This paper advances a new understanding of cosmopolitanism, one that is rooted in the affective potential of the body. It argues that while the self is often projected onto the body, so too can the body play an important role in (re)imagining the self. As such, the body can decolonise the self from the mind, from the expectations of society and culture, and from the normative epistemological underpinnings of academic knowledge production. I validate these theoretical arguments through an empirical focus on the practice of dancehall in Singapore. Dancehall is an emancipatory cultural movement that emerged in Jamaica in the late 1970s, and, among other things, has become known for its sexually provocative representation of the human body. Singapore, on the other hand, is a conservative Asian city‐state in which cosmopolitan self‐fashioning is an elite, top‐down process imparted by the government and education system. By reconciling dancehall culture in/and the Singapore context, I explore how Singaporean youths forge new, more affective, forms of cosmopolitan self‐realisation. Through dancehall, they learn how to engage with the self on their own terms, and thus realise new ways of being in the world.

中文翻译：

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新加坡的情感世界主义：舞厅与自我的非殖民化

本文提出了对世界主义的一种新的理解，这种理解植根于身体的情感潜力。它认为，虽然通常将自我投射到身体上，但身体在（重新）想象自我中也可以发挥重要作用。因此，身体可以使自己与思想，社会和文化期望以及学术知识生产的规范认识论基础脱节。我通过对新加坡舞厅实践的实证研究来验证这些理论论证。舞蹈厅是一种解放性的文化运动，其于1970年代后期在牙买加出现，并且除其他外，以其对人体的性挑衅性表现而闻名。另一方面，新加坡 是一个保守的亚洲城市国家，世界主义的自我塑造是政府和教育系统赋予的一种精妙的，自上而下的过程。通过协调新加坡和/或新加坡语环境中的舞厅文化，我探索了新加坡年轻人如何打造新的，更具情感性的大都会自我实现形式。通过舞厅，他们学习如何以自己的方式与自我互动，从而实现在世界上的新生活方式。