In and out of the Maasai Steppe looks at the Maasai women in the Maasai Steppe of Tanzania. The book explores their current plight - threatened by climate change - in the light of colonial history and post-independence history of land seizures. The book documents the struggles of a group of women to develop new livelihood income through their traditional beadwork. Voices of the women are shared as they talk about how it feels to share their husband with many co-wives, and the book examines gender, their beliefs, social hierarchy, social changes and in particular the interface between the Maasai and colonials.

During the past three decades there have been many studies of transnational migration. Most of the scholarship has focused on one side of the border, one area of labor incorporation, one generation of migrants, and one gender. In this path-breaking book, Manuel Barajas presents the first cross-national, comparative study to examine a Mexican-origin community's experience with international migration and transnationalism. He presents an extended case study of the Xaripu community, with home bases in both Xaripu, Michoacan, and Stockton, California, and elaborates how various forms of colonialism, institutional biases, and emergent forms of domination have shaped Xaripu labor migration, community formation, and family experiences across the Mexican/U.S. border for over a century. Of special interest are Barajas's formal and informal interviews within the community, his examination of oral histories, and his participant observation in several locations. Barajas asks, What historical events have shaped the Xaripus' migration experiences? How have Xaripus been incorporated into the U.S. labor market? How have national inequalities affected their ability to form a community across borders? And how have migration, settlement, and employment experiences affected the family, especially gender relationships, on both sides of the border?

From lesser-known state figures to the ancestors of Oprah Winfrey, Morgan Freeman, and James Meredith, Mississippi Zion: The Struggle for Liberation in Attala County, 1865-1915 brings the voices and experiences of everyday people to the forefront and reveals a history dictated by people rather than eras. Author Evan Howard Ashford, a native of the county, examines how African Americans in Attala County, after the Civil War, shaped economic, social, and political politics as a nonmajority racial group. At the same time, Ashford provides a broader view of Black life occurring throughout the state during the same period. By examining southern African American life mainly through Reconstruction and the civil rights movement, historians have long mischaracterized African Americans in Mississippi by linking their empowerment and progression solely to periods of federal assistance. This book shatters that model and reframes the postslavery era as a Liberation Era to examine how African Americans pursued land, labor, education, politics, community building, and progressive race relations to position themselves as societal equals. Ashford salvages Attala County from this historical misconception to give Mississippi a new history. He examines African Americans as autonomous citizens whose liberation agenda paralleled and intersected the vicious redemption agenda, and he shows the struggle between Black and white citizens for societal control. Mississippi Zion provides a fresh examination into the impact of Black politics on creating the anti-Black apparatuses that grounded the state's infamous Jim Crow society. The use of photographs provides an accurate aesthetic of rural African Americans and their connection to the historical moment. This in-depth perspective captures the spectrum of African American experiences that contradict and nuance how historians write, analyze, and interpret southern African American life in the postslavery era.

In contrast to other literary genres, drama has received little attention in southern studies, and women playwrights in general receive less recognition than their male counterparts. In Marginalized: Southern Women Playwrights Confront Race, Region, and Gender, author Casey Kayser addresses these gaps by examining the work of southern women playwrights, making the argument that representations of the American South on stage are complicated by difficulties of identity, genre, and region. Through analysis of the dramatic texts, the rhetoric of reviews of productions, as well as what the playwrights themselves have said about their plays and productions, Kayser delineates these challenges and argues that playwrights draw on various conscious strategies in response. These strategies, evident in the work of such playwrights as Pearl Cleage, Sandra Deer, Lillian Hellman, Beth Henley, Marsha Norman, and Shay Youngblood, provide them with the opportunity to lead audiences to reconsider monolithic understandings of northern and southern regions and, ultimately, create new visions of the South.

Ever since she was a small child, Helma Swan, the daughter of a Northwest Coast chief, loved and learned the music of her people. As an adult she began to sing, even though traditionally Makah singers had been men. How did such a situation develop? In her own words, Helma Swan tells the unusual story of her life, her music, and how she became a singer. An excellent storyteller, she speaks of both musical and non-musical activities and events. In addition to discussing song ownership and other Makah musical concepts, she describes songs, dances, and potlatch ceremonies; proper care of masks and costumes; and changing views of Native music education. More generally, she speaks of cultural changes that have had profound effects on contemporary Makah life.

