Gives an ethnographic account of the complexities of the use of photography in Africa, both historically and in contemporary practice. This collection of studies in African photography examines, through a series of empirically rich historical and ethnographic cases, the variety of ways in which photographs are produced, circulated, and engaged across a range of social contexts. In so doing, it elucidates the distinctive characteristics of African photographic practices and cultures, vis-a-vis those of other forms of 'vernacular photography' worldwide. In addition, these studies develop areflexive turn, examining the history of academic engagement with these African photographic cultures, and reflecting on the distinctive qualities of the ethnographic method as a means for studying such phenomena. The volumecritically engages current debates in African photography and visual anthropology. First, it extends our understanding of the variety of ways in which both colonial and post-colonial states in Africa have used photography as a means for establishing, and projecting, their authority. Second, it moves discussion of African photography away from an exclusive focus on the role of the 'the studio' and looks at the circulations through which the studios' products - the photographs themselves - later pass as artefacts of material culture. Last, it makes an important contribution to our understanding of the relationship between photography and ethnographic research methods, as these have been employed in Africa. Richard Vokes is Senior Lecturer in Anthropology at the University of Canterbury, New Zealand, and author of Ghosts of Kanungu

Gives an ethnographic account of the complexities of the use of photography in Africa, both historically and in contemporary practice. This collection of studies in African photography examines, through a series of empirically rich historical and ethnographic cases, the variety of ways in which photographs are produced, circulated, and engaged across a range of social contexts. In so doing, it elucidates the distinctive characteristics of African photographic practices and cultures, vis-a-vis those of other forms of 'vernacular photography' worldwide. In addition, these studies develop areflexive turn, examining the history of academic engagement with these African photographic cultures, and reflecting on the distinctive qualities of the ethnographic method as a means for studying such phenomena. The volumecritically engages current debates in African photography and visual anthropology. First, it extends our understanding of the variety of ways in which both colonial and post-colonial states in Africa have used photography as a means for establishing, and projecting, their authority. Second, it moves discussion of African photography away from an exclusive focus on the role of the 'the studio' and looks at the circulations through which the studios' products - the photographs themselves - later pass as artefacts of material culture. Last, it makes an important contribution to our understanding of the relationship between photography and ethnographic research methods, as these have been employed in Africa. RICHARD VOKES is Senior Lecturer in Anthropology and Development Studies at the University of Adelaide, Australia, and author of Ghosts of Kanungu

The beaded African tribesman is a powerful image in the western imagination. It is suggestive of life far removed from the financially motivated 'modern' world. The representation of the Kalahari as isolated is a familiar trope, but is one that does not do justice to the connected world of relations that exists there. To be 'connected' to a network is sometimes seen as a condition of modernity, or even 'post-modernity'. While electronic communications and high-speed travel may have made physical distance less of an obstacle to some transactions, the condition of connectedness may be seen as a basic one. Rather than understanding being part of a network as characteristic of any particular time or place, we may explore the different patterns that connections take in varying times and places. This work is an attempt the explore the patterns of connection that emerge around the production of ostrich eggshell beads in the Kalahari. Just as the beads themselves can be strung together in different ways to be visually appealing, so the humans and animals that are necessary for their production can also be related according to varying patterns of connection.

The British Missionary movement, which began in earnest in the early 19th century, was one of the most extraordinary movements of the last two centuries, radically transforming the lives of people in large parts of the globe, including in Europe itself. By exploring a range of artefacts, photographs and archival documents that have survived, or emerged from, these transformations, this volume sheds an oblique light on the histories of British Missionaries in Africa and the Pacific, and the ways in which their work is remembered in different parts of the world today. Short contributions describing the histories of particular items, accompanied by rich visual imagery, showcase the extraordinary l items that were caught up in histories of conversion, and are still controversial for many today. By focusing on the varied forms of missionary heritage, this volume aims to question the often used categories of trophies, relics or curios, and highlight the complexity involved in the missionary encounter. This volume is the result of a research networking project bringing together specialists of missionary collections, i.e. artefacts, photographs or archival documents. These specialists are academics of various disciplines, museum curators and indigenous stakeholders who aim to show to a wide audience what missionary heritage constitutes and how varied it is. The heritage in focus is based in museums, archives, churches and archaeological sites in Britain, the Pacific and Africa. With contributions by Ben Burt of the British Museum, Sagale Buadromo of the Fiji Museum, Ghanaian artist, art historian and curator Atta Kwami, Jack Thompson of the University of Edinburgh, Steven Hooper of the Sainsbury Research Unit, Joshua Bell of the Smithsonian Institute, Samoan artist Greg Semu and many more.