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positioning it within them is still complicated by its position on what has, many times over, been constructed as a periphery of Europe. Gilroy's The Black Atlantic , a cornerstone of postcolonial cultural history, connects the transnational ‘structures of feeling, producing, communicating and remembering’ ( 1993 : 3) within which black people in the Atlantic world were dispersed because of enslavement, imperialism and postcolonial migration. Given that the Yugoslav region was not a colonial power in the age of empires and was a subject not protagonist of imperial rule
2015 ). Gilroy's ‘black Atlantic’ as a transnational cultural space of struggle, communication, memory-work, history-making and political critique is constituted by soul, reggae, Afrobeat and hip-hop musicians as well as the poets, novelists and scholars who have expressed written black thought (Gilroy 1993 ). Their music takes its sonic and embodied forms because of the movements of people, capital, technologies and sounds that resulted from European colonialism, Africans' enslavement and what this violence left behind (Weheliye 2005 ). Simultaneously, it is part
Press , 2004 ); James Ferguson , Expectations of Modernity: Myths and Meanings of Urban Life on the Zambian Copperbelt ( Berkeley : University of California Press , 1999 ); Paul Gilroy , The Black Atlantic: Modernity and Double Consciousness ( Cambridge, MA : Harvard University Press , 1993 ); Akhil Gupta
; Achille Mbembe , On the Postcolony ( Berkeley : University of California Press , 2001 ); Gilroy, The Black Atlantic ; Dube, Stitches on Time . 59 Coronil, The Magical State ; James Ferguson, Expectations of Modernity ; Dube, After Conversion ; Dube and Banerjee-Dube, Unbecoming