Anthem Africology Series – serie

"Challenging Misrepresentations of Black Womanhood" investigates the typecasting of Black womanhood and the larger sociological impact on Black women’s self-perceptions. It details the historical and contemporary use of stereotypes against Black women and how these women work to challenge and dispel false perceptions. The book highlights the role of racist ideas in the reproduction and promotion of stereotypes of Black femaleness in media, literature, artificial intelligence and the perceptions of the general public. Contributors in this collection identify the racist and sexist ideologies behind the misperceptions of Black womanhood and illuminate twenty-first–century stereotypical treatment of Black women such as Michelle Obama and Serena Williams, and explore topics such as comedic expressions of Black motherhood, representations of Black women in television dramas and literature, and identity reclamation and self-determination. "Challenging Misrepresentations of Black Womanhood" establishes the criteria with which to examine the role of stereotypes in the lives of Black women and, more specifically, its impact on their social and psychological well-being.

One critical priority of the discipline of Africana studies is applied memory, specifically, how the record of the culture’s survival and agency reveals usable and reproducible knowledge and behavior. In terms of how Muhammad Ali, as an historical actor, has left an heroic legacy that bequeaths to us a sort of inheritance, the critical task at hand is to systematically explore this historical actor’s life, feats, philosophy, grit, worldview, and even his folkloric antihero to decipher his Africana cultural memory value. At the core of this edited collection is a commitment to enhance the cultural storytelling about Muhammad Ali and to critically itemize the lessons we garner from his life as allegory. The ancestral life is one that is remembered and recalled. The contributors’ research uncovers Ali’s local, national, and global encounters that are legacy worldviews. These perspectives give us direction for mining the critical depth of Ali’s encounters which map his memory in terms of culturally sustaining confidence, self-esteem, reinvention, immortalization, and empathy. These are the fertile seeds of Africana cultural memory which bloom into powerful markers and monuments of an epic life of hyperheroic activity relevant to cultural memory, sports, history, politics, health, and aesthetics.

Black Configurations is the first volume of a three-volume study that offers a fresh reading of African-American literary history by locating within the literature itself the terms for a revisionary account of black writing, terms pursued along three distinct but interlocking pathways: by charting figurations of tradition among six of the most innovative practitioners of black literary expression from Sterling Brown to Toni Morrison (Volume 1); by following the haunting pathways of spectral dialogues between slavery and African-American modernism (Volume 2); and by interrogating interlocking topoi of critique and assertion (naming; facing; voicing) across the history of African-American literary expression. The critical trilogy thereby presents a narrative of African-American literature as a continual, dialectical process, blending confrontation with traumatic origins and the quest for expressive transformation. This project arises from the question: how does one construe and narrate the story of a tradition for which the conventional structure of literary history is itself politically and thematically charged issue? Across the landscapes cultivated by each of its three volumes, the study confronts this question by developing a mode of critical history adequate to a literature that exerts transformative pressure on the very experience that engenders it, attending both to the material circumstances of its linguistic achievement and the expressive activity by which the black subject emerges.

Black Hauntologies is the second volume of a three-volume study that offers a fresh reading of African-American literary history by locating within the literature itself the terms for a revisionary account of black writing, terms pursued along three distinct but interlocking pathways: by charting figurations of tradition among six of the most innovative practitioners of black literary expression from Sterling Brown to Toni Morrison (Volume 1); by following the haunting pathways of spectral dialogues between slavery and African-American modernism (Volume 2); and by interrogating interlocking topoi of critique and assertion (naming; facing; voicing) across the history of African-American literary expression. The critical trilogy thereby presents a narrative of African-American literature as a continual, dialectical process, blending confrontation with traumatic origins and the quest for expressive transformation. This project arises from the question: how does one construe and narrate the story of a tradition for which the conventional structure of literary history is itself politically and thematically charged issue? Across the landscapes cultivated by each of its three volumes, the study confronts this question by developing a mode of critical history adequate to a literature that exerts transformative pressure on the very experience that engenders it, attending both to the material circumstances of its linguistic achievement and the expressive activity by which the black subject emerges.

Black Refigurations is the third volume of a three-volume study that offers a fresh reading of African-American literary history by locating within the literature itself the terms for a revisionary account of black writing, terms pursued along three distinct but interlocking pathways: by charting figurations of tradition among six of the most innovative practitioners of black literary expression from Sterling Brown to Toni Morrison (Volume 1); by following the haunting pathways of spectral dialogues between slavery and African-American modernism (Volume 2); and by interrogating interlocking topoi of critique and assertion (naming; facing; voicing) across the history of African-American literary expression (Volume 3). The critical trilogy thereby presents a narrative of African-American literature as a continual, dialectical process, blending confrontation with traumatic origins and the quest for expressive transformation. This project arises from the question: how does one construe and narrate the story of a tradition for which the conventional structure of literary history is itself politically and thematically charged issue? Across the landscapes cultivated by each of its three volumes, the study confronts this question by developing a mode of critical history adequate to a literature that exerts transformative pressure on the very experience that engenders it, attending both to the material circumstances of its linguistic achievement and the expressive activity by which the black subject emerges.

