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This volume on Muslim life focuses on young male migrants of rural origin who move to build better lives in Bougouni, a provincial town in southwest Mali. Describing themselves as “simply Muslims” and “adventurers,” these migrants aim to be both prosperous and good Muslims. Drawing upon seventeen months of fieldwork, author André Chappatte explores their sense of prosperity and piety as they embark on tunga (adventure), a customary search for money and more in a tradition that dates back to the colonial period.

In the context of the current global war on terrorism, most studies of Muslim life have focused on the politics of piety of reformist movements, their leaders, and members. By contrast, In Search of “Tunga” takes a perspective from below. It opens piety up to “simply Muslims,” although the religious elites have always claimed authority and legitimacy over piety. Is piety an exclusive field of experiences for those who claim to strive for it? What does piety involve for the majority of Muslims, the non-elite and unaffiliated Muslims? This volume “democratizes” piety by documenting its practice as going beyond sharply defined religious affiliations and Islamic scholarship, and by showing it is both alive and normative, existential and prescriptive. As opposed to studies that build on the classic historical connections between the Maghreb and the Sahel, the southbound migration from the Sahel documented in this book stresses the overlooked historical connections between the southern shores of the Sahara and the lands south of those shores. It demonstrates how the Malian savanna, this former buffer-zone between ancient Mande kingdoms and thereafter remote areas of French Sudan, is increasingly becoming central in today’s Sahel contexts of desiccation and insecurity.

In Indenture Aesthetics, Jordache A. Ellapen examines the visual and performance art practices of feminist, queer, femme, and gender-nonconforming Afro-Indian and South African black artists to understand the paradoxes of freedom in contemporary South Africa. Tracing the afterlife of apartheid-era racial categories and revisiting Bantu Stephen Biko’s Black Consciousness, Ellapen theorizes South African blackness through the Indian Ocean World, showing how the development of an Afro-Indian identity after generations of indentured labor and segregation troubles persistent racial hierarchies. Staging unexpected encounters between artists such as Sharlene Khan, Mohau Modisakeng, Lebohang Kganye, and Reshma Chhiba, he analyzes how their works challenge these racial categories to create new imaginaries of freedom. Situated in a context in which the authentic (hetero)normative black subject of the post-apartheid state is bracketed from other formulations of blackness, these artists' aesthetic practices, alongside those of other artists like Ellapen himself, disrupt desires for national belonging and catalyze alternative and transgressive politics and subjects. By rethinking the relationship between blackness, Afro-Indianness, and Africanness, Ellapen highlights the role of the aesthetic in crafting a blueprint for coalitional building across difference in contemporary South Africa.

Set against critiques of neoliberal capitalism in the present, Infrastructural Attachments argues that the technopolitics of austerity have been the organizing logic of statecraft in Kenya since the late nineteenth century, calling into question the novelty of austerity as a mode of governance and a lived experience. Using infrastructures as a lens to explore state formation over the long twentieth century—roads in the early colonial period, radio broadcasting from the interwar through the postwar periods, and mobile phones and digital financial services in the present—historian Emma Park reveals that as the state drew on private capital to make up for limited budgets, it inaugurated a peculiar political-economic form: the corporate-state. For more than a century—in pursuit of minimizing costs and maximizing profits—the corporate-state crucially relied on the exploitation and expropriation of its subject-citizens. By foregrounding these workers, Park interrogates how Kenyans’ knowledge and expertise has been rescaled and subsumed, quietly underwriting the development of infrastructural expertise, the circuits of finance upon which (post)colonial infrastructural expansion has been premised, and the forms of profit-making it has enabled.

In 1972, Ugandan president Idi Amin expelled close to 80,000 South Asians of Ugandan heritage from the country by dictatorial decree. In Insecurities of Expulsion, Anneeth Kaur Hundle revisits this weighty historical event, arguing that it is neither an exceptional nor a parochial event, neither a result of primordial Afro-South Asian racial conflict nor an opening into a redemptive search for Afro-South Asian interracial solidarities. Hundle explores the aftermaths and continuous nature of the expulsion event, examining its effects and affects; the images, representations, and differentiated experiences and memories of the event; and the tense and ambivalent practices of citizenship, sovereignty, and governance that have emerged in the decades following the expulsion. She examines Afro-Asian entanglements in what she describes as transcontinental Uganda through the lenses of race, ethnicity, class, caste, religion, gender, and sexuality. Throughout, Hundle argues for stronger attention to knowledge production on global Afro-South Asian connections and the continued dynamics of community, citizenship, and identity on the African Continent as central to envisioning Black African self-determinism, racial reconciliation, and interracial pluralisms during shifting imperial, postcolonial, nationalist, and geopolitical times.