Whose Heritage? challenges and re-imagines what is 'heritage' in Britain as a globalised, vernacular, cosmopolitan 'post-nation'. It takes its inspiration from the foundational work of public intellectual Stuart Hall (1932-2014).

Susan L. T. Ashley is Associate Professor in Creative and Cultural Industries at Northumbria University, Newcastle upon Tyne, UK. Her research looks at what, how and why heritage knowledge is created, shaped, communicated and consumed in the public sphere. The collaborations that supported Dr Ashley's AHRC research '(Multi)Cultural Heritag' stimulated the development of this book.

Degna Stone, an award-winning poet living in north east England, is currently undertaking a PhD in Cultural Studies at Northumbria University, examining visibility and expression in African, Asian and Caribbean diaspora arts and heritage in the north of England. Their poetry pulls towards the dark seam of life, raising questions about social injustice and complacency.

Introduction: On Stuart Hall and the Imagining of Heritage; Part I STUART HALL'S ESSAY - CONTEXT AND IMPACT; 1. Whose Heritage? Un-settling 'The Heritage' re-imagining the post-nation; 2.'The way in which we learn to sing': The heritage of ideas behind 'Whose Heritage?'; 3. Race equality in the cultural heritage sector: Perceptions of progress over the last twenty years and actions for the next decade; Part II CHALLENGING 'WHOSE HERITAGE?' AS HISTORICAL PRODUCTION; 4. Mothers milk or regurgitated fish?: Resisting nostalgia and embracing dissension in British heritage; 5. Beyond our system of objects: Heritage collecting, hoarding and ephemeral objects; 6. Historical methods implicated in the making of 'The Heritage'; 7. Whose Heritage? Deconstructing and reconstructing counter narratives in heritage; Part III CHALLENGING 'WHOSE HERITAGE' THROUGH ARTS & SELF-REFLECTION; 8. In the shadow of Stuart Hall; 9. The Black British presence on television in Barrie Keeffe's Play for Today (BBC1) dramas and beyond; 10. Narrative cannibals: who speaks for whom? Heritage, documentary practice and the strategies of power; 11. Searching for new perspectives on heritage: The Transatlantic Trade in Enslaved Africans; Part IV FINAL PROVOCATIONS; 12. Brand new, second hand: production, preservation and 'new' diasporic forms; 13. Crisis of authority: Rebuilding the heritage narrative in Stuart Hall's post-nation state; 14. The power to represent