Moving Back into the Future , livre ebook
277
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English
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2024
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277
pages
English
Ebook
2024
Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus
Publié par
Date de parution
28 février 2024
Nombre de lectures
0
EAN13
9789913603102
Langue
English
Poids de l'ouvrage
5 Mo
"This compelling set of essays draws from multiple sources - oral traditions, cultural practices, literature and art - to explore how the past is carried into and shapes the African present. Spanning East and West Africa, it offers essential insights to scholars in several disciplines. It deserves to be widely read." (Rhiannon Stephens, Associate Professor of History, Columbia University).
"This important collection demonstrates the possibilities of rethinking heritage and memory in Africa, not as fixed marketable products but as living parts of contested pasts, presents and futures. The chapters skillfully illuminate how novelists, artists, activists and ordinary people have continuously unsettled, and even subsumed, the categories that were imposed and naturalized in colonial archives. This wonderful multidisciplinary group of scholars show how engagement with the continuities of knowledge over time beyond the academy or the state, remains critical to the possibility of justice." (Edgar C. Taylor, Lecturer in History, Archaeology and Heritage Studies, Makerere University).
"This is a timely response to the calls for both the decolonizing of the syllabus and of African renaissance. I cannot think of any book in the market which has this approach and depth of a variety of articles." (John Blackings Mairi, Professor of Literary Linguistics, University of Juba).
'This book essentially poses the question: Are there lessons to draw from Africa's rich past to steer through the present into the future? It is a riveting effort at reincarnating the rich diversity, accumulated and tested cultural heritage, with in situ logics of existence. Identities, tested philosophies, practices and aesthetics of communities are embedded on every page the reader turns. A timely and relevant book at this juncture when Africa seems to have culturally thrown the baby out with the bathwater." (Godfrey Asiimwe, Associate Professor of Development Studies, Makerere University).
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"This important collection demonstrates the possibilities of rethinking heritage and memory in Africa, not as fixed marketable products but as living parts of contested pasts, presents and futures. The chapters skillfully illuminate how novelists, artists, activists and ordinary people have continuously unsettled, and even subsumed, the categories that were imposed and naturalized in colonial archives. This wonderful multidisciplinary group of scholars show how engagement with the continuities of knowledge over time beyond the academy or the state, remains critical to the possibility of justice." (Edgar C. Taylor, Lecturer in History, Archaeology and Heritage Studies, Makerere University).
"This is a timely response to the calls for both the decolonizing of the syllabus and of African renaissance. I cannot think of any book in the market which has this approach and depth of a variety of articles." (John Blackings Mairi, Professor of Literary Linguistics, University of Juba).
'This book essentially poses the question: Are there lessons to draw from Africa's rich past to steer through the present into the future? It is a riveting effort at reincarnating the rich diversity, accumulated and tested cultural heritage, with in situ logics of existence. Identities, tested philosophies, practices and aesthetics of communities are embedded on every page the reader turns. A timely and relevant book at this juncture when Africa seems to have culturally thrown the baby out with the bathwater." (Godfrey Asiimwe, Associate Professor of Development Studies, Makerere University).
Publié par
Date de parution
28 février 2024
Nombre de lectures
0
EAN13
9789913603102
Langue
English
Poids de l'ouvrage
5 Mo
MOVING BACK INTO THE FUTURE Critical Recovering of Africa’s Cultural Heritage
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MOVING BACK INTO THE FUTURE
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MOVING BACK INTO THE FUTURE Critical Recovering of Africa’s Cultural Heritage Editor: Dominica Dipio Makerere University Press www.press.mak.ac.ug
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Makerere University Press P.O. Box 7062 Kampala, Uganda
ãDominica Dipio, 2021
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher.
