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Descendants of indentured laborers brought from India to the Caribbean between 1845 and 1917 comprise more than forty percent of Trinidad’s population today. While many Indo-Trinidadians identify themselves as Indian, what “Indian” signifies—about nationalism, gender, culture, caste, race, and religion—in the Caribbean is different from what it means on the subcontinent. Yet the ways that “Indianness” is conceived of and performed in India and in Trinidad have historically been, and remain, intimately related. Offering an innovative analysis of how ideas of Indian identity negotiated within the Indian diaspora in Trinidad affect cultural identities “back home,” Tejaswini Niranjana models a necessary project: comparative research across the global South, scholarship that decenters the “first world” West as the referent against which postcolonial subjects understand themselves and are understood by others.

Niranjana draws on nineteenth-century travel narratives, anthropological and historical studies of Trinidad, Hindi film music, and the lyrics, performance, and reception of chutney-soca and calypso songs to argue that perceptions of Indian female sexuality in Trinidad have long been central to the formation and disruption of dominant narratives of nationhood, modernity, and normative sexuality in India. She illuminates debates in India about “the woman question” as they played out in the early-twentieth-century campaign against indentured servitude in the tropics. In so doing, she reveals India’s disavowal of the indentured woman—viewed as morally depraved by her forced labor in Trinidad—as central to its own anticolonial struggle. Turning to the present, Niranjana looks to Trinidad’s most dynamic site of cultural negotiation: popular music. She describes how contested ideas of Indian femininity are staged by contemporary Trinidadian musicians—male and female, of both Indian and African descent—in genres ranging from new hybrids like chutney-soca to the older but still vibrant music of Afro-Caribbean calypso.

This volume examines the changing relations between China and Burma/Myanmar since Burmese independence in 1948 and the formation of the People's Republic of China in 1949. Drawing on hitherto unavailable Chinese sources, it documents the negotiations and settlement of outstanding issues such as the border demarcation, the Chinese Nationalist forces in Burma, the status of the overseas Chinese residents, and the Burma Communist Party. The study documents the Sino-Burmese riots of 1967, the improvement of relations, culminating in the close bilateral association since 1988-89. It analyses in detail Myanmar's changing role in Chinese strategy, concentrating on trade and investment relations, oil, gas, hydroelectric power, natural resources and improved transportation. It outlines military cooperation, narcotics control, and migration while emphasizing Indian and ASEAN concerns and responses. The volume outlines a set of policy dilemmas facing the central and provincial Chinese authorities, the Myanmar government and Burmese ethnic minorities, while analysing dilemmas for the United States, India, ASEAN and Japan in responding to the changed interdependent Sino-Burmese relationship.

These groundbreaking essays use critical theory to reflect on issues pertaining to modern Chinese literature and culture and, in the process, transform the definition and conceptualization of the field of modern Chinese studies itself. The wide range of topics addressed by this international group of scholars includes twentieth-century literature produced in Taiwan, Hong Kong, and mainland China; film, art, history, popular culture, and literary and cultural criticism; as well as the geographies of migration and diaspora.

One of the volume’s provocative suggestions is that the old model of area studies—an offshoot of U.S. Cold War strategy that found its anchorage in higher education—is no longer feasible for the diverse and multifaceted experiences that are articulated under the rubric of “Chineseness.” As Rey Chow argues in her introduction, the notion of a monolithic Chineseness bound ultimately to mainland China is, in itself, highly problematic because it recognizes neither the material realities of ethnic minorities within China nor those of populations in places such as Tibet, Taiwan, and post–British Hong Kong. Above all, this book demonstrates that, as the terms of a chauvinistic sinocentrism become obsolete, the critical use of theory—particularly by younger China scholars whose enthusiasm for critical theory coincides with changes in China’s political economy in recent years—will enable the emergence of fresh connections and insights that may have been at odds with previous interpretive convention.
Originally published as a special issue of the journal boundary 2, this collection includes two new essays and an afterword by Paul Bové that places its arguments in the context of contemporary cultural politics. It will have far-reaching implications for the study of modern China and will be of interest to scholars of theory and culture in general.

