In Senegal, portraiture serves as a vital index and creator of social connection. People sit for and display portraits, keep albums, and view illustrated magazines together. Through these portraiture practices, Senegalese have fashioned idealized images to mend fraught and fragmented lives in the context of decades of migration. The Future Is in Your Hands provides an expansive frame for photography to highlight the role of affect in portraiture practices. Moving from the colonial to the newly independent Senegal, Beth Buggenhagen combines museum, ethnographic, and archival research on photography's past with lens-based artists who address themes of separation, visibility, rupture, and repatriation through portraiture. Buggenhagen, in collaboration with Senegalese photographers, explores how photographs, as visual and material objects, migrate themselves and, like the bodies they represent, create a record not only of lived experiences but also of the cycle of migration for this labor-exporting country. By complicating the history of portraiture in Senegal, The Future Is in Your Hands reveals the enduring power of images and the efforts under way to keep this art form safely in Senegalese hands.

Creating African Fashion Histories examines the stark disjuncture between African self-fashioning and museum practices. Conventionally, African clothing, textiles, and body adornments were classified by museums as examples of trade goods, art, and ethnographic materials-never as "fashion." Counterposing the dynamism of African fashion with museums' historic holdings thus provides a unique way of confronting ways in which coloniality persists in knowledge and institutions today. This volume brings together an interdisciplinary group of scholars and curators to debate sources and approaches for constructing African fashion histories and to examine their potential for decolonizing museums, fashion studies, and global cultural history. The editors of this volume seek to answer questions such as: How can researchers use museum collections to reveal traces of past self-fashioning that are obscured by racialized forms of knowledge and institutional practice? How can archival, visual, oral, ethnographic, and online sources be deployed to capture the diversity of African sartorial pasts? How can scholars and curators decolonize the Eurocentric frames of thinking encapsulated in historic collections and current curricula? Can new collections of African fashion decolonize museum practice? From Moroccan fashion bloggers to upmarket Lagos designers, the voices in this ground-breaking collection reveal fascinating histories and geographies of circulation within and beyond the continent and its diasporic communities.

Creating African Fashion Histories examines the stark disjuncture between African self-fashioning and museum practices. Conventionally, African clothing, textiles, and body adornments were classified by museums as examples of trade goods, art, and ethnographic materials—never as "fashion." Counterposing the dynamism of African fashion with museums' historic holdings thus provides a unique way of confronting ways in which coloniality persists in knowledge and institutions today. This volume brings together an interdisciplinary group of scholars and curators to debate sources and approaches for constructing African fashion histories and to examine their potential for decolonizing museums, fashion studies, and global cultural history. The editors of this volume seek to answer questions such as: How can researchers use museum collections to reveal traces of past self-fashioning that are obscured by racialized forms of knowledge and institutional practice? How can archival, visual, oral, ethnographic, and online sources be deployed to capture the diversity of African sartorial pasts? How can scholars and curators decolonize the Eurocentric frames of thinking encapsulated in historic collections and current curricula? Can new collections of African fashion decolonize museum practice? From Moroccan fashion bloggers to upmarket Lagos designers, the voices in this ground-breaking collection reveal fascinating histories and geographies of circulation within and beyond the continent and its diasporic communities.

In Senegal, portraiture serves as a vital index and creator of social connection. People sit for and display portraits, keep albums, and view illustrated magazines together. Through these portraiture practices, Senegalese have fashioned idealized images to mend fraught and fragmented lives in the context of decades of migration. The Future Is in Your Hands provides an expansive frame for photography to highlight the role of affect in portraiture practices. Moving from the colonial to the newly independent Senegal, Beth Buggenhagen combines museum, ethnographic, and archival research on photography's past with lens-based artists who address themes of separation, visibility, rupture, and repatriation through portraiture. Buggenhagen, in collaboration with Senegalese photographers, explores how photographs, as visual and material objects, migrate themselves and, like the bodies they represent, create a record not only of lived experiences but also of the cycle of migration for this labor-exporting country. By complicating the history of portraiture in Senegal, The Future Is in Your Hands reveals the enduring power of images and the efforts under way to keep this art form safely in Senegalese hands.

The description of Africa as a continent in perpetual crisis, ubiquitous in the popular media and in policy and development circles, is at once obvious and obfuscating. This collection by leading ethnographers moves beyond the rhetoric of African crisis to theorize people's everyday practices under volatile conditions not of their own making. From Ghanaian hiplife music to the U.S. 'diversity lottery' in Togo, from politicos in Cote d'Ivoire to squatters in South Africa, the essays in "Hard Work, Hard Times" uncover the imaginative ways in which African subjects make and remake themselves and their worlds, and thus make do, get by, get over, and sometimes thrive. The contributors include: Beth A. Buggenhagen, Stephen Jackson, Anne-Maria Makhulu, Mike McGovern, Charles Piot , Dorothea E. Schulz, and Jesse Weaver Shipley.

Senegalese Murid migrants have circulated cargo and currency through official and unofficial networks in Africa and the world. Muslim Families in Global Senegal focuses on trade and the transmission of enduring social value though cloth, videos of life-cycle rituals, and religious offerings. Highlighting women's participation in these networks and the financial strategies they rely on, Beth Buggenhagen reveals the deep connections between economic profits and ritual and social authority. Buggenhagen discovers that these strategies are not responses to a dispersed community in crisis, but rather produce new roles, wealth, and worth for Senegalese women in all parts of the globe.