Take a journey into the heart of West Africa... Artist, musician, and author Dave Kobrenski takes the reader on a musical and visual journey up the Djoliba river in Guinea to explore ancient music traditions, as well as to understand the challenges that face a country "balancing between the world of its ancient traditions and the frontier of modern ideals and influences." Dozens of original paintings and drawings accompany vivid first-hand accounts of the music, culture, and people of Guinea, while scores of rhythm notations make this a unique and valuable resource for musicians, educators, and travel enthusiasts alike. From the author's preface: "Part travelogue, part sketchbook, this is a book about glimpsing in the everyday dust of existence the potential for rich and meaningful expressions of being in the world; of seeing that beyond the tattered common cloth of life hangs a veil of mystery infused with magic and wonder."

In Drawing on Culture, artist and ethnomusicologist Dave Kobrenski explores traditional cultures from around the world. West Africa is the first in the series and consists of more than 30 artworks done on location while traveling through villages along the Niger River in Guinée. Through detailed field drawings accompanied by his own notes, Kobrenski provides a glimpse into the lives and culture of a people maintaining their ancient traditions, even as the modern world encroaches.

This book provides scholars and non-specialists alike with a roadmap for effectively conducting culturally aware, historically relevant research on African dance and on any dance style that contains African elements. This book explains why Western research paradigms are inadequate for research on Africana dance. It exposes the value of utilizing an appropriate research paradigm that offers researchers a broader perspective and a transparent, unfettered process for analysis in under-researched topics such as African and African diaspora dance styles. Researchers are introduced to the African dance aesthetic, characteristically African body movements, definitions of steps, understandings within African culture, and a host of other jewels that facilitate a deeper grasp on the subject and refine the quality of the scholar’s research, its findings, and its proficiency. This book will be of great interest to scholars of African dance studies.

“A dream of a debut, by turns troubling and glorious, angry and wise.” —Junot Diaz​ Hope and Other Dangerous Pursuits, the debut of Pulitzer Prize and National Book Award finalist Laila Lalami, evokes the grit and enduring grace that is modern Morocco. The book begins as four Moroccans illegally cross the Strait of Gibraltar in an inflatable boat headed for Spain.What has driven them to risk their lives? And will the rewards prove to be worth the danger? There’s Murad, a gentle, unemployed man who’s been reduced to hustling tourists around Tangier; Halima, who’s fleeing her drunken husband and the slums of Casablanca; Aziz, who must leave behind his devoted wife in hope of securing work in Spain; and Faten, a student and religious fanatic whose faith is at odds with an influential man determined to destroy her future. Sensitively written with beauty and boldness, this is a gripping book about what propels people to risk their lives in search of a better future.

Offers an interdisciplinary exploration of resilience in agriculture, and implications for producers seeking to adapt to change and uncertainty.

The Niger River Basin, home to 100 million people, is a vital yet complex asset for West and Central Africa. It is the continent's third largest river basin, traversing nine countries -Benin, Burkina Faso, Cameroon, Chad, C©þte d'Ivoire, Guinea, Mali, Niger, and Nigeria. The River embodies both these nations' livelihoods and their geopolitics. It is not simply water but rather an origin of identity, a route for migration and commerce, a source of conflict, and a catalyst for cooperation. Cooperation among decision-makers and users is crucial to address the threats to water resources. The Niger.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Askia Mohammed is the most famous leader in the history of the Songhay Empire, which reached its apogee during his reign in 1493-1528. Songhay, approximately halfway between the present-day cities of Timbuktu in Mali and Niamey in Niger, became a political force beginning in 1463, under the leadership of Sonni Ali Ber. By the time of his death in 1492, the foundation had been laid for the development under Askia Mohammed of a complex system of administration, a well-equipped army and navy, and a network of large government-owned farms. The present rendition of the epic was narrated by the griot (or jeseré) Nouhou Malio over two evenings in Saga, a small town on the Niger River, two miles downstream from Niamey. The text is a word-for-word translation from Nouhou Malio's oral performance.

Proceedings of the International Consultative Workshop on Panicle Insect Pests of Sorghum and Pearl Millet.

This book argues that contemporary dance, imagined to have a global belonging, is vitiated by euro-white constructions of risk and currency that remain at its core. Differently, the book reimagines contemporary dance along a “South-South” axis, as a poly-centric, justice-oriented, aesthetic-temporal category, with intersectional understandings of difference as a central organizing principle. Placing alterity and heat, generated via multiple pathways, at its center, it foregrounds the work of South-South artists, who push against constructions of “tradition” and white-centered aesthetic imperatives, to reinvent their choreographic toolkit and respond to urgent questions of their times. In recasting the grounds for a different “global stage,” the argument widens its scope to indicate how dance-making both indexes current contextual inequities and broader relations of social, economic, political, and cultural power, and inaugurates future dimensions of justice. Winner of the 2022 Oscar G. Brockett Prize for Dance Research