Presents a major part of the extraordinary corpus of ancient Ife art in terra-cotta, stone, and metal, dating from the ninth to the fifteenth centuries.

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.

Despite the enormous work on diasporas relating to Africa, the majority of this work focuses on trade diasporas located in West African groups, only mentioning the pre-colonial period in passing. Therefore, there is a need to redirect research on diasporas from within Africa to include non-economic diasporas during this time period. Diasporas and Ethnic Identity in Africa: The Edo ne Ekue among the Northeast Yoruba, 1485–1995 fills a gap by discussing the existence of diasporas in pre-colonial Africa that have been neglected by African scholars. Using the Edo ne Ekue as a case study, Uyilawa Usuanlele examines Edo people by shedding light on their political institutions, trading networks, and associations as autonomous and distinct within the Benin Kingdom. This book also discusses how the Edo ne Ekue simultaneously linked their institutions with the royal court of the Benin Kingdom at the expense of the local rulers of their host communities. Throughout this study, Usuanlele provides a better understanding of ethnic identity, state by state relations and their members outside their territorial boundaries to discover the dynamics of political, economic, and social changes within and between communities during and after pre-colonial times.

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

An overview of the ongoing methods used to understand African history. Spurred in part by the ongoing re-evaluation of sources and methods in research, African historiography in the past two decades has been characterized by the continued branching and increasing sophistication of methodologies and areas of specialization. The rate of incorporation of new sources and methods into African historical research shows no signs of slowing. This book is both a snapshot of current academic practice and an attempt to sort throughsome of the problems scholars face within this unfolding web of sources and methods. The book is divided into five sections, each of which begins with a short introduction by a distinguished Africanist scholar. The first sectiondeals with archaeological contributions to historical research. The second section examines the methodologies involved in deciphering historically accurate African ethnic identities from the records of the trans-Atlantic slave trade. The third section mines old documentary sources for new historical perspectives. The fourth section deals with the method most often associated with African historians, that of drawing historical data from oral tradition. Thefifth section is devoted to essays that present innovative sources and methods for African historical research. Together, the essays in this cutting-edge volume represent the current state of the art in African historical research. Toyin Falola is the Jacob and Frances Sanger Mossiker Chair in the Humanities and University Distinguished Teaching Professor at the University of Texas at Austin. Christian Jennings is a Doctoral Candidatein History at the University of Texas at Austin.

In Maroon Choreography fahima ife speculates on the long (im)material, ecological, and aesthetic afterlives of black fugitivity. In three long-form poems and a lyrical essay, they examine black fugitivity as an ongoing phenomenon we know little about beyond what history tells us. As both poet and scholar, ife unsettles the history and idea of black fugitivity, troubling senses of historic knowing while moving inside the continuing afterlives of those people who disappeared themselves into rural spaces beyond the reach of slavery. At the same time, they interrogate how writing itself can be a fugitive practice and a means to find a way out of ongoing containment, indebtedness, surveillance, and ecological ruin. Offering a philosophical performance in black study, ife prompts us to consider how we—in our study, in our mutual refusal, in our belatedness, in our habitual assemblage—linger beside the unknown. Duke University Press Scholars of Color First Book Award recipient