Contributors. Stanley K. Abe, Ien Ang, Chris Berry, Paul Bové, Sung-cheng Yvonne Chang, Rey Chow, Dorothy Ko, Charles Laughlin, Leung Ping-kwan, Kwai-cheung Lo, Christopher Lupke, David Der-wei Wang, Michelle Yeh

Over the past two decades, the popularity of Japanese food in the West has increased immeasurably—a major contribution to the evolution of Western eating habits. But Japanese cuisine itself has changed significantly since pre-modern times, and the food we eat at trendy Japanese restaurants, from tempura to sashimi, is vastly different from earlier Japanese fare. Modern Japanese Cuisine examines the origins of Japanese food from the late nineteenth century to unabashedly adulterated American favorites like today’s California roll.

Katarzyna J. Cwiertka demonstrates that key shifts in the Japanese diet were, in many cases, a consequence of modern imperialism. Exploring reforms in military catering and home cooking, wartime food management and the rise of urban gastronomy, Cwiertka shows how Japan’s numerous regional cuisines were eventually replaced by a set of foods and practices with which the majority of Japanese today ardently identify.

The result of over a decade of research, Modern Japanese Cuisine is a fascinating look at the historical roots of some of the world’s best cooking and will provide appetizing reading for scholars of Japanese culture and foodies alike.

Moral Politics in the Philippines offers an in-depth examination of the political participation and discourse of the urban poor in Manila. After the ousting of Ferdinando Marcos in 1986, society in the Philippines fractured along socioeconomic lines. The educated middle class began to recognize themselves as moral citizens and political participants while condemning the poor as immoral “masses” who earn money illegally and support corrupt leaders. Conversely, the poor believe themselves to be morally upright and criticize the rich as arrogant oppressors. Wataru Kusaka looks at the dangers of this moralization of politics during the last several decades, and he analyzes the damaging effects it has had on democracy by excluding much of society and marginalizing the interests of those most in need of resources.
 
 

Mormonism is often described as the quintessentially American religion, one that is highly centralized around its leadership and demographic presence in Utah. But given a dramatic increase in non-U.S. membership since 1960 in both the Church of Jesus Christ of Latter-day Saints and the Community of Christ, new questions about these movements come to the fore: How are these Restoration traditions lived and experienced in other parts of the world? How do church members outside the United States understand their relationship to a sacralized American past and an administrative hierarchy in Salt Lake City? And how has the relatively recent explosion of membership outside of the United States begun to shift the faith’s institutional, political, and cultural dynamics within those traditions? Most importantly, how do church members from different localities and cultures relate to each other, forming a global community? Or do they?

This volume focuses on Asia, a region that includes more than half the world's population, but where Restoration traditions specifically and Christianity broadly are minority faiths. It uses a combination of focused case studies and theoretical analysis to highlight broader trends and themes that those studies suggest about the meaning of a globalized faith in the twenty-first century. The first section of this book lays out ways of thinking about Mormonism’s global presence in terms of the nation-state, and the essays explore where and how Restoration traditions as institutional actors have made their way into new political and social contexts. The second section studies the tensions created by the encounters of LDS norms with preexisting cultural and political values in local settings. These essays burrow more deeply into political and religious realities and explore the variations in Mormon cultural assumptions about politics and society, as well as the relationship between local congregants and the Mormon administrative center. The final section presents fine-grained
studies that focus attention on one of the central features of LDS lived religion: the role of gender and the family in the religious community. In each case, divine dictates necessarily bump up against traditional societal norms that converts must navigate.

Contributors: John-Charles Duffy, Stacilee Ford, Taunalyn Ford, Conan Grames, David J. Howlett, Melissa Wei-Tsing Inouye, Keisha Lai, Laurie Maffly-Kipp, Matthew Martinich, Meagan Rainock, Shinji Takagi, Pierre Vendassi

 

What remains of the “national” when the nation unravels at the birth of the independent state? The political truncation of India at the end of British colonial rule in 1947 led to a social cataclysm in which roughly one million people died and ten to twelve million were displaced. Combining film studies, trauma theory, and South Asian cultural history, Bhaskar Sarkar follows the shifting traces of this event in Indian cinema over the next six decades. He argues that Partition remains a wound in the collective psyche of South Asia and that its representation on screen enables forms of historical engagement that are largely opaque to standard historiography.

Sarkar tracks the initial reticence to engage with the trauma of 1947 and the subsequent emergence of a strong Partition discourse, revealing both the silence and the eventual “return of the repressed” as strands of one complex process. Connecting the relative silence of the early decades after Partition to a project of postcolonial nation-building and to trauma’s disjunctive temporal structure, Sarkar develops an allegorical reading of the silence as a form of mourning. He relates the proliferation of explicit Partition narratives in films made since the mid-1980s to disillusionment with post-independence achievements, and he discusses how current cinematic memorializations of 1947 are influenced by economic liberalization and the rise of a Hindu-chauvinist nationalism. Traversing Hindi and Bengali commercial cinema, art cinema, and television, Sarkar provides a history of Indian cinema that interrogates the national (a central category organizing cinema studies) and participates in a wider process of mourning the modernist promises of the nation form.

