This theoretically and empirically grounded book uses case studies of political graffiti in the post-socialist Balkans and Central Europe to explore the use of graffiti as a subversive political media. Despite the increasing global digitisation, graffiti remains widespread and popular, providing with a few words or images a vivid visual indication of cultural conditions, social dynamics and power structures in a society, and provoking a variety of reactions. Using qualitative and quantitative methods, as well as detailed interdisciplinary analyses of "patriotic," extreme-right, soccer-fan, nostalgic, and chauvinist graffiti and street art, it looks at why and by whom graffiti is used as political media and to/against whom it is directed. The book theorises discussions of political graffiti and street art to show different methodological approaches from four perspectives: context, author, the work itself, and audience. It will be of interest to the growing body of literature focussing on (sub)cultural studies in the contemporary Balkans, transitology, visual cultural studies, art theory, anthropology, sociology, and studies of radical politics.

Balkan Blues explores how a state transitions from the collectivized production and distribution of socialism to the consumer-focused culture of capitalism. Yuson Jung considers the state as an economic agent in upholding rights and responsibilities in the shift to a global market. Taking Bulgaria as her focus, Jung shows how impoverished Bulgarians developed a consumer-oriented society and how the concept of "need" adapted in surprising ways to accommodate this new culture. Different legal frameworks arose to ensure the rights of vulnerable or deceived consumers. Consumer advocacy NGOs and government officers scrambled to navigate unfamiliar EU-imposed models for consumer affairs departments. All of these changes involved issues of responsibility, accountability, and civic engagement, which brought Bulgarians new ways of viewing both their identities and their sense of agency. Yet these opportunities also raised questions of inequality, injustice, and social stratification. Jung’s study provides a compelling argument for reconsidering of the role of the state in the construction of 21st-century consumer cultures.

Given the recent revival of nationalism in many parts of the world in tandem with new conflicts and forms of interventionism, this book uses the case of Kosovo to discuss some of key problems around contemporary practices of state-building. Based on exhaustive research and fieldwork, Marius Calu investigates how the management of plurality is a fundamental element of contemporary state-building seeking to build social cohesion, while for the new-born Kosovo it stands as vital symbol for its domestic sovereignty and legitimisation. With the aim of understanding why and in what ways the management of diversity has become a central element of state-building in post-conflict Kosovo, this study juxtaposes the de jure multi-ethnic liberal democratic form of governance with the de facto results and consequences of Kosovo's task to protect, accommodate and integrate its ethnic minorities.

Racism Postcolonialism Europe turns the postcolonial critical gaze that had previously been most likely to train itself on regions other than Europe, and sometimes those perceived to be most culturally or geographically distant from Europe, back on Europe itself. The book argues that racism is alive and dangerously well in Europe, and examines this racism through the lens of postcolonial criticism. Postcolonial racism can be a racism of reaction, based on the perceived threat to traditional social and cultural identities; or a racism of (false) respect, based on mainstream liberals’ desire to hold at arm’s length ‘different’ cultures they are anxious not to offend. Most of all, postcolonial racism, at least within the contemporary European context, is a racism of surveillance, whereby ‘foreigners’ become ‘aliens’, ‘protection’ disguises ‘preference’, and ‘cultural difference’ slides into ‘racial stigmatization’ ––all in the interests of representing the European people, which is a very different entity to the European population as a whole. Boasting a broad multidisciplinary approach and a range of distinguished contributors - including Philomena Essed, Michel Wieviorka and Griselda Pollock – Racism Postcolonialism Europe will be required reading for scholars and students of race, postcolonial studies, sociology, European history and literary and cultural studies.

Words of the Prophets treats graffiti as a form of political prophecy. Whether we consider austerity in Thessaloniki, Camorra infiltration in Naples, the fall of Communism in Gdansk, or the rise of gang warfare in Chicago, graffiti is a form of democratic self-expression that dates back to Periclean Athens and the Book of Daniel. Words of the Prophets offers close readings of 400 original photographs taken between 2014 and 2021 in Philadelphia, Venice, Milan, Florence, Syracuse, and Warsaw, alongside literary works by Pawel Huelle, films by Andrezj Wajda, Antonio Capua, and music videos by Natasha Bedingfield and Beyoncé. A third of the book is dedicated to interviews with Krik Kong, Iwona Zajac, Ponchee.193, Jay Pop, Ser, Simoni Fontana, and Mattia Campo Dall’Orto.

Responding to the development of a lively hip hop culture in Central and Eastern European countries, this interdisciplinary study demonstrates how a universal model of hip hop serves as a contextually situated platform of cultural exchange and becomes locally inflected. After the Soviet Union fell, hip hop became popular in urban environments in the region, but it has often been stigmatized as inauthentic, due to an apparent lack of connection to African American historical roots and black identity. Originally strongly influenced by aesthetics from the US, hip hop in Central and Eastern Europe has gradually developed unique, local trajectories, a number of which are showcased in this volume. On the one hand, hip hop functions as a marker of Western cosmopolitanism and democratic ideology, but as the contributors show, it is also a malleable genre that has been infused with so much local identity that it has lost most of its previous associations with "the West" in the experiences of local musicians, audiences, and producers. Contextualizing hip hop through the prism of local experiences and regional musical expressions, these valuable case studies reveal the broad spectrum of its impact on popular culture and youth identity in the post-Soviet world.

This book interrogates the nature of anti-Americanism today and over the last century. It asks several questions: How do we define the phenomenon from different perspectives: political, social, and cultural? What are the historical sources and turning points of anti-Americanism in Europe and elsewhere? What are its links with anti-Semitic sentiment? Has anti-Americanism been beneficial or self-destructive to its “believers”? Finally, how has the United States responded and why? The authors, scholars from a multitude of countries, tackle the potential political consequences of anti-Americanism in Eastern and Central Europe, the region that has been perceived as strongly pro-American.