Ornamentalism is a vividly evocative account of a vanished era, a major reassessment of Britain and its imperial past, and a trenchant and disturbing analysis of what it means to be a post-imperial nation today.

Bulozi under the Luyana Kings is a study of the Lozi Kingdom in Western Zambia in the pre-colonial period. The study traces the origins of the Luyana and the Lozi people; the founding of the Luyana Central Kingship and the invasion by the Makololo in the mid-nineteenth century; and ends with the study of the Lozi response to European intrusion at the end of the nineteenth and early twentieth centuries. Bulozi under the Luyana Kings was first published in 1973 by Longman, London. After wide consultations at home and abroad, the book is now republished in its original form.

Bulozi under the Luyana Kings is a study of the Lozi Kingdom in Western Zambia in the pre-colonial period. The study traces the origins of the Luyana and the Lozi people; the founding of the Luyana Central Kingship and the invasion by the Makololo in the mid-nineteenth century; and ends with the study of the Lozi response to European intrusion at the end of the nineteenth and early twentieth centuries. Bulozi under the Luyana Kings was first published in 1973 by Longman, London. After wide consultations at home and abroad, the book is now republished in its original form.

“Compelling case studies demonstrate how African workshops have long mediated collective expression and individual imagination.” —Allen F. Roberts, University of California, Los Angeles The role of the workshop in the creation of African art is the subject of this revelatory book. In the group setting of the workshop, innovation and imitation collide, artists share ideas and techniques, and creative expression flourishes. African Art and Agency in the Workshop examines the variety of workshops, from those which are politically driven or tourist oriented, to those based on historical patronage or allied to current artistic trends. Fifteen lively essays explore the impact of the workshop on the production of artists such as Zimbabwean stone sculptors, master potters from Cameroon, wood carvers from Nigeria, and others from across the continent. Contributions by Nicolas Argenti, Jessica Gershultz, Norma Wolff, Christine Scherer, Silvia Forni, Elizabeth Morton, Alexander Bortolot, Brenda Schmahmann, Chika Okeke-Agulu, Karen E. Milbourne and Namubiru Rose Kirumira “A closer examination of the workshop provides important insights into art histories and cultural politics. We may think we know what we mean when we use the term ‘workshop,’ but in fact the organization of groups of artists takes on vastly different forms and encourages the production of diverse styles of art within larger social structures and power dynamics.” —Victoria Rovine, University of Florida “Taken as a whole, the case studies provide a wide window into the very diverse structural and functional characteristics of workshops. They also clearly describe how African workshops have served both contemporary political and cultural needs and have responded to patronage, whether it be traditional or stimulated by tourism.” —African Studies Review