This book showcases images of Ocean Beings in Africa, specifically southern and East Africa. It reflects Africa’s coastal intangible cultural heritage, that is, the ritual practices, beliefs and symbolism of humans engaged with the ocean – as well as Africa’s coastal tangible cultural heritage (artifacts, monuments and varied forms of material culture). In sum, the ocean is our collective heritage. It has much to contribute to our understanding of balanced ecosystems, values and practices. And, as this project unfolds, it is likely to reveal new intellectual and cultural paradigms for a sustainable and equitable ocean domain.
This book showcases images of Ocean Beings in Africa, specifically southern and East Africa. It reflects Africa’s coastal intangible cultural heritage, that is, the ritual practices, beliefs and symbolism of humans engaged with the ocean – as well as Africa’s coastal tangible cultural heritage (artifacts, monuments and varied forms of material culture). In sum, the ocean is our collective heritage. It has much to contribute to our understanding of balanced ecosystems, values and practices. And, as this project unfolds, it is likely to reveal new intellectual and cultural paradigms for a sustainable and equitable ocean domain.
During the early seventeenth century, Kisama emerged in West Central Africa (present-day Angola) as communities and an identity for those fleeing expanding states and the violence of the trans-Atlantic slave trade. The fugitives mounted effective resistance to European colonialism despite—or because of—the absence of centralized authority or a common language. In Fugitive Modernities Jessica A. Krug offers a continent- and century-spanning narrative exploring Kisama's intellectual, political, and social histories. Those who became Kisama forged a transnational reputation for resistance, and by refusing to organize their society around warrior identities, they created viable social and political lives beyond the bounds of states and the ruthless market economy of slavery. Krug follows the idea of Kisama to the Americas, where fugitives in the New Kingdom of Grenada (present-day Colombia) and Brazil used it as a means of articulating politics in fugitive slave communities. By tracing the movement of African ideas, rather than African bodies, Krug models new methods for grappling with politics and the past, while showing how the history of Kisama and its legacy as a global symbol of resistance that has evaded state capture offers essential lessons for those working to build new and just societies.
At first glance, Jessica Ingram's landscape photographs could have been made nearly anywhere in the American South: a fenced-in backyard, a dirt road lined by overgrowth, a field grooved with muddy tire prints. These seemingly ordinary places, however, were the sites of pivotal events during the civil rights era, though often there is not a plaque with dates and names to mark their importance. Many of these places are where the bodies of activists, mill workers, store owners, sharecroppers, children and teenagers were murdered or found, victims of racist violence. Images of these places are interspersed with oral histories from victims' families and investigative journalists, as well as pages from newspapers and FBI files and other ephemera. With Road Through Midnight, the result of nearly a decade of research and fieldwork, Ingram unlocks powerful and complex histories to reframe these commonplace landscapes as sites of both remembrance and resistance and transforms the way we regard both what has happened and what's happening now—as the fight for civil rights goes on and memorialization has become the literal subject of contested cultural and societal ground.
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