Cover Design: Patrick Sserunjogi Editing and Typesetting: Samuel N. Siminyu
e-ISBN: 978-9913-603-10-2
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Table of Contents
Table of Figures and Images...................................................................................... viiAcknowledgements..................................................................................................... ix
Notes on Contributors................................................................................................. xi
Abbreviations and Acronyms................................................................................... xiv
INTRODUCTIONDominica Dipio..............................................................................xvSection One: Recovering African Heritage through Folklore................................1
Chapter 1 THRIVING ON THE “MARGINS” OF SOCIETY: TORTOISE IN MA’DI FOLKTALEDominica Dipio......................................................................3
Chapter 2 AKAN THEORY OF MIND: TRICKSTER AND THE DIVINE MIDDLE GROUND IN THE AKAN FOLKTALE TRADITION Joseph Brookman Amissah-Arthur.............................................................. 33
Section Two: Recovering African Heritage through Indegenous Knowledge Systems ..................................................................................................... 51
Chapter 3 INDIGENOUS EDUCATION FOR CROP PRODUCTION IN BUGANDA: TRACING LATE NINETEENTH CENTURY AGRICULTURAL PRACTICES INTO THE TWENTY-FIRST CENTURYHarriet Najjemba.................................................................... 53
Chapter 4 NIGHT RUNNING IN THE POSTMODERN CITY: POSSIBILITIES FOR (RE)IMAGINING THE CITYMaureen Amimo...................................... 71
Section Three: Recovering African Heritage through Historical Lenses ...........87
Chapter 5 EXTERNAL RESPONSES TO THE EXPULSION OF “STATELESS” ASIANS FROM UGANDA IN 1972Omon M. Osiki............................. 89
Chapter 6 “THE CUT WAS NOT PROPER”: HYBRIDITY IN MALE CIRCUMCISION AMONG BAGISU OF EASTERN UGANDA Pamela Khanakwa..................................................................................... 107
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MOVING BACK INTO THE FUTURE
Section Four: Recovering the African Environmantal Heritage ........................ 125
Chapter 7 POLICING THE ENVIRONMENT: AN ANALYSIS OF TABOOS AMONG EWES OF TSITO, VOLTA, GHANARichard Awubomu & Evelyn Aku Adjandeh............................................................................... 127
Chapter 8 (RE)CLAIMING THE ECOSYSTEM: AN ECOCINEMATIC READING OF WANJIRU KINYANJUI’S THE BATTLE OF THE SACRED TREE (1995)Jacqueline Ojiambo....................................................................... 145
Section Five: Recovering Africa’s Feminist Heritage ......................................... 165
Chapter 9 REDEFINING AFRICAN FEMINISM: A DECONSTRUCTIVE READING OF SEFI ATTA’S SWALLOWYunusy Castory Ng’umbi.. 167
Chapter 10 RE-CENTERING WOMEN’S HISTORICAL ROLE IN GENDER EQUALITY ACTIVISM: A CASE OF “MALE CHAMPIONS” IN UGANDAN PARLIAMENTAmon Ashaba Mwiine..........1....58...............
Section Six: Recovering Africa’s Fine Art Heritage ............................................ 203
Chapter 11 BEADS AESTHETICS IN UGANDA: THE DIALOGUE BETWEEN THE PAST AND THE PRESENT TO IMAGINE THE FUTURE Dorah Kasozi............................................................................................ 205
Chapter 12 HAUTE COUTURE VISUAL AESTHETIC: TRADITIONS REPRESENTING SOCIAL SUSTAINABILITYSarah Nakisanze....... 229
Index
................................................................................................................. 250
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Figure 12.2: Barkcloth fabric in Natural Terracotta brown
Figure 11.1: Cowrie shells displayed at the Uganda Museum
Figure 11.2: Ganda King’s beaded attire showcased at the Uganda Museum
Figure 11.8: Sanaa Gateja (2015), “Untitled”, mixed media
Figure 11.6: Kabaka Ronald Muwenda Mutebi II of Buganda on the th opening of the 27 Buganda Parliament. Inset is the Mujaguzodrum, beautifully decorated with beads to distinguish it from other drums
Figure 12.3: Stella Atal, “Shame on You” 2010: Barkcloth, sisal, cowrie shells, razor blades, cotton yarn and cords; Right: Detail of razor blade stringed cords
Figure 11.9: A woman in Kireka showing a necklace made of paper beads
Figure 11.10: Women and their paper beads products
