African headrests are treated as art objects in this historical study African Dream Machines takes African headrests out of the category of functional objects and into the more rarefied category of "art" objects. Styles in African headrests are usually defined in terms of Western art and archaeological discourses, but this book interrogates these definitions and demonstrates the shortcomings of defining a single formal style model as exclusive to a single ethnic group. This book has been in the making for fifteen years, starting with research on the traditional woodcarving of the Shona-and Venda-speaking peoples of Zimbabwe and South Africa. Among the artifacts made by South African peoples, headrests were the best known and during a year spent in Europe in 1975 and 1976, Anitra Nettleton discovered museum stores full of unacknowledged masterpieces made by speakers of numerous Southern African languages. A Council Fellowship from the University of the Witwatersrand in 1990 enabled the writer to develop an archive in the form of notes, photographs, and sketches of each and every headrest she encountered. Many examples from South African collections were added from the early 1990s onwards, expanding the field vastly. Nettelton executed drawings of each and every headrest encountered, and they became a major part of the project in their own right. African Dream Machines questions the assumed one-to-one relationship between formal styles and ethnic identities or classifications. Historical factors are used to demonstrate that "authenticity," in the form sought by collectors of antique African art, is largely a construct.

How people engaged with materials such as clay or stone, why people dug features such as pits, why they decorated their bodies, or treated their dead in certain ways, were all meaningful in the African past. However, these are subjects that have been generally neglected by archaeologists working in Africa until recently. Material Explorations in African Archaeology examines materiality in African archaeology by exploring concepts of material agency and material engagement and entanglement in relation to their manifest presence in persons, animals, objects, substances, and contexts. It investigates the magnificent and complex world of past African materiality by considering a range of case studies. These include, for example, why standing stones were erected, the potential meanings of bodily alteration practices such as scarification and dental modification, and why, recurrently, Africans in the past gave ritual importance to objects, materials, and locations thought of as exotic or different. Adopting a multidisciplinary focus, the volume draws not only on archaeology but also, among other areas, ethnography and history, discussing themes such as bodies, landscape, healing and medicine, and divination, as well as concepts such as memory and biography, transformation, and metaphor and metonym.

An explanation of the unique role of the book and book collecting in South Africa due to the apartheid This book explores the power of print and the politics of the book in South Africa from a range of disciplinary perspectives- historical, bibliographic, literary-critical, sociological, and cultural studies. The essays collected here, by leading international scholars, address a range of topics as varied as: the role of print cultures in contests over the nature of the colonial public sphere in the nineteenth century; orthography; iimbongi, orature and the canon; book- collecting and libraries; print and transnationalism; Indian Ocean cosmopolitanisms; books in war; how the fates of South African texts, locally and globally, have been affected by their material instantiations; photocomics and other ephemera; censorship, during and after apartheid; books about art and books as art; local academic publishing; and the challenge of 'book history' for literary and cultural criticism in contemporary South Africa.

A lavishly illustrated selection of highlights from the Art Institute of Chicago’s extraordinary collection of the arts of Africa Featuring a selection of more than 75 works of traditional African art in the Art Institute of Chicago’s collection, this stunning volume includes objects in a wide variety of media from regions across the continent. Essays and catalogue entries by leading art historians and anthropologists attend closely to the meanings and materials of the works themselves in addition to fleshing out original contexts. These experts also underscore the ways in which provenance and collection history are important to understanding how we view such objects today. Celebrating the Art Institute’s collection of traditional African art as one of the oldest and most diverse in the United States, this is a fresh and engaging look at current research into the arts of Africa as well as the potential of future scholarship.

Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world. Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano

Archaeology of Spiritualties provides a fresh exploration of the interface between archaeology and religion/spirituality. Archaeological approaches to the study of religion have typically and often unconsciously, drawn on western paradigms, especially Judaeo-Christian (mono) theistic frameworks and academic rationalisations. Archaeologists have rarely reflected on how these approaches have framed and constrained their choices of methodologies, research questions, hypotheses, definitions, interpretations and analyses and have neglected an important dimension of religion: the human experience of the numinous - the power, presence or experience of the supernatural. Within the religions of many of the world’s peoples, sacred experiences – particularly in relation to sacred landscapes and beings connected with those landscapes – are often given greater emphasis, while doctrine and beliefs are relatively less important. Archaeology of Spiritualities asks how such experiences might be discerned in the archaeological record; how do we recognize and investigate ‘other’ forms of religious or spiritual experience in the remains of the past?. The volume opens up a space to explore critically and reflexively the encounter between archaeology and diverse cultural expressions of spirituality. It showcases experiential and experimental methodologies in this area of the discipline, an unconventional approach within the archaeology of religion. Thus Archaeology of Spiritualities offers a unique, timely and innovative contribution, one that is also challenging and stimulating. It is a great resource to archaeologists, historians, religious scholars and others interested in cultural and religious heritage.