Africa has always played a role in black identity, but it was in the tumultuous period between the two world wars that black Americans first began to embrace a modern African American identity. Throwing off the legacy of slavery and segregation, black intellectuals, activists, and organizations sought a prouder past in ancient Egypt and forged links to contemporary Africa. Their consciousness of a dual identity anticipated the hyphenated identities of new immigrants in the years after World War II, and an emerging sense of what it means to be a modern American.

The Uyghurs, a Turkic group, account for half the population of the Xinjiang region in northwestern China. This ethnography presents a thick description of life in the Uyghur suburbs of Yining, a city near the border with Kazakhstan, and situates that account in a broader examination of Uyghur culture. The narrative is framed around the terms identity, community, and masculinity. As the author shows, Yining’s Uyghurs express a set of individual and collective identities organized around place, gender, family relations, friendships, occupation, and religious practice. 

Contemporary Afro–American theatre is an exciting spectacle of an emerging black identity during a period when blacks have come to the forefront of political activity in the United States. Geneviève Fabre brings us the vast and rich production of black drama since 1945, placing it in historical and cultural context as a platform for political statement. Two strains emerge: the militant theatre of protest, and the ethnic theatre of black experience.

No book more vividly explains the horror of American slavery and the emotional impetus behind the antislavery movement than Frederick Douglass’s Narrative. In an introductory essay, Robert Stepto re-examines the extraordinary life and achievement of a man who escaped from slavery to become a leading abolitionist and one of America's most important writers. The John Harvard Library text reproduces the first edition, published in Boston in 1845.

Seventeen years after the civil war in El Salvador came to an end, violence and insecurity continue to shape the daily lives of many Salvadorans. This book examines the phenomenon of youth gangs, as well as related police abuse, clandestine violence, and their collective impact on the rule of law. The book’s findings are based on primary research conducted in El Salvador between 2006 and 2008.

Pulitzer Prize–winner Steven Hahn’s provocative new book challenges deep-rooted views in the writing of American and African-American history. Moving from slave emancipations of the eighteenth century through slave activity during the Civil War and on to the black power movements of the twentieth century, he asks us to rethink African-American history and politics in bolder, more dynamic terms. Throughout, Hahn presents African Americans as central actors in the arenas of American politics, while emphasizing traditions of self-determination, self-governance, and self-defense.

Authors Moorsteen and Abramowitz propose a plan of action for improving U.S.–China relations that should stimulate the American public as well as Washington decisionmakers. Dealing effectively with China requires both a long–term perspective and an approach that faces up to fundamental issues, going beyond “atmospherics” and gestures. 

The Historia Tolteca-Chichimeca was created at a pivotal transitional moment, bridging an era when pictorial manuscripts dominated and one that witnessed the rising hegemony of alphabetic texts. Script and Glyph is a particularly appropriate volume for Dumbarton Oaks, as it crosses the boundaries of Pre-Columbian and Landscape areas of study. The volume is beautifully illustrated with color images from the manuscript itself.

In late prehistory, the ancestors of the present-day Hopi in Arizona created a unique and spectacular painted pottery tradition referred to as Hopi Yellow Ware. This ceramic tradition inspired Hopi potter Nampeyo’s revival pottery at the turn of the twentieth century. Extending the Peabody’s influential Awatovi project of the 1930s, Symbols in Clay calls into question deep-seated assumptions about pottery production and specialization in the precontact American Southwest.