The New African Histories series builds on the significant achievements of social historians over the past two decades, while pushing the boundaries of African social history in exciting new directions - theoretically, methodologically and conceptually.
The series promotes continued research on the lived experiences of Africans in their households, communities, workplaces, and classes, as well as in the clubs, associations, and social movements they have created. It insists on the centrality of gender, generation and social identity to African historiography, while it seeks to expose the constraints at local, national, and transnational levels that structure the daily lives of the poor and disadvantaged.
Social historians have long maintained that there can be no social history without economic history. We contend that it is increasingly imperative that politics, environment, and culture receive far greater attention in the exploration of daily life.
Jean Allman, Series Editor
Professor of African and African American Studies
Washington University in St. Louis
Center for the Humanities
St. Louis, MO 63130
Allen Isaacman, Series Editor
Professor of History
University of Minnesota
267 Nineteenth Ave. South
Minneapolis, MN 55455
Derek R. Peterson, Series Editor
Professor of History and African Studies
University of Michigan
1029 Tisch Hall
Ann Arbor, MI 48109
Radio technology and broadcasting played a central role in the formation of colonial Portuguese Southern Africa and the postcolonial nation-state, Angola. Moorman details how settlers, the colonial state, African nationalists, and the postcolonial state all used radio to project power, while the latter employed it to challenge empire.
Age of Concrete is about people building homes on tenuous ground in the outer neighborhoods of Maputo, Mozambique, places thought of simply as slums. But up close, they are an archive: houses of reeds, wood, zinc, and concrete embodying the ambitions of people who built their own largest investment and greatest bequest to the future.
Water Brings No Harm explores the history of community water management on Mount Kilimanjaro. Using the concept of waterscapes—describing how people “see” water and how physical resources intersect with beliefs, needs, and expectations—Bender argues that water conflicts should be understood as struggles between competing forms of knowledge.
In locating her arguments at the intersection of visual culture and literary and performance studies, Giorgis details how innovations in visual art intersected with shifts in narratives of modernity. The result is a bold intellectual, cultural, and political history of Ethiopia, with art as its centerpiece.
Thomas F. McDow synthesizes Indian Ocean, Middle Eastern, and East African studies to explain how in the nineteenth century, credit, mobility, and kinship knit together a vast interconnected Indian Ocean region. McDow's new historical analysis of the Indian Ocean reveals roles of previously invisible people.
Reel Pleasures brings the world of African moviehouses and the publics they engendered to life, revealing how local fans creatively reworked global media—from Indian melodrama to Italian westerns, kung fu, and blaxploitation films—to speak to local dreams and desires.
In this ambitious new history of the antiapartheid struggle, Jon Soske places India and the Indian diaspora at the center of the African National Congress’s development of an inclusive philosophy of nationalism. In so doing, Soske combines intellectual, political, religious, urban, and gender history to tell a story that is global in reach while remaining grounded in the everyday materiality of life under apartheid.
By emphasizing the centrality of human relationships to Ghana’s economic past, Murillo introduces a radical rethinking of consumption studies from an Africa-centered perspective. The result is a keen look at colonial capitalism in all of its intricacies, legacies, and contradictions, including its entanglement with gender and race.