Little Mexico was Dallas's earliest Mexican barrio. "Mexicanos" had lived in Dallas since the mid-19th century. The social displacement created by the Mexican Revolution of 1910, however, caused the emergence of a distinct and vibrant neighborhood on the edge of the city's downtown. This neighborhood consisted of modest homes, small businesses, churches, and schools, and further immigration from Mexico in the 1920s caused its population to boom. By the 1930s, Little Mexico's population had grown to over 15,000 people. The expanding city's construction projects, urban renewal plans, and land speculation by developers gradually began to dismantle Little Mexico. By the end of the 20th century, Little Mexico had all but disappeared, giving way to upscale high-rise residences and hotels, office towers of steel and glass, and the city's newest entertainment district. This book looks at Little Mexico's growth, zenith, demise, and its remarkable renaissance as a neighborhood.

Though cultural hybridity is celebrated as a hallmark of U.S. American music and identity, hybrid music is all too often marked and marketed under a single racial label.Tamara Roberts' book Resounding Afro Asia examines music projects that foreground racial mixture in players, audiences, and sound in the face of the hypocrisy of the culture industry. Resounding Afro Asia traces a genealogy of black/Asian engagements through four contemporary case studies from Chicago, New York, and California: Funkadesi (Indian/funk/reggae), Yoko Noge (Japanese folk/blues), Fred Ho and the Afro Asian Music Ensemble (jazz/various Asian and African traditions), and Red Baraat (Indian brass band and New Orleans second line). Roberts investigates Afro Asian musical settings as part of a genealogy of cross-racial culture and politics. These musical settings are sites of sono-racial collaboration: musical engagements in which participants pointedly use race to form and perform interracial politics. When musicians collaborate, they generate and perform racially marked sounds that do not conform to their racial identities, thus splintering the expectations of cultural determinism. The dynamic social, aesthetic, and sonic practices construct a forum for the negotiation of racial and cultural difference and the formation of inter-minority solidarities. Through improvisation and composition, artists can articulate new identities and subjectivities in conversation with each other. Resounding Afro Asia offers a glimpse into how artists live multiracial lives in which they inhabit yet exceed multicultural frameworks built on racial essentialism and segregation. It joins a growing body of literature that seeks to write Asian American artists back into U.S. popular music history and will surely appeal to students of music, ethnomusicology, race theory, and politics, as well as those curious about the relationship between race and popular music.

In Choreographing in Color, J. Lorenzo Perillo investigates the development of Filipino popular dance and performance since the late 20th century. Drawing from nearly two decades of ethnography, choreographic analysis, and community engagement with artists, choreographers, and organizers, Perillo shifts attention away from the predominant Philippine neoliberal and U.S. imperialist emphasis on Filipinos as superb mimics, heroic migrants, model minorities, subservient wives, and natural dancers and instead asks: what does it mean for Filipinos to navigate the violent forces of empire and neoliberalism with street dance and Hip-Hop? Employing critical race, feminist, and performance studies, Perillo analyzes the conditions of possibility that gave rise to Filipino dance phenomena across viral, migrant, theatrical, competitive, and diplomatic performance in the Philippines and diaspora. Advocating for serious engagements with the dancing body, Perillo rethinks a staple of Hip-Hop's regulation, the "euphemism," as a mode of social critique for understanding how folks have engaged with both racial histories of colonialism and gendered labor migration. Figures of euphemism - the zombie, hero, robot, and judge - constitute a way of seeing Filipino Hip-Hop as contiguous with a multi-racial repertoire of imperial crossing, thus uncovering the ways Black dance intersects Filipino racialization and reframing the ongoing, contested underdog relationship between Filipinos and U.S. global power. Choreographing in Color therefore reveals how the Filipino dancing body has come to be, paradoxically, both globally recognized and indiscernible.

