Nike Davies is one of the few African women known internationally in contemporary art circles. The Woman with the Artistic Brush traces her life history and illustrates the strategies developed by women to mitigate male rule. Presenting a critique of the woman's place in contemporary Yoruba society from the perspective of a woman who lived it, this book covers Nike's life from the time of her mother's death when Nike was six to the culmination of her dream in the creation, against severe societal odds, of a center for arts and culture that has over 120 members. Along the way, The Woman with the Artistic Brush details how Nike ran away from home and joined a traveling theater group after her father tried to arrange her marriage, subsequently married and joined in the polygynous household of a noted artist from the popular Osogbo school, and finally broke clear of that situation after suffering sixteen years of domestic violence. The Woman with the Artistic Brush is another superb contribution to the Foremother Legacies series.

Everywhere in the world there is a close connection between the clothes we wear and our political expression. To date, few scholars have explored what clothing means in 20th-century Africa and the diaspora. In Fashioning Africa, an international group of anthropologists, historians, and art historians bring rich and diverse perspectives to this fascinating topic. From clothing as an expression of freedom in early colonial Zanzibar to Somali women's headcovering in inner-city Minneapolis, these essays explore the power of dress in African and pan-African settings. Nationalist and diasporic identities, as well as their histories and politics, are examined at the level of what is put on the body every day. Readers interested in fashion history, material and expressive cultures, understandings of nation-state styles, and expressions of a distinctive African modernity will be engaged by this interdisciplinary and broadly appealing volume. Contributors are Heather Marie Akou, Jean Allman, A. Boatema Boateng, Judith Byfield, Laura Fair, Karen Tranberg Hansen, Margaret Jean Hay, Andrew M. Ivaska, Phyllis M. Martin, Marissa Moorman, Elisha P. Renne, and Victoria L. Rovine.

In a world where every person is exposed daily through the mass media to images of violence and suffering, as most dramatically exemplified in recent years by the ongoing tragedy in Darfur, the question naturally arises: What responsibilities do we, as bystanders to such social injustice, bear in holding accountable those who have created the conditions for this suffering? And what is our own complicity in the continuance of such violence&—indeed, how do we contribute to and benefit from it? How is our responsibility as individuals connected to our collective responsibility as members of a society? Such questions underlie Stephen Esquith&’s investigation in this book. For Esquith, being responsible means holding ourselves accountable as a people for the institutions we have built or tolerated and the choices we have made individually and collectively within these institutional constraints. It is thus more than just acknowledgment; it involves settling accounts as well as recognizing our own complicity even as bystanders.

The fascinating story of a friendship, a lost tradition, and an incredible discovery, revealing how enslaved men and women made encoded quilts and then used them to navigate their escape on the Underground Railroad. In Hidden in Plain View, historian Jacqueline Tobin and scholar Raymond Dobard offer the first proof that certain quilt patterns, including a prominent one called the Charleston Code, were, in fact, essential tools for escape along the Underground Railroad. In 1993, historian Jacqueline Tobin met African American quilter Ozella Williams amid piles of beautiful handmade quilts in the Old Market Building of Charleston, South Carolina. With the admonition to "write this down," Williams began to describe how slaves made coded quilts and used them to navigate their escape on the Underground Railroad. But just as quickly as she started, Williams stopped, informing Tobin that she would learn the rest when she was "ready." During the three years it took for Williams's narrative to unfold—and as the friendship and trust between the two women grew—Tobin enlisted Raymond Dobard, Ph.D., an art history professor and well-known African American quilter, to help unravel the mystery. Part adventure and part history, Hidden in Plain View traces the origin of the Charleston Code from Africa to the Carolinas, from the low-country island Gullah peoples to free blacks living in the cities of the North, and shows how three people from completely different backgrounds pieced together one amazing American story. With a new afterword. Illlustrations and photographs throughout, including a full-color photo insert.

Global tourism is perhaps the largest scale movement of goods, services, and people in history. Consequently, it is a significant catalyst for economic development and sociopolitical change. While tourism increasingly accounts for ever greater segments of national economies, the consequences of this growth for intercultural interaction are diverse and uncertain. The proliferation of tourists also challenges classic theoretical descriptions of just what an economy is. What are the commodities being consumed? What is the division of labor between producers and clients in creating the value of tourist exchanges? How do culture, power, and history shape these interactions? What are the prospects for sustainable tourism? How is cultural heritage being shaped by tourists around the world? These critical questions inspired this volume in which the contributors explore the connections among economy, sustainability, heritage, and identity that tourism and related processes makes explicit. The volume moves beyond the limits of place-specific discussions, case studies, and best practice examples. Accordingly, it is organized according to three overarching themes: exploring dimensions of cultural heritage, the multi-faceted impacts of tourism on both hosts and guests, and the nature of touristic encounters. Based on ethnographic and archaeological research conducted in distinct locations, the contributors’ conclusions and theoretical arguments reach far beyond the limits of isolated case studies. Together, they contribute to a new synthesis for the anthropology of tourism while simultaneously demonstrating how emerging theories of the economics of tourism can lead to the rethinking of traditionally non-touristic enterprises—from farming to medical occupations.