How rebellious colonies changed British attitudes to empire Insurgent Empire shows how Britain’s enslaved and colonial subjects were active agents in their own liberation. What is more, they shaped British ideas of freedom and emancipation back in the United Kingdom. Priyamvada Gopal examines a century of dissent on the question of empire and shows how British critics of empire were influenced by rebellions and resistance in the colonies, from the West Indies and East Africa to Egypt and India. In addition, a pivotal role in fomenting resistance was played by anticolonial campaigners based in London, right at the heart of empire. Much has been written on how colonized peoples took up British and European ideas and turned them against empire when making claims to freedom and self-determination. Insurgent Empire sets the record straight in demonstrating that these people were much more than victims of imperialism or, subsequently, the passive beneficiaries of an enlightened British conscience—they were insurgents whose legacies shaped and benefited the nation that once oppressed them.

Much has been written on the how colonial subjects took up British and European ideas and turned them against empire when making claims to freedom and self-determination. The possibility of reverse influence has been largely overlooked. Insurgent Empire shows how Britain's enslaved and colonial subjects were not merely victims of empire and subsequent beneficiaries of its crises of conscience but also agents whose resistance both contributed to their own liberation and shaped British ideas about freedom and who could be free. This book examines dissent over the question of empire in Britain and shows how it was influenced by rebellions and resistance in the colonies from the West Indies and East Africa to Egypt and India. It also shows how a pivotal role in fomenting dissent was played by anti-colonial campaigners based in London at the heart of the empire.

In the late nineteenth century, in an age of ascendant racism and imperial expansion, there emerged in Cuba a movement that unified black, mulatto, and white men in an attack on Europe's oldest empire, with the goal of creating a nation explicitly defined as antiracist. This book tells the story of the thirty-year unfolding and undoing of that movement. Ada Ferrer examines the participation of black and mulatto Cubans in nationalist insurgency from 1868, when a slaveholder began the revolution by freeing his slaves, until the intervention of racially segregated American forces in 1898. In so doing, she uncovers the struggles over the boundaries of citizenship and nationality that their participation brought to the fore, and she shows that even as black participation helped sustain the movement ideologically and militarily, it simultaneously prompted accusations of race war and fed the forces of counterinsurgency. Carefully examining the tensions between racism and antiracism contained within Cuban nationalism, Ferrer paints a dynamic portrait of a movement built upon the coexistence of an ideology of racial fraternity and the persistence of presumptions of hierarchy.

This volume offers a critical re-examination of colonial and anti-colonial resistance imageries and practices in imperial history. It offers a fresh critique of both pejorative and celebratory readings of ‘insurgent peoples’, and it seeks to revitalize the study of ‘resistance’ as an analytical field in the comparative history of Western colonialisms. It explores how to read and (de)code these issues in archival documents – and how to conjugate documental approaches with oral history, indigenous memories, and international histories of empire. The topics explored include runaway slaves and slave rebellions, mutiny and banditry, memories and practices of guerrilla and liberation, diplomatic negotiations and cross-border confrontations, theft, collaboration, and even the subversive effects of nature in colonial projects of labor exploitation.

In Insurgent Aesthetics Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war.

In 1944, Raphael Lemkin coined the term “genocide” to describe a foreign occupation that destroyed or permanently crippled a subject population. In this tradition, Empire, Colony, Genocide embeds genocide in the epochal geopolitical transformations of the past 500 years: the European colonization of the globe, the rise and fall of the continental land empires, violent decolonization, and the formation of nation states. It thereby challenges the customary focus on twentieth-century mass crimes and shows that genocide and “ethnic cleansing” have been intrinsic to imperial expansion. The complexity of the colonial encounter is reflected in the contrast between the insurgent identities and genocidal strategies that subaltern peoples sometimes developed to expel the occupiers, and those local elites and creole groups that the occupiers sought to co-opt. Presenting case studies on the Americas, Australia, Africa, Asia, the Ottoman Empire, Imperial Russia, and the Nazi “Third Reich,” leading authorities examine the colonial dimension of the genocide concept as well as the imperial systems and discourses that enabled conquest. Empire, Colony, Genocide is a world history of genocide that highlights what Lemkin called “the role of the human group and its tribulations.”

The British Empire, wrote Adam Smith, 'has hitherto been not an empire, but the project of an empire' and John Darwin offers a magisterial global history of the rise and fall of that great imperial project. The British Empire, he argues, was much more than a group of colonies ruled over by a scattering of British expatriates until eventual independence. It was, above all, a global phenomenon. Its power derived rather less from the assertion of imperial authority than from the fusing together of three different kinds of empire: the settler empire of the 'white dominions'; the commercial empire of the City of London; and 'Greater India' which contributed markets, manpower and military muscle. This unprecedented history charts how this intricate imperial web was first strengthened, then weakened and finally severed on the rollercoaster of global economic, political and geostrategic upheaval on which it rode from beginning to end.