Why is a picture of soprano Jessye Norman wrapped in the French flag on the cover<br > of this cultural anthropology text? Here is a Black American woman， whose an-<br > cestors came to the New World in European slave ships. She earns her living as an<br > interpreter of an elite， Western European art form that reached its peak of popularity<br > at the end of the late nineteenth and beginning of the twentieth century. She is<br >dressed in the French flag， the symbol of what used to be a great colonial empire<br >which included much of the African continent. She is singing the Marseillaise， one<br >of the great revolutionary hymns of all time. It is the climactic moment of the cele-<br >bration in Paris of the bicentenninal of the French Revolution， a revolution whose<br >motto was Liberty， Equality， Fraternity.<br > What kind of world must we live in for the event the photograph captures to<br >have really happened on July 14， 1989， telecast to the world? This image contradicts<br >a range of traditional Western presuppositions about the appropriate relationships<br >among race， language， culture， and geography. Deciphering the image requires call-<br >ing into question those same presuppositions. Put another way， to interpret this<br >image--indeed， to make sense of the world in which we now live--requires the<br >skills of a cultural anthrooolo~，ist.<br >
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