Against the background of the Ürümchi riots (July 2009), this book provides a longitudinal study of contemporary Uyghur identities and Uyghur-Han relations. Previous studies considered China’s Uyghurs from the perspective of the majority Han (state or people). Conversely, The Art of Symbolic Resistance considers Uyghur identities from a local perspective, based on interviews conducted with group members over nearly twenty years. Smith Finley rejects assertions that the Uyghur ethnic group is a ‘creation of the Chinese state’, suggesting that contemporary Uyghur identities involve a complex interplay between long-standing intra-group socio-cultural commonalities and a more recently evolved sense of common enmity towards the Han. This book advances the discipline in three senses: from a focus on sporadic violent opposition to one on everyday symbolic resistance; from state to ‘local’ representations; and from a conceptualisation of Uyghurs as ‘victim’ to one of ‘creative agent’.

"Play fool, to catch wise."--proverb of Jamaican slaves Confrontations between the powerless and powerful are laden with deception--the powerless feign deference and the powerful subtly assert their mastery. Peasants, serfs, untouchables, slaves, laborers, and prisoners are not free to speak their minds in the presence of power. These subordinate groups instead create a secret discourse that represents a critique of power spoken behind the backs of the dominant. At the same time, the powerful also develop a private dialogue about practices and goals of their rule that cannot be openly avowed. In this book, renowned social scientist James C. Scott offers a penetrating discussion both of the public roles played by the powerful and powerless and the mocking, vengeful tone they display off stage--what he terms their public and hidden transcripts. Using examples from the literature, history, and politics of cultures around the world, Scott examines the many guises this interaction has taken throughout history and the tensions and contradictions it reflects. Scott describes the ideological resistance of subordinate groups--their gossip, folktales, songs, jokes, and theater--their use of anonymity and ambiguity. He also analyzes how ruling elites attempt to convey an impression of hegemony through such devices as parades, state ceremony, and rituals of subordination and apology. Finally, he identifies--with quotations that range from the recollections of American slaves to those of Russian citizens during the beginnings of Gorbachev's glasnost campaign--the political electricity generated among oppressed groups when, for the first time, the hidden transcript is spoken directly and publicly in the face of power. His landmark work will revise our understanding of subordination, resistance, hegemony, folk culture, and the ideas behind revolt.

This book explores how street art has been used as a tool of resistance to express opposition to political systems and social issues around the world. Aesthetic devices such as murals, tags, posters, street performances and caricatures are discussed in terms of how they are employed to occupy urban spaces and present alternative visions of social reality. Based on empirical research, the authors use the framework of creative psychology to explore the aesthetic dimensions of resistance that can be found in graffiti, art, music, poetry and other creative cultural forms. Chapters include case studies from countries including Brazil, Canada, Chile, Denmark, Egypt, Ireland, Mexico and Spain to shed new light on the social, cultural and political dynamics of street art not only locally, but globally. This innovative collection will be of particular interest to scholars of social and political psychology, urban studies and the wider sociologies and is essential reading for all those interested in the role of art in social change.

Historically, students have been a riotous bunch. Long before wild spring breaks, medieval students waged battles with bows and arrows at the earliest universities, while Russian students made assassination attempts against the tsars. The legacy of campus unrest continues at the cusp of the 21st century with a new wave of student rebellion at home and abroad. Student Resistance is an international history of student activism. Chronicling 500 years of strife between activists and the academy, Mark Edelman Boren unearths the defiant roots of the ivory tower. Whether through nonviolent protest or bloody insurrection, students have catalyzed educational reform, transformed national politics, and, in more than a few instances, spurred coup d'e; tats. These acts of rebellion are inherent features in the advancement of knowledge, Boren argues, and there is much to learn from students fighting for reform. Drawing on major incidents of student activism, including Civil Rights protests in the US, the 1968 student riots in Paris, and Tiananmen Square, Boren shows that student resistance is a continually occurring and vital social phenomenon, world-wide. For those concerned with the increasingly public and complex role that universities play in society, Student Resistance is essential reading.

Food, Power, and Resistance in the Andes is a dynamic, interdisciplinary study of how food's symbolic and pragmatic meanings influence access to power and the possibility of resistance in the Andes. In the Andes, cooking often provides Quechua women with a discursive space for achieving economic self-reliance, creative expression, and for maintaining socio-cultural identities and practices. This book explores the ways in which artistic representations of food and cooks often convey subversive meanings that resist attempts to locate indigenous Andeans-and Quechua women in particular-at the margins of power. In addition to providing an introduction to the meanings and symbolisms associated with various Andean foods, this book also includes the literary analysis of Andean poetry and prose, as well as several Quechua oral narratives collected and translated by the author during fieldwork carried out over a period of several years in the southern Peruvian Andes. By following the thematic thread of artistic representations of food, this book allows readers to explore a variety of Andean art forms created in both colonial and contemporary contexts. In genres such as the novel, Quechua oral narrative, historical chronicle, testimonies, photography, painting, and film, artists represent Quechua cooks who utilize their access to food preparation and distribution as a tactic for evading the attempts of a patriarchal hegemony to silence their voices, desires, values, and cultural expressions. Whether presented orally, visually, or in a print medium, each of these narratives represents food and cooking as a site where conflict ensues, symbolic meanings are negotiated, and identities are (re)constructed. Food, Power, and Resistance will be of interest to Andean Studies and Food Studies scholars, and to students of Anthropology and Latin American Studies.