Struggles over the meaning of the past are common in postcolonial states. State cultural heritage programs build monuments to reinforce in nation building efforts—often supported by international organizations and tourist dollars. These efforts often ignore the other, often more troubling memories preserved by local communities—markers of colonial oppression, cultural genocide, and ethnic identity. Yet, as the contributors to this volume note, questions of memory, heritage, identity and conservation are interwoven at the local, ethnic, national and global level and cannot be easily disentangled. In a fascinating series of cases from West Africa, anthropologists, archaeologists and art historians show how memory and heritage play out in a variety of postcolonial contexts. Settings range from televised ritual performances in Mali to monument conservation in Djenne and slavery memorials in Ghana.

Archaeology has been an important source of metaphors for some of the key intellectuals of the 20th century: Sigmund Freud, Walter Benjamin, Alois Riegl and Michel Foucault, amongst many others. However, this power has also turned against archaeology, because the discipline has been dealt with perfunctorily as a mere provider of metaphors that other intellectuals have exploited. Scholars from different fields continue to explore areas in which archaeologists have been working for over two centuries, with little or no reference to the discipline. It seems that excavation, stratigraphy or ruins only become important at a trans-disciplinary level when people from outside archaeology pay attention to them and somehow dematerialize them. Meanwhile, archaeologists have been usually more interested in borrowing theories from other fields, rather than in developing the theoretical potential of the same concepts that other thinkers find so useful. The time is ripe for archaeologists to address a wider audience and engage in theoretical debates from a position of equality, not of subalternity. Reclaiming Archaeology explores how archaeology can be useful to rethink modernity’s big issues, and more specifically late modernity (broadly understood as the 20th and 21st centuries). The book contains a series of original essays, not necessarily following the conventional academic rules of archaeological writing or thinking, allowing rhetoric to have its place in disclosing the archaeological. In each of the four sections that constitute this book (method, time, heritage and materiality), the contributors deal with different archaeological tropes, such as excavation, surface/depth, genealogy, ruins, fragments, repressed memories and traces. They criticize their modernist implications and rework them in creative ways, in order to show the power of archaeology not just to understand the past, but also the present. Reclaiming Archaeology includes essays from a diverse array of archaeologists who have dealt in one way or another with modernity, including scholars from non-Anglophone countries who have approached the issue in original ways during recent years, as well as contributors from other fields who engage in a creative dialogue with archaeology and the work of archaeologists.

An Indigenous artist blends the aesthetics of punk rock with the traditional spiritual practices of the women in her lineage in this bold, contemporary journey to reclaim her heritage and unleash her power and voice while searching for a permanent home Sasha taqʷšəblu LaPointe has always longed for a sense of home. When she was a child, her family moved around frequently, often staying in barely habitable church attics and trailers, dangerous places for young Sasha. With little more to guide her than a passion for the thriving punk scene of the Pacific Northwest and a desire to live up to the responsibility of being the namesake of her beloved great-grandmother—a linguist who helped preserve her Indigenous language of Lushootseed—Sasha throws herself headlong into the world, determined to build a better future for herself and her people. Set against a backdrop of the breathtaking beauty of Coast Salish ancestral land and imbued with the universal spirit of punk, Red Paint is ultimately a story of the ways we learn to find our true selves while fighting for our right to claim a place of our own. Examining what it means to be vulnerable in love and in art, Sasha offers up an unblinking reckoning with personal traumas amplified by the collective historical traumas of colonialism and genocide that continue to haunt native peoples. Red Paint is an intersectional autobiography of lineage, resilience, and, above all, the ability to heal.

Reclaiming Chinese Society analyses the mechanisms, processes and actors producing a wide spectrum of social and cultural changes in reform China. Contrary to most literature that emphasizes economic and political processes at the expense of Chinese society, this volume argues for the centrality of the social in understanding Chinese development. Each of the eleven chapters addresses one type of grassroots activism, covering feminist activism, civic environmentalism, religious revival, violence, film, media, intellectuals, housing, citizenship and deprivation. The wide-range of research styles used in this collection, including ethnography, regional comparison, quantitative and statistical analysis, interviews, textual and content analysis, offers students a methodologically rich vista to China Studies. Written by subject experts and covering all aspects of Chinese Society, this book offers an authoritative overview of Chinese society. It is an invaluable resource for courses on Chinese Society and culture and will be of interest to students and scholars in Chinese and Asian studies.

A talented storyteller and peacemaker asks: Can kindness kindle a revolution? “Ashlee teaches by example how to live with courage and compassion, and I believe her perspective and voice will be deeply meaningful to so many people.”—Shauna Niequist Long before polls, protests, and political issues divided us, we were joined by a humanness that God considered very good. Created in his image, we reflected the height and depth of God’s loving-kindness, but our discord has blinded us to the imago Dei in us all. In this compelling collection of essays, Ashlee Eiland shares her story of being a black woman living on two sides of the fence: as the token black girl in majority-white spaces and as the “whitewashed” black girl in majority-black spaces. As she discovers her own unique worth through these recollections, Ashlee learns that extending radical kindness toward every person—regardless of social status, political views, or religious beliefs—gives us hope and rekindles our common humanity. With grace and humility, Human(Kind) invites us to chart our own formative journeys and recognize our inherent value, cultivating empathy so we may once again see the image of God shining brightly within one another.

Critical Perspectives on Cultural Memory and Heritage focuses on the importance of memory and heritage for individual and group identity, and for their sense of belonging. It aims to expose the motives and discourses related to the destruction of memory and heritage during times of war, terror, sectarian conflict and through capitalist policies. It is within these affected spheres of cultural heritage where groups and communities ascribe values, develop memories, and shape their collective identity.