Historians of the Civil Rights Movement have long set their sights on the struggles of African Americans in the South and, more recently, North. In doing so, they either omit the West or merge it with the North, defined as anything outside the former Confederacy. Historians of the American West have long set the region apart from the South and North, citing racial diversity as one of the West's defining characteristics. This book integrates the two, examining the Civil Rights Movement in the West in order to bring the West to the Civil Rights Movement. In particular, it explores the challenge that California's racial diversity posed for building a multiracial civil rights movement, focusing on litigation and legislation initiatives advanced by civil rights reformers (lawyers, legislators, and advocacy organizations) on behalf of the state's different racial groups. A tension between sameness and difference cut through California's civil rights history. On the one hand, the state's civil rights reformers embraced a common goal - equality of opportunity through anti-discrimination litigation and legislation. To this end, they often analogized the plights of racial minorities, accentuating the racism in general that each group faced in order to help facilitate coalition building across groups. This tension - and its implications for the cultivation of a multiracial civil rights movement - manifested itself from the moment that one San Francisco-based NAACP leader expressed his wish for "a united front of all the minority groups" in 1944. Variations proved major enough to force the litigation down discrete paths, reflective of how legalized segregation affected African Americans, Japanese Americans, and Mexican Americans in different ways. This "same but different" tension continued into the 1950s and 1960s, as civil rights reformers ventured down anti-discrimination roads that began where legalized segregation ended. In the end, despite their endorsement of a common goal and calls for a common struggle, California's civil rights reformers managed to secure little coalescence - and certainly nothing comparable to the movement in the South. Instead, the state's civil rights struggles unfolded along paths that were mostly separate. The different axes of racialized discrimination that confronted the state's different racialized groups called forth different avenues of redress, creating a civil rights landscape criss-crossed with color lines rather than bi-sected by any single color line.

When Ishi, "the last wild Indian," came out of hiding in August of 1911, he was quickly whisked away by train to San Francisco to meet Alfred Kroeber, one of the fathers of American anthropology. When Kroeber and Ishi came face to face, it was a momentous event, not only for each man, but for the cultures they represented. Each stood on the brink: one culture was in danger of losing something vital while the other was in danger of disappearing altogether. Ishi was a survivor, and viewed the bright lights of the big city with a mixture of awe and bemusement. What surprised everyone is how handily he adapted himself to the modern city while maintaining his sense of self and his culture. He and his people had ingeniously used everything they could get their hands on from whites to survive in hiding, and now Ishi was doing the same in San Francisco. The wild man was in fact doubly civilized-he had his own culture, and he opened himself up to that of modern America. Kroeber was professionally trained to document Ishi's culture, his civilization. What he didn't count on was how deeply working with the man would lead him to question his own profession and his civilization-how it would rekindle a wildness of his own. Though Ishi's story has been told before in film and fiction, Wild Men is the first book to focus on the depth of Ishi and Kroeber's friendship and to explore what their intertwined stories tell us about Indian survival in modern America and about America's fascination with the wild even as it was becoming ever-more urban and modern. Wild Men is about two individuals and two worlds intimately brought together in ways that turned out to be at once inspiring and tragic. Each man stood looking at the other from the opposite edge of a chasm: they reached out in the hope of keeping the other from falling in.

Scholars of language ideology have encouraged us to reflect on and explore where social categories come from, how they have been reproduced, and whether and to what extent they are relevant to everyday interactional practices. Taking up on these issues, this book focuses on how ethnicity has been semiotically constructed, valued, and reproduced in Indonesia since Dutch colonial times, and how this category is drawn upon in everyday talk. In doing so, this book also seeks to engage with scholarship on superdiversity while highlighting some points of engagement with work on ideas about community. The book draws upon a broad range of scholarship on Indonesia, recordings of Indonesian television from the mid-1990s onwards, and recordings of the talk of Indonesian students living in Japan. It is argued that some of the main mechanisms for the reproduction and revaluation of ethnicity and its links with linguistic form include waves of technological innovations that bring people into contact (e.g. changes in transportation infrastructure, introduction of print media, television, radio, the internet, etc.), and the increasing use of one-to-many participation frameworks such as school classrooms and the mass media. In examining the talk of sojourning Indonesians the book goes on to explore how ideologies about ethnicity are used to establish and maintain convivial social relations while in Japan. Maintaining such relationships is not a trivial thing and it is argued that the pursuit of conviviality is an important practice because of its relationship with broader concerns about eking out a living.

Beginning in 1541 with Hernando De Soto's Spanish expedition for gold, African Americans have held a prominent place in Chattanooga's history. Author Rita Lorraine Hubbard chronicles the ways African Americans have shaped Chattanooga, and presents inspirational achievements that have gone largely unheralded over the years.

