Herskovits's heritage -- Creolization and connaissance -- Notes from Ekitiland -- The blood of mothers -- Ethnogenesis from within -- Afterword: beyond the mirror of narcissus

A rich and accessible account of Yoruba history, society and culture from the pre-colonial period to the present.

Vodou has often served as a scapegoat for Haiti’s problems, from political upheavals to natural disasters. This tradition of scapegoating stretches back to the nation’s founding and forms part of a contest over the legitimacy of the religion, both beyond and within Haiti’s borders. The Spirits and the Law examines that vexed history, asking why, from 1835 to 1987, Haiti banned many popular ritual practices. To find out, Kate Ramsey begins with the Haitian Revolution and its aftermath. Fearful of an independent black nation inspiring similar revolts, the United States, France, and the rest of Europe ostracized Haiti. Successive Haitian governments, seeking to counter the image of Haiti as primitive as well as contain popular organization and leadership, outlawed “spells” and, later, “superstitious practices.” While not often strictly enforced, these laws were at times the basis for attacks on Vodou by the Haitian state, the Catholic Church, and occupying U.S. forces. Beyond such offensives, Ramsey argues that in prohibiting practices considered essential for maintaining relations with the spirits, anti-Vodou laws reinforced the political marginalization, social stigmatization, and economic exploitation of the Haitian majority. At the same time, she examines the ways communities across Haiti evaded, subverted, redirected, and shaped enforcement of the laws. Analyzing the long genealogy of anti-Vodou rhetoric, Ramsey thoroughly dissects claims that the religion has impeded Haiti’s development.

The Yoruba: A New History is the first transdisciplinary study of the two-thousand-year journey of the Yoruba people, from their origins in a small corner of the Niger-Benue Confluence in present-day Nigeria to becoming one of the most populous cultural groups on the African continent. Weaving together archaeology with linguistics, environmental science with oral traditions, and material culture with mythology, Ogundiran examines the local, regional, and even global dimensions of Yoruba history. The Yoruba: A New History offers an intriguing cultural, political, economic, intellectual, and social history from ca. 300 BC to 1840. It accounts for the events, peoples, and practices, as well as the theories of knowledge, ways of being, and social valuations that shaped the Yoruba experience at different junctures of time. The result is a new framework for understanding the Yoruba past and present.

This third edition of what has been described as "this minor classic" has been extensively revised to take account of advances in Nigerian historiography. The twenty million Yorubas are one of the largest and most important groups of people on the African continent. Historically they were organized in a series of autonomous kingdoms and their past is richly recorded in oral tradition and archaeology. From the fifteenth century onwards there are descriptions by visitors and from the nineteenth century there are abundant official reports from administrators and missionaries. Yoruba sculpture in stone, metal, ivory, and wood is famous. Less well-known are the elaborate and carefully designed constitutional forms which were evolved in the separate kingdoms, the methods of warfare and diplomacy, the oral literature, and the religion based on the worship of a "high god" surrounded by a pantheon of more accessible deities. Many of these aspects are shown in the drawings and photographs which have been used-for the first time-to illustrate this distinguished work.

In Fragmented Identities of Nigeria: Sociopolitical and Economic Crises, edited by John Ayotunde Isola Bewaji and Rotimi Omosulu, readers are offered essays which explore the historiogenesis and ontological struggles of Nigeria as a geographical expression and a political experiment. The transdisciplinary contributions in this book analyze Nigeria as a microcosm of global African identity crises to address the deep-rooted conflicts within multi-ethnic, multi-linguistic, multi-religious, and multicultural societies. By studying Nigeria as a country manufactured for the interests of colonial forces and ingrained with feudal hegemonic agendas of global powers working against the emancipation of African people, Fragmented Identities of Nigeria examines the history, evolution, and consequences of Nigeria’s sociopolitical and economic crises. The contributors make suggestions for pulling Nigeria from the brink of an identity implosion which was generated by years of misgovernance by leaders without vision or understanding of what is at stake in global black history. Throughout, the collection argues that it is time for Nigeria to reassess, renegotiate, and reimagine Nigeria’s future, whether it be through finding an amicable way the different ethnicities can continue to co-exist as federating or confederating units, or to dissolve the country which was created for economic exploitation by the United Kingdom.

In this book, Suzanne Preston Blier examines the intersection of art, risk and creativity in early African arts from the Yoruba center of Ife and the striking ways that ancient Ife artworks inform society, politics, history and religion. Yoruba art offers a unique lens into one of Africa's most important and least understood early civilizations, one whose historic arts have long been of interest to local residents and Westerners alike because of their tour-de-force visual power and technical complexity. Among the complementary subjects explored are questions of art making, art viewing and aesthetics in the famed ancient Nigerian city-state, as well as the attendant risks and danger assumed by artists, patrons and viewers alike in certain forms of subject matter and modes of portrayal, including unique genres of body marking, portraiture, animal symbolism and regalia. This volume celebrates art, history and the shared passion and skill with which the remarkable artists of early Ife sought to define their past for generations of viewers.