Chapter 1 provides an overview of the field of cultural psychiatry before focusing on the UK context. Salient factors in the national context of cultural psychiatry include the history of imperialism and the impact of postwar migration on the development of a multi-ethnic society. This has necessitated research in the following priority areas: the recognition of the effects of racism and discrimination on mental health, and, relatedly, efforts to achieve services that meet the needs of ethnic minority groups. Current areas of research are outlined before a deeper discussion of two strands that will be explored more widely in the book. These are, in order: the need to recognise more fully cultural hybridity with ethnic minority populations and the perspectives of South Asian psychiatrists within the white spaces of psychiatry and the impact this has on practice. All too often ethnic minority populations, historically within the UK, from non-white ethnicities are clumped together for statistical reasons. This leads to gross oversimplifications that flattens differences. Addressing the complexity of identity in its intersectionality and that too through the interviews with South Asian psychiatrists leads to a more developed understanding about identity, which is necessary in improving mental health services for South Asian patients.

The pattern of pottery consumption at the site of Koprivlen in south-eastern Bulgaria radically changed in the Early Iron Age after the appropriation and mass consumption of a ceramic ware of particular technology and of northern Aegean Geometric style. This ware, which was common in three micro-regions, around the Thermaic and Strymonic gulfs and also in the Nevrokop basin, and which probably originated in coastal Macedonia, was surprisingly more common in the remote inland site of Koprivlen than at any other site. This chapter explores issues of technology transfer and consumption of this conspicuous pottery, which is the most noticeable common cultural feature in the material culture of central, eastern and Pirin Macedonia during the Early Iron Age. Contextual analysis of this pottery demonstrates both copying and demic diffusion in its technology transfer and spatial differentiation in its consumption pattern.

Drawing on an online ethnographic case study of a young Australian Aboriginal artist, ‘Kambarni’, this study explores how translanguaging can be understood through the negotiation of both playfulness and precarity. When this artist is online in his public social media Instagram account, he constructs his cultural identity artistically and multimodally, often in playful ways, represented through his art - reflecting his personal, social and political lived experiences; his strong alignment to his traditional culture; and his ability to walk with confidence in non-Aboriginal ‘youth’ society. Yet the monolingual ideological precarity is apparent as he rarely uses anything but Standard Australian English (SAE) on his public Instagram account, despite the fact that his Instagram account targets both an Indigenous and non-Aboriginal audience. When he is offline interacting ‘inside’ his own peer group, on the other hand, he employs translanguaging playfully and creatively, using varied resources such as SAE, Aboriginal English and traditional language lexicon. The authors, therefore, argue that translanguaging should be understood from its playfulness aspects within in-group communication, while it might lose its playfulness when it moves beyond its boundary and clashes with other ideological precarities such as judgements, stereotypes and racism against the Aboriginal people.

Chapter 6 addresses how learners’ linguistic and cultural backgrounds may impact their language learning experiences. The authors discuss research that has explored the areas of overlap between race, culture, and identity on second language acquisition. Central to this chapter is the importance of recognizing learners’ multifaceted identities and reflecting them in course materials.

This paper examines the relationship between images of women on funerary monuments in Etruria and Anatolia, with particular focus on the so-called “female assembly scenes” on Chiusine cippi of the Late Archaic period. In these reliefs, groups of seated women drape and exchange textiles among each other. Although scholarly opinion differs on the meanings of these scenes, the visual focus on cloth as a component of social or religious ritual is paramount. The importance of the textile within the specific Etruscan context of these scenes is further emphasized when considered alongside contemporaneous reliefs in Anatolia associated with females, most notably those on the Polyxena sarcophagus from a tomb in the northern Troad. Through both visual analysis and attention to broader issues of gendered representation and identity, this chapter examines the importance of cultural context for interpreting female-focused narratives in both ancient Etruria and Anatolia.

This book is concerned with a region, and a regional culture, which in antiquity neither formed a distinct political unit nor served as a focus of local identity; the region is therefore designated with an invented name, ‘Hieradoumia’. The boundaries of Hieradoumia in time and space are defined on the basis of a distinctive shared set of commemorative practices. The institutional history of the region in the pre-Roman period is described in detail, with emphasis on the unusual political organization of the region in the later Hellenistic period into two large federal associations of villages (the koinon of the Maionians in the Katakekaumene and the dēmos of the Mysoi Abbaitai). The polis was a late and marginal development in Hieradoumia, and the village continued to be the primary focus of local identity and loyalty down to the end of antiquity. The difficulty of disentangling ethnically Lydian, Mysian, Macedonian, Phrygian, and Greek elements in the region’s population and cultural practices is emphasized.

This chapter discusses the musical and cultural impact of the Düsseldorf group Neu!, who consisted of Michael Rother (guitars) and Klaus Dinger (drums). The essay puts Neu!’s work in the context of how Krautrock music was part of the quest to establish a new sense of post-war West German cultural identity by establishing new musical forms that did not owe a debt to the Anglo-American blues tradition or conventional rock structures. Analysing their first three albums released in the first part of the 1970s – Neu!, Neu! 2, and Neu! ’75 – this chapter shows how Neu! arrived at a musical formula that reflected the opposite temperaments of the two group members, reflected in the ambient rock of Rother and the motorik beat of Klaus Dinger, creating an imaginary West German landscape travelling from the past, through the present to the future. The chapter concludes that although they were commercially unsuccessful at the time, Neu! were hugely influential and have established for all time a unique mode of rock musical being, West German in origin, which serves as a source of inspiration for present and future generations.

