In SARS Stories, Belinda Kong delves into the cultural archive of the 2003 SARS pandemic, examining Chinese-language creative works and social practices at the epicenters of the outbreak in China and Hong Kong. As the COVID-19 pandemic has highlighted issues of anti-Asian racism and sinophobia, Kong traces how Chinese people navigated the SARS pandemic and created meaning amid crisis through cultures of epidemic expression. From sentimental romances and Cantopop songs to raunchy sex comedies and crowdsourced ghost tales, unexpected and minor genres and creators of Chinese popular culture highlight the resilience and humanity of those living through the pandemic. Rather than narrating pandemic life in terms of crisis and catastrophe, Kong argues that these works highlight Chinese practices of community, care, and love amid disease. She also highlights the persistence of orientalism in anglophone accounts of SARS index patients and global reporting on COVID-era China. Kong shows how the Chinese experiences of living with SARS can reshape global feelings toward pandemic social life and foster greater fellowship in the face of pandemics.

Presents a new history of how Hindustani court music responded to the political transitions of the nineteenth century.
 
How far did colonialism transform north Indian music? In the period between the Mughal empire and the British Raj, how did the political landscape bleed into aesthetics, music, dance, and poetry? Examining musical culture through a diverse and multilingual archive, primarily using sources in Urdu, Bengali, and Hindi that have not been translated or critically examined before, The Scattered Court challenges our assumptions about the period. Richard David Williams presents a long history of interactions between northern India and Bengal, with a core focus on the two courts of Wajid Ali Shah (1822–1887), the last ruler of the kingdom of Awadh. He charts the movement of musicians and dancers between the two courts in Lucknow and Matiyaburj, as well as the transregional circulation of intellectual traditions and musical genres, and demonstrates the importance of the exile period for the rise of Calcutta as a celebrated center of Hindustani classical music. Since Lucknow is associated with late Mughal or Nawabi society and Calcutta with colonial modernity, examining the relationship between the two cities sheds light on forms of continuity and transition over the nineteenth century, as artists and their patrons navigated political ruptures and social transformations. The Scattered Court challenges the existing historiography of Hindustani music and Indian culture under colonialism by arguing that our focus on Anglophone sources and modernizing impulses has directed us away from the aesthetic subtleties, historical continuities, and emotional dimensions of nineteenth-century music.

In Secularism as Misdirection, Nivedita Menon traces how the discourse of secularism fixes attention to and hypervisualizes women and religion while obscuring other related issues. Showing how secularism is often invoked to serve capital and antiminority politics, Menon exposes it as a strategy of governance that is compatible with both democracy and authoritarianism, capitalism and socialism. Secularism also delegitimizes the nonindividuated nonrational self, Menon argues; exploring this aspect, she tracks the journey of psychoanalysis in the global South. Menon further examines the interconnectedness of religion, caste, the state, and women, showing how the discourse of secularism can also be mobilized by Hindu supremacist politics in India. Menon puts Latin American decolonial theorists in conversation with Asian and African thinkers to examine twenty-first-century global reimaginings of selfhood, constitutionalism, citizenship, and anticapitalist existence. Through a feminist and global perspective, Menon suggests that transformative politics is better imagined by stepping out of the frame offered by secularism and focusing on substantive values such as democracy, social justice, and ecological justice.

Seeking a Future for the Past: Space, Power, and Heritage in a Chinese City examines the complexities and changing sociopolitical dynamics of urban renewal in contemporary China. Drawing on ten years of ethnographic fieldwork in the northeastern Chinese city of Qingdao, the book tells the story of the slow, fragmented, and contentious transformation of Dabaodao—an area in the city’s former colonial center—from a place of common homes occupied by the urban poor into a showcase of architectural heritage and site for tourism and consumption. The ethnography provides a nuanced account of the diverse experiences and views of a range of groups involved in shaping, and being shaped, by the urban renewal process—local residents, migrant workers, preservationists, planners, and government officials—foregrounding the voices and experiences of marginal groups, such as migrants in the city. Unpacking structural reasons for urban developmental impasses, it paints a nuanced local picture of urban governance and political practice in contemporary urban China. Seeking a Future for the Past also weighs the positives and negatives of heritage preservation and scrutinizes the meanings and effects of “preservation” on diverse social actors. By zeroing in on the seemingly contradictory yet coexisting processes of urban stagnation and urban destruction, the book reveals the multifaceted challenges that China faces in reforming its urbanization practices and, ultimately, in managing its urban future.

