"Drawing on original archival research, Racial Geometries examines popular forms of performance -- from musical theatre and minstrelsy to non-theatrical forms like Chinatown tourism -- to expose how American racial formation between the two World Wars was not determined only within national borders but traded on and influenced international dynamics"--Provided by publisher.

With a Foreword by Vijay Prashad and an Afterword by Gary Okihiro

View the Table of Contents. Read the Introduction.

aSucceeds at placing blacks and Asians at the center of the Americas, inviting productive dialogue against the notion that interaction between these groups is out of the ordinary.a
--"Journal of American Ethnic History"

"As fresh and exciting as it is important. This crucial book changes the conversation around American Studies and Ethnic Studies in key ways, challenging scholars to light out for previously-uncharted places on our mental maps in which borders are interrogated and challenged, alliances forged through imagined communities, commerce, popular culture, or politics are investigated and probed, and questions that are simultaneously new, and half a century old, are revivified. This volume, the first interdisciplinary anthology dealing with AfroAsian encounters, stands to become a landmark work in the field."
--Shelley Fisher Fishkin, Stanford University

aWhat critical anthologies do best is to present. . . . And AfroAsian Encounters does thata--"Journal of Asian American Studies"

How might we understand yellowface performances by African Americans in 1930s swing adaptations of Gilbert and Sullivan's "The Mikado," Paul Robeson's support of Asian and Asian American struggles, or the absorption of hip hop by Asian American youth culture?

AfroAsian Encounters is the first anthology to look at the mutual influence of and relationships between members of the African and Asian diasporas. While these two groups have often been thought of as occupying incommensurate, if not opposing, cultural and political positions, scholars from history, literature, media, and the visual arts here trace their interconnections and interactions, as well as the tensions between the two groups that sometimes arise. AfroAsian Encounters probes beyond popular culture to trace the historical lineage of these coalitions from the late nineteenth century to the present.

A foreword by Vijay Prashad sets the volume in the context of the Bandung conference half a century ago, and an afterword by Gary Okihiro charts the contours of a "Black Pacific." From the history of Japanese jazz composers to the current popularity of black/Asian "buddy films" like "Rush Hour," AfroAsian Encounters is a groundbreaking intervention into studies of race and ethnicity and a crucial look at the shifting meaning of race in the twenty-first century.

“Creativity” is a word that excites and dazzles us. It promises brilliance and achievement; it is a shield against conformity, a channel for innovation across the arts, sciences, technology, and education, and a mechanism for economic revival and personal success. But it has not always evoked these ideas. Once a term reserved for the ultimate power of the divine, and later associated primarily with the work of the artist, creativity has become attached to ideas about economics, politics, and the self in particular ways. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly.Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of the cognition, Victorian-era intelligence research, the Cold War technology race, contemporary K-12 education, and even modern electoral politics. Along the way, the book turns to a set of art works—from mobile steampunk sculptures to bicentennial adaptations of Frankenstein to a musical about the 2016 US Presidential election—that ask how our ideas about creativity are bound up with those of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling.

“Creativity” is a word that excites and dazzles us. It promises brilliance and achievement; it is a shield against conformity, a channel for innovation across the arts, sciences, technology, and education, and a mechanism for economic revival and personal success. But it has not always evoked these ideas. Once a term reserved for the ultimate power of the divine, and later associated primarily with the work of the artist, creativity has become attached to ideas about economics, politics, and the self in particular ways. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly.Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of the cognition, Victorian-era intelligence research, the Cold War technology race, contemporary K-12 education, and even modern electoral politics. Along the way, the book turns to a set of art works—from mobile steampunk sculptures to bicentennial adaptations of Frankenstein to a musical about the 2016 US Presidential election—that ask how our ideas about creativity are bound up with those of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling.

With a Foreword by Vijay Prashad and an Afterword by Gary Okihiro

View the Table of Contents. Read the Introduction.

aSucceeds at placing blacks and Asians at the center of the Americas, inviting productive dialogue against the notion that interaction between these groups is out of the ordinary.a
--"Journal of American Ethnic History"

"As fresh and exciting as it is important. This crucial book changes the conversation around American Studies and Ethnic Studies in key ways, challenging scholars to light out for previously-uncharted places on our mental maps in which borders are interrogated and challenged, alliances forged through imagined communities, commerce, popular culture, or politics are investigated and probed, and questions that are simultaneously new, and half a century old, are revivified. This volume, the first interdisciplinary anthology dealing with AfroAsian encounters, stands to become a landmark work in the field."
--Shelley Fisher Fishkin, Stanford University

aWhat critical anthologies do best is to present. . . . And AfroAsian Encounters does thata--"Journal of Asian American Studies"

How might we understand yellowface performances by African Americans in 1930s swing adaptations of Gilbert and Sullivan's "The Mikado," Paul Robeson's support of Asian and Asian American struggles, or the absorption of hip hop by Asian American youth culture?

AfroAsian Encounters is the first anthology to look at the mutual influence of and relationships between members of the African and Asian diasporas. While these two groups have often been thought of as occupying incommensurate, if not opposing, cultural and political positions, scholars from history, literature, media, and the visual arts here trace their interconnections and interactions, as well as the tensions between the two groups that sometimes arise. AfroAsian Encounters probes beyond popular culture to trace the historical lineage of these coalitions from the late nineteenth century to the present.

A foreword by Vijay Prashad sets the volume in the context of the Bandung conference half a century ago, and an afterword by Gary Okihiro charts the contours of a "Black Pacific." From the history of Japanese jazz composers to the current popularity of black/Asian "buddy films" like "Rush Hour," AfroAsian Encounters is a groundbreaking intervention into studies of race and ethnicity and a crucial look at the shifting meaning of race in the twenty-first century.