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Wilhelm Bleek was fascinated by African languages and set out to make sense of a complex and alien Bushman tongue. At first Lucy Lloyd worked as his assistant, but soon proved to be so gifted a linguist and empathetic a listener that she created a monumental record of Bushman culture. Their informants were a colorful cast. The teenager, /A!kunta, taught Bleek and Lloyd their first Bushman words and sentences. The wise old man and masterful storyteller, //Kabbo, opened their eyes to a richly imaginative world of myth and legend. The young man, Dia!kwain, explained traditional beliefs about sorcery, while his friend #Kasin spoke of Bushman medicines and poisons. The treasures of Bushman culture were most fully revealed in conversations with a middle-aged man known as /Han=kass’o, who told of dances, songs and the meaning of images on rocks. The human histories and relationships involved in this unique collaboration across cultures are explored in full for the first time in this remarkable narrative.

In Bushmen Brouhaha, the Bungalo Boys hit the Serengeti Plain in a silly safari to match their tree farm antics. Working with African "bushmen", they capture a "Tanzanian Elephant Tree" and subdue the unruly blue-nosed baboons. "Bushmmen Brouhaha is fun--especially to look at." - Quill & Quire

This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. Dust jacket in poor condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1300grams, ISBN:0798106689

Book by Van Der Post, Laurens, Taylor, Jane

The Denver African Expedition of 1925 sought “the cradle of Humanity.” The explorers returned claiming to have found the “Missing Link” in the Heikum bushmen of the Kalahari—and they proceeded to market this image. As Robert J. Gordon shows in Picturing Bushmen, the impact of the expedition lay not simply in its slick merchandising of bushmen images but also in the fact that the pictures were exotic and aesthetically pleasing. Like all significant events, the expedition and its images had unanticipated consequences. The Denver Expedition played a key role in romanticizing bushmen. Indeed, its image of bushmen has permeated Western mass culture. Before the expedition, bushmen commonly had been presented as impoverished savages. In its wake, the bushmen of South Africa have inspired commercial advertisements, art exhibitions, and novels. Bushmen are frequently the archetypal “other” to Western intellectual and popular thought. Explaining the impact of the expedition involves, in part, considering the culture of visualization that gave the expedition direction and in turn was influenced by it. Although Rob Gordon is an anthropologist, this study ranges into questions of film theory, history, and popular culture. It offers a perspective on coffee-table books, ethnology, and the nature of research on those labeled “others.” While suggesting how “ethnographic photographs” might be appreciated, Picturing Bushmen is also a subtle analysis of the perennial issues that haunt field workers—especially what and how they “see” and how their perception is influenced by the mundane in their own societies.

The Denver African Expedition of 1925 sought “the cradle of Humanity.” The explorers returned claiming to have found the “Missing Link” in the Heikum bushmen of the Kalahari—and they proceeded to market this image. As Robert J. Gordon shows in Picturing Bushmen, the impact of the expedition lay not simply in its slick merchandising of bushmen images but also in the fact that the pictures were exotic and aesthetically pleasing. Like all significant events, the expedition and its images had unanticipated consequences. The Denver Expedition played a key role in romanticizing bushmen. Indeed, its image of bushmen has permeated Western mass culture. Before the expedition, bushmen commonly had been presented as impoverished savages. In its wake, the bushmen of South Africa have inspired commercial advertisements, art exhibitions, and novels. Bushmen are frequently the archetypal “other” to Western intellectual and popular thought. Explaining the impact of the expedition involves, in part, considering the culture of visualization that gave the expedition direction and in turn was influenced by it. Although Rob Gordon is an anthropologist, this study ranges into questions of film theory, history, and popular culture. It offers a perspective on coffee-table books, ethnology, and the nature of research on those labeled “others.” While suggesting how “ethnographic photographs” might be appreciated, Picturing Bushmen is also a subtle analysis of the perennial issues that haunt field workers—especially what and how they “see” and how their perception is influenced by the mundane in their own societies.

Describes the Bushmen traditions and culture, looks at the routines of their daily life, and explains why their nomadic existence is threatened

Photographer Paul Freeman brings us the fourth book in his exquisite Outback series which studies the raw and sensual masculinity of naked men in bushland and rural settings.