In Sexuality and the Rise of China Travis S. K. Kong examines the changing meanings of same-sex identities, communities, and cultures for young Chinese gay men in contemporary Hong Kong, Taiwan, and mainland China. Drawing on ninety life stories, Kong’s transnational queer sociological approach shows the complex interplay between personal biography and the dramatically changing social institutions in these three societies. Kong conceptualizes coming out as relational politics and the queer/tongzhi community and commons as an affective, imaginative means of connecting, governed by homonormative masculinity. He shows how monogamy is a form of cruel optimism and envisions state and sexuality intertwining in different versions of homonationalism in each location. Tracing the alternately diverging and converging paths of being young, "Chinese," gay, and male, Kong reveals how both Western and emerging inter- and intra- Asian queer cultures shape queer/tongzhi experiences. Most significantly, at this historical juncture characterized by the rise of China, Kong criticizes the globalization of sexuality by emphasizing inter-Asia modeling, referencing, and solidarities and debunks the essentializing myth of Chineseness, thereby decolonizing Western sexual knowledge and demonstrating the differential meanings of Chineseness/queerness across the Sinophone world.

In Shooting for Change, Jung Joon Lee examines postwar Korean photography across multiple genres and practices, including vernacular, art, documentary, and archival photography. Tracing the history of Korean photography while considering what is disguised or lost by framing the history of photography through nationhood, Lee considers the role of photography in shaping memory of historical events, representing the ideal national family, and motivating social movements. Further, through an investigation of what it means to practice photography under the normalized conditions of militarism, Lee treats the transnational militarism of Korea as a lens through which to probe the officially and culturally sanctioned readings of images when returning to them at different times. Among other themes, Lee draws on photography of militarized sex work, political protest in the military era, war orphans, and mass protests. Ultimately, Lee treats the formative periods in nation building and transnational militarization as both backdrops and cultivators for photographic works.

Takes readers deep inside the secret world of corporate science, where powerful companies and allied academic scientists mold research to meet industry needs.
 
The 1990s were tough times for the soda industry. In the United States, obesity rates were exploding. Public health critics pointed to sugary soda as a main culprit and advocated for soda taxes that might decrease the consumption of sweetened beverages—and threaten the revenues of the giant soda companies.
 
Soda Science tells the story of how industry leader Coca-Cola mobilized allies in academia to create a soda-defense science that would protect profits by advocating exercise, not dietary restraint, as the priority solution to obesity, a view few experts accept. Anthropologist and science studies specialist Susan Greenhalgh discovers a hidden world of science-making—with distinctive organizations, social networks, knowledge-making practices, and ethical claims—dedicated to creating industry-friendly science and keeping it under wraps. By tracing the birth, maturation, death, and afterlife of the science they made, Greenhalgh shows how corporate science has managed to gain such a hold over our lives.
 
Spanning twenty years, her investigation takes her from the US, where the science was made, to China, a key market for sugary soda. In the US, soda science was a critical force in the making of today’s society of step-counting, fitness-tracking, weight-obsessed citizens. In China, this distorted science has left its mark not just on national obesity policies but on the apparatus for managing chronic disease generally. By following the scientists and their ambitious schemes to make the world safe for Coke, Greenhalgh offers an account that is more global—and yet more human—than the story that dominates public understanding today.
 
Coke’s research isn’t fake science, Greenhalgh argues; it was real science, conducted by real and eminent scientists, but distorted by its aim. Her gripping book raises crucial questions about conflicts of interest in scientific research, the funding behind familiar messages about health, and the cunning ways giant corporations come to shape our diets, lifestyles, and health to their own needs.

A fascinating look at how the popular musical culture of Guangzhou expresses the city’s unique cosmopolitanism.
 
Guangzhou is a large Chinese city like many others. With a booming economy and abundant job opportunities, it has become a magnet for rural citizens seeking better job prospects as well as global corporations hoping to gain a foothold in one of the world’s largest economies. This openness and energy have led to a thriving popular music scene that is every bit the equal of Beijing’s. But the musical culture of Guangzhou expresses the city’s unique cosmopolitanism. A port city that once played a key role in China’s maritime Silk Road, Guangzhou has long been an international hub. Now, new migrants to the city are incorporating diverse Chinese folk traditions into the musical tapestry.
 
In Sonic Mobilities, ethnomusicologist Adam Kielman takes a deep dive into Guangzhou's music scene through two bands, Wanju Chuanzhang (Toy Captain) and Mabang (Caravan), that express ties to their rural homelands and small-town roots while forging new cosmopolitan musical connections. These bands make music that captures the intersection of the global and local that has come to define Guangzhou, for example by writing songs with a popular Jamaican reggae beat and lyrics in their distinct regional dialects mostly incomprehensible to their audiences. These bands create a sound both instantly recognizable and totally foreign, international and hyper-local. This juxtaposition, Kielman argues, is an apt expression of the demographic, geographic, and political shifts underway in Guangzhou and across the country. Bridging ethnomusicology, popular music studies, cultural geography, and media studies, Kielman examines the cultural dimensions of shifts in conceptualizations of self, space, publics, and state in a rapidly transforming the People’s Republic of China.
 