"The book is the product of a protracted, laborious and scrupulous research and draws on a most extensive and varied assembly of documents. But the archival evidence, factual accounts and even personal narratives would have remained remote, dry and cold if not for the author's remarkable gift of empathy. Barbara Engelking gives the witnesses of the Holocaust a voice which readers of this book will understand....Under her pen memories come alive again."--from the Foreword by Zygmunt BaumanOriginally published in Polish to great acclaim and based on interviews with survivors of the Holocaust in Poland, Holocaust and Memory provides a moving description of their life during the war and the sense they made of it. The book begins by looking at the differences between the wartime experiences of Jews and Poles in occupied Poland, both in terms of Nazi legislation and individual experiences. On the Aryan side of the ghetto wall, Jews could either be helped or blackmailed by Poles. The largest section of the book reconstructs everyday life in the ghetto. The psychological consequences of wartime experiences are explored, including interviews with survivors who stayed on in Poland after the war and were victims of anti-Semitism again in 1968. These discussions bring into question some of the accepted survivor stereotypes found in Holocaust literature. A final chapter looks at the legacy of the Holocaust, the problems of transmitting experience and of the place of the Holocaust in Polish history and culture.

MisReading America presents original research on and conversation about reading formations in American communities of color, using the phenomenon of the reading of scriptures-''scripturalizing''-as an analytical wedge. Scriptures here are understood as shorthand for complex social phenomena, practices, and dynamics. The authors take up scripturalizing as a window onto the self-understandings, politics, practices, and orientations of marginalized communities. These communities have in common the context that is the United States, with the challenges it holds for all regarding: pressure to conform to conventional-canonical forms of communication, representation, and embodiment (mimicry); opportunities to speak back to and confront and overturn conventionality (interruptions); and the need to experience ongoing meaningful and complex relationships (reorientation) to the centering politics, practices, and myths that define ''America.''

There is lots of popular and scholarly concern today about why black students aren't doing better in school. The most popular explanation, the "acting white" thesis, is that they have a culture that rejects achievement-that students' peer cultures hold them back. As Karolyn Tyson convincingly demonstrates, that is not the main or even a central explanation of black academic underachievement. Instead of looking at the students, Tyson argues that when and where students understand race to be connected with achievement, it is a powerful, if indirect, lesson conveyed by schools. Integration Interrupted focuses on the consequences, particularly for black students, of the practice of curriculum tracking in the post-Brown era, and on the relationship between racialized tracking and the emergence of academic excellence as a "white thing." Desegregation may have been officially outlawed over fifty years ago, but race now determines which classes students are in: black students are typically placed in general and remedial classes and whites in advanced classes. In effect, same school, but different schooling. Right after Brown, it was easy to see the deliberate use of tracking to separate kids in schools that courts had mandated integrated. The practice still exists in many schools, though perhaps exercised more subtly, but with same outcome-tracking, including gifted and magnet programs, contributes to distinct racial patterns in achievement. Through ten years of classroom observations and hundreds of interviews with students, parents, and school personnel in thirty schoools, Tyson found that only in very specific circumstances, when black students were drastically underrrepresented in advanced and gifted classes, did anxieties about "the burden of acting white" emerge. But "acting white" is not the only nor the most important consequence of tracking for black students. Tyson reveals how the practice influences high achieving black students' conceptions of racial identity, achievement, and getting ahead; what courses they enroll in, who their friends are, and how they navigate peer pressure with being studious. In short, they face many of the same challenges as white youths face but with significant additional burdens. The rich narratives on the lived experience of black students in Integration Interrupted throw light on the complex relationships underlying the academic performance of black students and convincingly demonstrates that the problem lies not with students, but instead with how we organize our schools.

Choreographing Copyright provides a historical and cultural analysis of U.S.-based dance-makers' investment in intellectual property rights. Although federal copyright law in the U.S. did not recognize choreography as a protectable class prior to the 1976 Copyright Act, efforts to win copyright protection for dance began eight decades earlier. In a series of case studies stretching from the late nineteenth century to the early twenty-first, the book reconstructs those efforts and teases out their raced and gendered politics. Rather than chart a narrative of progress, the book shows how dancers working in a range of genres have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power. A number of the artists featured in Choreographing Copyright are well-known white figures in the history of American dance, including modern dancers Loie Fuller, Hanya Holm, and Martha Graham, and ballet artists Agnes de Mille and George Balanchine. But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it. Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into such issues as: the raced and gendered hierarchies that govern the theatrical marketplace, white women's historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the tension between dance's ephemerality and its reproducibility.

