Clare Finburgh Delijani’s chapter accounts for a significant and growing strain of theatre that stages the central role played by migration and transnational, mobile identities not just in France but also across the world. Today around 30 per cent of France’s population comprises either migrants from its former colonies or their postmigrant descendants, demonstrating the key significance of migration to French society and culture. Using Édouard Glissant’s notion of ‘relation identity’, which expresses ‘the conscious and contradictory experience of contacts among cultures’, Finburgh Delijani demonstrates how the exiles, immigrants and refugees featuring in the plays she examines represent the postcolonial diversity of the French nation. With close analysis of Bernard-Marie Koltès’s Le Retour au desert (Return to the Desert, 1988), Wajdi Mouawad’s Incendies (Scorched, 2003) and Estelle Savasta’s Traversée (Going Through, 2019), Finburgh Delijani exposes how characters illustrate the uprooting of belonging, legitimacy and identity by the often violent severance of migration and exile. However, the trauma that characters suffer – which cannot be underestimated – is counterbalanced by the relational, transnational and cosmopolitan citizens they are able to become.

The opening chapter presents an overview of some of the historical-critical issues that shape a theological reading of the text. A better understanding of literary, historical, and social issues provides an interpretive control for theological articulation.

This article explores the importance of music to Australian Torres Strait Islanders, in their home islands and on the Australian mainland, for maintaining and sustaining connections with the historical traditions of the Torres Strait region in far northern Queensland. Beginning post-World War Two, there was a sizeable diaspora to the Australian mainland and also the gradual unravelling of race-based laws aimed at controlling the travels and personal lives of Islanders, and Aboriginal peoples. Because of the diaspora, there were some changes in Islander sociality and culture over time, place and situation, in particular regarding performance and performativity. However, aspects of Islander music practices remain similar to what had occurred traditionally, but with some modifications via adoptions, adaptations and innovations befitting new social, cultural and economic environments. This article concludes with discussion of how traditional practices have contributed to contemporary Islander music variously as culture, commerce and creativity.

The chapter illuminates diverse musical encounters or engagements between ‘minority’ cultures and what was, until recently, an Anglo-Australian majority over four periods of social, cultural and political foment between the pre-Federation colonial era and the present. It first examines the pre-WWI musical contributions of German-speaking residents and visitors, and Italian and Jewish influence on musical entertainment in the inter-war and post-war era. It then considers how, from the 1980s, the twin forces of local multiculturalism and ‘world music’ intersected in Australia to foster a wealth of musical diversity, including creative musical interventions and experimentations. We also consider the many multi-faceted present-day music ‘scenes’ associated with diasporic communities by honing into the local world of Indonesia-related music-making in Australia. Music of minority cultures tends to become articulated through uneven power relationships with the majority culture and its institutions, but the chapter provides a more nuanced view of this relationship. It demonstrates, for example, how ‘minority’ musicians have strategically deployed the ‘power’, or value, of ‘difference’ for professional or other advantage, exploiting opportunities provided by the mainstream, which can simultaneously shape and even redefine minority music.

This chapter begins by outlining the history and development of Yiddish, the traditional vernacular of Ashkenazi Jews, and it discusses how Yiddish went from being a vibrant language spoken by millions to being an endangered minority language with only a fraction of its original speaker population – primarily as a result of the Holocaust. The chapter explains how Yiddish came to be spoken in Britain from the 1880s onwards, when large numbers of Ashkenazim fled there to escape poverty and pogroms, and it details the initial tensions and subsequent cooperation between different waves and generations of Yiddish-speaking newcomers (which entailed shifting attitudes towards the Yiddish language). The chapter then provides an overview of the past and current geographical distribution of Yiddish-speaking communities in Britain, with a focus on the main urban centres, and it explores especially London’s thriving Yiddish culture between the two World Wars. This is followed by a discussion of the linguistic consequences of contact between Yiddish and English speakers, and particularly borrowings from each language into the other. Throughout, differences are explained regarding the language use and intergenerational transmission patterns of Yiddish among Haredi as compared to secular communities.

