This book studies the creative discourse of the modern African diaspora by analyzing poems, novels, essays, hip-hop and dub poetry in the Caribbean, England, Spain, and Colombia, and capturing diasporan movement through mutually intersecting axes of dislocation and relocation, and efforts at political group affirmation and settlement, or “location.” Branche’s study connects London’s multimillion-dollar riots of 2011, and its antecedents associated with the West Indian settler community, to the discontent and harrowing conditions facing black immigrants to contemporary Spain as gateway to Fortress Europe. It links the brutal massacres that target Colombia’s dispossessed and displaced poor - and mainly black - “throwaway” citizens, victims of the drug trade and neoliberal expansionism, to older Caribbean stories that tell of the original spurts of capitalist greed, and the colonial cauldron it created, at the center of which lay the slave trade. In revisiting the question of what really has awaited Afro-descendants at the end of the Middle Passage, this volume brings transatlantic slavery, the making of weak postcolonial states that bleed people, and the needle’s eye of racial identification together through a close reading of rappers, black radicals, dub poetry, and novelists from Europe, Africa, and the Americas. Branche at once demonstrates the existence of an archive of Afro-modern diasporan, discursive production, and just as importantly, points toward a historically-rooted theoretical framework that would contain its liberatory trajectory.

This book studies the creative discourse of the modern African diaspora by analyzing poems, novels, essays, hip-hop and dub poetry in the Caribbean, England, Spain, and Colombia, and capturing diasporan movement through mutually intersecting axes of dislocation and relocation, and efforts at political group affirmation and settlement, or “location.” Branche’s study connects London’s multimillion-dollar riots of 2011, and its antecedents associated with the West Indian settler community, to the discontent and harrowing conditions facing black immigrants to contemporary Spain as gateway to Fortress Europe. It links the brutal massacres that target Colombia’s dispossessed and displaced poor - and mainly black - “throwaway” citizens, victims of the drug trade and neoliberal expansionism, to older Caribbean stories that tell of the original spurts of capitalist greed, and the colonial cauldron it created, at the center of which lay the slave trade. In revisiting the question of what really has awaited Afro-descendants at the end of the Middle Passage, this volume brings transatlantic slavery, the making of weak postcolonial states that bleed people, and the needle’s eye of racial identification together through a close reading of rappers, black radicals, dub poetry, and novelists from Europe, Africa, and the Americas. Branche at once demonstrates the existence of an archive of Afro-modern diasporan, discursive production, and just as importantly, points toward a historically-rooted theoretical framework that would contain its liberatory trajectory.

This book maps the journey of the Indian poetic imagination—in Hindi, Panjabi and Indian English—from its original quasi-spiritual longings to its activist interventions in the public domain. As Indian poetry of the post-1990s gravitates towards a non-Orientalised postcolonial nationalism, it seeks to rewrite and disseminate the shifting coordinates of nationalist imagination in terms of the dissent of the subaltern discontents of the nation. The book is interdisciplinary: it studies Indian poetry from the new emerging imperatives of postcolonialism, new historiography (subaltern, dalit and diasporas), nationalism, and cultural studies. Covering the two major north Indian languages—Hindi and Punjabi—along with poetry in Indian English, the book is a close textual study of about 150 poetry collections in these languages. It is path-breaking in its study of secular poetry written in the so-called vernaculars, with critical attention to its participation in the political as well as cultural processes of nation-making. This cutting-edge book should be of interest to scholars of Indian writings in English, Hindi and Panjabi, gender studies, dalit and diaspora studies, postcolonial poetry and to students reading South Asian literature and culture.

