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As a young man in the 1960's David Lyons joined the Peace Corps and went to an assignment in Niger, Africa. While there he fell in love with a beautiful African girl, who became pregnant with his child. Within days of his leaving Africa David panicked and left Africa without his girlfriend in tow. Years later, he deciedes he must go back and see if he can make amends for his irresponsibility.
PROJECT GBA&C recognizes and celebrates the accomplishments of world's renowned artists who have made, and are making, significant contributions in the field of art, producing powerful imagery that continues to captivate, educate, inspire and heal humanity. Engaging art with books " ART EXHIBIT " is one such initiative showcasing the best moments captured by artists across the globe, encapsulating the sheer joy of subtle self-expression behind every art. Editors Panel - PROJECT GBA&C
Once hailed as a radical breakthrough in documentary and ethnographic filmmaking, observational cinema has been criticized for a supposedly detached camera that objectifies and dehumanizes the subjects of its gaze. The author's provide a critical historyand in-depth appraisal of this movement.
Aerial Imagination in Cuba is a visual, ethnographic, sensorial, and poetic engagement with how Cubans imagine the sky as a medium that allows things to circulate. What do wi-fi antennas, cactuses, pigeons, lottery, and congas have in common? This book offers a series of illustrated ethno-fictional stories to explore various practices and beliefs that have seemingly nothing in common. But if you look at the sky, there is more than meets the eye. By discussing the natural, religious, and human-made visible and invisible aerial infrastructures—or systems of circulation—through short illustrated vignettes, Aerial Imagination in Cuba offers a highly creative way to explore the aerial space in Santiago de Cuba today.
Paul Stoller has been writing a popular blog for the Huffington Post since 2011. Blogging, says Stoller, allows him to bring an anthropological perspective to contemporary debates, but it also makes him a better writer: snappier, more concise, and more focused on the connection he wants to make with readers. In this collection of selected blog posts, Stoller models good writing while sharing his insights on politics (including the emergence of "Trumpism" and the impact of ignorance on US political practices), higher education, social science, media, and well-being. In the process, he discusses the changing nature of scholarly communication and the academy’s need for greater public engagement.
Yaya’s Story is a book about Yaya Harouna, a Songhay trader originally from Niger who found a path to America. It is also a book about Paul Stoller—its author—an American anthropologist who found his own path to Africa. Separated by ethnicity, language, profession, and culture, these two men’s lives couldn’t be more different. But when they were both threatened by a grave illness—cancer—those differences evaporated, and the two were brought to profound existential convergence, a deep camaraderie in the face of the most harrowing of circumstances. Yaya’s Story is that story. Harouna and Stoller would meet in Harlem, at a bustling African market where Harouna built a life as an African art trader and Stoller was conducting research. Moving from Belayara in Niger to Silver Spring, Maryland, and from the Peace Corps to fieldwork to New York, Stoller recounts their separate lives and how the threat posed by cancer brought them a new, profound, and shared sense of meaning. Combining memoir, ethnography, and philosophy through a series of interconnected narratives, he tells a story of remarkable friendship and the quest for well-being. It’s a story of difference and unity, of illness and health, a lyrical reflection on human resiliency and the shoulders we lean on.
Autobiographical writings have been a major cultural genre from antiquity to the present time. General questions of the literary as, e.g., the relation between literature and reality, truth and fiction, the dependency of author, narrator, and figure, or issues of individual and cultural styles etc., can be studied preeminently in the autobiographical genre. Yet, the tradition of life-writing has, in the course of literary history, developed manifold types and forms. Especially in the globalized age, where the media and other technological / cultural factors contribute to a rapid transformation of lifestyles, autobiographical writing has maintained, even enhanced, its popularity and importance. By conceiving autobiography in a wide sense that includes memoirs, diaries, self-portraits and autofiction as well as media transformations of the genre, this three-volume handbook offers a comprehensive survey of theoretical approaches, systematic aspects, and historical developments in an international and interdisciplinary perspective. While autobiography is usually considered to be a European tradition, special emphasis is placed on the modes of self-representation in non-Western cultures and on inter- and transcultural perspectives of the genre. The individual contributions are closely interconnected by a system of cross-references. The handbook addresses scholars of cultural and literary studies, students as well as non-academic readers.
This book emerges from the author's 35 years of research and thought about the Songhay people of Niger. This ethnographic novel follows the life of Omar Dia, the oldest son of a West African sorcerer. When his father falls ill and dies, the great sorcerer vomits a small metal chain onto his chest. Following the path of his ancestors, Omar swallows the chain, becoming his father's successor, which means that he takes on the sorcerer's burden. The book also describes how custodians of traditional knowledge are creatively adapting to the forces of globalization—all in a highly accessible narrative text.
What does a move from a village in the West African rain forest to a West African community in a European city entail? What about a shift from a Greek sheep-herding community to working with evictees and housing activists in Rome and Bangkok? In The Restless Anthropologist, Alma Gottlieb brings together eight eminent scholars to recount the riveting personal and intellectual dynamics of uprooting one’s life—and decades of work—to embrace a new fieldsite. Addressing questions of life-course, research methods, institutional support, professional networks, ethnographic models, and disciplinary paradigm shifts, the contributing writers of The Restless Anthropologist discuss the ways their earlier and later projects compare on both scholarly and personal levels, describing the circumstances of their choices and the motivations that have emboldened them to proceed, to become novices all over again. In doing so, they question some of the central expectations of their discipline, reimagining the space of the anthropological fieldsite at the heart of their scholarly lives.