Identifying a predominant focus in spatial poetics in Asian Australian poetries, this chapter suggests that diasporic self-mapping is often ambivalent as poets navigate shifting or liminal spaces. The chapter argues that geopolitical differences distinguish Asian Australian experiences from those of their Asian American counterparts. It examines the mediation of migration and understanding of past and present in the work of Ee Tiang Hong, and how transnational mobility informs the hybrid and spliced practice of Ouyang Yu and Merlinda Bobis. The chapter analyses an intergenerational feminist interest in borders and journeys in the work of Bobis and Eunice Andrada. It then examines how later-generation poets may face quite different challenges in navigating ancestral homeland and the search for connections, or, alternatively, find a freedom in travelling and uncertainty. The chapter also considers transcultural and translational strategies, and discusses Omar Sakr’s mapping of “unbelonging.” The chapter concludes by asserting that the rich heterogeneity of poetries cannot be reduced to a single term, even in such a disruptor term as “Asian Australian.”

The history of queer and trans Puerto Rican and Diasporican literature is complex. Its relationship to American literature is fraught with issues of colonialism and linguistic exclusion. Careful analysis of a wide-ranging corpus from the late 19th and early 20th centuries by Alejandro Tapia y Rivera (1882), José de Diego Padró (1924), and Pedro Caballero (1931), reveals a longstanding interest in queer and trans experience in works written in Spanish in Puerto Rico and New York. The massive social transformations of the 1960s and 1970s led to the explosion of critical voices such as those of Luis Rafael Sánchez, Manuel Ramos Otero, and Luz María Umpierre. Their pioneering texts, and the complex writing of Nuyorican authors in English, opened the way for late 1990s and early 2000s authors such as Ángel Lozada and Mayra Santos-Febres, for the eventual creation of collectives such as Homoerótica in 2009, and for the widespread acclaim of writers such as Luis Negrón, Yolanda Arroyo Pizarro, Justin Torres, and Raquel Salas Rivera. “Queerness,” as such, and its Spanish-language variant “cuir,” have been spaces of possibility for Boricua expression for more than one hundred forty years.

This chapter argues that queering concepts of literary type provides an approach for cultivating queer readings in the field of early Asian American literature that do not rely on recourse to a search for timeless queer identities. The chapter provides a prospective inventory of queer types within the field of early Asian American literature through readings across five nation/diaspora formations: the Philippines, Korea, Japan, India, and China, with special and initial focus on queer types in the political novel.

Music historiography has traditionally been based on ‘methodological nationalism’, the assumption that the nation state is the ‘natural’ context of analysis. As a result, migration tends to be treated as an exception to the rule of nationhood with its comforting myths of belonging and tradition. By contrast, this chapter argues that modernist music can be regarded as the music of exile. It focuses on the ‘normality of migration’, encompassing both forced and voluntary migration, and it covers areas such as the role of international composition teachers and the ‘dodecaphonic diaspora’, the way serialism came to be associated with resistance to fascism and migration. In addition to presenting individual case studies, it seeks to quantify the commonality of migration, using the composers performed at the Annual Festivals of the International Society of Contemporary Music (ISCM), as a statistical basis. What this demonstrates is that, although mobility may not be the norm, neither is it an exception. Furthermore, it is one of the ways in which the transnational network that is integral to musical modernism has come into being.

The children of Afghan refugees provide important insight into the way that universities can be crucial sites of racial formation. This chapter explores how second-generation Afghan American college students navigate their racial and ethnic identities and build community on a college campus. The results are drawn from a qualitative study conducted at George Mason University, located in Northern Virginia, which is home to one of the largest Afghan diaspora populations in the country. Findings revealed the disparate impact that the withdrawal of the US military and subsequent arrival of tens of thousands of Afghan refugees into the United States had on students, the role of family and collectivist culture in their decision-making, how ethnic student organizations were a method of ethnic preservation and co-ethnic support, and how attending a university with a large Afghan student population exposed internal conflicts within the community. This chapter provides important insight for universities aiming to create inclusive environments and support the diverse experiences of second-generation immigrants, Muslim, and Afghan American students.

Chinese can be found in most parts of the world. The signs in this chapter are mainly from the United States. A few are from Kyrgyzstan. Signs in the diaspora contexts are distinguished by the need to negotiate between Chinese and the local language(s), as Chinese is used to represent local contents. Both meaning-based translation and sound-based transliteration are used, as well as a combination of the two. Also notable are the dialectal elements. The language of the Chinese diaspora in North American is heavily Cantonese, as the earliest immigrants were from Cantonese speaking areas of China. Cantonese has also been adopted as sort of a lingua franca. Traditional characters are used as a rule, reflecting the dominance of traditional culture. The traditional vertical and right to left text orientation coexists with that of the modern horizontal and left to right format.