Audre Lorde was not only a famous poet; she was also one of the most important radical black feminists of the past century. Her writings and speeches grappled with an impressive broad list of topics, including sexuality, race, gender, class, disease, the arts, parenting, and resistance, and they have served as a transformative and important foundation for theorists and activists in considering questions of power and social justice. Lorde embraced difference, and at each turn she emphasized the importance of using it to build shared strength among marginalized communities.
I Am Your Sister is a collection of Lorde's non-fiction prose, written between 1976 and 1990, and it introduces new perspectives on the depth and range of Lorde's intellectual interests and her commitments to progressive social change. Presented here, for the first time in print, is a major body of Lorde's speeches and essays, along with the complete text of A Burst of Light and Lorde's landmark prose works Sister Outsider and The Cancer Journals. Together, these writings reveal Lorde's commitment to a radical course of thought and action, situating her works within the women's, gay and lesbian, and African American Civil Rights movements. They also place her within a continuum of black feminists, from Sojourner Truth, to Anna Julia Cooper, Amy Jacques Garvey, Lorraine Hansberry, and Patricia Hill Collins. I Am Your Sister concludes with personal reflections from Alice Walker, Gloria Joseph, Johnnetta Betsch Cole, Beverly Guy-Sheftall, and bell hooks on Lorde's political and social commitments and the indelibility of her writings for all who are committed to a more equitable society.

Intersectionality theory has emerged over the past thirty years as a way to think about the avenues by which inequalities (most often dealing with, but not limited to, race, gender, class and sexuality) are produced. Rather than seeing such categories as signaling distinct identities that can be adopted, imposed or rejected, intersectionality theory considers the logic by which each of these categories is socially constructed as well as how they operate within the diffusion of power relations. In other words, social and political power are conferred through categories of identity, and these identities bear vastly material effects. Rather than look at inequalities as a relationship between those at the center and those on the margins, intersectionality maps the relative ways in which identity politics create power. Though intersectionality theory has emerged as a highly influential school of thought in ethnic studies, gender studies, law, political science, sociology and psychology, no scholarship to date exists on the evolution of the theory. In the absence of a comprehensive intellectual history of the theory, it is often discussed in vague, ahistorical terms. And while scholars have called for greater specificity and attention to the historical foundations of intersectionality theory, their idea of the history to be included is generally limited to the particular currents in the United States. This book seeks to remedy the vagueness and murkiness attributed to intersectionality by attending to the historical, geographical, and cross-disciplinary myopia afflicting current intersectionality scholarship. This comprehensive intellectual history is an agenda-setting work for the theory.

When Did Indians Become Straight? explores the complex relationship between contested U.S. notions of normality and shifting forms of Native American governance and self-representation. Examining a wide range of texts (including captivity narratives, fiction, government documents, and anthropological tracts), Mark Rifkin offers a cultural and literary history of the ways Native peoples have been inserted into Euramerican discourses of sexuality and how Native intellectuals have sought to reaffirm their peoples' sovereignty and self-determination.

Placed within the context of the past decade's war on terror and emergent and countervailing Latino rights movement, Reform without Justice addresses the issue of state violence against migrants in the United States. It questions why it is that, despite its success in mobilizing millions, the Latino immigrant rights movement has not been able to effectively secure sustainable social justice victories for itself or more successfully defend the human rights of migrants. Gonzales argues that the contemporary Latino rights movement faces a dynamic form of political power that he terms "anti-migrant hegemony". This anti-migrant hegemony, found in sites of power from Congress, to think tanks, talk shows and the prison system, is a force through which a rhetorically race neutral and common sense public policy discourse, consistent with the rules of post-civil rights racism, is deployed to criminalize migrants. Critically, large sectors of "pro-immigrant" groups, including the Hispanic Congressional Caucus and the National Council of La Raza, have conceded to coercive immigration enforcement measures such as a militarized border wall and the expansion of immigration policing in local communities in exchange for so-called Comprehensive Immigration Reform. Gonzales says that it is precisely when immigration reformers actively adopt the discourse and policies of the leading anti-immigrant forces that the power of anti-migrant hegemony can best be observed.

