exhibitions and collections that feature their work. Each chapter exposes and challenges conventions in art history and Chicana/o studies, documenting how Chicana artists were the first to critically challenge exhibitions of Chicana/o art, tracing the origins of the first Chicano arts organizations, and highlighting the influence of Europe and Asia on Chicana/o artists who traveled abroad. As a leading scholar in the study of Chicana/o artists, art spaces, and exhibition practices, Davalos presents her most ambitious project to date in this re-examination of fifty years of Chicana/o art production.

Best known for her Eisner Award-winning graphic novels, Exit Wounds and The Property, Rutu Modan's richly colored compositions invite readers into complex Israeli society, opening up a world too often defined only by news headlines. Her strong female protagonists stick out in a comics scene still too dominated by men, as she combines a mystery novelist's plotting with a memoirist's insights into psychology and trauma. The Comics of Rutu Modan: War, Love, and Secrets conducts a close reading of her work and examines her role in creating a comics arts scene in Israel. Drawing upon archival research, Kevin Haworth traces the history of Israeli comics from its beginning as 1930s cheap children's stories, through the counterculture movement of the 1970s, to the burst of creativity that began in the 1990s and continues full force today. Based on new interviews with Modan (b. 1966) and other comics artists, Haworth indicates the key role of Actus Tragicus, the collective that changed Israeli comics forever and launched her career. Haworth shows how Modan's work grew from experimental mini-comics to critically acclaimed graphic novels, delving into the creative process behind Exit Wounds and The Property. He analyzes how the recurring themes of family secrets and absence weave through her stories, and how she adapts the famous clear line illustration style to her morally complex tales. Though still relatively young, Modan has produced a remarkably varied oeuvre. Identifying influences from the United States and Europe, Haworth illustrates how Modan's work is global in its appeal, even as it forms a core of the thriving Israeli cultural scene.