Barkawi re-imagines the study of war with imperial and multinational armies that fought in Asia in the Second World War.

The end of the Seven Years? War found Britain?s professional army in America facing new and unfamiliar responsibilities. In addition to occupying the recently conquered French settlements in Canada, redcoats were ordered into the trans-Appalachian west, into the little-known and much disputed territories that lay between British, French, and Spanish America. There the soldiers found themselves serving as occupiers, police, and diplomats in a vast territory marked by extreme climatic variation?a world decidedly different from Britain or the settled American colonies. Going beyond the war experience, Army and Empire examines the lives and experiences of British soldiers in the complex, evolving cultural frontiers of the West in British America. From the first appearance of the redcoats in the West until the outbreak of the American Revolution, Michael N. McConnell explores all aspects of peacetime service, including the soldiers? diet and health, mental well-being, social life, transportation, clothing, and the built environments within which they lived and worked. McConnell looks at the army on the frontier for what it was: a collection of small communities of men, women, and children faced with the challenges of surviving on the far western edge of empire.

In Indian context.

WORLD WAR ONE BOOK OF THE YEAR In a sweeping narrative, David Olusoga describes how Europe's Great War became the World's War – a multi-racial, multi-national struggle, fought in Africa and Asia as well as in Europe, which pulled in men and resources from across the globe. Throughout, he exposes the complex, shocking paraphernalia of the era's racial obsessions, which dictated which men would serve, how they would serve, and to what degree they would suffer. As vivid and moving as it is revelatory and authoritative. The World's War explores the experiences and sacrifices of 4 million non-European, non-white people whose stories have remained too long in the shadows.

A collection of essays exploring the world-wide U.S. military base system and its interplay with social relations of gender and sexuality in the U.S. and foreign host nations.

From 1898 onward, the expansion of American militarism and empire abroad increasingly relied on black labor, even as policy remained inflected both by scientific racism and by fears of contagion. Black men and women were mobilized for service in the Spanish-Cuban-American War under the War Department's belief that southern blacks carried an immunity against tropical diseases. Later, in World Wars I and II, black troops were stigmatized as members of a contagious "venereal race" and were subjected to experimental medical treatments meant to curtail their sexual desires. By turns feared as contagious and at other times valued for their immunity, black men and women played an important part in the U.S. military's conscription of racial, gender, and sexual difference, even as they exercised their embattled agency at home and abroad. By following the scientific, medical, and cultural history of African American enlistment through the archive of American militarism, this book traces the black subjects and agents of empire as they came into contact with a world globalized by warfare.

At the turn of the twentieth century, the United States extended its empire into the Philippines while subjugating Black Americans in the Jim Crow South. And yet, one of the most popular musical acts was a band of “little brown men,” Filipino musicians led by an African American conductor playing European and American music. The Philippine Constabulary Band and Lt. Walter H. Loving entertained thousands in concert halls and world’s fairs, held a place of honor in William Howard Taft’s presidential parade, and garnered praise by bandmaster John Philip Sousa—all the while facing beliefs and policies that Filipinos and African Americans were “uncivilized.” Author Mary Talusan draws on hundreds of newspaper accounts and exclusive interviews with band members and their descendants to compose the story from the band’s own voices. She sounds out the meanings of Americans’ responses to the band and identifies a desire to mitigate racial and cultural anxieties during an era of overseas expansion and increasing immigration of nonwhites, and the growing “threat” of ragtime with its roots in Black culture. The spectacle of the band, its performance and promotion, emphasized a racial stereotype of Filipinos as “natural musicians” and the beneficiaries of benevolent assimilation and colonial tutelage. Unable to fit Loving’s leadership of the band into this narrative, newspapers dodged and erased his identity as a Black American officer. The untold story of the Philippine Constabulary Band offers a unique opportunity to examine the limits and porousness of America’s racial ideologies, exploring musical pleasure at the intersection of Euro-American cultural hegemony, racialization, and US colonization of the Philippines.