What does race have to do with the Yugoslav region?
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 BlackAtlantic , 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 ‘blackAtlantic’ 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 BlackAtlantic: Modernity and Double
Consciousness ( Cambridge,
MA : Harvard University
Press , 1993 ); Akhil
Mbembe , On the Postcolony ( Berkeley : University of California Press , 2001 ); Gilroy, The BlackAtlantic ; Dube,
Stitches on Time .
Magical State ; James Ferguson, Expectations of
Modernity ; Dube, After Conversion ; Dube and