Every day brings new headlines about climate change as politicians debate how to respond, scientists offer new data, and skeptics critique the validity of the research. To step outside these scientific and political debates, Timothy Leduc engages with various Inuit understandings of northern climate change. What he learns is that today’s climate changes are not only affecting our environments, but also our cultures. By focusing on the changes currently occurring in the north, he highlights the challenges being posed to Western climate research, Canadian politics and traditional Inuit knowledge.

Climate, Culture, Change sheds light on the cultural challenges posed by northern warming and proposes an intercultural response that is demonstrated by the blending of Inuit and Western perspectives.

In Crippling Epistemologies and Governance Failures, Gilles Paquet criticizes the prevailing practices of the social sciences on the basis of their inadequate concepts of knowledge, evidence and inquiry, concepts he claims have become methodological “mental prisons”. Paquet describes the prevailing policy development process in Canada in terms of its weak information infrastructure, poor accountability, and inflexible organization design. In contrast, he suggests that social science and public policy should promote forms of “serious play” that would allow organizations to experiment with new structures.

Paquet engages with numerous foundationalist programs in the social sciences in order to show their inadequacy and suggests important and unexplored directions in policy areas as diverse as education, science, health, intergovernmental and foreign policy. He closes the work with a plea for experimentalism in academic research, policy development, and organization design.

DanceHall combines cultural geography, performance studies and cultural studies to examine performance culture across the Black Atlantic. Taking Jamaican dancehall music as its prime example, DanceHall reveals a complex web of cultural practices, politics, rituals, philosophies, and survival strategies that link Caribbean, African and African diasporic performance.

Combining the rhythms of reggae, digital sounds and rapid-fire DJ lyrics, dancehall music was popularized in Jamaica during the later part of the last century by artists such as Shabba Ranks, Shaggy, Beenie Man and Buju Banton. Even as its popularity grows around the world, a detailed understanding of dancehall performance space, lifestyle and meanings is missing. Author Sonjah Stanley Niaah relates how dancehall emerged from the marginalized youth culture of Kingston’s ghettos and how it remains inextricably linked to the ghetto, giving its performance culture and spaces a distinct identity. She reveals how dancehall’s migratory networks, embodied practice, institutional frameworks, and ritual practices link it to other musical styles, such as American blues, South African kwaito, and Latin American reggaetòn. She shows that dancehall is part of a legacy that reaches from the dance shrubs of West Indian plantations and the early negro churches, to the taxi-dance halls of Chicago and the ballrooms of Manhattan. Indeed, DanceHall stretches across the whole of the Black Atlantic’s geography and history to produce its detailed portrait of dancehall in its local, regional, and transnational performance spaces.