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Figure 11.4: Yakuze Ivan, “Couples” (2018), mixed media
Figure 11.5: Detail in “Couples”
Figure 11.7: Teddy Nabisenke: Beaded necklace (2018) glass beads and thread and button
Table of Figures and Images
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Figure 12.1: Stella Atal, “The Uganda Martyrs”, 2004, barkcloth, palm leaves, reeds and paper beads
Figure 11.3: Ganda and Soga war fetish showcased at the Uganda Museum
Image 8.5: Closing Image: the community gathers in awe of the tree
Figure 2.1: The Acan Theory of Mind
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Image 8.2: The sacredMugumotree
Image 8.4: Mzee and Mama Njenga share stories from the past
Image 8.3: Camera privileges the landscape
Image 8.1:Opening image – lush, vibrant vegetation
Figure 2.2: The Acan Theory of Mind Elaborated
MOVING BACK INTO THE FUTURE
Figure 12.4: Stella Atal, “My Roots”, 2006: Barkcloth, cowrie shells, paper beads, palm leaf. Right: Chest and facial detail of “My Roots”
Figure 12.5: Senkaaba Samson (2016): Barkcloth Dress Garb
Figure 12.6: José Hendo, “Resonance” (2004/5)
Figure 12.7: José Hendo “Contact Deep” (2014)
Figure 12.8: José Hendo: “Spontaneous” (2014), Silk and barkcloth materials
Figure 12.9: Sanaa Gateja (2000): Barkcloth bead strands, Barkcloth, and Raffia
nd Figure 12.10: Sanaa Gateja, “2 Series Poncho Dress” Detail (2004): Barcloth, Paper beads, Raffia; Right: Collected by the Uganda Museum (2007)
rd Figure 12.11: Sanaa Gateja: “3 Series Poncho, Shawl and Head Gear” (2014): A mixture of barkcloth and paper beads
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Acknowledgements
When the idea of this project started in early 2018, and I invited scholars to write book chapters, I met with an overwhelmingly positive response from scholars in East, South and West Africa. As the journey of turning the idea into a book manuscript proceeded and became intense, a couple of colleagues either dropped off or we dropped them in the process. I, therefore, owe gratitude to the 12 scholars whose chapters are included in this book. I am honoured to name them in order of their appearance in the book: J. B. Amissah-Arthur (University of Ghana, Legon), Harriet Najjemba (Makerere University), Maureen Amimo (Stellenbosch University), Omon M. Osiki (University of Lagos), Pamela Khanakwa (Makerere University), Richard Awubomu (University of Health and Allied Sciences, Ho), Evelyn Aku Adjandeh (University of Cape Coast), Jacqueline Ojiambo (Stellenbosch University), Yunusy Castory Ng’umbi (University of Dar es Salaam), Amon Ashaba Mwiine (Makerere University), Dorah Kasozi (Makerere University), and Sarah Nakisanze (Makerere University). Each of these scholars, coming from different backgrounds, presented varying levels of preparedness in the rigours of scholarly writing. Your tenacity, patience and willingness to revise your articles as required have placed you firmly on the path of scholarship. For some of you, as young scholars, this is your first actual publication. You have every reason to be proud of your achievements. Every article in this collection was reviewed by two blind peer reviewers whose valuable comments helped shape the papers. I am indebted to you. Similarly, I express deep appreciation to the two manuscript assessors, John Blackings Mairi and Godfrey Asiimwe, for their thorough read and insightful comments that gave the final brush and validation. Furthermore, thanks to Bernard Atuhaire, our copyeditor, whose razor-sharp eyes mopped out those sticking errors and typos that can be an embarrassment. I encountered most of the chapter contributors through my affiliation to two research groups – the African Humanities Program (AHP) and Narrative Enquiry for Social Transformation (NEST) – to which I am obliged. The AHP launched me in the rigour of scholarly publishing, which has influenced publishingMoving Back into the Future. My profound appreciation and respect go to Prof. Bhekizizwe Peterson (RIP, June 2021), founder of NEST, who invited me into this research network. I identified three of the authors through this rendezvous. A beacon of the arts and culture scholarship and practice, Prof., your legacy is embedded in this book too! My Thanks to Makerere University Press (MUP) for accepting to publish our book, so it can widely be circulated, first, on the continent and globally.
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