A sixty-year history of Afro–South Asian musical collaborations

From Beyoncé’s South Asian music–inspired Super Bowl Halftime performance, to jazz artists like John and Alice Coltrane’s use of Indian song structures and spirituality in their work, to Jay-Z and Missy Elliott’s high-profile collaborations with diasporic South Asian artists such as the Panjabi MC and MIA, African American musicians have frequently engaged South Asian cultural productions in the development of Black music culture. Sounds from the Other Side traces such engagements through an interdisciplinary analysis of the political implications of African American musicians’ South Asian influence since the 1960s.

Elliott H. Powell asks, what happens when we consider Black musicians’ South Asian sonic explorations as distinct from those of their white counterparts? He looks to Black musical genres of jazz, funk, and hip hop and examines the work of Miles Davis, John Coltrane, Rick James, OutKast, Timbaland, Beyoncé, and others, showing how Afro–South Asian music in the United States is a dynamic, complex, and contradictory cultural site where comparative racialization, transformative gender and queer politics, and coalition politics intertwine. Powell situates this cultural history within larger global and domestic sociohistorical junctures that link African American and South Asian diasporic communities in the United States.

The long historical arc of Afro–South Asian music in Sounds from the Other Side interprets such music-making activities as highly political endeavors, offering an essential conversation about cross-cultural musical exchanges between racially marginalized musicians.

This book is an ethnographic account of education and migration from the perspective of three groups of South Koreans in contemporary China: migrant parents, children/students, and educational agents. The book reveals how these temporary migrants make choices, plan their trajectories and engage with the authorities, both in China and South Korea. Migrant subjectivities among these groups are driven by and respond to the education-migration regimes of both the sending and receiving countries. As ‘people in between’, they occupy flexible and multiple positionalities that are transnationally distributed. However, paradoxically, they experience a juxtaposition of privilege, integration and separation, which is indicative of the Chinese style of internationalisation. The book adds weight to the argument that China is a temporary destination for foreigners and not one for long-term settlement.

Spaces of Creative Resistance: Social Change Projects in Twenty-First-Century East Asia brings together an exciting cross-regional interdisciplinary group of scholars, scholar activists, artists, and others for a collection that addresses the last two decades' hollowing out of social connections, socioeconomic income gaps, and general precarity of life in East Asian societies. Written by authors from China, Japan, South Korea, Taiwan, and Hong Kong, each chapter is focused on people making a difference together in socially sustainable ways, particularly in the areas of gender, labor, and environments—both built and natural. These projects all constitute acts of creative resistance to neoliberal development, and each act of creative resistance demonstrates how individuals and communities across East Asia are making new worlds and lifeways in the small and everyday. Taking on larger political and economic forces that affect their lives and communities, each project and group of individuals featured here is focused on making more liveable presents and more possible futures.

In State of Fear, Joshua Barker reckons with how fear and violence are produced and reproduced through everyday practices of rule and control. Examining the ethnographic and historical genealogies of Indonesian policing, Barker focuses on the city of Bandung, which is permeated by anxieties about security, in spite of the fact that it’s a relatively safe city according to the data. Drawing from his fieldwork there during the latter years of the authoritarian New Order regime, Barker traces the complex relationship between the state and vigilante groups like neighborhood watch patrols and street gangs. Through interviews with police officers, vigilantes, and street-level toughs, he uncovers a struggle between two visions of social control that continues to animate policing in Indonesia: the modern, bureaucratic approach favored by the state, and a territorial approach that divides the city into fiefdoms overseen by charismatic individuals of authority. Synthesizing insights from in-depth ethnographic, historical, and theoretical work, Barker reveals how authoritarianism can take root not just from the top down but also from the bottom up.

In east Javanese dance traditions like Beskalan and Ngremo, musicians and dancers negotiate gender through performances where males embody femininity and females embody masculinity.

Christina Sunardi ventures into the regency of Malang in east Java to study and perform with dancers. Through formal interviews and casual conversation, Sunardi learns about their lives and art. Her work shows how performers continually transform dance traditions to negotiate, and renegotiate, the boundaries of gender and sex--sometimes reinforcing lines of demarcation, sometimes transgressing them, and sometimes doing both simultaneously. But Sunardi's investigation moves beyond performance. It expands notions of the spiritual power associated with female bodies and feminine behavior, and the ways women, men, and waria (males who dress and live as female) access the magnetic power of femaleness.

A journey into understudied regions and ideas, Stunning Males and Powerful Females reveals how performances seemingly fixed by tradition are instead dynamic environments for cultural negotiation and change surrounding questions of sex and gender.