Drawing on more than twenty years of research and oral history interviews, Linda J. Goodman in "Singing the Songs of My Ancestors" presents a somewhat different point of view-that of the anthropologist/ethnomusicologist interested in Makah culture and history as well as the changing musical and ceremonial roles of Makah men and women. Her information provides a context for Helma Swan's stories and songs. Taken together, the two perspectives allow the reader to embark on a vivid and absorbing journey through Makah life, music, and ceremony spanning most of the twentieth century. Studies of American Indian women musicians are rare; this is the first to focus on a Northwest Coast woman who is an outstanding singer and storyteller as well as a conservator of her tribe's cultural traditions.

In Black to Nature: Pastoral Return and African American Culture, author Stefanie K. Dunning considers both popular and literary texts that range from Beyonce's Lemonade to Jesmyn Ward's Salvage the Bones. These key works restage Black women in relation to nature. Dunning argues that depictions of protagonists who return to pastoral settings contest the violent and racist history that incentivized Black disavowal of the natural world. Dunning offers an original theoretical paradigm for thinking through race and nature by showing that diverse constructions of nature in these texts are deployed as a means of rescrambling the teleology of the Western progress narrative. In a series of fascinating close readings of contemporary Black texts, she reveals how a range of artists evoke nature to suggest that interbeing with nature signals a call for what Jared Sexton calls ""the dream of Black Studies""-abolition. Black to Nature thus offers nuanced readings that advance an emerging body of critical and creative work at the nexus of Blackness, gender, and nature. Written in a clear, approachable, and multilayered style that aims to be as poignant as nature itself, the volume offers a unique combination of theoretical breadth, narrative beauty, and broader perspective that suggests it will be a foundational text in a new critical turn towards framing nature within a cultural studies context.

This hands-on manual provides Latinas with the tools they need to succeed at work by examining some of the societal and cultural obstacles that hinder their progress. Despite being 20 million strong, Latinas represent America's most undervalued human resource. This career guide is the only one of its kind to focus specifically on empowering the working women of the Latina community to embrace success and build skills for workplace advancement. The Latina's Guide to Success in the Workplace explores the complexity of the Hispanic/Latino identity and the impact of this culture on professional mobility. The author asserts that there are five obstacles which Latinas confront within their own belief system: the idea that women do not need an education; the assumption that the needs of men come first; a belief that it is sinful to desire money; the opinion that Latinas should not be ambitious; and the mindset that successful women in the United States lose their femininity. Throughout the book, up-to-date research, case studies, and inspirational interviews offer strategies for overcoming the cultural factors that limit Latinas and providing a roadmap for achieving success. Case studies that illustrate inspirational stories of Latina women A list of recommended behaviors for becoming successful at work Practical tips and techniques for creating a career path Interviews with some of the most successful Latinas in the United States

Keith Hatschek tells the story of three determined artists: Louis Armstrong, Dave Brubeck, and Iola Brubeck and the stand they took against segregation by writing and performing a jazz musical titled The Real Ambassadors. First conceived by the Brubecks in 1956, the musical's journey to the stage for its 1962 premiere tracks extraordinary twists and turns across the backdrop of the civil rights movement. A variety of colorful characters, from Broadway impresarios to gang-connected managers, surface in the compelling storyline. During the Cold War, the US State Department enlisted some of America's greatest musicians to serve as jazz ambassadors, touring the world to trumpet a so-called "free society." Honored as celebrities abroad, the jazz ambassadors, who were overwhelmingly African Americans, returned home to racial discrimination and deferred dreams. The Brubecks used this double standard as the central message for the musical, deploying humor and pathos to share perspectives on American values. On September 23, 1962, The Real Ambassadors's stunning debut moved a packed arena at the Monterey Jazz Festival to laughter, joy, and tears. Although critics unanimously hailed the performance, it sadly became a footnote in cast members' bios. The enormous cost of reassembling the star-studded cast made the creation impossible to stage and tour. However, The Real Ambassadors: Dave and Iola Brubeck and Louis Armstrong Challenge Segregation caps this jazz story by detailing how the show was triumphantly revived in 2014 by Jazz at Lincoln Center. This reaffirmed the musical's place as an integral part of America's jazz history and served as an important reminder of how artists' voices are a powerful force for social change.