Chapter 3 investigates how military modernization and capitalist transformations converged to reorganize the labor force, understanding naval service as a form of military labor, and modern conscription as a modern form of labor coercion. Modern conscription promised the Ottoman elites the ability to employ workers with industrial skills for long periods in a more reliable disciplinary scheme, with wages far lower than the market. The chapter describes how the navy employed conscription as a tool to reduce dependency on civilian wage workers by deploying conscripts in both the Arsenal and the Yarn Factory, and by devising a detailed scheme to militarize the labor force. Ottoman reformists systematically attempted to utilize modern conscription as a way to draft non-Muslim (mainly Greek) subjects from coastal areas, skilled in shipbuilding and naval crafts, as regular soldiers to the Ottoman navy. The chapter analyses the conscription process, introduces the profile of the military labor force in the Arsenal and the Yarn Factory, the militarization plan and the attempts to conscript non-Muslims, and the impacts of resistance against naval conscription and the militarization plan.

The chapter analyses how racialised differences have been represented in artistic practice in Colombia, and the relationship between negatively racialised artists and the art world. The first two sections cover from the colonial period to the first half of the twentieth century and address the representation and participation of Black and Indigenous people, using examples from visual arts, literature, music and dance. White and mixed-race artists tended to represent racialised subalterns in primitivist and paternalist ways, although some displayed socialist sympathies in depictions of social inequality, without racism coming into clear view. By the 1930s and 40s, Black artists were critiquing social inequalities and explicitly identifying racism. We then analyse the increasing politicisation of Black art practice, which was linked to international currents such as Négritude and Black Power. Also important was the Black social movement in the country, which began in the 1960s and gathered strength with Colombia’s 1991 constitutional multiculturalist reform. The fourth section explores the work of the Colombian artists – mostly but not exclusively Black – who collaborated with us in CARLA to show how their diverse art practices have addressed racism in increasingly direct ways.

This chapter reflects on possibilities for anti-racism in artistic practice. Drawing on the work of the diverse artists we have collaborated with in the project Cultures of Anti-Racism in Latin America (CARLA), I focus on two types of intervention that I believe help us to think about various ways of doing anti-racism through art. The two types are challenging stereotypes and working with communities, and I explore how various artworks engage with these modes of artistic action and how they create emotional traction and affective intensity. The aim of the exercise is to be productive and helpful in the struggle against racism by providing some tools that artists and organisations can use to think strategically about anti-racism as a practice and reflect on the opportunities and risks that attach to different interventions.

In the conclusion, we speak about the growing significance of racial rhetorical representation in demonstrating that elected officials are working on behalf of their constituents in an era of increasing political gridlock. We also connect our findings to the continued importance of Black representation in a period where the salience of race and racial inequality has grown. Not only do we find that Black legislators provide Black people with the most rhetorical representation on race, we also find that they are more proactive, speaking out on issues that are not widely known and pursuing interests that are not yet part of the national agenda. Black elected officials continue to play a crucial role in advocating for Black interests, and they appear necessary for the full and equal representation of Black people. We then discuss why this advocacy is particularly important in a period where debates over crucial policies face political reckonings. For example, the advocacy behind the 1965 Voting Rights Act which has been challenged in court and expires in 2032 will likely shape Black politics into the future. We also address whether racial rhetoric will continue to be enough to voters of underrepresented groups who yearn for federal legislation to address critical societal disparities. We conclude the chapter by discussing how the Democratic Party notably has liberalized with regards to race since the 1990s and we contend that the racial advocacy by Black members of Congress is behind this liberalization.

Contemporary Brazilian Indigenous art is rising both in production by and public recognition of artists such as Denilson Baniwa, Jaider Esbell, Naine Terena and Daiara Tukano. Indigenous literature is also becoming increasingly visible with writers such as Daniel Munduruku, Ailton Krenak, Davi Kopenawa, Eliane Potiguara and Julie Dorrico. These trends have opened new spaces for a ‘contest of imaginaries’, expanding possibilities for Indigenous rights. For Brazil’s Indigenous peoples, racism is often connected to land and resource control. So anti-racism often takes the form of a struggle to defend ancestral territories and livelihoods, often associated with the ‘multiplication of differences’, opposing monocultures of all kinds and promoting the creation of spaces for the similarities in life and struggle that connect people across differences. First we give an overview of Brazilian Indigenous movements since the 1970s, introducing recurring themes that have concerned writers and artists. Then we describe the development of contemporary Indigenous literature and visual art in Brazil and their relation to anti-racism, with extended case studies from the Brazilian Amazon and the northeast region.

The chapter addresses the different ways in which Sankofa Danzafro’s Afro-contemporary dance company in Colombia constructs anti-racist narratives. From the perspective of dance as a practice of irruption and an embodied practice, we focus on the role of affective traction in its varied manifestations, which work to assemble collective bodies and discourses. Acting as a site of political enunciation and as a way of resistance-in-motion, dance generates affective atmospheres that make visible and challenge the persistence of structural racism. Among the anti-racist strategies channeled through Sankofa’s Afro-contemporary dance are i) challenging stereotypes about Afro-descendant people by focusing on the message of the dance rather than only its performance; ii) delving into the past, seeking out embodied knowledge and Afro self-referentiality as resources; and iii) developing an Afro-contemporary aesthetic project informed by Afro-Colombian traditional dance and music as well as contemporary styles and rhythms. In particular, the chapter explores Detrás del sur, a recent Sankofa dance work, to see how these anti-racist strategies have informed the creative processes behind the work.