In Jonah Blank's important, myth-shattering book, the West gets its first look at the Daudi Bohras, a unique Muslim denomination who have found the core of their religious beliefs largely compatible with modern ideology. Combining orthodox Muslim prayer, dress, and practice with secular education, relative gender equality, and Internet use, this community serves as a surprising reminder that the central values of "modernity" are hardly limited to the West.

Although Sumatra is the sixth largest island in the world and home to an estimated 44 million Indonesians, its musical arts and cultures have not been the subject of a book-length study until now. Documenting and explaining the ethnographic, cultural, and historical contexts of Sumatra's performing arts, Musical Journeys in Sumatra also traces the changes in their style, content, and reception from the early 1970s onward.

Having dedicated almost forty years of scholarship to exploring the rich and varied music of Sumatran provinces, Margaret Kartomi provides a fascinating ethnographic record of vanishing musical genres, traditions, and practices that have become deeply compromised by the pressures of urbanization, rural poverty, and government policy. This deeply informed collection showcases the complex diversity of Indonesian music and includes field observations from six different provinces: Aceh, North Sumatra, Riau, West Sumatra, South Sumatra, and Bangka-Belitung. Featuring photographs and original drawings from Kartomi's field observations of instruments and performances, Musical Journeys in Sumatra provides a comprehensive musical introduction to this neglected, very large island, with its hundreds of ethno-linguistic-musical groups.

In Muslim Becoming, Naveeda Khan challenges the claim that Pakistan's relation to Islam is fragmented and problematic. Offering a radically different interpretation, Khan contends that Pakistan inherited an aspirational, always-becoming Islam, one with an open future and a tendency toward experimentation. For the individual, this aspirational tendency manifests in a continual striving to be a better Muslim. It is grounded in the thought of Muhammad Iqbal (1877–1938), the poet, philosopher, and politician considered the spiritual founder of Pakistan. Khan finds that Iqbal provided the philosophical basis for recasting Islam as an open religion with possible futures as yet unrealized, which he did in part through his engagement with the French philosopher Henri Bergson. Drawing on ethnographic research in the neighborhoods and mosques of Lahore and on readings of theological polemics, legal history, and Urdu literature, Khan points to striving throughout Pakistani society: in prayers and theological debates and in the building of mosques, readings of the Qur'an, and the undertaking of religious pilgrimages. At the same time, she emphasizes the streak of skepticism toward the practices of others that accompanies aspiration. She asks us to consider what is involved in affirming aspiration while acknowledging its capacity for violence.

Central Asia is distinctive in its role as a frontier region in which a unique diversity of cultural, religious, and political traditions exist. This collection of essays by expert scholars in a range of disciplines focuses on the formation of ethnic, religious, and national identities in Muslim societies of Central Asia, thus furthering our general understanding of the history and culture of this significant region.
This study includes several geopolitical regions—Chinese Central Asia, Soviet Central Asia, Afghanistan, Transoxiana and Khurasan—and covers historical periods from the fifteenth century to the present. Drawing on scholarship in anthropology, religion, history, literature, and language studies, Muslims in Central Asia argues for an interdisciplinary, inter-regional dialog in the development of new approaches to understanding the Muslim societies in Central Asia. The authors creatively examine the social construction of identities as expressed through literature, Islamic discourse, historical texts, ethnic labels, and genealogies, and explore how such identities are formed, changed, and adopted through time.

Contributors. Hamid Algar, Muriel Atkin, Walter Feldman, Dru C. Gladney, Edward J. Lazzerini, Beatrice Forbes Manz, Christopher Murphy, Oliver Roy, Isenbike Togan

A series of picaresque adventures set against the backdrop of a Japan still closed off from the rest of the world, Musui's Story recounts the escapades of samurai Katsu Kokichi. As it depicts Katsu stealing, brawling, indulging in the pleasure quarters, and getting the better of authorities, it also provides a refreshing perspective on Japanese society, customs, economy, and human relationships.

