acknowledgments
Many people have been instrumental in the completion of this book. I first
want to thank Eduardo Brondizio, Jeanne Sept, and Richard Wilk, in their
capacity as chairs of the Department of Anthropology of Indiana Uni-
versity, Bloomington, for their support of my work. Thank you to Joelle
Bahloul, Sara Friedman, Paula Girshick, Shane Green, Sarah Phillips, Anya
Royce, Nazif Shahrani, Beverly Stoeltje, Dan Suslak, and Catherine Tucker,
and all my other colleagues, graduate students, and staff in the Department
of Anthropology, the Department of East Asian Languages and Cultures,
and Indiana University’s ‘‘Variations on Blackness Workshop,’’ particularly
the organizers, Matt Guterl and Vivian Halloran. My gratitude to E. Taylor
Atkins, Carolyn Cooper, Donna Hope, Minako Ikeshiro, Minako Kurosawa,
Jalani Niaah, Sonjah Stanley-Niaah, Shinichiro Suzuki, and Yasuko Take-
zawa for conversations about music, religion, and race in Jamaica and
Japan. Thank you to Sachi Shitara of the Embassy of Japan in Jamaica for
introducing me to some of the players on the Jamaican scene.
I am grateful to my friends Jeannine Bell, Stan Huey, and Lanita Jacobs-
Huey for all their encouragement. Thank you to Mai Kaneko for introduc-
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