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This forum explores recent publications by two art historians: Susan Gagliardi's Seeing the Unseen: Arts of Power Associations on the SenufoMande 'Frontier' (2022) and Matthew Rarey's Insignificant Things: Amulets and [...]

This article discusses two recent publications by art historians Susan Gagliardi and Matthew Rarey, which provide unique perspectives on the study of power objects and amulets in West and Central Africa and across the Atlantic world. Gagliardi challenges traditional categorizations of art objects and emphasizes the researcher's positionality in acquiring knowledge, while Rarey focuses on the cultural and historical context of objects and materials. Gagliardi's work explores the gendered participation in male power associations, while Rarey examines the significance of amulets in the lives of enslaved Africans. Both books offer valuable insights into the study of these often misunderstood objects and their cultural and historical significance. [Extracted from the article]

Frank has collaborated with members of Mali's National Museum such as Joseye Tienro, who heads the Museum's Conservation Department, to identify funding sources to enable the digitization of existing photographs. For instance, the women's museum, Muso Kunda, in Bamako, Mali - one of only about sixty women's museums in the world today - has actively contested colonial and missionary stereotypes that depict African women as powerless and oppressed. This special feature explores various international, state-sponsored, private-sector, and independent initiatives that are creating, sustaining, and modifying archival collections. [Extracted from the article]

Individuals claiming Fula ethnicity are indigenous to some twenty African countries. Their diaspora has spread across the globe. Historically, Fula culture has centered on a code of conduct called pulaaku. Pulaaku indicates a way of life aimed in part at preventing shame. Pulaaku reflects shared images of Fula archetypes. Academic literature has presented pulaaku as a fundamental component of being Fula. Yet, contemporary Fula living in modern urban settings, whom Ba Konaré calls "Fulapolitans" (see Selasi 2005) are rarely familiar with a pastoral way of life. This article attempts to delineate the concept of pulaaku in contemporary urban settings, with reference to interviews. The results offer grounds to critique the contemporary understanding and experience of pulaaku among Fulapolitans and to highlight recent situational uses and re-appropriations of the concept. [ABSTRACT FROM AUTHOR]

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