front cover of American Allegory
American Allegory
Lindy Hop and the Racial Imagination
Black Hawk Hancock
University of Chicago Press, 2013
“Perhaps,” wrote Ralph Ellison more than seventy years ago, “the zoot suit contains profound political meaning; perhaps the symmetrical frenzy of the Lindy-hop conceals clues to great potential power.” As Ellison noted then, many of our most mundane cultural forms are larger and more important than they appear, taking on great significance and an unexpected depth of meaning. What he saw in the power of the Lindy Hop—the dance that Life magazine once billed as “America’s True National Folk Dance”—would spread from black America to make a lasting impression on white America and offer us a truly compelling means of understanding our culture. But with what hidden implications?

In American Allegory, Black Hawk Hancock offers an embedded and embodied ethnography that situates dance within a larger Chicago landscape of segregated social practices. Delving into two Chicago dance worlds, the Lindy and Steppin’, Hancock uses a combination of participant-observation and interviews to bring to the surface the racial tension that surrounds white use of black cultural forms. Focusing on new forms of appropriation in an era of multiculturalism, Hancock underscores the institutionalization of racial disparities and offers wonderful insights into the intersection of race and culture in America.
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Domesticating Brown
Movements of Racial Imagination
Christopher B. Patterson
Duke University Press, 2026
Domesticating Brown interrogates the slippery senses that brownness as a racial form has manifested over time, charting its transitions across historical colonial contexts and into the transpacific dynamics of contemporary empire. Christopher B. Patterson rethinks universalist definitions of race to consider the constant movements in racial contexts, meanings, and practices that “brownness” reveals: as a site for the ungovernable brown mass, as peoples marked for domestication through strategies of colonial containment, and as the complex shades that reveal troubling genealogies and shameful intimacies. Tracing the emergences and transformations of brownness in various contexts of transpacific encounter—from the Mongol Empire to Filipino plantation migration in Hawai’i, from the imperial management of Hong Kong to contemporary brown authorship—Domesticating Brown explores how colonial subjects and other marginalized peoples have strategized ways of resisting and reversing dominating notions of brownness through art, story, and embodied difference.
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logo for Duke University Press
Domesticating Brown
Movements of Racial Imagination
Christopher B. Patterson
Duke University Press, 2026
Domesticating Brown interrogates the slippery senses that brownness as a racial form has manifested over time, charting its transitions across historical colonial contexts and into the transpacific dynamics of contemporary empire. Christopher B. Patterson rethinks universalist definitions of race to consider the constant movements in racial contexts, meanings, and practices that “brownness” reveals: as a site for the ungovernable brown mass, as peoples marked for domestication through strategies of colonial containment, and as the complex shades that reveal troubling genealogies and shameful intimacies. Tracing the emergences and transformations of brownness in various contexts of transpacific encounter—from the Mongol Empire to Filipino plantation migration in Hawai’i, from the imperial management of Hong Kong to contemporary brown authorship—Domesticating Brown explores how colonial subjects and other marginalized peoples have strategized ways of resisting and reversing dominating notions of brownness through art, story, and embodied difference.
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front cover of Just around Midnight
Just around Midnight
Rock and Roll and the Racial Imagination
Jack Hamilton
Harvard University Press, 2016

By the time Jimi Hendrix died in 1970, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become “white”? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans.

Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the color line. In the 1960s, however, rock and roll gave way to rock: a new musical ideal regarded as more serious, more artistic—and the province of white musicians. Decoding the racial discourses that have distorted standard histories of rock music, Jack Hamilton underscores how ideas of “authenticity” have blinded us to rock’s inextricably interracial artistic enterprise.

According to the standard storyline, the authentic white musician was guided by an individual creative vision, whereas black musicians were deemed authentic only when they stayed true to black tradition. Serious rock became white because only white musicians could be original without being accused of betraying their race. Juxtaposing Sam Cooke and Bob Dylan, Aretha Franklin and Janis Joplin, Jimi Hendrix and the Rolling Stones, and many others, Hamilton challenges the racial categories that oversimplified the sixties revolution and provides a deeper appreciation of the twists and turns that kept the music alive.

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front cover of Music and the Racial Imagination
Music and the Racial Imagination
Edited by Ronald M. Radano and Philip V. Bohlman
University of Chicago Press, 2001
"A specter lurks in the house of music, and it goes by the name of race," write Ronald Radano and Philip Bohlman in their introduction. Yet the intimate relationship between race and music has rarely been examined by contemporary scholars, most of whom have abandoned it for the more enlightened notions of ethnicity and culture. Here, a distinguished group of contributors confront the issue head on. Representing an unusually broad range of academic disciplines and geographic regions, they critically examine how the imagination of race has influenced musical production, reception, and scholarly analysis, even as they reject the objectivity of the concept itself.

Each essay follows the lead of the substantial introduction, which reviews the history of race in European and American, non-Western and global musics, placing it within the contexts of the colonial experience and the more recent formation of "world music." Offering a bold, new revisionist agenda for musicology in a postmodern, postcolonial world, this book will appeal to students of culture and race across the humanities and social sciences.
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