In recent years creolization has been employed by anthropologists and sociologists to describe the effects of globalization.' This was particularly stimulated by the work of the Swedish anthropologist Ulf Hannerz.In a much-quoted article in the late 1980s, he described the worldwide cultural interaction resulting from globalization as a'world in creolization'.' He, and a growing number of researchers in his wake, have employed this concept to describe contemporary cultural innovations resulting from global interactive processes. It is also increasingly used as a term in the post-modern preference for hybridity. The renowned sociologist Stuart Hall has referred to the 'aesthetics of creolization' and the anthropologist Vertovec has noted that contemporary cultural phenomena'are more globalized, cosmopolitan and creolized or hybrid than ever'. , Creolization, in their vision, is a kind of hybrid mixture that increasingly binds the world together. This has been accompanied by the abandonment of what social scientists once referred to as cultural essentialism and the desire for authenticitv ' See, for example, f. Fabian, 'Popular culture in Africa: findings and conjectures'; Africa 48:4 (1978), or H.G. Siebers, Creolization and Modernization at the Peiphery: The Case of the Q'echi'es of Guatemala (phD diss. Nijmegen 1996). 'Hannerz (1987). I Stuart Hall (1991:39); Vertovec quoted in Cohen (7997:128). In his analysis of the Black AtlanticPaul Gilroy (1993:46) eloquently rejects 'ethnic absolutism' and pleads for the creativity of'creolization, métissage, mestizaje and hybridity'. This is taken to impassioned heights in Salman Rushdie's defence of SatanicVerses,in which óe term creolization does not in fact occur: 'lf the Sannic Verses is an hing, it's a migrantt-eye view of the world. It is written from the very experience of uprooting, disjuncture and metamorphosis (slow or rapid, painfirl or pleasurable) that is the migrant condition, and from which, I believe, can be derived a metaphor for all humanity [...] The Satanic Verses celebrates hybridity, impurity, intermingling, óe transformation that comes of new and unexpected combinations of human beings, cultures, ideas, polidcs, movies, songs. It rejoices in mongrelization and fears the absolution of the Pure. Mélange, hotchpotch, a bit of this and a bit of that is how newness enters the world. It is the great possibility that mass migràtion gives to the world, and I have tried to embrace it. The Satanic Verses is for change-by-fusion, change-by-conjoining. It is alove song to our mongrel selves'(Rushdie 1991:394), In descriptions like this ofpost-colonial, póst-modern identity, creolization represents'a syncretic process oftransverse dynamics that endlessly reworks and transforms the cultural patterns of varied social and historical experiences and identities. The cultural patterns that result from this "crossbreeding" (or cross weaving) undermine any academic or political aspiration for unitary origins or authenticity' (Balutansky & Sourieau 1998:3).