From childhood, Katsu was given to mischief. He ran away from home, once at thirteen, making his way as a beggar on the great trunk road between Edo and Kyoto, and again at twenty, posing as the emissary of a feudal lord. He eventually married and had children but never obtained official preferment and was forced to supplement a meager stipend by dealing in swords, selling protection to shopkeepers, and generally using his muscle and wits.

Katsu's descriptions of loyalty and kindness, greed and deception, vanity and superstition offer an intimate view of daily life in nineteenth-century Japan unavailable in standard history books. Musui's Story will delight not only students of Japan's past but also general readers who will be entranced by Katsu's candor and boundless zest for life.

In his posthumous autobiography, Watakushi no eiga jinsei (1984), Yamamoto reflects on his career and legacy: beginning in the prewar days as an assistant director in a well-established film company under the master Naruse Mikio, to his wide-ranging experiences as a filmmaker, including his participation in the tumultuous Toho Labor Upheaval soon after Japan’s defeat in World War II and his struggles as an independent filmmaker in the 1950s and 1960s before returning to work within the mainstream industry.  In the process, he established himself as one of the most prominent and socially engaged film artists in postwar Japan.  Imbued with vibrant social realism and astute political commentary, his filmic genres ranged widely from melodramas, period films from the Tokugawa era, samurai action jidaigeki, social satires, and antiwar films. Providing serious insights into and trenchant critique of the moral corruption in Japanese politics, academe, industry, and society, Yamamoto at the same time produced highly successful films that offered drama and entertainment for Japanese and international moviegoers.  His considerable artistic distinction, strong social and political consciousness, and filmic versatility have earned him a unique and distinguished position among Japan’s world-class film directors.
 
In addition to detailed annotations of the autobiography, translator Chia-ning Chang offers a comprehensive introduction to the career and the significance of Yamamoto and his works in the context of Japanese film history.  It contextualizes Yamamoto’s life and works in the historical and cultural zeitgeist of prewar, wartime, and postwar Japan before scrutinizing the unique qualities of his narrative voice and social conscience as a film artist.

In My Tibetan Chldhood, Naktsang Nulo recalls his life in Tibet's Amdo region during the 1950s. From the perspective of himself at age ten, he describes his upbringing as a nomad on Tibet's eastern plateau. He depicts pilgrimages to monasteries, including a 1500-mile horseback expedition his family made to and from Lhasa. A year or so later, they attempted that same journey as they fled from advancing Chinese troops. Naktsang's father joined and was killed in the little-known 1958 Amdo rebellion against the Chinese People’s Liberation Army, the armed branch of the Chinese Communist Party. During the next year, the author and his brother were imprisoned in a camp where, after the onset of famine, very few children survived.

The real significance of this episodic narrative is the way it shows, through the eyes of a child, the suppressed histories of China's invasion of Tibet. The author's matter-of-fact accounts cast the atrocities that he relays in stark relief. Remarkably, Naktsang lived to tell his tale. His book was published in 2007 in China, where it was a bestseller before the Chinese government banned it in 2010. It is the most reprinted modern Tibetan literary work. This translation makes a fascinating if painful period of modern Tibetan history accessible in English.

Mysore Modern reconceptualizes modernity in India using the history of the Princely State of Mysore. In this forcefully argued work, Janaki Nair critiques earlier notions of the native states of India as spaces that were either defined entirely by the dominant narratives of colonial/national modernity or were relatively untouched by them.

Grounded in political history, and deriving insights from a wide range of visual, social, and legal texts and issues, Mysore Modern reperiodizes the modern by connecting these apparently discrepant registers to build up a case for a specifically regional, “monarchical modern” moment in Indian history. Nair examines mural and portraiture traditions, as well as forms of memorialization and nationalization of art and architectural practices. The volume also considers bureaucratic efforts centered on the use of law and development as instruments of modernity.

As Nair demonstrates, the resolution of struggles about the significance of the past in the present, the control of women’s sexuality and labor, and the role of the bureaucracy in Mysore reveal the imperatives of taking the region as the inaugural site for writing a history of Indian modernity.

After careful re-reading and analysis of original Old Burmese and other primary sources, the author discovered that four out of the five events considered to be the most important in the history of early Burma, and believed to have been historically accurate, are actually late-nineteenth and twentieth-century inventions of colonial historians caught in their own intellectual and political world.

Only one of these is a genuine indigenous Burmese myth, but it too has been embellished by modern historians.

The author discusses each of these five myths and concludes with an assessment of the current situation in Burma in the context of the new myths springing up today, thereby bringing the thirteenth century into the twentieth.