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As China has evolved into an industrial powerhouse over the past two decades, a new class of workers has developed: the dagongmei, or working girls. The dagongmei are women in their late teens and early twenties who move from rural areas to urban centers to work in factories. Because of state laws dictating that those born in the countryside cannot permanently leave their villages, and familial pressure for young women to marry by their late twenties, the dagongmei are transient labor. They undertake physically exhausting work in urban factories for an average of four or five years before returning home. The young women are not coerced to work in the factories; they know about the twelve-hour shifts and the hardships of industrial labor. Yet they are still eager to leave home. Made in China is a compelling look at the lives of these women, workers caught between the competing demands of global capitalism, the socialist state, and the patriarchal family.

Pun Ngai conducted ethnographic work at an electronics factory in southern China’s Guangdong province, in the Shenzhen special economic zone where foreign-owned factories are proliferating. For eight months she slept in the employee dormitories and worked on the shop floor alongside the women whose lives she chronicles. Pun illuminates the workers’ perspectives and experiences, describing the lure of consumer desire and especially the minutiae of factory life. She looks at acts of resistance and transgression in the workplace, positing that the chronic pains—such as backaches and headaches—that many of the women experience are as indicative of resistance to oppressive working conditions as they are of defeat. Pun suggests that a silent social revolution is underway in China and that these young migrant workers are its agents.

The small town has become a national icon that circulates widely in literature, culture, and politics as an authentic American space and community. Yet there are surprisingly few critical studies that analyze the small town’s centrality to the United States’ identity and imagination.

In Main Street and Empire, Ryan Poll addresses this need, arguing that the small town, as evoked by the image of “Main Street,” is not a relic of the past but rather a metaphorical screen upon which America’s “everyday” stories and subjects are projected on both a national and global scale.

Bringing together a broad selection of texts—from Thornton Wilder’s Our Town, Grace Metalious’s Peyton Place, and Peter Weir’s The Truman Show to the speeches of William McKinley, Ronald Reagan, Sarah Palin, and Barack Obama—Poll examines how the small town is used to imagine and reproduce the nation throughout the twentieth- and into the twenty-first century. He contends that the dominant small town, despite its innocent, nostalgic appearance, is central to the development of the U.S. empire and global capitalism.

Weinert proposes an account of making human centered on five mechanisms: reflection, recognition, resistance, replication of dominant mores, and responsibility. Examining cases such as the UN Security Council’s engagements with crises and the International Court of Justice’s grappling with Kosovo’s unilateral declaration of independence, he illustrates the distinct and contingent ways these mechanisms have been deployed. Theoretically, the cases evince a complex, evolving relationship between state-centric and human-centric views of society, ultimately revealing the normative potentialities of both.

Though the case studies concern specific human relations issues on an international level, Weinert argues in favor of starting from the shared problem of being human and of living in a world in which the humanity of countless groups has been demeaned or denied. Working outward from that point, he proposes, we obtain a more pragmatically grounded understanding of the social construction of the human being.

What happens when the market tries to help the poor? In many parts of the world today, neoliberal development programs are offering ordinary people the tools of free enterprise as the means to well-being and empowerment. Schemes to transform the poor into small-scale entrepreneurs promise them the benefits of the market and access to the rewards of globalization. Markets of Dispossession is a theoretically sophisticated and sobering account of the consequences of these initiatives.

Julia Elyachar studied the efforts of bankers, social scientists, ngo members, development workers, and state officials to turn the craftsmen and unemployed youth of Cairo into the vanguard of a new market society based on microenterprise. She considers these efforts in relation to the alternative notions of economic success held by craftsmen in Cairo, in which short-term financial profit is not always highly valued. Through her careful ethnography of workshop life, Elyachar explains how the traditional market practices of craftsmen are among the most vibrant modes of market life in Egypt. Long condemned as backward, these existing market practices have been seized on by social scientists and development institutions as the raw materials for experiments in “free market” expansion. Elyachar argues that the new economic value accorded to the cultural resources and social networks of the poor has fueled a broader process leading to their economic, social, and cultural dispossession.

