By Heike Raphael-Hernandez, Shannon Steen, Gary Okihiro, Vijay Prashad
With a Foreword by way of Vijay Prashad and an Afterword through Gary Okihiro
How could we comprehend yellowface performances through African americans in Nineteen Thirties swing variations of Gilbert and Sullivan's The Mikado, Paul Robeson's aid of Asian and Asian American struggles, or the absorption of hip hop through Asian American formative years culture?
AfroAsian Encounters is the 1st anthology to examine the mutual impression of and relationships among contributors of the African and Asian diasporas. whereas those teams have frequently been regarded as occupying incommensurate, if now not opposing, cultural and political positions, students from historical past, literature, media, and the visible arts the following hint their interconnections and interactions, in addition to the tensions among the 2 teams that typically come up. AfroAsian Encounters probes past pop culture to track the ancient lineage of those coalitions from the overdue 19th century to the present.
A foreword via Vijay Prashad units the quantity within the context of the Bandung convention part a century in the past, and an afterword by means of Gary Okihiro charts the contours of a “Black Pacific.” From the background of eastern jazz composers to the present acclaim for black/Asian “buddy movies” like Rush Hour, AfroAsian Encounters is a groundbreaking intervention into reviews of race and ethnicity and a very important examine the moving which means of race within the twenty-first century.
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Extra info for AfroAsian Encounters: Culture, History, Politics
Harlan’s invocation of “a race so different from our own” places the Chinaman as altogether different, uncommon, highly unusual. And yet, in Justice Harlan’s fictive account, his Chinaman also can board the white car while an ordinary American citizen such as Homer Plessy cannot. These two fictive renderings pose a paradox: How can the Chinaman be both “ordinary” (not exotic) and “so different” (radically other)? This chiasmus—the “ordinary different”—may reveal where the “Chinese” resides and where the “Black” is displaced.
As Neil Gotanda explains: “American racial classification follows two formal rules: 1) Rule of Recognition: Any person whose Black-African ancestry is visible is Black. ” Neil Gotanda, “A Critique of ‘Our Constitution Is Color-Blind,’” Stanford Literature Review 44 (1991): 24. For a booklength study of the one drop of blood rule, see F. James Davis, Who Is Black? One Nation’s Definition (University Park: Penn State University Press, 1991). 7. Mark Twain, Pudd’nhead Wilson (1894) (New York: Penguin Books, 1986), 64.
Furthermore, the system of racial meaning is plagued with the contradictions of the visible. Bodily markers are unreliable. The exterior is not always a guarantee of the interior; what we see may not always be what we get. The body of Miller is read as “black” through the recognition of “evidence” in the form of racial cues or markers. ”31 That the words “white” and “AngloSaxon” can describe him seems merely enough to signify his whiteness. ” Dr. Burns’s seemingly unmarked body allows for its reading as white.
AfroAsian Encounters: Culture, History, Politics by Heike Raphael-Hernandez, Shannon Steen, Gary Okihiro, Vijay Prashad