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. Ephemeral even for 1990s Croatian pop, explicit in mobilising colonial advertising tropes as perverse association with Afro-European Eurodance and African-American hip-hop modernities, ‘Simplicija’ placed a caricatured racialised imagination in plain sight, just as, two decades later, a Serbian/Croatian/Slovenian celebrity talent-show franchise, licensed from Spain, regularly dressed contestants in blackface to impersonate African-American, Caribbean or Afro-European stars. There could hardly be blunter instruments proving the Yugoslav region is not ‘outside’ race, but
modernization in the region as expressed by influential authors. 61 Two of these tendencies we have discussed already. The first concerns the critique of modernity implied by perspectives on the “coloniality of power” and “decolonial knowledge.” The second involves recent work on Latin America and the Caribbean that has provided fresh meanings to discussions of the magic/insanity of capitalism and colonialism
Group A (African/Asian states) rather than Group D (eastern Europe), or for that matter B or C (developed market economies and Latin American/Caribbean states respectively) (Alden, Morphet and Vieira 2010 : 53–4). 10 Non-Alignment made Yugoslavia's geopolitical and racialised identities even more ambiguous than the Soviet bloc's. Was Yugoslavia positioning itself outside Europe, or outside the coloniality with which postcolonial thought and critical race theory make Europe
its extra geopolitics of Non-Alignment are commonly part of the globe, or even the Europe, theorised by critical race scholarship. Stam and Shohat ( 2012 : 80), indeed, sum up US spatialised hierarchies of knowledge production about the world by noting the bounding of ‘Latin American/Caribbean’, ‘Asian/Pacific’, ‘African’ and ‘Middle East’ studies on one hand, versus western Europe and the US as the ‘quietly normative headquarters’ that ‘strategically mapped’ all other areas – yet east European or Soviet studies, equally products of the Cold War, are not even part
Modern India ( Princeton, NJ : Princeton University Press , 1999 ); Richard Price , The Convict and the Colonel: A Story of Colonialism and Resistance in the Caribbean ( Boston, MA : Beacon Press , 1998 ); and Michael Taussig , Shamanism, Colonialism, and the Wild Man: A Study in Terror and Healing ( Chicago, IL : University of Chicago
–239. 82 For a more detailed account of this movement see Dick Hebdige, Cut ‘N’ Mix: Culture, Identity and Caribbean Music , A Comedia Book (London: Methuen, 1987), 106–117. 83 However, Hall's colleague Tony Bennett at the Open University (where both were located at this point) later ‘joined the dots’ to directly associate the ‘cultural dopes’ position with the Institute's culture industry
regrettable that many political actors and states still refuse to consider, let alone admit, any complicity for past events. An example that springs to mind is David Cameron’s comments following Jamaica’s claims to reparations for the UK’s historical involvement in slavery. In response to the claims, Cameron remarked: ‘That the Caribbean has emerged from the long shadow it [slavery] cast is testament to the resilience and spirit of its people. I acknowledge that these wounds run very deep indeed. But I do hope that, as friends who have gone through so much together since