Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Allison Moore examines the tensions between the local and the global in the art photography movement that blossomed in Bamako, Mali, in the 1990s, showing contemporary Malian photography to be a rich example of Western notions of art meeting traditional cultural precepts to forge new artistic forms, practices, and communities."--

Photography --- Art, Malian --- Postcolonialism and the arts --- Photography, Artistic. --- Political aspects --- Glissant, Édouard, --- Philosophy.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In this open access book, Stephen Wooten offers a holistic historical ethnography of cooking and female agency in West Africa, and of the broader cultural and historical significance of women's culinary agency. Drawing on archaeological evidence, historical accounts, and extensive ethnographic research, Stephen Wooten documents and theorizes Malian women's culinary agency. He finds that their cooking not only transforms raw ingredients into cooked fare, providing essential physical nourishment, but also helps foster fundamental values, facilitate elemental family and community dynamics, and reproduce gender identities and relations. These findings shed light on the cultural productivity of cooking within a specific African context and foster a deeper appreciation for the significance of culinary dynamics more broadly. The study makes important contributions to the fields of African studies, anthropology, and "everyday studies". The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Bloomsbury Open Collections Library Collective.

Cooking, Malian --- Ethnology --- Mandingo (African people) --- Food & society --- Gender studies: women --- Mali

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Tommo So is a Dogon language with approximately 60,000 speakers in Mali, West Africa. As only the second full grammatical description of a Dogon language, this volume is a critical resource for solving the mystery of Dogon's genetic affiliation with other languages in Africa. Tommo So is an SOV language with isolating nominal morphology and agglutinative verbal morphology; suffixes on the verb mark tense/aspect/negation as well as subject agreement. The phonology is sensitive to levels of verbal morphology in that variable vowel harmony applies less frequently as one moves to outer layers of the morphology. The tone system of Tommo So is of typological interest in both its phonological and syntactic instantiations. Phonologically, it is a two-tone system of H and L, but these specified tones contrast with a surface-underspecified tone. Grammatically, the lexical tone of a word is often overwritten by syntactically-induced overlays. For example, an inalienable noun's tone will be replaced with L if it is possessed by a non-pronominal possessor, and by either H or HL if the possessor is pronominal. The language has also innovated a series of locative quasi-verbs and focus particles sensitive to pragmatic factors like certainty.

Dogon language --- Dogo language --- Dogom language --- Habe language --- Tombo language --- Gur languages --- Grammar. --- Phonology. --- Grammar --- Phonology --- African languages --- Dogon. --- Linguistic Typology. --- Malian Languages. --- Text Linguistics. --- Tone Language.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"In EMBODYING RELATION Allison Moore reads the development of art photography in the 1990s in Mali through the work of Caribbean philosopher Edouard Glissant. Moore engages with Glissant's concept of relation in order to emphasize the ways in which Malian art photography is concerned primarily with making affective connections with viewers, rather than with contesting colonial histories, as has been the case elsewhere. Moore documents an art movement based in Bamako that has used photography as an expressive project, inviting expansive interpretations from viewers (rather than a documentary medium, as was more common during the era of studio photography). The robust photographic archive that accompanies her analysis demonstrates this transition from studio portraits to a portraiture aesthetic that engages the viewer in the simultaneous immediacy and opacity that Moore uses to introduce the reader to a Malian aesthetic. While Bamako has long been recognized as the center of African a rt photography, the city's capacity to support the growth of the movement is due in large part to the coordination of French patronage, most clearly exemplified by the funding of the Bamako Biennale since 1994. Through combined analysis of the developing aesthetics and institutionalization of the movement, Moore details how Malian photographers established both the market and the taste for photography with a vintage aesthetic in the 1990s. By using Glissant's concept of relation to understand the connections between Bamakois photographers and their global patrons, Moore is able to account for both the photographers' unique aesthetics as well as for the postcolonial acts of mediation they perform. The book's six chapters trace provide a detailed history of Bamakois aesthetics and institutions. Moore first analyzes the political context of the development of the art photography movement following French colonization of Mali and on the heels of its democratization in the 1990s (chapter 1 . Subsequent chapters emphasize the importance of French influence and funding on the Bamako Biennale (chapter 3) as well as on Malian "national" institutions such as the National Museum (chapter 5). In so doing, she emphasizes the inherent global and postcolonial nature of the Bamakois art world, and how the photographers whose work she analyzes must navigate these varying institutional and social locations. Moore also considers the rise in prominence of five female photographers, whose careers were facilitated by the Biennale (chapter 6). Chapter 4 turns to Glissant's concept of the archipelago to rethink what Bourdieu might have called the social field of the Bamakois art world as instead an archipelago of institutions borne of different influences and funding structures, yet all interacting within the Biennale-a creolization of Malian and European institutions. This book will be of interest to readers in African studies, art history, art criticism and theory, cultural studies, and museum studies, as well as readers in postcolonial theory and globalization"--

Photography --- Art, Malian --- Postcolonialism and the arts --- Photography, Artistic --- #SBIB:39A5 --- #SBIB:39A8 --- #SBIB:39A73 --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- Arts and postcolonialism --- Arts --- Malian art --- Political aspects --- Kunst, habitat, materiële cultuur en ontspanning --- Antropologie: linguïstiek, audiovisuele cultuur, antropologie van media en representatie --- Etnografie: Afrika --- Aesthetics --- Glissant, Édouard, --- Philosophy. --- Photography, Artistic. --- Social aspects --- Glissant, Édouard,