The Spanish word mestizaje does not easily translate into English. Its meaning and significance have been debated for centuries since colonization by European powers began. Its simplest definition is “mixing.” As long as the term has been employed, norms and ideas about racial and cultural relations in the Americas have been imagined, imposed, questioned, rejected, and given new meaning.

Mestizaje and Globalization presents perspectives on the underlying transformation of identity and power associated with the term during times of great change in the Americas. The volume offers a comprehensive and empirically diverse collection of insights concerning mestizaje’s complex relationship with indigeneity, the politics of ethnic identity, transnational social movements, the aesthetic of cultural production, development policies, and capitalist globalization, with particular attention to cases in Latin America and the United States.

Beyond the narrow and often inadequate meaning of mestizaje as biological and racial mixing, the concept deserves an innovative theoretical consideration due to its multidimensional, multifaceted character and its resilience as an ideological construct. The contributors argue that historical analyses of mestizaje do not sufficiently understand contemporary ways that racism, ethnic discrimination, and social injustice intermingle with current discourse and practice of cultural recognition and multiculturalism in the Americas.

Mestizaje and Globalization contributes to an emerging multidisciplinary effort to explore how identities are imposed, negotiated, and reconstructed. The chapter authors clearly set forth the issues and obstacles that indigenous peoples and subjugated minorities face, as well as the strategies they have employed to gain empowerment in the face of globalization.

Migrant workers from the Philippines are ubiquitous to global capitalism, with nearly 10 percent of the population employed in almost two hundred countries. In a visit to the United States in 2003, Philippine president Gloria Macapagal Arroyo even referred to herself as not only the head of state but also “the CEO of a global Philippine enterprise of eight million Filipinos who live and work abroad.”

 

Robyn Magalit Rodriguez investigates how and why the Philippine government transformed itself into what she calls a labor brokerage state, which actively prepares, mobilizes, and regulates its citizens for migrant work abroad. Filipino men and women fill a range of jobs around the globe, including domestic work, construction, and engineering, and they have even worked in the Middle East to support U.S. military operations. At the same time, the state redefines nationalism to normalize its citizens to migration while fostering their ties to the Philippines. Those who leave the country to work and send their wages to their families at home are treated as new national heroes.

 

Drawing on ethnographic research of the Philippine government’s migration bureaucracy, interviews, and archival work, Rodriguez presents a new analysis of neoliberal globalization and its consequences for nation-state formation.

Val Colic-Peisker harnesses concepts and theories from sociology, anthropology, and political science to compare the vastly different experiences of two Croatian immigrant cohorts in the city of Perth, Western Australia. The populations explored represent an earlier group of working-class migrants arriving from communist Yugoslavia from the 1950s to 1970s and a later group of urban professionals arriving in the 1980s and 1990s as 'independent' or skills-based migrants. This latter group integrated into professional ranks but also used their Australian experience as a stepping stone in becoming part of a highly mobile global professional middle class. 

Employing a refined theoretical analysis, this rich ethnography challenges the domination of the ethnic perspective in migration studies and the idea of ethnic community itself. It emphasizes the importance of class, focusing on the intersection of class, ethnicity, and gender in the process of migration, migrant incorporation, and transnationalism. In theorizing the connection of the two migrant cohorts with their native Croatia, the study introduces concepts of "ethnic" and "cosmopolitan" transnationalism as two distinctive experiences mediated by class.

Mixtec Evangelicals is a comparative ethnography of four Mixtec communities in Oaxaca, detailing the process by which economic migration and religious conversion combine to change the social and cultural makeup of predominantly folk-Catholic communities. The book describes the effects on the home communities of the Mixtecs who travel to northern Mexico and the United States in search of wage labor and return having converted from their rural Catholic roots to Evangelical Protestant religions.

O’Connor identifies globalization as the root cause of this process. She demonstrates the ways that neoliberal policies have forced Mixtecs to migrate and how migration provides the contexts for conversion. Converts challenge the set of customs governing their Mixtec villages by refusing to participate in the Catholic ceremonies and social gatherings that are at the center of traditional village life. The home communities have responded in a number of ways—ranging from expulsion of converts to partial acceptance and adjustments within the village—depending on the circumstances of conversion and number of converts returning.

