Presents a selection of full-color photographs from across Africa, covering topics including sense of place, the joy of being, inner journeys, patterns of beauty, rhythm from within, and capacity to endure.

A newly designed, affordable one-volume edition of this definitive work on the traditional rituals of Africa, containing more than half the photos that were in the original edition plus new images that will focus fresh attention on specific ceremonies. The book is accompanied by a CD of African ceremonies. 473 photos.

Presents an account, first published in 1622, of the Pilgrim's journey to the new world.

The seminal volume on body painting and adornment by the world’s preeminent photographers of African culture. Following the international masterpiece Africa Adorned, Carol Beckwith and Angela Fisher have focused on the traditions of body painting spanning the vastly unique cultures of the African continent. In a contemporary world so fascinated with tattoos and piercings, Beckwith and Fisher document the origins of these fashionable adornments as passed down through African tribal culture. Featured are portraits of the richly colored, detailed, and exquisite body paintings of the Surma, Karo, Maasai, Himba, and Hamar peoples, among others. Drawing from expeditions in the field and firsthand experiences with African peoples and cultures over the past thirty years and with more than 250 spectacular photographs, this is the definitive work on the expressiveness and imagination of African cultural painting of the human body.

New works by a noted contemporary glass artist.

Norwegians in colonial Africa and Oceania had varying aspirations and adapted in different ways to changing social, political and geographical circumstances in foreign, colonial settings. They included Norwegian shipowners, captains, and diplomats; traders and whalers along the African coast and in Antarctica; large-scale plantation owners in Mozambique and Hawai’i; big business men in South Africa; jacks of all trades in the Solomon Islands; timber merchants on Zanzibar’ coffee farmers in Kenya; and King Leopold’s footmen in Congo. This collection reveals narratives of the colonial era that are often ignored or obscured by the national histories of former colonial powers. It charts the entrepreneurial routes chosen by various Norwegians and the places they ventured, while demonstrating the importance of recognizing the complicity of such “non-colonial colonials” for understanding the complexity of colonial history.

Over the course of numerous voyages to Africa's Omo Valley, Hans Silvester became fascinated by the beauty of the Surma, Mursi, Hamer and Kurma tribes, who share a taste for body painting and extravagant decorations borrowed from nature. This collection of photographs captures these accoutrements.

As the Roman Empire expanded its African settlements in the early centuries of the common era, thousands of mosaic floor pavements were fashioned to adorn the townhouses and rural estates of the African upper classes. Between the second and sixth centuries, mosaic art blossomed, particularly in Africa Proconsularis, the region comprising modern Tunisia. In contrast to the official art of imperial Rome, mosaics generally expressed the worldviews of private citizens. These artworks are remarkable for the intricate beauty of their polychromatic geometric and floral designs, as well as for figural scenes depicting the interests and activities of the patrons who commissioned them--scenes of daily life, athletic contests, gladiator spectacles, and classical literature and mythology. Abundantly illustrated throughout, Tunisian Mosaics: Treasures from Roman Africa offers the general reader a lively introduction to this extraordinary ancient art. Initial chapters survey the historical background of Roman Africa and discuss the development of mosaic art in the Mediterranean. Subsequent chapters profile Tunisia's major mosaic sites and tour the collections of important museums. A final chapter surveys current initiatives to preserve this heritage for future generations.

In this study, art historian Elizabeth Sutton reads the engravings of Pieter de Marees' Description and Historical Account of the Gold Kingdom of Guinea (1602) as a demonstration of the intertwining domains of the Dutch pictorial tradition, intellectual inquiry and Dutch mercantilism. Sutton examines the book's construction and marketing to shed new light on the social milieus that shared interests in ethnography, trade and travel, ultimately enhancing our understanding of the European imperial enterprise.