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In the Caribbean island of Guadeloupe, the complex interplay between anticolonial resistance and accommodation resounds in its music. Guadeloupean gwoka music—a secular, drum-based tradition—captures the entangled histories of French colonization, movements against it, and the uneasy process of the island’s decolonization as an overseas territory of France. In Creolized Aurality, Jérôme Camal demonstrates that musical sounds and practices express the multiple—and often seemingly contradictory—cultural belongings and political longings that characterize postcoloniality. While gwoka has been associated with anti-colonial activism since the 1960s, in more recent years it has provided a platform for a cohort of younger musicians to express pan-Caribbean and diasporic solidarities. This generation of musicians even worked through the French state to gain UNESCO heritage status for their art. These gwoka practices, Camal argues, are “creolized auralities”—expressions of a culture both of and against French coloniality and postcoloniality.
Mämaka Kaiao adds to the 1998 edition more than 1,000 new and contemporary words that are essential to the continuation and growth of ka ölelo Hawaii--the Hawaiian language.
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Andreas Loewe and Katherine Firth elucidate Luther’s theory and practice of the arts to reach audiences and convince them of his Reformation message using a range of strategies, including music, images and drama.
George Williams' monumental The Radical Reformation has been an essential reference work for historians of early modern Europe, narrating in rich, interpretative detail the interconnected stories of radical groups operating at the margins of the mainline Reformation. In its scope—spanning all of Europe from Spain to Poland, from Denmark to Italy—and its erudition, The Radical Reformation is without peer. Now in paperback format, Williams' magnum opus should be considered for any university-level course on the Reformation.