Presenting data and case studies resulting from O’Connor’s ethnographic field research in Oaxaca and various migrant settlements in Mexico and the United States, Mixtec Evangelicals explores this phenomenon of globalization and observes how ancient communities are changed by their own emissaries to the outside world. Students and scholars of anthropology, Latin American studies, and religion will find much in this book to inform their understanding of globalization, modernity, indigeneity, and religious change.

Modern Blackness is a rich ethnographic exploration of Jamaican identity in the late twentieth century and early twenty-first. Analyzing nationalism, popular culture, and political economy in relation to one another, Deborah A. Thomas illuminates an ongoing struggle in Jamaica between the values associated with the postcolonial state and those generated in and through popular culture. Following independence in 1962, cultural and political policies in Jamaica were geared toward the development of a multiracial creole nationalism reflected in the country’s motto: “Out of many, one people.” As Thomas shows, by the late 1990s, creole nationalism was superseded by “modern blackness”—an urban blackness rooted in youth culture and influenced by African American popular culture. Expressions of blackness that had been marginalized in national cultural policy became paramount in contemporary understandings of what it was to be Jamaican.

Thomas combines historical research with fieldwork she conducted in Jamaica between 1993 and 2003. Drawing on her research in a rural hillside community just outside Kingston, she looks at how Jamaicans interpreted and reproduced or transformed on the local level nationalist policies and popular ideologies about progress. With detailed descriptions of daily life in Jamaica set against a backdrop of postcolonial nation-building and neoliberal globalization, Modern Blackness is an important examination of the competing identities that mobilize Jamaicans locally and represent them internationally.

In February 1999 the tragic New York City police shooting of Amadou Diallo, an unarmed street vendor from Guinea, brought into focus the existence of West African merchants in urban America. In Money Has No Smell, Paul Stoller offers us a more complete portrait of the complex lives of West African immigrants like Diallo, a portrait based on years of research Stoller conducted on the streets of New York City during the 1990s.

Blending fascinating ethnographic description with incisive social analysis, Stoller shows how these savvy West African entrepreneurs have built cohesive and effective multinational trading networks, in part through selling a simulated Africa to African Americans. These and other networks set up by the traders, along with their faith as devout Muslims, help them cope with the formidable state regulations and personal challenges they face in America. As Stoller demonstrates, the stories of these West African traders illustrate and illuminate ongoing debates about globalization, the informal economy, and the changing nature of American communities.

Monitoring Sweatshops offers the first comprehensive assessment of efforts to address and improve conditions in garment factories. Jill Esbenshade describes the government's efforts to persuade retailers and clothing companies to participate in private monitoring programs. She shows the different approaches to monitoring that firms have taken, and the variety of private monitors employed, from large accounting companies to local non-profits. Esbenshade also shows how the efforts of the anti-sweatshop movement have forced companies to employ monitors overseas as well. When monitoring is understood as the result of the withdrawal of governments from enforcing labor standards as well as the weakening of labor unions, it becomes clear that the United States is experiencing a shift from a social contract between workers, businesses, and government to one that Jill Esbenshade calls the social responsibility contract. She illustrates this by presenting the recent history of monitoring, with considerable attention to the most thorough of the Department of Labor's programs, the one in Los Angeles. Esbenshade also explains the maze of alternative approaches being employed worldwide to decide the questions of what should be monitored and by whom.

Moving Subjects is the first of its kind to make a case not simply for the necessity of a spatial analysis of imperial formations, but for the indispensability of an investigative approach that links space and movement with the domain of the intimate. Through careful archival research and a commitment to excavating the variety of "mobile intimacies" at the heart of imperial power, its agents, and its interlocutors, contributors offer new evidence and approaches for scholars engaged in capturing the historical nuances of imperial domination.

