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Reimagining National Belonging is the first sustained critical examination of post–civil war El Salvador. It describes how one nation, after an extended and divisive conflict, took up the challenge of generating social unity and shared meanings around ideas of the nation. In tracing state-led efforts to promote the concepts of national culture, history, and identity, Robin DeLugan highlights the sites and practices—as well as the complexities—of nation-building in the twenty-first century.

Examining events that unfolded between 1992 and 2011, DeLugan both illustrates the idiosyncrasies of state and society in El Salvador and opens a larger portal into conditions of constructing a state in the present day around the globe—particularly the process of democratization in an age of neoliberalism. She demonstrates how academics, culture experts, popular media, and the United Nations and other international agencies have all helped shape ideas about national belonging in El Salvador. She also reveals the efforts that have been made to include populations that might have been overlooked, including indigenous people and faraway citizens not living inside the country’s borders. And she describes how history and memory projects have begun to recall the nation’s violent past with the goal of creating a more just and equitable nation.

This illuminating case study fills a gap in the scholarship about culture and society in contemporary El Salvador, while offering an “ethnography of the state” that situates El Salvador in a global context.

Collaborative and collective art practices have proliferated around the world over the past fifteen years. In The One and the Many, Grant H. Kester provides an overview of the broader continuum of collaborative art, ranging from the work of artists and groups widely celebrated in the mainstream art world, such as Thomas Hirschhorn, Superflex, Francis Alÿs, and Santiago Sierra, to the less-publicized projects of groups, such as Park Fiction in Hamburg, Networking and Initiatives for Culture and the Arts in Myanmar, Ala Plastica in Argentina, Huit Facettes in Senegal, and Dialogue in central India. The work of these groups often overlaps with the activities of NGOs, activists, and urban planners. Kester argues that these parallels are symptomatic of an important transition in contemporary art practice, as conventional notions of aesthetic autonomy are being redefined and renegotiated. He describes a shift from a concept of art as something envisioned beforehand by the artist and placed before the viewer, to the concept of art as a process of reciprocal creative labor. The One and the Many presents a critical framework that addresses the new forms of agency and identity mobilized by the process of collaborative production.

Female "circumcision" or, more precisely, female genital cutting (FGC), remains an important cultural practice in many African countries, often serving as a coming-of-age ritual. It is also a practice that has generated international dispute and continues to be at the center of debates over women's rights, the limits of cultural pluralism, the balance of power between local cultures, international human rights, and feminist activism. In our increasingly globalized world, these practices have also begun immigrating to other nations, where transnational complexities vex debates about how to resolve the issue.

Bringing together thirteen essays, Transcultural Bodies provides an ethnographically rich exploration of FGC among African diasporas in the United Kingdom, Europe, and Australia. Contributors analyze changes in ideologies of gender and sexuality in immigrant communities, the frequent marginalization of African women's voices in debates over FGC, and controversies over legislation restricting the practice in immigrant populations.