The book demonstrates the experiences of Alice Childress, Lorraine Hansberry, and Suzan-Lori Parks in comparison with the dramas of each other and those of other African American women. These women playwrights created a militant theatre and a theatre of experience that applied to both the African American community in general and African and African American women in particular. They have been encompassed within African American woman’s aesthetics that shares the militancy and experiencecharacterized by a triple factor: race, gender, and class.

Offers an ethnographic and lived-account exploration of conflict, belonging, and peacebuilding in Southern Kaduna, showing how colonial legacies, identity politics, and everyday experiences shape intercommunal relations and possibilities for reconciliation among divided communities in contemporary Nigeria.This book explores the complex and contested terrain of conflict and peace in Southern Kaduna, Nigeria, through the voices of community members and the author’s own lived experience. Building on The Crisis of Belonging and Ethnographies of Peacebuilding in Kaduna State, Nigeria (2021), it deliberately centers people’s narratives to illuminate the historical and contemporary dynamics of land, identity, and power among ethnic minority communities and the dominant Fulani and Hausa groups. Through these stories, the book demonstrates how colonial legacies, state policies, and enduring sociopolitical structures have shaped intercommunal relations and intensified struggles over belonging and territorial entitlement. At its core, the book responds to the voices of those most directly affected by conflict, individuals who courageously shared their experiences and called for their stories to be documented and heard beyond their communities. By foregrounding these lived narratives, the work challenges homogenizing and essentialist accounts of violence and victimhood, amplifies marginalized perspectives, and opens space for more grounded conversations about reconciliation, coexistence, and healing in contested spaces. In doing so, it offers an alternative way of understanding peacebuilding rooted not in abstract frameworks but in everyday practices of survival, negotiation, and placemaking. The primary audience for this book includes scholars and specialists of Northern and Middle Belt Nigerian politics, as well as researchers working on farmer and herder relations, intercommunal conflict, and peacebuilding in Nigeria. It offers a rich empirical and ethnographic resource for scholars seeking grounded insights into conflict, belonging, and peace in contemporary Nigeria and postcolonial societies.

The book demonstrates the experiences of Alice Childress, Lorraine Hansberry, and Suzan-Lori Parks in comparison with the dramas of each other and those of other African American women. These women playwrights created a militant theatre and a theatre of experience that applied to both the African American community in general and African and African American women in particular. They have been encompassed within African American woman’s aesthetics that shares the militancy and experiencecharacterized by a triple factor: race, gender, and class.

W. E. B. Du Bois was one of the leading figures of Pan-African thought and activism in the twentieth century. As a sociologist, Du Bois wrote much about the historical and social circumstances of African Americans while often acknowledging the African historical background of much of African American, or Negro, culture. In 1946 Du Bois published The World and Africa, which was a culmination of previous attempts at penning a narrative of African history beginning with his 1915 publication The Negro, in which he included the social-historical experience of African Americans within the continuity of African history. This book delivers for the first time a comprehensive Afrocentric investigation and critique of Du Bois’s writings on African history. It argues that while Du Bois presented at the time a strong critique of the Eurocentric construction of African history, many of Du Bois’s descriptions and arguments about African people and history were likewise flawed with interpretations that projected the cultural subjectivities of Europe. Further, while Du Bois rightfully presents the historical relationship between African Americans and Africa as a justification for Pan-African activism, this book contends that Du Bois’s failure to center African culture instead of race leads to superficial justifications for Pan-African unity.

This book will explore several critical connections between Black African objects and white Western aesthetics and artwork in the United States from the late 1800s until 1939. Drawing from primary source materials and various scholarship in the field (philosophy, history, sociology, anthropology, museum studied, art history, cultural studies), the book provides an analysis of the threads of white supremacy which run through early scholarship and understandings of Black African object within the United States and how scholars use the objects to reinforce narratives of “primitive” Black Africa and civilized, advanced white Europe and the United States.

This book examines the conundrum that has haunted the Black and White ancestry for ages on what supremacy actually means. Is it Black or White supremacy? Granted, the term White supremacy has occupied the sociopolitical, cultural and economic discourse for ages, but what does that really imply? All other ancestries on planet earth have been coerced to believe that conformity to Euro-American lifestyle is the way to become ‘civilized’ on planet earth. But the term civilization owes its genesis to the African cultural and educational achievements in Egypt. Consequently, Black ancestry, the first human species on planet earth, should lead mankind to cultural and epistemological supremacy but that has always been met with skepticism.This book examines this debate, especially between the Black and White ancestry.