Contributors are Tony Ballantyne, Antoinette Burton, Adrian Carton, David Haines, Katherine Ellinghaus, Charlotte Macdonald, Michael A. McDonnell, Kirsten McKenzie, Michelle Moran, Fiona Paisley, Adele Perry, Dana Rabin, Christine M. Skwiot, Rachel Standfield, Frances Steel, Elizabeth Vibert, and Kerry Wynn.

Museum Frictions is the third volume in a bestselling series on culture, society, and museums. The first two volumes in the series, Exhibiting Cultures and Museums and Communities, have become defining books for those interested in the politics of museum display and heritage sites. Another classic in the making, Museum Frictions is a lavishly illustrated examination of the significant and varied effects of the increasingly globalized world on contemporary museum, heritage, and exhibition practice. The contributors—scholars, artists, and curators—present case studies drawn from Africa, Australia, North and South America, Europe, and Asia. Together they offer a multifaceted analysis of the complex roles that national and community museums, museums of art and history, monuments, heritage sites, and theme parks play in creating public cultures.

Whether contrasting the transformation of Africa’s oldest museum, the South Africa Museum, with one of its newest, the Lwandle Migrant Labor Museum; offering an interpretation of the audio guide at the Guggenheim Bilbao; reflecting on the relative paucity of art museums in Peru and Cambodia; considering representations of slavery in the United States and Ghana; or meditating on the ramifications of an exhibition of Australian aboriginal art at the Asia Society in New York City, the contributors highlight the frictions, contradictions, and collaborations emerging in museums and heritage sites around the world. The volume opens with an extensive introductory essay by Ivan Karp and Corinne A. Kratz, leading scholars in museum and heritage studies.

Contributors. Tony Bennett, David Bunn, Gustavo Buntinx, Cuauhtémoc Camarena, Andrea Fraser, Martin Hall, Ivan Karp, Barbara Kirshenblatt-Gimblett, Corinne A. Kratz, Christine Mullen Kreamer, Joseph Masco, Teresa Morales, Howard Morphy, Ingrid Muan, Fred Myers, Ciraj Rassool, Vicente Razo, Fath Davis Ruffins, Lynn Szwaja, Krista A. Thompson, Leslie Witz, Tomás Ybarra-Frausto

Music listeners today can effortlessly flip from K-pop to Ravi Shankar to Amadou & Mariam with a few quick clicks of a mouse. While contemporary globalized musical culture has become ubiquitous and unremarkable, its fascinating origins long predate the internet era. In Music and the New Global Culture, Harry Liebersohn traces the origins of global music to a handful of critical transformations that took place between the mid-nineteenth and early twentieth century. In Britain, the arts and crafts movement inspired a fascination with non-Western music; Germany fostered a scholarly approach to global musical comparison, creating the field we now call ethnomusicology; and the United States provided the technological foundation for the dissemination of a diverse spectrum of musical cultures by launching the phonograph industry. This is not just a story of Western innovation, however: Liebersohn shows musical responses to globalization in diverse areas that include the major metropolises of India and China and remote settlements in South America and the Arctic. By tracing this long history of world music, Liebersohn shows how global movement has forever changed how we hear music—and indeed, how we feel about the world around us.

In Musicians in Transit Matthew B. Karush examines the transnational careers of seven of the most influential Argentine musicians of the twentieth century: Afro-Argentine swing guitarist Oscar Alemán, jazz saxophonist Gato Barbieri, composer Lalo Schifrin, tango innovator Astor Piazzolla, balada singer Sandro, folksinger Mercedes Sosa, and rock musician Gustavo Santaolalla. As active participants in the globalized music business, these artists interacted with musicians and audiences in the United States, Europe, and Latin America and contended with genre distinctions, marketing conventions, and ethnic stereotypes. By responding creatively to these constraints, they made innovative music that provided Argentines with new ways of understanding their nation’s place in the world. Eventually, these musicians produced expressions of Latin identity that reverberated beyond Argentina, including a novel form of pop ballad; an anti-imperialist, revolutionary folk genre; and a style of rock built on a pastiche of Latin American and global genres. A website with links to recordings by each musician accompanies the book.