The act of remaking one's history into a heritage, a conscientiously crafted narrative placed over the past, is a thriving industry in almost every postcolonial culture. This is surprising, given the tainted role of heritage in so much of colonialism's history. Yet the postcolonial state, like its European predecessor of the eighteenth and nineteenth centuries, deploys heritage institutions and instruments, museums, courts of law, and universities to empower itself with unity, longevity, exaltation of value, origin, and destiny. Bringing the eye of a philosopher, the pen of an essayist, and the experience of a public intellectual to the study of heritage, Daniel Herwitz reveals the febrile pitch at which heritage is staked. In this absorbing book, he travels to South Africa and unpacks its controversial and robust confrontations with the colonial and apartheid past. He visits India and reads in its modern art the gesture of a newly minted heritage idealizing the precolonial world as the source of Indian modernity. He traverses the United States and finds in its heritage of incessant invention, small town exceptionalism, and settler destiny a key to contemporary American media-driven politics. Showing how destabilizing, ambivalent, and potentially dangerous heritage is as a producer of contemporary social, aesthetic, and political realities, Herwitz captures its perfect embodiment of the struggle to seize culture and society at moments of profound social change.

What is the meaning of blackness in Africa? This title tackles the question of race in West Africa through its post-colonial manifestations. Pierre examines key facets of contemporary Ghanaian society, from the pervasive significance of 'whiteness' to the practice of chemical skin-bleaching to the government's active promotion of Pan-African 'heritage tourism'.

Heritage work has had a uniquely wide currency in Africa's politics. Secure within the pages of books, encoded in legal statutes, encased in glass display cases and enacted in the panoply of court ritual, the artefacts produced by the heritage domain have become a resource for government administration, a library for traditionalists and a marketable source of value for cultural entrepreneurs. The Politics of Heritage in Africa draws together disparate fields of study - history, archaeology, linguistics, the performing arts and cinema - to show how the lifeways of the past were made into capital, a store of authentic knowledge that political and cultural entrepreneurs could draw from. This book shows African heritage to be a mode of political organisation, a means by which the relics of the past are shored up, reconstructed and revalued as commodities, as tradition, as morality or as patrimony.

This book uses a postcolonial lens to question development’s dominant cultural representations and institutional practices, investigating the possibilities for a transformatory postcolonial politics. Ilan Kapoor examines recent development policy initiatives in such areas as ‘governance,’ ‘human rights’ and ‘participation’ to better understand and contest the production of knowledge in development - its cultural assumptions, power implications, and hegemonic politics. The volume shows how development practitioners and westernized elites/intellectuals are often complicit in this neo-colonial knowledge production. Noble gestures such as giving foreign aid or promoting participation and democracy frequently mask their institutional biases and economic and geopolitical interests, while silencing the subaltern (marginalized groups), on whose behalf they purportedly work. In response, the book argues for a radical ethical and political self-reflexivity that is vigilant to our reproduction of neo-colonialisms and amenable to public contestation of development priorities. It also underlines subaltern political strategies that can (and do) lead to greater democratic dialogue.

This landmark collection by an international group of scholars and public intellectuals represents a major reassessment of French colonial culture and how it continues to inform thinking about history, memory, and identity. This reexamination of French colonial culture, provides the basis for a revised understanding of its cultural, political, and social legacy and its lasting impact on postcolonial immigration, the treatment of ethnic minorities, and national identity.

A different set of purposes define culture today than those that preoccupied the world in the immediate decades of decolonization. Focusing on art and music in diverse parts of the world, Daniel Herwitz explores a world that has largely shifted from the earlier days of nationalism, decolonization and cultural exclusion, to one of global markets and networks. Using examples from India and Mexico to South Africa, Australia and China, Herwitz argues that the cultural politics and art being produced in these places are now post- postcolonial. Where the postcolonial downplayed formerly Eurocentric forms and celebrated art with national consciousness, the rules for 21st century cultural authenticity are quickly disappearing. Young people think of themselves in relation to global culture rather than nation-¬-building; the project of producing a new and modern art for the incipient and rising postcolonial nation is out of date. By examining the shift in which art accesses the past and the rise of trends such as hitching consumer culture to celebrity forms and branding, Herwitz's original and engaging exploration of contemporary art captures the ways in which art has given way to a new form of production, altering everything from the role of tradition and heritage in contemporary art to the terms of its vision and circulation.

This collectively written monograph is the first work to provide a broad history of the relationship between Eastern Europe and the decolonising world. It ranges from the late nineteenth to the late twentieth century, but at its core is the dynamic of the post-1945 period, when socialism's importance as a globalising force accelerated and drew together what contemporaries called the 'Second' and 'Third Worlds'. At the centre of this history is the encounter between the Soviet Union and Eastern Europe on one hand, and a wider world casting off European empires or struggling against western imperialism on the other. The origins of these connections are traced back to new forms of internationalism enabled by the Russian Revolution; the interplay between the first 'decolonisation' of the twentieth century in Eastern Europe and rising anti-colonial movements; and the global rise of fascism, which created new connections between East and South. The heart of the study, however, lies in the Cold War, when these contacts and relationships dramatically intensified. A common embrace of socialist modernisation and anti-imperial culture opened up possibilities for a new and meaningful exchange between the peripheries of Eastern Europe, Latin America, Africa, and Asia. Such linkages are examined across many different fields - from health to archaeology, economic development to the arts - and through many people - from students to experts to labour migrants - who all helped to shape a different form and meaning of globalisation.