This work focuses on contemporary Zimbabwean Stone Sculpture - widely known until the early 1990s as "Shona Sculpture" - from the perspective of a critical anthropological analysis of cultural identity and representation. The analysis frames the inception of this art movement within the colonial socio-historical circumstances of its genesis, where discourse about the producers of this art form ("Shona discourse") was created. Drawing from the social context of inequality and racial (spatial) segregation, and from the concepts of the "primitive" in art and anthropology, the author aims to show how "Shona discourse" entails a primitivist construction of the Other (i.e., the sculptors' cultural identity) that is directly linked to modernist primitivism. "Shona discourse," as a temporalising discourse, situates the producers of so-called "Shona sculpture" in an extra-ordinary time, the time of "primitive" myth, magic and cosmology, constituting in this sense a good example of "allochronic" discourse. Originating within the colonial politics and ideology of the 1960s, and contested by younger generations of sculptors from the 1990s onwards, this discourse was, paradoxically, appropriated by the cultural politics of "indigenisation" during the early period of the post-independence Zimbabwean State as part of its national identity and heritage.

Abstracts of journal articles, books, essays, exhibition catalogs, dissertations, and exhibition reviews. The scope of ARTbibliographies Modern extends from artists and movements beginning with Impressionism in the late 19th century, up to the most recent works and trends in the late 20th century. Photography is covered from its invention in 1839 to the present. A particular emphasis is placed upon adding new and lesser-known artists and on the coverage of foreign-language literature. Approximately 13,000 new entries are added each year. Published with title LOMA from 1969-1971.

Examining international case studies including USA, Asia, Australia and New Zealand, this book identifies and explores the use of heritage throughout the world. Challenging the idea that heritage value is self-evident, and that things must be preserved, it demonstrates how it gives tangibility to the values that underpin different communities.

In 1969 Gerhard Kubik chanced to encounter a Mozambican labor migrant, a miner in Transvaal, South Africa, tapping a cipendani, a mouth-resonated musical bow. A comparable instrument was seen in the hands of a white Appalachian musician who claimed it as part of his own cultural heritage. Through connections like these Kubik realized that the link between these two far-flung musicians is African-American music, the sound that became the blues. Such discoveries reveal a narrative of music evolution for Kubik, a cultural anthropologist and ethnomusicologist. Traveling in Africa, Brazil, Venezuela, and the United States, he spent forty years in the field gathering the material for Africa and the Blues. In this book, Kubik relentlessly traces the remote genealogies of African cultural music through eighteen African nations, especially in the Western and Central Sudanic Belt. Included is a comprehensive map of this cradle of the blues, along with 31 photographs gathered in his fieldwork. The author also adds clear musical notations and descriptions of both African and African American traditions and practices and calls into question the many assumptions about which elements of the blues were "European" in origin and about which came from Africa. Unique to this book is Kubik's insight into the ways present-day African musicians have adopted and enlivened the blues with their own traditions. With scholarly care but with an ease for the general reader, Kubik proposes an entirely new theory on blue notes and their origins. Tracing what musical traits came from Africa and what mutations and mergers occurred in the Americas, he shows that the African American tradition we call the blues is truly a musical phenomenon belonging to the African cultural world [Publisher description].

"In a world of rising tensions between Russia and the United States, the Middle East and Europe, Sunnis and Shiites, Islamism and liberalism, Turkey is at the epicentre. And at the heart of Turkey is its right-wing populist president, Recep Tayyip Erdo?an. Since 2002, Erdo?an has consolidated his hold on domestic politics while using military and diplomatic means to solidify Turkey as a regional power. His crackdown has been brutal and consistent - scores of journalists arrested, academics officially banned from leaving the country, university deans fired and many of the highest-ranking military officers arrested. In some senses, the nefarious and failed 2016 coup has given Erdo?an the licence to make good on his repeated promise to bring order and stability under a 'strongman'. Here, leading Turkish expert Soner Cagaptay will look at Erdo?an's roots in Turkish history, what he believes in and how he has cemented his rule, as well as what this means for the world. The book will also unpick the 'threats' Erdogan has worked to combat - from the liberal Turks to the Gulen movement, from coup plotters to Kurdish nationalists - all of which have culminated in the crisis of modern Turkey."--Bloomsbury Publishing.

Celebrated religious and social historian Rodney Starktraces the extraordinary rise of Christianity through its most pivotal andcontroversial moments to offer fresh perspective on the history of the world’slargest religion. In The Triumph of Christianity, the author of God’sBattalions and The Rise of Christianity gathers and refines decadesof powerful research and discovery into one concentrated, concise, and highlyreadable volume that explores Christianity’s most crucial episodes. The uniqueformat of Triumph of Christianity allows Stark to avoid densechronologies and difficult back stories, bringing readers right to the heart ofChristian history’s most vital controversies and enduring lessons.

Encounters with Witchcraft is a personal story of a young man's fascination with African witchcraft discovered first in a trek across East Africa and the Congo. The story unfolds over four decades during the author's long residence in and many trips to Kenya, Tanzania and Uganda. As a field researcher he learns from villagers what it is like to live with witches, and how witches are seen through African eyes. His teachers are healers, cult leaders, witch-hunters and self-proclaimed "witches" as well as policemen, politicians and judges. A key figure is Mohammadi Lupanda, a frail village woman whose only child has died years before. In her dreams, however, she believes the little girl is not dead, but only lost in the fields. Mohammadi is discovered wandering at night, wailing and calling out for the child. Her neighbors are terror-stricken and she is quickly brought to a village trial and banished as a witch. The author is able to watch and listen to the proceedings and later investigate the deeper story. He discovers mysteries about Mohammadi that are only solved when he returns to the village three decades later. Today, witch-hunting and witchcraft-related crimes are found in more than seventy developing countries. Epidemics of violence against alleged witches, mainly women, but including elders of both genders, and even children is on the increase in some parts of the world. Witchcraft beliefs may lie behind vigilante murders, political assassinations, revenge killings and commercial murders for human body parts. Through African voices the author addresses key questions. Do witchcraft powers exist? Why does witchcraft persist? What are its historic roots? Why is witchcraft-based violence so often found within families? Does witchcraft serve as a hidden legal and political system, a mafia-like under-government? The author holds up a mirror for us to think about religious beliefs in our own experience that rely heavily on myth and superstition.