Developing Africa? New Horizons with Afrocentricity aims to contest the Eurocentric narrative of an African development discourse. This book deploys the theory of Afrocentricity as an intellectual standpoint from which African thinkers should interrogate and reconceptualize the discourse of development in Africa. Particularly, the book argues in favour of the Afrocentric re-interpretation of African history, African culture and assertion of African agency as the core building wedge in the reconceptualization of the ideal African development trajectory.

The changing nature of African landscapes, from rural to urbanized spaces, has been a pre-occupation of African media producers since the beginnings of the African film industry in the 1960s. The authors bring together several examples of African documentary and fiction screen media that present, evaluate and criticize urban and rural landscapes, and the rural and urban dynamic of development, in relation to contemporary issues, from biodiversity, sustainability and deforestation, to inequity, women’s rights, political instability, to climate change-related themes of water and food supply, security and sovereignty. These works, comprising multi-platform cinema, streamed moving images and especially documentaries, depict the situations and open the door to rethinking and eventually to the possibilities of proposals responding to the situations portrayed.

The current available books and literature that shed light on health policies in many African countries are limited. Transforming Healthcare in Africa: A Comparative Analysis by Professor Robert Dibie examines the key players in the health system game in many African countries. It explores the regulatory regimes that impact the health systems, such as the Ministry of Health. It also provides few case studies of the relationship between the government, the environment, and their citizens. Apart from filling the gap in the healthcare policy in African literature, the authors also seek to examine the impacts of weak health policies and the inability to effectively formulate solid initiatives for capacity building that could lead to enhanced healthcare delivery for all their citizens. Thus, Dibie’s book provides evidence to inform scholarly discussion on the best approaches to strengthen healthcare delivery and public health capacity in many African countries. The book also sought to answer six research questions: (1) How is healthcare delivery perceived by African countries? (2) How are healthcare policies implemented in urban, and rural regions or local governments in African countries? (3) To what extent are current health services delivered to respond to all citizens’ needs in African countries? (4) What is the current capacity for rural or local governments to effectively engage in health service delivery? (5) How can citizens living in rural and urban regions be empowered in the health development delivery system? and (6) Which is the best evidence-based management system adopted to improve affordable healthcare system in many African countries? It also fills the gap in the literature of health systems in Africa.

The Kete dance form, once exclusive to royal courts, carries intricate movements, symbolic gestures, and rhythms that mirror Ghanaian history and values. It embodies storytelling, often depicting tales of bravery, unity, or significant historical events. These dances were traditionally reserved for specific occasions within the royal setting, symbolizing prestige, honor, and tradition.With the passage of time, the transmission of Kete royal dance has transcended its original palace context, finding its way into academic domains. Universities and cultural institutions now extend the legacies of this dance form and even act as custodians of this art form, where scholars, dancers, and enthusiasts collaborate to study, preserve, and teach Kete dance.Through meticulous documentation, research, and practice, the academy endeavors to honor the Kete dance while making it accessible to a broader audience. This transmission from palace to academy serves as a testament to the resilience and adaptability of cultural traditions. It ensures the continuity of Ghanaian heritage and allows future generations, both within and beyond Ghana, to appreciate and learn from this profound dance form from an Afrocentric perspective.

One critical priority of the discipline of Africana studies is applied memory, specifically, how the record of the culture’s survival and agency reveals usable and reproducible knowledge and behavior. In terms of how Muhammad Ali, as an historical actor, has left an heroic legacy that bequeaths to us a sort of inheritance, the critical task at hand is to systematically explore this historical actor’s life, feats, philosophy, grit, worldview, and even his folkloric antihero to decipher his Africana cultural memory value. At the core of this edited collection is a commitment to enhance the cultural storytelling about Muhammad Ali and to critically itemize the lessons we garner from his life as allegory. The ancestral life is one that is remembered and recalled. The contributors’ research uncovers Ali’s local, national, and global encounters that are legacy worldviews. These perspectives give us direction for mining the critical depth of Ali’s encounters which map his memory in terms of culturally sustaining confidence, self-esteem, reinvention, immortalization, and empathy. These are the fertile seeds of Africana cultural memory which bloom into powerful markers and monuments of an epic life of hyperheroic activity relevant to cultural memory, sports, history, politics, health, and aesthetics.

