Globalization And The Post Creole Imagination

Globalization and the Post-Creole Imagination is a major intervention into discussions of Caribbean practices gathered under the rubric of “creolization.” Examining sociocultural, political, and economic transformations in the Caribbean, Michaeline A. Crichlow argues that creolization—culture-creating processes usually associated with plantation societies and with subordinate populations remaking the cultural forms of dominant groups—must be liberated from and expanded beyond plantations, and even beyond the black Atlantic, to include productions of “culture” wherever vulnerable populations live in situations of modern power inequalities, from regimes of colonialism to those of neoliberalism. Crichlow theorizes a concept of creolization that speaks to how individuals from historically marginalized groups refashion self, time, and place in multiple ways, from creating art to traveling in search of homes. Grounding her theory in the material realities of Caribbean peoples in the plantation era and the present, Crichlow contends that creolization and Creole subjectivity are constantly in flux, morphing in response to the changing conditions of modernity and creatively expressing a politics of place. Engaging with the thought of Michel Foucault, Michel Rolph-Trouillot, Achille Mbembe, Henri Lefebvre, Margaret Archer, Saskia Sassen, Pierre Bourdieu, and others, Crichlow argues for understanding creolization as a continual creative remaking of past and present moments to shape the future. She draws on sociology, philosophy, postcolonial studies, and cultural studies to illustrate how national histories are lived personally and how transnational experiences reshape individual lives and collective spaces. Critically extending Bourdieu’s idea of habitus, she describes how contemporary Caribbean subjects remake themselves in and beyond the Caribbean region, challenging, appropriating, and subverting older, localized forms of creolization. In this book, Crichlow offers a nuanced understanding of how Creole citizens of the Caribbean have negotiated modern economies of power.

Winner, 2022 Nicolás Cristóbal Guillén Batista Outstanding Book Award Creolizing the Nation identifies the nation-form as a powerful resource for political struggles against colonialism, racism, and other manifestations of Western hegemony in the Global South even as it acknowledges the homogenizing effects of the politics of nationalism. Drawing on Caribbean, decolonial, and Latina feminist resources, Kris F. Sealey argues that creolization provides a rich theoretical ground for rethinking the nation and deploying its political and cultural apparatus to imagine more just, humane communities. Analyzing the work of thinkers such as Édouard Glissant, Frantz Fanon, Gloria Anzaldúa, María Lugones, and Mariana Ortega, Sealey shows that a properly creolizing account of the nation provides an alternative imaginary out of which collective political life might be understood. Creolizing practices are always constitutive of anticolonial resistance, and their ongoing negotiations with power should be understood as everyday acts of sabotage. Sealey demonstrates that the conceptual frame of the nation is not fated to re-create colonial instantiations of nationalism but rather can support new possibilities for liberation and justice.

In Decolonizing American Philosophy, Corey McCall and Phillip McReynolds bring together leading scholars at the forefront of the field to ask: Can American philosophy, as the product of a colonial enterprise, be decolonized? Does American philosophy offer tools for decolonial projects? What might it mean to decolonize American philosophy and, at the same time, is it possible to consider American philosophy, broadly construed, as a part of a decolonizing project? The various perspectives included here contribute to long-simmering conversations about the scope, purpose, and future of American philosophy, while also demonstrating that it is far from a unified, homogeneous field. In drawing connections among various philosophical traditions in and of the Americas, they collectively propose that the process of decolonization is not only something that needs to be done to American philosophy but also that it is something American philosophy already does, or at least can do, as a resource for resisting colonial and racist oppression.

In the Caribbean island of Guadeloupe, the complex interplay between anticolonial resistance and accommodation resounds in its music. Guadeloupean gwoka music—a secular, drum-based tradition—captures the entangled histories of French colonization, movements against it, and the uneasy process of the island’s decolonization as an overseas territory of France. In Creolized Aurality, Jérôme Camal demonstrates that musical sounds and practices express the multiple—and often seemingly contradictory—cultural belongings and political longings that characterize postcoloniality. While gwoka has been associated with anti-colonial activism since the 1960s, in more recent years it has provided a platform for a cohort of younger musicians to express pan-Caribbean and diasporic solidarities. This generation of musicians even worked through the French state to gain UNESCO heritage status for their art. These gwoka practices, Camal argues, are “creolized auralities”—expressions of a culture both of and against French coloniality and postcoloniality.

