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Winner, James Beard Foundation Book Award, 2016 Art of Eating Prize, 2015 BCALA Outstanding Contribution to Publishing Citation, Black Caucus of the American Library Association, 2016 Women of African descent have contributed to America’s food culture for centuries, but their rich and varied involvement is still overshadowed by the demeaning stereotype of an illiterate “Aunt Jemima” who cooked mostly by natural instinct. To discover the true role of black women in the creation of American, and especially southern, cuisine, Toni Tipton-Martin has spent years amassing one of the world’s largest private collections of cookbooks published by African American authors, looking for evidence of their impact on American food, families, and communities and for ways we might use that knowledge to inspire community wellness of every kind. The Jemima Code presents more than 150 black cookbooks that range from a rare 1827 house servant’s manual, the first book published by an African American in the trade, to modern classics by authors such as Edna Lewis and Vertamae Grosvenor. The books are arranged chronologically and illustrated with photos of their covers; many also display selected interior pages, including recipes. Tipton-Martin provides notes on the authors and their contributions and the significance of each book, while her chapter introductions summarize the cultural history reflected in the books that follow. These cookbooks offer firsthand evidence that African Americans cooked creative masterpieces from meager provisions, educated young chefs, operated food businesses, and nourished the African American community through the long struggle for human rights. The Jemima Code transforms America’s most maligned kitchen servant into an inspirational and powerful model of culinary wisdom and cultural authority.
Whereas most studies of migration focus on movement, this book examines the experience of staying put. It looks at young men living in a Soninke-speaking village in Gambia who, although eager to travel abroad for money and experience, settle as farmers, heads of families, businessmen, civic activists, or, alternatively, as unemployed, demoted youth. Those who stay do so not only because of financial and legal limitations, but also because of pressures to maintain family and social bases in the Gambia valley. ‘Stayers’ thus enable migrants to migrate, while ensuring the activities and values attached to rural life are passed on to the future generations.
Concerned with the history of scholarly production, book markets and trans-Saharan exchanges in Muslim African (primarily western and northern Africa), as well as the creation of manuscript libraries, this book consists of a collection of twelve essays that examine these issues from an interdisciplinary perspective.
In this holistic approach to the study of textiles and their makers, Colleen Kriger charts the role cotton has played in commercial, community, and labor settings in West Africa. By paying close attention to the details of how people made, exchanged, and wore cotton cloth from before industrialization in Europe to the twentieth century, she is able to demonstrate some of the cultural effects of Africa's long involvement in trading contacts with Muslim societies and with Europe. Cloth in West African History thus offers a fresh perspective on the history of the region and on the local, regional, and global processes that shaped it. A variety of readers will find its account and insights into the African past and culture valuable, and will appreciate the connections made between the local concerns of small-scale weavers in African villages, the emergence of an indigenous textile industry, and its integration into international networks.
First published in 1920, this resource was intended as a guide to the history and activities of a variety of commercial enterprises in the British West African colonies. It also reveals the characters and backgrounds of personalities in government, business and the professions.
The Nigerian and West African practice of aso ebi fashion invokes notions of wealth and group dynamics in social gatherings. Okechukwu Nwafor’s volume Aso ebi investigates the practice in the cosmopolitan urban setting of Lagos, and argues that the visual and consumerist hype typical of the late capitalist system feeds this unique fashion practice. The book suggests that dress, fashion, aso ebi, and photography engender a new visual culture that largely reflects the economics of mundane living. Nwafor examines the practice’s societal dilemma, whereby the solidarity of aso ebi is dismissed by many as an ephemeral transaction. A circuitous transaction among photographers, fashion magazine producers, textile merchants, tailors, and individual fashionistas reinvents aso ebi as a product of cosmopolitan urban modernity. The results are a fetishization of various forms of commodity culture, personality cults through mass followership, the negotiation of symbolic power through mass-produced images, exchange value in human relationships through gifts, and a form of exclusion achieved through digital photo editing. Aso ebi has become an essential part of Lagos cosmopolitanism: as a rising form of a unique visual culture it is central to the unprecedented spread of a unique West African fashion style that revels in excessive textile overflow. This extreme dress style is what an individual requires to transcend the lack imposed by the chaos of the postcolonial city.
This introductory book covers West Africa's history, social organization, and contemporary setting. It analyzes the many present-day problems facing West Africans such as the lack of development, dependency on economic relations with wealthy countries, poor governance, interference by the military in civilian affairs, corruption, and the lack of functioning democratic governments. This book also shows how West African indigenous civilization developed its humanitarian, democratic, and communalistic nature. Traditional political processes and ancestral customs are put forth as ways of solving West Africa's modern problems. Divided into three main parts: "The Setting and Social Organization," "The History of West Africa," and "The Modern Era," the main objective of this textbook is to teach students about the depth of African civilization and how its principles can be used to address modern-day problems in West Africa. Mendonsa expresses the opinion that in order to solve current problems plaguing the region, a knowledge of history, African culture, and ancient African beliefs is crucial. The Teacher's Manual includes chapter outlines and summaries, key points, sample questions, and suggested films and websites.