Written by the most prominent Croatian ethnologist/anthropologist of her time, Dunja Rihtman-Augustin (recently deceased) offers a critical overview of her country’s ethnological tradition and its developments. Within ten essays, this book (compiled and completed by Jasna Capo Zmegac) sheds light on a series of research questions and problems, and makes crucial remarks regarding the relationship between ethnology and politics. The volume provides exceptional insight not only into Croatian ethnology but also into the key ruptures in Croatian society in general.

This book discusses the history and contemporary practice of studying cultures 'at home', by examining Europe's regional or 'small' ethnologies of the past, present and future. With the rise of nationalism and independence in Europe, ethnologies have often played a major role in the nation-building process. The contributors to this book offer case studies of ethnologies as methodologies, showing how they can address key questions concerning everyday life in Europe. They also explore issues of European integration and the transnational dimension of culture in Europe today, and examine how regional ethnologies can play a crucial part in forming a wider 'European ethnology' as local participants have experience of combining identities within larger regions or nations.

"Fugitive Science excavates this story, uncovering the dynamic scientific engagements and experiments of African American writers, performers, and other cultural producers who mobilized natural science and produced alternative knowledges in the quest for and name of freedom. Literary and cultural critics have a particularly important role to play in uncovering the history of fugitive science since these engagements and experiments often happened, not in the laboratory or the university, but in print, on stage, in the garden, church, parlor, and in other cultural spaces and productions. Routinely excluded from the official spaces of scientific learning and training, black cultural actors transformed the spaces of the everyday into laboratories of knowledge and experimentation"--Introduction.

IBSS is the essential tool for librarians, university departments, research institutions and any public or private institution whose work requires access to up-to-date and comprehensive knowledge of the social sciences.

Music and dance in Canada today are diverse and expansive, reflecting histories of travel, exchange, and interpretation and challenging conceptions of expressive culture that are bounded and static. Reflecting current trends in ethnomusicology, Contemporary Musical Expressions in Canada examines cultural continuity, disjuncture, intersection, and interplay in music and dance across the country. Essays reconsider conceptual frameworks through which cultural forms are viewed, critique policies meant to encourage crosscultural sharing, and address ways in which traditional forms of expression have changed to reflect new contexts and audiences. From North Indian kathak dance, Chinese lion dance, early Toronto hip hop, and contemporary cantor practices within the Byzantine Ukrainian Church in Canada to folk music performances in twentieth-century Quebec, Gaelic milling songs in Cape Breton, and Mennonite songs in rural Manitoba, this collection offers detailed portraits of contemporary music practices and how they engage with diverse cultural expressions and identities. At a historical moment when identity politics, multiculturalism, diversity, immigration, and border crossings are debated around the world, Contemporary Musical Expressions in Canada demonstrates the many ways that music and dance practices in Canada engage with these broader global processes. Contributors include Rebecca Draisey-Collishaw (Queen's University), Meghan Forsyth (Memorial University of Newfoundland), Monique Giroux (University of Lethbridge), Ian Hayes (Memorial University of Newfoundland), Anna Hoefnagels (Carleton University), Judith Klassen (Canadian Museum of History), Chris McDonald (Cape Breton University), Colin McGuire (University College Cork), Marcia Ostashewski (Cape Breton University), Laura Risk (McGill University), Neil Scobie (University Western Ontario), Gordon Smith (Queen's University), Heather Sparling (Cape Breton University), Jesse Stewart (Carleton University), Janice Esther Tulk (Cape Breton University), Margaret Walker (Queen's University), and Louise Wrazen (York University).

From the late eighteenth century, the hinterlands of Northern Luzon and its Indigenous people were in the crosshairs of imperial and capitalist extraction. Combining the breadth of global history with the intimacy of biography, Adrian De Leon follows the people of Northern Luzon across space and time, advancing a new vision of the United States's Pacific empire that begins with the natives and migrants who were at the heart of colonialism and its everyday undoing. From the emergence of Luzon's eighteenth-century tobacco industry and the Hawaii Sugar Planters' Association's documentation of workers to the movement of people and ideas across the Suez Canal and the stories of Filipino farmworkers in the American West, De Leon traces "the Filipino" as a racial category emerging from the labor, subjugation, archiving, and resistance of native people. De Leon's imaginatively constructed archive yields a sweeping history that promises to reshape our understanding of race making in the Pacific world.

To ensure continuity and foster innovation within the discipline of folklore, we must know what came before. Folklore in the United States and Canada is an essential guide to the history and development of graduate folklore programs throughout the United States and Canada. As the first history of folklore studies since the mid-1980s, this book offers a long overdue look into the development of the earliest programs and the novel directions of more recent programs. The volume is encyclopedic in its coverage and is organized chronologically based on the approximate founding date of each program. Drawing extensively on archival sources, oral histories, and personal experience, the contributors explore the key individuals and central events in folklore programs at US and Canadian academic institutions and demonstrate how these programs have been shaped within broader cultural and historical contexts. Revealing the origins of graduate folklore programs, as well as their accomplishments, challenges, and connections, Folklore in the United States and Canada is an essential read for all folklorists and those who are studying to become folklorists.