Various graphic systems designed to express and transmit ideas or to convey messages were known in sub-Saharan Africa in pre-colonial times, ideographic and pictographic systems. One of the most intriguing of these traditions, known across eastern Angola into northwestern Zambia, among speakers of Luchazi, Chokwe, Lwena and related languages is the tusona ideographs. This work is a fascinating excursion into symbolism, the remote history of eastern Angola, Luchazi oral literature, mathematics, graphic art and communication.

This volume constitutes an updated version of the bibliography published in 2004 by the African Mathematical Union. The African Studies Association attributed the original edition a 'ÂÂspecial mention'ÂÂ in the 2006 Conover-Porter Award competition. The book contains over 1600 bibliographic entries. The appendices contain additional bibliographic information on (1) mathematicians of the Diaspora, (2) publications by Africans on the history of mathematics outside Africa, (3) time-reckoning and astronomy in African history and cultures, (4) string figures in Africa, (5) examples of books published by African mathematicians, (6) board games in Africa, (7) research inspired by geometric aspects of the 'ÂÂsona'ÂÂ tradition. The book concludes with several indices (subject, country, region, author, ethnographic and linguistic, journal, mathematicians). Professor Jan Persens of the University of the Western Cape (South Africa) and president of the African Mathematical Union (2000-2004) wrote the preface.

Vol. 1 previously published in 1994 by F. Noetzel.

This book draws on geometric ideas from cultural activities from Subsaharan Africa to develop mathematical reasoning.

Repainting the Walls of Lunda chronicles the publication and dissemination of an anthropology book, Paredes Pintadas da Lunda (Painted Walls of Lunda), which was published in Portuguese in 1953. The book featured illustrations of wall murals and sand drawings of the Chokwe peoples of northeastern Angola. These reproductions were adapted in postindependence Angolan nationalist art and post–civil war contemporary art. As Delinda Collier recounts, the pictorial narrative foregrounds the complex relationships between content, distribution, and politicization. The result is a nuanced look at the practices of art entangled in political economies as much as in issues of aesthetics. After historicizing the drastic changes in media for the Chokwe images, from sand and dwelling to book and from analog to digital, Collier analyzes the formal and infrastructural logic of the two-dimensional images in their subsequent formats, from postindependence canvas paintings to Internet images. Collier does not view any of these iterations as a negation or obliteration of the previous one. Instead, she argues that the logic of reproductive media envelops the past: each mediation adds another layer of context and content. As Collier sees it, the images’ historicity is embedded within these media layers, which many Angolan postindependence artists speak of in terms of ghosts or ancestors when describing their encounter with reproductions of the Chokwe art. If, as Collier contends, “Africa troubles media,” this book troubles facile theories and romantic constructions of “analog Africa,” boundaries between art and cybernetics, and the firewall between the colonial and the postcolonial.

Une source inconnue indique : "This book provides a comprehensive overview of current research in African languages, drawing on insights from anthropological linguistics, typology, historical and comparative linguistics, and sociolinguistics. It covers a wide range of topics, from grammatical sketches of individual languages to sociocultural and extralinguistic issues."

Rock art is one of the most visible and geographically widespread of cultural expressions, and it spans much of the period of our species' existence. Rock art also provides rare and often unique insights into the minds and visually creative capacities of our ancestors and how selected rock outcrops with distinctive images were used to construct symbolic landscapes and shape worldviews. Equally important, rock art is often central to the expression of and engagement with spiritual entities and forces, and in all these dimensions it signals the diversity of cultural practices, across place and through time. Over the past 150 years, archaeologists have studied ancient arts on rock surfaces, both out in the open and within caves and rock shelters, and social anthropologists have revealed how people today use art in their daily lives. The Oxford Handbook of the Archaeology and Anthropology of Rock Art showcases examples of such research from around the world and across a broad range of cultural contexts, giving a sense of the art's regional variability, its antiquity, and how it is meaningful to people in the recent past and today - including how we have ourselves tended to make sense of the art of others, replete with our own preconceptions. It reviews past, present, and emerging theoretical approaches to rock art investigation and presents new, cutting-edge methods of rock art analysis for the student and professional researcher alike.

Vol. 1 previously published in 1994 by F. Noetzel.

A CHOICE 2018 Outstanding Academic Title In Jazz Transatlantic, Volume II, renowned scholar Gerhard Kubik extends and expands the epic exploration he began in Jazz Transatlantic, Volume I. This second volume amplifies how musicians influenced by swing, bebop, and post-bop in Africa from the end of World War II into the 1970s were interacting with each other and re-creating jazz. Much like the first volume, Kubik examines musicians who adopted a wide variety of jazz genres, from the jive and swing of the 1940s to modern jazz. Drawing on personal encounters with the artists, as well as his extensive field diaries and engagement with colleagues, Kubik looks at the individual histories of musicians and composers within jazz in Africa. He pays tribute to their lives and work in a wider social context. The influences of European music are also included in both volumes as it is the constant mixing of sources and traditions that Kubik seeks to describe. Each of these groundbreaking volumes explores the international cultural exchange that shaped and continues to shape jazz. Together, these volumes culminate an integral recasting of international jazz history.