Chapter 3 explores survivors’ constructions of identity during and post enslavement. It is argued that the denial of personhood in slavery causes a destruction of identity, but that the giving of narrative plays a vital role in the reconstruction of identity. The chapter surveys the ways in which slavery strips individuals of their cultural, political and/or social identity leading to the formation of multiple identities in survival. Divorced from their past while at the same time defined by it, it reveals the way survivors identify as the child, the parent, the sibling, the survivor, the hero, the victim, and as activist. The chapter moves on to show that the giving of narrative is one means through which survivors can explore and re-sculpt their inner landscape and their external presence, reduce their feelings of shame, isolation and spectralisation, while at the same time acknowledging these multiple identities for themselves and to the audience.

The final chapter explores music theatre as a cultural expression of the Empire. Dramatists and composers responded to current events by creating works of varying genres for the Empire's stages. Focusing on Günther von Schwarzburg (Mannheim, 1777; German serious opera) by Ignaz Holzbauer (1711–83), Oberon, König der Elfen (Vienna, 1789; Singspiel) by Paul Wranitzky (1756–1808), Heinrich der Löwe (Frankfurt am Main, 1792; Singspiel) by Carl David Stegmann (1751–1826), Die Feier des achtzehnten Jahrhunderts (Leipzig, 1794; melodrama) by Siegfried Schmiedt (1756–99), the anonymous Der Retter Deutschlands (Vienna, 1797; melodrama), and Achille (Vienna, 1801; opera seria) by Ferdinando Paer (1771–1839), this chapter argues that music theatre portraying the Reich called for cooperation in uncertain times by appealing to a sense of belonging to both local Estate and the Empire. Studies of these works tend to view them as expressions of an emerging German nationalism. This chapter challenges such perceptions, arguing that although the Reich was not a nation-state, composers nevertheless portrayed it as a complex nation and state, placing its past, present, and future centre stage.

The Introduction anchors the main sujet of the book within a longue durée perspective from Archaic Ionia, and the dominant scholarly interest in this period, to the role of Ionia in 20th c. political and identity discourses. Stereotypes associated with Ionians by their ancient contemporaries are analysed here as one important aspect of the Ionians’ collective perception. The Introduction also provides an overview of the concepts of identity, ethnicity, and cultural identity as applied in the field of Ancient History, as well as brief summaries of the individual chapters’ contents.

Affinity with place is a complex web of emotion and sense of belonging. Britten’s creative engagement with place demonstrates a perceptive understanding of the culturally imagined, consumed, and produced places of the mid-twentieth century; a sharp ear for experiential gaps, psychological transitions, and marginalised identities; a sure handling of multi-point perspective – near and far, presence and recollection; togetherness and alienation; and finally an attention to flux and irresolution. This chapter explores Britten’s Suffolk, his attention to place-making in staged productions, and his metaphorical use of travel as a mentally demanding and transformative experience.

“Ethnicity and Political Identities” investigates the overlapping connection and interference of ethnicity with political ideologies. In many political environments, kinship bonds are often wielded as tools of sociopolitical negotiation alongside ties anchored on spatial or non-physical notions of boundary and permissibility. The logic behind this kind of transference, carrying features of ethnic grouping from the cultural front to the political, is built on the notion that the characteristics of an ethnic unit should be used to define a political unit, its permissions, and the reach of its ideology. In Africa, Nigeria especially, the political structure is undergirded by ideas of sociocultural units. Ethnicity is founded on shared ideologies, defined binding ties, modes of rationality, systems of communication, and performative procedures. Shared ancestry, ideology, defined systems of executing tasks, and even language are some of the transferred features. These features define ethnic groups and political groups in varying degrees. In a country like Nigeria, the political parties that first sprang up in the wake of increased nationalism were ethnically oriented. However, an understanding of ethnic influences in relation to political identity requires an intersectional approach, which leads to a vibrant and dynamic political reality.

The chapter explores the relationship between religion and nationalism in Iranian politics in two periods. In the first period (1925–79), under the autocratic rule of Pahlavi monarchs, a state-centered, secular nationalism served as the dominant ideology in promoting Iran’s national sovereignty, political integration, modernization, and socioeconomic development. These secularization policies limited the influence of the clergy in Iranian politics and society. In the second period (1979–present), a theocratic political Islam has served as the hegemonic ideology of the clerically dominated state. The postrevolutionary leaders’ stance toward nationalism, however, has not been entirely consistent or coherent. At first, they tended to condemn nationalism as contrary to the Islamic ideal of unity among believers. But, when faced with resistance against abandoning popular national symbols and rituals or supporting war with Iraq in the 1980s, they adopted a religious-nationalist ideology that combined a theocratic and supremacist vision of Islam with an emphasis on Iranian cultural identity. The chapter shows how the prevailing domestic and international circumstances, as well as ideas, selective historical narratives, and traditional cultural symbols and rituals, have been used to foster nationalism, political Islam, or an amalgam of the two as hegemonic state ideologies.