Enmity is a sustaining force for systemic racism, a fervent antipathy toward a category of people. Enmity exists at the nexus of individual and group identity and produces difference by desiring opposition and supremacy, imagining separation by force, and willing conflict. Enmity unfolds in different ways in different places, according to local logics of territory, population, language, or culture, even as these geographical divisions are subject to constant change.
This interdisciplinary symposium, hosted by Rutgers University, focuses on how premodern racial discourses are tied to cartographical markers and ambitions. The notions of enmity and region provide a dual dynamic lens for tracing the racial repertoires that developed in response to increasingly hostile contention between premodern cultural and political forces. The symposium will invite scholars to take up this intersection between region and enmity, and to examine how belief in difference, or the emergence of polarizing structures and violent practices, configured race thinking and racial practices in ways that are both unique to different territories and that transcend them.
Miguel A. Valerio is an assistant professor of Spanish at Washington University in St. Louis. His work has appeared in several journals, including Slavery and Abolition and Colonial Latin American Review. He is currently completing a book on Afro-Mexican festive practices, “Sovereign Joy: Afro-Mexican Festive Practices, 1539–1640,” under contract with Cambridge University Press. Besides exploring black joy and communal sovereignty, the book studies how Iberian racial ideology impacted Afro-Mexicans’ daily and festive lives.
Co-sponsored by Rutgers, the State University of New Jersey, the Folger Institute at the Folger Shakespeare Library, and the Arizona Center for Medieval and Renaissance Studies at Arizona State University.
From the earliest days of rock and roll, white artists regularly achieved fame, wealth, and success that eluded the Black artists whose work had preceded and inspired them. This dynamic continued into the 1960s, even as the music and its fans grew to be more engaged with political issues regarding race. In Tear Down the Walls: White Radicalism and Black Power in 1960s Rock, Patrick Burke tells the story of white American and British rock musicians’ engagement with Black Power politics and African American music during the volatile years of 1968 and 1969. The book sheds new light on a significant but overlooked facet of 1960s rock — white musicians and audiences casting themselves as political revolutionaries by enacting a romanticized vision of African American identity. Patrick Burke is associate professor of music at Washington University in St. Louis. He is the author of Come In and Hear the Truth: Jazz and Race on 52nd Street, also published by the University of Chicago Press.
How does art encourage us to move and be moved? Experience the role of art as a catalyst for movement—embodied, political, and social—with artists from Consuming Kinetics Dance Company as they respond to selected portraits in “The Outwin: American Portraiture Today.” The dance performance will open the conversation between artist, subject, and viewer and invite us to consider our relationships to one another.
