Based on a four-year longitudinal study of urban adaptation in Lusaka, Zambia, this book offers both a theoretical analysis and a case study of African urbanization as a social process. The author's unique approach to this topic lies in her exploration of city-life adjustment through the subjective perception of the new urbanites themselves. The book contains the original interview material and numerous photos of the extensive fieldwork.

This volume is an important and original collection of firsthand field reports and essays on contemporary African cults and churches. Using comprehensive ethnographic information, this volume focuses on the importance of religion as an agent and symbol of social change in emerging African nations, and the changing roles of gender in African society.

Based on research in two African communities, this volume presents a new methodology for examining visual media--one that suggests a phenomenology of filmmaking and an ethnography of mediated communication. Comprehensively developed and discusses, this methodology can be used for analysis of any informant-made visual communication.

Tourist art may be a billion dollar business. Nevertheless, such art is despised. What is worse, the "bad" culture is seen as driving out the "good. " Commer cialization is assumed to destroy traditional arts and crafts, replacing them with junk. The process is seen as demeaning to artists in the traditional societies, who are seduced into a type of whoredom: unfeeling production of false beauty for money. The arts remain problematic for the social sciences. Sociology textbooks treat the arts as subordinate reflections of social forces, norms, or groups. An thropology textbooks conventionally isolate the arts in a separate chapter, failing to integrate them with analyses of kinship, economics, politics, language, or biology. Textbooks reflect the guiding theories, which emphasize such factors as modes of production, patterns of thought, or biological and normative con straints, but their authors have not adequately formulated the aesthetic dimen sion. One may compare the theoretical status of the arts to that of religion. After the contributions by Emile Durkheim and Max Weber, the sociology of religion is well established, but where is a Durkheim or Weber for the sociology of art? What is true of the social sciences in general holds for understanding of modernization in the Third World. These processes and those places are analyzed economically, politically, and socially, but the aesthetic dimension is treated in isolation, if at all, and is poorly grasped in relation to the other forces."

""This is one of the best books to have emerged from South African musicology in the last decadeIt opens up a new level of discourse about music during the apartheid era: a level on which the theoretical, the ethical, the historical and the aesthetic play against each other in newly meaningful ways.""
--Roger Parker, Cambridge University (UK)

""Composing Apartheid endeavors to trace the relationships between names, concepts and realities as they variously interacted, and continue to interact, on the musical landscape, and it does so as historically and socially responsible scholarship.""
--Grant Olwage, from the Introduction

"Composing Apartheid" is the first book ever to chart the musical world of a notorious period in world history, apartheid South Africa. It explores how music was produced through, and was productive of, key features of apartheid's social and political topography. The collection of essays is intentionally broad, and, the contributors include historians, sociologists, and anthropologists, as well as ethnomusicologists, music theorists, and historical musicologists.

The essays focus on a variety of music (jazz, music in the Western art tradition, popular music), major composers (such as Kevin Volans) and works (Handel's "Messiah"). Musical institutions and previously little-researched performers (such as the African National Congress's troupe-in-exile Amandla) are explored. The writers move well beyond their subject matter, intervening in debates on race, historiography, and postcolonial epistemologies and pedagogies.

This book includes contributions by Lara Allen, University of the Witwatersrand, Johannesburg; Gary Baines, Rhodes University (South Africa); Ingrid Byerly, Duke University; Christopher Cockburn, University of KwaZulu-Natal; David Coplan, University of the Witwatersrand, Johannesburg (South Africa); Michael Drewett, Rhodes University; Shirli Gilbert, University of Southampton; Bennetta Jules-Rosette, University of California, San Diego; Christine Lucia, University of the Witwatersrand, Johannesburg; Carol A. Muller, University of Pennsylvania; Stephanus Muller, University of Stellenbosch (South Africa); Brett Pyper, New York University; and Martin Scherzinger, Princeton University.

"Grant Olwage" is a senior lecturer at the School of Arts at the University of the Witwatersrand, Johannesburg.

Once seen as a collection of artifacts and ritual objects, African art now commands respect from museums and collectors. Bennetta Jules-Rosette and J.R. Osborn explore the reframing of African art through case studies of museums and galleries in the United States, Europe, and Africa. The authors take a three-pronged approach. Part One ranges from curiosity cabinets to virtual websites to offer a history of ethnographic and art museums and look at their organization and methods of reaching out to the public. In the second part, the authors examine museums as ecosystems and communities within communities, and they use semiotic methods to analyze images, signs, and symbols drawn from the experiences of curators and artists. The third part introduces innovative strategies for displaying, disseminating, and reclaiming African art. The authors also propose how to reinterpret the art inside and outside the museum and show ways of remixing the results. Drawing on extensive conversations with curators, collectors, and artists, African Art Reframed is an essential guide to building new exchanges and connections in the dynamic worlds of African and global art.

Josephine Baker (1906-1975) was a dancer, singer, actress, author, politician, militant, and philanthropist, whose images and cultural legacy have survived beyond the hundredth anniversary of her birth. Neither an exercise in postmodern deconstruction nor simple biography, Josephine Baker in Art and Life presents a critical cultural study of the life and art of the Franco-American performer whose appearances as the savage dancer Fatou shocked the world. Although the study remains firmly anchored in Josephine Baker's life and times, presenting and challenging carefully researched biographical facts, it also offers in-depth analyses of the images that she constructed and advanced. Bennetta Jules-Rosette explores Baker's far-ranging and dynamic career from a sociological and cultural perspective, using the tools of sociosemiotics to excavate the narratives, images, and representations that trace the story of her life and fit together as a cultural production.

Once seen as a collection of artifacts and ritual objects, African art now commands respect from museums and collectors. Bennetta Jules-Rosette and J.R. Osborn explore the reframing of African art through case studies of museums and galleries in the United States, Europe, and Africa. The authors take a three-pronged approach. Part One ranges from curiosity cabinets to virtual websites to offer a history of ethnographic and art museums and look at their organization and methods of reaching out to the public. In the second part, the authors examine museums as ecosystems and communities within communities, and they use semiotic methods to analyze images, signs, and symbols drawn from the experiences of curators and artists. The third part introduces innovative strategies for displaying, disseminating, and reclaiming African art. The authors also propose how to reinterpret the art inside and outside the museum and show ways of remixing the results. Drawing on extensive conversations with curators, collectors, and artists, African Art Reframed is an essential guide to building new exchanges and connections in the dynamic worlds of African and global art.

Black Paris documents the struggles and successes of three generations of African writers as they strive to establish their artistic, literary, and cultural identities in France. Based on long-term ethnographic, archival, and historical research, the work is enriched by interviews with many writers of the new generation.

Bennetta Jules-Rosette explores African writing and identity in France from the early negritude movement and the founding of the Presence Africaine publishing house in 1947 to the mid-1990s. Examining the relationship between African writing and French anthropology as well as the emergence of new styles and discourses, Jules-Rosette covers French Pan-Africanism and the revolutionary writing of the 1960s and 1970s. She also discusses the new generation of African writers who appeared in Paris during the 1980s and 1990s.