The workers who migrate from Lesotho to the mines and cities of neighboring South Africa have developed a rich genre of sung oral poetry—word music—that focuses on the experiences of migrant life. This music provides a culturally reflexive and consciously artistic account of what it is to be a migrant or part of a migrant's life. It reveals the relationship between these Basotho workers and the local and South African powers that be, the "cannibals" who live off of the workers' labor. David Coplan presents a moving collection of material that for the first time reveals the expressive genius of these tenacious but disenfranchised people. Coplan discusses every aspect of the Basotho musical literature, taking into account historical conditions, political dynamics, and social forces as well as the styles, artistry, and occasions of performance. He engages the postmodern challenge to decolonize our representation of the ethnographic subject and demonstrates how performance formulates local knowledge and communicates its shared understandings. Complete with transcriptions of full male and female performances, this book develops a theoretical and methodological framework crucial to anyone seeking to understand the relationship between orality and literacy in the context of performance. This work is an important contribution to South African studies, to ethnomusicology and anthropology, and to performance studies in general.

A fascinating and well-researched look into what we really know about cannibalism.

"Translations of the earliest accounts, from the fifteenth and sixteenth centuries, of the native peoples of the Americas, including Columbus's descriptions of his first voyage. Documents the emergence of a primal anthropology and how Spanish ethnological classifications were integral to colonial discovery, occupation, and conquest"--Provided by publisher.

The workers who migrate from Lesotho to the mines and cities of neighboring South Africa have developed a rich genre of sung oral poetry—word music—that focuses on the experiences of migrant life. This music provides a culturally reflexive and consciously artistic account of what it is to be a migrant or part of a migrant's life. It reveals the relationship between these Basotho workers and the local and South African powers that be, the "cannibals" who live off of the workers' labor. David Coplan presents a moving collection of material that for the first time reveals the expressive genius of these tenacious but disenfranchised people. Coplan discusses every aspect of the Basotho musical literature, taking into account historical conditions, political dynamics, and social forces as well as the styles, artistry, and occasions of performance. He engages the postmodern challenge to decolonize our representation of the ethnographic subject and demonstrates how performance formulates local knowledge and communicates its shared understandings. Complete with transcriptions of full male and female performances, this book develops a theoretical and methodological framework crucial to anyone seeking to understand the relationship between orality and literacy in the context of performance. This work is an important contribution to South African studies, to ethnomusicology and anthropology, and to performance studies in general.

At first, all Lily Austin knows about 19th–century explorer Mary Kingsley is that, 100 years before, she was the first white woman to venture into the heart of Africa. But as Lily begins reading about Mary Kingsley, she becomes more and more fascinated – and discovers in Mary a kindred spirit. In her own life, Lily feels trapped – on the one hand, she craves family and intimate connection; on the other hand, she has no healthy or satisfying role models. Consequently, as she nears graduation from the University of Virginia, she finds herself uncertain about what to do with her life. As she researches Mary's life – she has begun writing a play about her – Lily comes to witness Mary's incredible bravery and startling originality, qualities that prove inspirational to Lily, whose own bravery is required as she attempts to navigate dysfunctional and destructive relationships with her young husband, her extended family – and a legacy of abuse dating back to her childhood.

The cannibal has played a surprisingly important role in the history of thought--perhaps the ultimate symbol of savagery and degradation-- haunting the Western imagination since before the Age of Discovery, when Europeans first encountered genuine cannibals and related horrible stories of shipwrecked travelers eating each other. An Intellectual History of Cannibalism is the first book to systematically examine the role of the cannibal in the arguments of philosophers, from the classical period to modern disputes about such wide-ranging issues as vegetarianism and the right to private property. Catalin Avramescu shows how the cannibal is, before anything else, a theoretical creature, one whose fate sheds light on the decline of theories of natural law, the emergence of modernity, and contemporary notions about good and evil. This provocative history of ideas traces the cannibal's appearance throughout Western thought, first as a creature springing from the menagerie of natural law, later as a diabolical retort to theological dogmas about the resurrection of the body, and finally to present-day social, ethical, and political debates in which the cannibal is viewed through the lens of anthropology or invoked in the service of moral relativism. Ultimately, An Intellectual History of Cannibalism is the story of the birth of modernity and of the philosophies of culture that arose in the wake of the Enlightenment. It is a book that lays bare the darker fears and impulses that course through the Western intellectual tradition.

Mourning the death of loved ones and recovering from their loss are universal human experiences, yet the grieving process is as different between cultures as it is among individuals. As late as the 1960s, the Wari' Indians of the western Amazonian rainforest ate the roasted flesh of their dead as an expression of compassion for the deceased and for his or her close relatives. By removing and transforming the corpse, which embodied ties between the living and the dead and was a focus of grief for the family of the deceased, Wari' death rites helped the bereaved kin accept their loss and go on with their lives. Drawing on the recollections of Wari' elders who participated in consuming the dead, this book presents one of the richest, most authoritative ethnographic accounts of funerary cannibalism ever recorded. Beth Conklin explores Wari' conceptions of person, body, and spirit, as well as indigenous understandings of memory and emotion, to explain why the Wari' felt that corpses must be destroyed and why they preferred cannibalism over cremation. Her findings challenge many commonly held beliefs about cannibalism and show why, in Wari' terms, it was considered the most honorable and compassionate way of treating the dead.