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First Nationalism Then Identity focuses on the case of Bosnian Muslims, a rare historic instance of a new nation emerging. Although for Bosnian Muslims the process of national emergence and the assertion of a new salient identity have been going on for over two decades, Mirsad Kriještorac is the first to explain the significance of the whole process and how the adoption of their new Bosniak identity occurred. He provides a historical overview of Yugoslav and Bosnian Slavic Muslims’ transformation into a full-fledged distinct and independent national group as well as addresses the important question in the field of nationalism studies about the relationship between and workings of nationalism and identity. While this book is noteworthy for ordinary readers interested in the case of Bosnian Muslims, it is an important contribution to the scholarly debate on the role of nationalism in the political life of a group and adds an interdisciplinary perspective to comparative politics scholarship by drawing from anthropology, history, geography, and sociology.

A combination of button accordion and bajo sexto, conjunto originated in the Texas-Mexico borderlands as a popular dance music and became a powerful form of regional identity. Today, listeners and musicians around the world have embraced the genre and the work of conjunto masters like Flaco Jiménez and Mingo Saldívar.

Erin E. Bauer follows conjunto from its local origins through three processes of globalization--migration via media, hybridization, and appropriation--that boosted the music’s reach. As Bauer shows, conjunto’s encounter with globalizing forces raises fundamental questions. What is conjunto stylistically and socioculturally? Does context change how we categorize it? Do we consider the music to be conjunto based on its musical characteristics or due to its performance by Jiménez and other regional players? How do similar local genres like Tejano and norteño relate to ideas of categorization?

A rare look at a fascinating musical phenomenon, Flaco’s Legacy reveals how conjunto came to encompass new people, places, and styles.

The history of the Chicana por mi Raza Digital Memory Collective, an archive dedicated to preserving Chicana feminist knowledge of the 1970s and memory work.

The late 1960s and early 1970s witnessed an explosion of publishing by Chicana activists as they took part in the Movimiento against oppression of ethnic Mexicans in the United States. Today, thousands of these documents, including written works and oral histories, have been assembled by the Chicana por mi Raza Digital Memory Collective. Drawing on these unique resources, Fleshing the Archive traces the innovative Chicana knowledge projects of the Movimiento years.

Seeking to think with the past rather than about it, María Cotera explores transgressive sites and discourses of Chicana knowledge, from poems and essays to newspapers, bibliographies, and testimonies. Often published independently and distributed by readers themselves, these works embodied a praxis of feminist and queer consciousness-raising. Observing the startling convergences between Chicana praxis of the 1970s and digital knowledge production in the present, Cotera argues that the Chicana archive enables transformative moments of recognition across time that unsettle supposedly objective accounts of history. The materials preserved by Chicana por mi Raza offer Chicana scholars a model of teaching and learning liberated from a corporate academy that is increasingly hostile to intellectual inquiry.

Winner, National Association for Chicana and Chicano Studies Book Award, 2019

The Royal Chicano Air Force produced major works of visual art, poetry, prose, music, and performance during the second half of the twentieth century and first decades of the twenty-first. Materializing in Sacramento, California, in 1969 and established between 1970 and 1972, the RCAF helped redefine the meaning of artistic production and artwork to include community engagement projects such as breakfast programs, community art classes, and political and labor activism. The collective’s work has contributed significantly both to Chicano/a civil rights activism and to Chicano/a art history, literature, and culture.

Blending RCAF members’ biographies and accounts of their artistic production with art historical, cultural, and literary scholarship, Flying under the Radar with the Royal Chicano Air Force is the first in-depth study of this vanguard Chicano/a arts collective and activist group. Ella Maria Diaz investigates how the RCAF questioned and countered conventions of Western art, from the canon taught in US institutions to Mexican national art history, while advancing a Chicano/a historical consciousness in the cultural borderlands. In particular, she demonstrates how women significantly contributed to the collective’s output, navigating and challenging the overarching patriarchal cultural norms of the Chicano Movement and their manifestations in the RCAF. Diaz also shows how the RCAF’s verbal and visual architecture—a literal and figurative construction of Chicano/a signs, symbols, and texts—established the groundwork for numerous theoretical interventions made by key scholars in the 1990s and the twenty-first century.

The youngest of twenty children of sharecroppers in rural Mississippi, Fannie Lou Hamer witnessed throughout her childhood the white cruelty, political exclusion, and relentless economic exploitation that defined African American existence in the Delta. 

In this intimate biography, Chana Kai Lee documents Hamer's lifelong crusade to empower the poor through collective action, her rise to national prominence as a civil rights activist, and the personal costs of her ongoing struggle to win a political voice and economic self-sufficiency for blacks in the segregated South. Lee looks at Hamer's early work as a field secretary for the Student Nonviolent Coordinating Committee in Mississippi, her dramatic appearance at the 1964 Democratic National Convention, and her ongoing work as a militant grassroots leader in her own community.

Forced Out: A Nikkei Woman’s Search for a Home in America offers insight into “voluntary evacuation,” a little-known Japanese American experience during World War II, and the lasting effects of cultural trauma. Of the roughly 120,000 people forced from their homes by Executive Order 9066, around 5,000 were able to escape incarceration beforehand by fleeing inland. In a series of beautifully written essays, Judy Kawamoto recounts her family’s flight from their home in Washington to Wyoming, their later moves to Montana and Colorado, and the influence of those experiences on the rest of her life. Hers is a story shared by the many families who lost everything and had to start over in often suspicious and hostile environments.
 
Kawamoto vividly illustrates the details of her family’s daily life, the discrimination and financial hardship they experienced, and the isolation that came from experiencing the horrors of the 1940s very differently than many other Japanese Americans. Chapters address her personal and often unconscious reactions to her parents’ trauma, as well as her own subsequent travels around much of the world, exploring, learning, enjoying, but also unconsciously acting out a continual search for a home.
 
Showing how the impacts of traumatic events are collective and generational, Kawamoto draws
interconnections between her family’s displacement and later aspects of her life and juxtaposes the impact of her early experiences and questions of identity, culture, and assimilation. Forced Out will be of great interest to the general reader as well as students and scholars of ethnic studies, Asian American studies, history, education, and mental health.

2022 Asian/Pacific American Award for Literature, Honor Title, Adult Non-Fiction Literature
2022 Evans Handcart Award Winner