An exploration of the burgeoning field of Anglophone Asian diaspora poetry, this book draws on the thematic concerns of Hong Kong, Asian-American and British Asian poets from the wider Chinese or East Asian diasporic culture to offer a transnational understanding of the complex notions of home, displacement and race in a globalised world. Located within current discourse surrounding Asian poetry, postcolonial and migrant writing, and bridging the fields of literary and cultural criticism with author interviews, this book provides close readings on established and emerging Chinese diasporic poets' work by incorporating the writers' own reflections on their craft through interviews with some of those featured. In doing so, Jennifer Wong explores the usefulness and limitations of existing labels and categories in reading the works of selected poets from specific racial, socio-cultural, linguistic environments and gender backgrounds, including Bei Dao, Li-Young Lee, Marilyn Chin, Hannah Lowe and Sarah Howe, Nina Mingya Powles and Mary Jean Chan. Incorporating scholarship from both the East and the West, Wong demonstrates how these poets' experimentation with poetic language and forms serve to challenge the changing notions of homeland, family, history and identity, offering new evaluations of contemporary diasporic voices.

Cultural Grammars of Nation, Diaspora, and Indigeneity in Canada considers how the terms of critical debate in literary and cultural studies in Canada have shifted with respect to race, nation, and difference. In asking how Indigenous and diasporic interventions have remapped these debates, the contributors argue that a new “cultural grammar” is at work and attempt to sketch out some of the ways it operates. The essays reference pivotal moments in Canadian literary and cultural history and speak to ongoing debates about Canadian nationalism, postcolonalism, migrancy, and transnationalism. Topics covered include the Asian race riots in Vancouver in 1907, the cultural memory of internment and dispersal of Japanese Canadians in the 1940s, the politics of migrant labour and the “domestic labour scheme” in the 1960s, and the trial of Robert Pickton in Vancouver in 2007. The contributors are particularly interested in how diaspora and indigeneity continue to contribute to this critical reconfiguration and in how conversations about diaspora and indigeneity in the Canadian context have themselves been transformed. Cultural Grammars is an attempt to address both the interconnections and the schisms between these multiply fractured critical terms as well as the larger conceptual shifts that have occurred in response to national and postnational arguments.

Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the disparate voices of Chinese film scholarship, charting its unique intellectual arc. Organized intuitively, the volume begins with reference materials (bibliographies, cinematographies, directories, indexes, dictionaries, and handbooks) and then moves through film history (the colonial period, Taiwan dialect film, new Taiwan cinema, the 2/28 incident); film genres (animated, anticommunist, documentary, ethnographic, martial arts, teen); film reviews; film theory and technique; interdisciplinary studies (Taiwan and mainland China, Taiwan and Japan, film and aboriginal peoples, film and literature, film and nationality); biographical materials; film stories, screenplays, and scripts; film technology; and miscellaneous aspects of Taiwanese film scholarship (artifacts, acts of censorship, copyright law, distribution channels, film festivals, and industry practice). Works written in multiple languages include transliteration/romanized and original script entries, which follow universal AACR-2 and American cataloguing standards, and professional notations by the editors to aid in the use of sources.

It is estimated that more than 30 million people of Indian Subcontinental origin presently live outside their homeland. The present geo-political status of the Indian Subcontinental diaspora calls for more research and newer theorisation on how migrants from the Indian Subcontinent relocate, acculturate and renegotiate their identities in new host environments. This volume focuses on their historical, socio-cultural and economic patterns of migration and identity negotiation and formation within transnational discourses. While some of the chapters here focus on the nature of representations of the homeland and hostland in the works of Indian Subcontinental diasporic writers and film directors, others deal with the economic and historic aspects of the Indian Subcontinental diaspora. The book also includes chapters on women’s Kalapani crossings, liminal spaces, Anglo-Indian-Australian diaspora, Chinese-Indian-Canadian diaspora, and Indian Subcontinental-British home workers’ transnational space, ushering in a new era of diasporic identities.

Framed by a century and a half of racialized Chinese American musical experiences, Claiming Diaspora explores the thriving contemporary musical culture of Asian/Chinese America. Ranging from traditional operas to modern instrumental music, from ethnic media networks to popular music, from Asian American jazz to the work of recent avant-garde composers, author Su Zheng reveals the rich and diverse musical activities among Chinese Americans and tells of the struggles of Chinese Americans to gain a foothold in the American cultural terrain. She not only tells their stories, but also examines the dynamics of the diasporic connections of this musical culture, revealing how Chinese American musical activities both reflect and contribute to local, national, and transnational cultural politics, and challenging us to take a fresh look at the increasingly plural and complex nature of American cultural identity.