This theme issues focuses on the teaching of in the global arena by educators both within and outside the United States. is to be understood in the broadest sense possible here. It can be defined tentatively as the repertoire of learned values, beliefs, attitudes, aesthetic preferences, rules, and customs shared by a particular collectivity of people. The numerous modern usages of the term divide roughly into two large domains that come both into play in the following pages. In one, stands for the arts alone, with time-bound divisions such as those between high, mid-brow, and popular art, and associated differences in taste and appreciation. In the other domain- in the anthropological sense - it stands for the religious/secular, political, and social beliefs and practices, or more generally a way of life, that bind a people. Material culture refers to as embodied in a wide variety of artifacts and other material things. Needless to say, a substantial part of globalizing consists of such material objects. Students of today's cultural globalization emphasize deterritorialization as one of the major driving forces (Appadurai). They acknowledge that it is not a new process, of course; local cultures have long been influenced - and even shaped- by outside forces, and, historically, have become disembedded, that is, detached from their local anchorings under capitalism. But the current phase of accelerated globalization differs from the past because of the dramatically increased transnational movement of ideas, goods, services, images, and people. A main feature of this phase is enhanced time-space compression - the speeding up of global processes, so that the world feels smaller and distances shorter, and events in one place have immediate impact on people and places a very long distance away (Harvey 201-323). At least three, if not all, authors of the following articles view the workings of in a global context, either implicitly or explicitly, in terms of transculturization. This approach rejects what it considers essentialist thinking about culture, in this case the notion that there is such a thing as American culture or some other national that has a relatively stable identity. Instead, the emphasis is put on the contested character, variety, permeability, and fluidity of culture. Cultures are always seen as hybridized and hybridizing, multi- and intercultural, working through debates, controversies, and negotiations. One deals with complex and often contested cultural flows from different locations and in different discourses. This entails a focus on cultural encounters, contact zones, or zones of interaction in which difference and inequality in terms of power are examined. This perspective stresses that is not monolithic and that America has never transmitted a single coherent message. Also what was once perceived as may have changed over time. Similarly, the receiving is diverse and in constant motion. The idea of an authentic (or other national) is untenable, because it has always been diffuse, in flux, without clear boundaries, and constantly remade through influences such as immigration, urbanization, and industrialization, and, in recent time, also increasingly through transnational media and all kinds of globalizing networks. In his book Culture in the Age of Three Worlds (2004) the historian Michael Denning sees the fall of the Berlin Wall in November 1989 as the symbolic moment when the current era of globalization can be said properly to begin, with the corporate states of the Cold War being superseded by the beginnings of a transnational crossfertilization as peoples, capital, and commodities began to flow more freely across frontiers. Denning stipulates that area studies (such as Studies) in the traditional sense fitted well with the period between 1945 and 1989 when the world was conventionally divided into discrete, partitioned spaces: the capitalist First World, communist Second World, and the decolonizing Third World. …