Toyin Falola’s astounding intellectual production must be one of the mysteries in the intellectual world. It has transcended the confined world of historical research into broader horizons that include the role of the public intellectual. The present study would undertake a rigorous analysis of the origins, continuities and discontinuities of this transformation. This means we have to recast the debates regarding who is a public intellectual from a multiplicity of discursive situations and historical and cultural contexts. We have to employ methodological parallels from North Atlantic intellectual traditions. How did the role of the public intellectual emerge in the first place in world intellectual history? Addressing this question would enrich this research endeavour immensely.In interrogating comparative discursive formations, we shall re-evaluate the roles, functions and achievements of continental intellectuals such as Betrand Russell, Jean-Paul Sartre, Andre Malraux, Albert Camus, Michel Foucault, Edward Said, Wole Soyinka and Pierre Bourdieu. Again, this discursive element will give this study a global appeal and range.

This book has examined the way African countries utilise their natural wealth. It has illustrated that weak economic sovereignty accounts for the irony that the most endowed continent on the planet has ended being the most impoverished. It is argued in this book that weak economic sovereignty in Africa has several implications, including the situation where the continent is unable to make the most out of its abundant natural wealth. Weak economic sovereignty on the continent is manifested in the low levels of financial and monetary sovereignty among African countries, but most importantly in low productive capabilities. The conditions of low productive capabilities prevailing on the African continent have created a situation where most African countries are locked into economically debilitating dependencies, including dependence on commodity export, such that they only get a tiny proportion of the value generated from natural resources extracted from their territories. The book has also argued that the persisting weak economic sovereignty on the continent is a clear indication that while African countries attained political sovereignty six decades ago, attaining economic sovereignty has remained an incomplete liberation project that requires a new strategy to accomplish.

Critiques the Eurocentric framing of entrepreneurship in Africa and advocates for embracing Indigenous philosophies and practices to foster inclusive, sustainable socio-economic development.Indigenous entrepreneurship involves the use of Indigenous knowledge systems (IKS) to establish enterprises whose target is not only profit but also socio-economic development of communities, and that differentiates it from mainstream economic activities. Based on this, it is then possible to bring into the conversation the issue of IKS and entrepreneurship in Africa in terms of how the conceptualization and praxis of Indigenous entrepreneurship can be decolonized to unlock and unleash socio-economic development in Africa. For this reason, it matters that Indigenous entrepreneurship does not continue to be subjected to or governed by mainstream economic principles. It should be remembered that before colonial conquest, Indigenous entrepreneurship flourished and led to authentic and inclusive socio-economic development. It was colonialism and settler Eurocentric institutions that subjected Indigenous entrepreneurship to mainstream economic governance regimes leading to its marginalization and in some cases relative demise. Nonetheless, given on one hand the resilience of Indigenous entrepreneurship in terms of surviving the colonial encounter, onslaught, and institutions that should have suffocated and buried it and on the other its potential to spur inclusive socio-economic development, it is now time to revisit and recover it without subjecting it to or seeing it through mainstream economic lenses and the Eurocentric frame. Consequently, this raises three critical but related questions which the book tackles; first, how is entrepreneurship understood and practiced by Indigenous communities in Africa? Second, why is there a need to decolonize the conceptualization and praxis of entrepreneurship in Africa through the logic of IKS and how can this be done? Third, how and to what extent can IKS be leveraged and/or mobilized and unleashed to contribute to socio-economic development in Africa? Against this backdrop, the main goal of the book project therefore is to decolonize within the prism of IKS how Indigenous entrepreneurship is conceptualized, understood, and implemented in Africa. This task should show the poverty of the current understanding and implementation of entrepreneurship in Africa which is couched within a Eurocentric frame. It is now time to transcend the Eurocentric monologue of entrepreneurship to an understanding of how Indigenous communities in various parts of Africa conceptualize and practice entrepreneurship leading to socio-economic development. It is important to amplify the point that since it is the cornerstone of the contemporary Indigenous economy, Indigenous entrepreneurship is both the answer and the path forward for the development and cultural survival of African communities.

W. E. B. Du Bois was one of the leading figures of Pan-African thought and activism in the twentieth century. As a sociologist, Du Bois wrote much about the historical and social circumstances of African Americans while often acknowledging the African historical background of much of African American, or Negro, culture. In 1946 Du Bois published The World and Africa, which was a culmination of previous attempts at penning a narrative of African history beginning with his 1915 publication The Negro, in which he included the social-historical experience of African Americans within the continuity of African history. This book delivers for the first time a comprehensive Afrocentric investigation and critique of Du Bois’s writings on African history. It argues that while Du Bois presented at the time a strong critique of the Eurocentric construction of African history, many of Du Bois’s descriptions and arguments about African people and history were likewise flawed with interpretations that projected the cultural subjectivities of Europe. Further, while Du Bois rightfully presents the historical relationship between African Americans and Africa as a justification for Pan-African activism, this book contends that Du Bois’s failure to center African culture instead of race leads to superficial justifications for Pan-African unity.