Mini-set E: Sociology & Anthropology re-issues 10 volumes originally published between 1931 and 1995 and covers topics such as japanese whaling, marriage in japan, and the japanese health care system. For institutional purchases for e-book sets please contact [email protected] (customers in the UK, Europe and Rest of World)

Mini-set A:History re-issues 10 volumes originally published between 1902 and 1984 and examines the legacy of British control in Persia and the origins of the conflict between Iran & Iraq. For institutional purchases for e-book sets please contact [email protected] (customers in the UK, Europe and Rest of World)

Mini-set D:Politics and Sociology re-issues 13 volumes originally published between 1977 and 1991. It discusses the revolution in Iran and what that has meant for the wider region of the Persian Gulf in terms of stability and relations with other countries, as well as issues of poverty in Iran and the position of minorities. For institutional purchases for e-book sets please contact [email protected] (customers in the UK, Europe and Rest of World)

This important and much acclaimed book rapidly became a classic on first publication. In it, Bhikhu Parekh shows that the Western tradition of political philosophy has very limited theoretical resources to cope with cultural diversity. He then discusses how it can be revised and what new conceptual tools are needed. The core of the book addresses the important theoretical questions raised by contemporary multicultural society, especially the nature and limits of intercultural equality and fairness, national identity, citizenship, and cross-cultural political discourse. The new second edition includes a substantial additional chapter addressing key issues.

Mini-set D: Politics re-issues works originally published between 1920 & 1987 and examines the government, political system and foreign policy of Japan during the twentieth century.

'An unusual and compelling insight into Jewish history... sheer detail and breadth of scale' BBC History Magazine

This newly revised and updated edition of Martin Gilbert's Atlas of Jewish History spans over four thousand years of history in 154 maps, presenting a vivid picture of a fascinating people and the trials and tribulations which have haunted their story.

The themes covered include:

This new edition is also updated to include maps showing Jewish museums in the United States and Canada, and Europe, as well as American conservation efforts abroad. Other topics covered in this revised edition include Jewish educational outreach projects in various parts of the world, and Jews living under Muslim rule. Forty years on from its first publication, this book is still an indispensible guide to Jewish history.

This volume offers a reconstruction of the court culture of the taifa kings of al-Andalus (11th century A.D.), using both visual and textual evidence. A focus of particular attention is the court of the Ban? H?d at Zaragoza, and that dynasty's palace, the Aljaferma. Principle written sources are not histories and chronicles, but the untranslated poetic anthologies of al-?imyar? and al-Fat? ibn Kh?q?n.
The first part of the book addresses taifa visual and literary languages, with especial emphasis on connections between the literary and visual aspects of taifa aesthetics. The sections on the Aljaferma's ornamental program will be of particular interest, not only to historians of Islamic art, but to students of all visual traditions with strong non-figural components.
In addition, Part One also proposes that taifa court culture has been considered as a culture of "courtly love," and this argument also forms the point of departure for Part Two. The second part of the study uses luxury objects of Islamic and Limousine production as a point of departure for a detailed comparison of the thematics of taifa poetry in classical Arabic on the themes of courtly love and pleasures with those of the better-known Provengal tradition.

A key study on writer and activist Keorapetse Kgositsile that presents a new approach to studying the radicalism of Africa and its diaspora, and makes a major contribution to the histories of Black lives, gender studies, jazz studies, politics, and creativity.

The cultural configurations of the Black Atlantic cannot be fully understood without recognising the significant presence of writers and artists from the African continent itself. Among the most influential was South African poet laureate Keorapetse Kgositsile, or Bra Willie, as he was affectionately known. Yet, until now, there has been no full-length study of his work.

Uhuru Portia Phalafala’s wide-ranging book reveals the foundational influence of Kgositsile’s mother and grandmother on his craft and unveils the importance of Tswana oral andaural traditions, indigenous knowledge systems, and cosmologies he carried with him into and after exile. It illuminates a southern African modernity that was strongly gendered and expressed robust anti-imperialist, anti-colonial, anti-apartheid, and civil rights struggles. Using the original concept of ‘elsewhere’, the author maps the sources of Kgositsile’s transformative verse, which in turn generated ‘poetics of possibility’ for his contemporaries in the Black Arts and Black Power Movements and beyond - among them Maya Angelou, Larry Neal, Gwendolyn Brooks, Tom Dent, members of The Last Poets, Otabenga Jones & Associates, and rapper Earl Sweatshirt – who all looked to his work to model their identities, cultural movements and radical traditions.