In The Chinese Atlantic, Sean Metzger charts processes of global circulation across and beyond the Atlantic, exploring how seascapes generate new understandings of Chinese migration, financial networks and artistic production. Moving across film, painting, performance, and installation art, Metzger traces flows of money, culture, and aesthetics to reveal the ways in which routes of commerce stretching back to the Dutch Golden Age have molded and continue to influence the social reproduction of Chineseness. With a particular focus on the Caribbean, Metzger investigates the expressive culture of Chinese migrants and the communities that received these waves of people. He interrogates central issues in the study of similar case studies from South Africa and England to demonstrate how Chinese Atlantic seascapes frame globalization as we experience it today. Frequently focusing on art that interacts directly with the sites in which it is located, Metzger explores how Chinese migrant laborers and entrepreneurs did the same to shape—both physically and culturally—the new spaces in which they found themselves. In this manner, Metzger encourages us to see how artistic imagination and practice interact with migration to produce a new way of framing the global.

Essays that examine globalization's effects with an emphasis on the interplay of race and rurality as it occurs across diverse geographies and peoples. Issues of migration, environment, rurality, and the visceral “politics of place” and “space” have occupied center stage in recent electoral political struggles in the United States and Europe, suffused by an antiglobalization discourse that has come to resonate with Euro-American peoples. Race and Rurality in the Global Economy suggests that this present fractious global politics begs for closer attention to be paid to the deep-rooted conditions and outcomes of globalization and development. From multiple viewpoints the contributors to this volume propose ways of understanding the ongoing processes of globalization that configure peoples and places via a politics of rurality in a capitalist world economy, and through an optics of raciality that intersects with class, gender, identity, land, and environment. In tackling the dynamics of space and place, their essays address matters such as the heightened risks and multiple states of insecurity in the global economy; the new logics of expulsion and primitive accumulation dynamics shaping a new “savage sorting”; patterns of resistance and transformation in the face of globalization’s political and environmental changes; the steady decline in the livelihoods of people of color globally and their deepened vulnerabilities; and the complex reconstitution of systemic and lived racialization within these processes. This book is an invitation to ask whether our dystopia in present politics can be disentangled from the deepening sense of “white fragility” in the context of the historical power of globalization’s raced effects. Michaeline A. Crichlow is Professor of African and African American Studies and Sociology at Duke University. Patricia Northover is Senior Research Fellow at the University of the West Indies, Sir Arthur Lewis Institute of Social and Economic Studies, Mona. Together, they are the authors of Globalization and the Post-Creole Imagination: Notes on Fleeing the Plantation. Juan Giusti-Cordero is Professor of History and Director of the Caribbean Social Science Archive at the University of Puerto Rico, Rio Piedras. He is the coeditor (with Ulbe Bosma and G. Roger Knight) of Sugarlandia Revisited: Sugar and Colonialism in Asia and the Americas, 1800–1940.

Postcoloniality, Globalization, and Diaspora: What’s Next? looks forward within the field of postcolonial studies and goes beyond the notion of hybridity and postcolonial reason beyond just portraying it.This volume offers a futuristic vision going beyond the common paradigms of postcolonility, diaspora, and globalization, speculating a framework beyond master-slave dialectic. This new paradigm locates a humanitarian space purifying ego through various forms: writing, philosophizing, and theorizing new ideas. Authors focus on writers from Mauritius to India.

Country music's debt to African American music has long been recognized. Black musicians have helped to shape the styles of many of the most important performers in the country canon. The partnership between Lesley Riddle and A. P. Carter produced much of the Carter Family's repertoire; the street musician Tee Tot Payne taught a young Hank Williams Sr.; the guitar playing of Arnold Schultz influenced western Kentuckians, including Bill Monroe and Ike Everly. Yet attention to how these and other African Americans enriched the music played by whites has obscured the achievements of black country-music performers and the enjoyment of black listeners. The contributors to Hidden in the Mix examine how country music became "white," how that fictive racialization has been maintained, and how African American artists and fans have used country music to elaborate their own identities. They investigate topics as diverse as the role of race in shaping old-time record catalogues, the transracial West of the hick-hopper Cowboy Troy, and the place of U.S. country music in postcolonial debates about race and resistance. Revealing how music mediates both the ideology and the lived experience of race, Hidden in the Mix challenges the status of country music as "the white man’s blues." Contributors. Michael Awkward, Erika Brady, Barbara Ching, Adam Gussow, Patrick Huber, Charles Hughes, Jeffrey A. Keith, Kip Lornell, Diane Pecknold, David Sanjek, Tony Thomas, Jerry Wever