The Body in Crisis introduces the English-speaking world to the work of leading Latin American dance scholar and philosopher of the body, Christine Greiner. The book offers an innovative set of tools with which to examine the role of moving bodies and bodily actions in relation to worldwide concerns, including identity politics, alterity, migration, and belonging. The book places the concept of bodymedium in dialogue with the work of Giorgio Agamben to investigate notions of alterity, and shows how an understanding of the body-environment continuum can shed light on things left unnamed and at the margins. Greiner’s analyses draw from a broad range of theory concerned with the epistemology of the body, including cognitive science, political philosophy, evolutionary biology, and performance studies to illuminate radical experiences that question the limits of the body.  Her analysis of the role that bodies play in negotiations of power relations offers an original and unprecedented contribution to the field of dance studies and expands its scope to recognize theoretical models of inquiry developed in the Global South.

In Cuba something curious has happened over the past fifteen years. The government has allowed vocal criticism of its policies to be expressed within the arts. Filmmakers, rappers, and visual and performance artists have addressed sensitive issues including bureaucracy, racial and gender discrimination, emigration, and alienation. How can this vibrant body of work be reconciled with the standard representations of a repressive, authoritarian cultural apparatus? In Cuba Represent! Sujatha Fernandes—a scholar and musician who has performed in Cuba—answers that question.

Combining textual analyses of films, rap songs, and visual artworks; ethnographic material collected in Cuba; and insights into the nation’s history and political economy, Fernandes details the new forms of engagement with official institutions that have opened up as a result of changing relationships between state and society in the post-Soviet period. She demonstrates that in a moment of extreme hardship and uncertainty, the Cuban state has moved to a more permeable model of power. Artists and other members of the public are collaborating with government actors to partially incorporate critical cultural expressions into official discourse. The Cuban leadership has come to recognize the benefits of supporting artists: rappers offer a link to increasingly frustrated black youth in Cuba; visual artists are an important source of international prestige and hard currency; and films help unify Cubans through community discourse about the nation. Cuba Represent! reveals that part of the socialist government’s resilience stems from its ability to absorb oppositional ideas and values.

Today India’s middle class numbers more than 250 million people and is growing rapidly. Public reports have focused mainly on the emerging group’s consumer potential, while global views of India’s new economy range from excitement about market prospects to anxieties over outsourcing of service sector jobs. Yet the consequences of India’s economic liberalization and the expansion of the middle class have transformed Indian culture and politics. In India’s New Middle Class, Leela Fernandes digs into the implications of this growth and uncovers—in the media, in electoral politics, and on the streets of urban neighborhoods—the complex politics of caste, religion, and gender that shape this rising population. Using rich ethnographic data, she reveals how the middle class represents the political construction of a social group and how it operates as a proponent of economic democratization. Delineating the tension between consumer culture and outsourcing, Fernandes also examines the roots of India’s middle class and its employment patterns, including shifting skill sets and labor market restructuring. Through this close look at the country’s recent history and reforms, Fernandes develops an original theoretical approach to the nature of politics and class formation in an era of globalization.In this sophisticated analysis of the dynamics of an economic and political group in the making, Fernandes moves beyond reductionist images of India’s new middle class to bring to light the group’s social complexity and profound influence on politics in India and beyond.Leela Fernandes is associate professor of political science at Rutgers University, New Brunswick.

An actor of traditional Hindu dramas meets an adolescent girl who turns out to be his half-sister. A man returns to Goa from Mozambique to father a child for a family whose unmarried daughters has produced no heirs. Another man feels out of place in his family home after returning from Portugal to get a university education, as a woman waits faithfully for him to return. A forbidden romance blooms between a Christian girl and a Hindu boy.
 
Through these stories, written with a mix of poignant nostalgia and sharp criticism, Vimala Devi recreates the colonial Goa of her childhood. First published in 1963, two years after the Portuguese colony became part of India, Monsoon is a cycle of twelve stories that vary in tone. By turns satirical, desolate, tender, humorous, and dramatic, they come together through a subtle interplay of echoes, parallels and cross-references to form a composite picture of a world gone by. They delve into divisions of caste, religion, language, and material privilege, setting them off against a common historical experience and deeply felt attachment to the land.
 
Including a critical and contextualizing introduction by Jason Keith Fernandes, this rendition of Monsoon allows contemporary readers a rare peep into a colonial society that was significantly different from the British Indian mainstream.
 

In this vivid ethnography of social movements in the barrios, or poor shantytowns, of Caracas, Sujatha Fernandes reveals a significant dimension of political life in Venezuela since President Hugo Chávez was elected. Fernandes traces the histories of the barrios, from the guerrilla insurgency, movements against displacement, and cultural resistance of the 1960s and 1970s, through the debt crisis of the early 1980s and the neoliberal reforms that followed, to the Chávez period. She weaves barrio residents’ life stories into her account of movements for social and economic justice. Who Can Stop the Drums? demonstrates that the transformations under way in Venezuela are shaped by negotiations between the Chávez government and social movements with their own forms of historical memory, local organization, and consciousness.

Fernandes portrays everyday life and politics in the shantytowns of Caracas through accounts of community-based radio, barrio assemblies, and popular fiestas, and the many interviews she conducted with activists and government officials. Most of the barrio activists she presents are Chávez supporters. They see the leftist president as someone who understands their precarious lives and has made important changes to the state system to redistribute resources. Yet they must balance receiving state resources, which are necessary to fund their community-based projects, with their desire to retain a sense of agency. Fernandes locates the struggles of the urban poor within Venezuela’s transition from neoliberalism to what she calls “post-neoliberalism.” She contends that in contemporary Venezuela we find a hybrid state; while Chávez is actively challenging neoliberalism, the state remains subject to the constraints and logics of global capital.