; thanks also to my students at UC Berkeley, especially Shareena Samson, Senbagam Virudachalam, and Jonling Wung, for teaching me more about the subject than I could have possibly taught them. Early versions of this article were articulated at the English department, York University, Canada, and the gender and writing lecture series, English faculty, Cambridge, and I am grateful to Deanne Williams and Mary Jacobus, respectively, for offering me these opportunities.

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The mando is a secular song-and-dance genre of Goa whose archival attestations began in the 1860s. It is still danced today, in staged rather than social settings. Its lyrics are in Konkani, their musical accompaniment combine European and local instruments, and its dancing follows the principles of the nineteenth-century European group dances known as quadrilles, which proliferated in extra-European settings to yield various creolized forms. Using theories of creolization, archival and field research in Goa, and an understanding of quadrille dancing as a social and memorial act, this article presents the mando as a peninsular, Indic, creolized quadrille. It thus offers the first systematic examination of the mando as a nineteenth-century social dance created through processes of creolization that linked the cultural worlds of the Indian and Atlantic Oceans—a manifestation of what early twentieth-century Goan composer Carlos Eugénio Ferreira called a ‘rapsodia Ibero-Indiana’ (‘Ibero-Indian rhapsody’). I investigate the mando's kinetic, performative, musical, and linguistic aspects, its emergence from a creolization of mentalités that commenced with the advent of Christianity in Goa, its relationship to other dances in Goa and across the Indian and Atlantic Ocean worlds, as well as the memory of inter-imperial cultural encounters it performs. I thereby argue for a new understanding of Goa through the processes of transoceanic creolization and their reverberation in the postcolonial present. While demonstrating the heuristic benefit of theories of creolization to the study of peninsular Indic culture, I bring those theories to peninsular India to develop further their standard applications.

How did the Anglo-Saxons conceptualize the interim between death and Doomsday? In this 2001 book, Ananya Jahanara Kabir presents an investigation into the Anglo-Saxon belief in the 'interim paradise': paradise as a temporary abode for good souls following death and pending the final decisions of Doomsday. She locates the origins of this distinctive sense of paradise within early Christian polemics, establishes its Anglo-Saxon development as a site of contestation and compromise, and argues for its post-Conquest transformation into the doctrine of purgatory. In ranging across Old English prose and poetry as well as Latin apocrypha, exegesis, liturgy, prayers and visions of the otherworld, and combining literary criticism with recent scholarship in early medieval history, early Christian theology and history of ideas, this book is essential reading for scholars of Anglo-Saxon England, historians of Christianity, and all those interested in the impact of the Anglo-Saxon period on the later Middle Ages.

This introduction to a curated volume of original essays on Africanheritage partner dances presents their shared kinetic features as performative social practices arising from creolising processes in the Atlantic world. The expressive dimension of these creolised dances, particularly their dependence on the connection between two dancers, enables them to function as the embodied memory of and resistance to the racialized and gendered violence of the plantation, which, as the essays demonstrate through a range of interdisciplinary approaches, shape experiences of leisure, selffashioning, and collective joy within the cities of the Atlantic rim and beyond. These structural and affective similarities between the dances examined in the volume, which include maxixe, lindy hop, tango, kizomba, salsa, and their predecessor, the creolised quadrille, confirm a circum-Atlantic entanglement of creolised expressive culture, the global spread of which is explicated through the theoretical concepts of kinetoscapes, alegropolitics, affiliative afromodernity, and fabulousness.