Photographer Paul Freeman brings us the fourth book in his exquisite Outback series which studies the raw and sensual masculinity of naked men in bushland and rural settings.

Twenty Bushman healers from the Kalahari Desert in Botswana share their knowledge and wisdom about healing the human body, mind, and spirit in this guide. Traditional Bushman healing most often involves the intimate touch of shaking bodies aroused by the singing and rhythms of ecstatic dance. Invited by the Bushman to join their dance, the author documents firsthand its color, energy, and power with descriptive text, personal interviews, and exciting photographs of the ceremonies. The combined stories, illustrations, and recording provide a unique insight into this fascinating demonstration of a mystical healing power. It also includes an audio CD.

Twenty Bushman healers from the Kalahari Desert in Botswana share their knowledge and wisdom about healing the human body, mind, and spirit in this guide. Traditional Bushman healing most often involves the intimate touch of shaking bodies aroused by the singing and rhythms of ecstatic dance. Invited by the Bushman to join their dance, the author documents firsthand its color, energy, and power with descriptive text, personal interviews, and exciting photographs of the ceremonies. The combined stories, illustrations, and recording provide a unique insight into this fascinating demonstration of a mystical healing power. It also includes an audio CD.

Goes to the heart of contemporary arguments about the "primitive" and the "modern" minds, and draws new social, anthropological, and ethnographic conclusions about the nature of ancient societies. How did ancient peoples―those living before written records―think? Were their thinking patterns fundamentally different from ours today? Researchers over the years have certainly believed so. Along with the Aborigines of Australia, the indigenous San people of southern Africa―among the last hunter-gatherer societies on Earth―became iconic representatives of all our distant ancestors and were viewed as either irrational fantasists or childlike, highly spiritual conservationists. Since the 1960s a new wave of research among the San and their world-famous rock art has overturned these misconceived ideas. Here, the great authority David Lewis-Williams and his colleague Sam Challis reveal how analysis of the rock paintings and engravings can be made to yield vital insights into San beliefs and ways of thought. This is possible because we possess comprehensive transcriptions, made in the nineteenth century, of interviews with San informants who were shown copies of the art and gave their interpretations of it. Using the analogy of the Rosetta Stone, the authors move back and forth between these San texts and the rock art, teasing out the subtle meanings behind both. The picture that emerges is very different from past analysis: this art is not a naive narrative of daily life but rather is imbued with power and religious depth. 29 color and 68 black-and-white illustrations

The author travels to the dry grasslands of southern Africa in search of the legendary Kalahari Bushmen and finds evidence of shamans, powerful religious rituals, tribal hunting practices, and much, much more.

 The cornerstone of current understanding of rock art of the San of Drakensberg First published in 1976, People of the Eland was the first major step away from the outsider's view upon San rock art that had dominated studies of rock art for nearly a century. The book, an account of the rock art of the San of theDrakensberg Range, was also about the mountain San themselves: their lives, their beliefs, their culture and their history during colonisation. The book not only brought an extraordinary and dynamic body of art to the attention of aglobal audience, but also helped to lay the foundations for a new generation of research into the meaning of prehistoric art. People of the Eland aimed to gain an insider's view of the rock art using San understandings of the world. Whilefollowing this approach, it quickly became clear to Vinnicombe that the art was very far from simple depictions of daily life as had once seemed likely, but instead reflected the most deeply held San beliefs and symbols. This approach and this understanding has now become the standard for all those working with San rock art. Whilst this early knowledge of San art has been built upon considerably since 1976, People of the Eland remains a cornerstone of our current understanding. Reprinted here in full color, with the original artwork and photographs, People of the Eland remains a seminal work, the impact of which cannot be underestimated.

A middle-aged German parasitologist, Heinz conducted a scientific expedition into the Kalahari Desert, where he became enamoured of Bushman culture and fell in love with and married a young Bushman woman

“Insightful and well-written . . . [Suzman chronicles] how much humankind can still learn from the disappearing way of life of the most marginalized communities on earth.” ―Yuval Noah Harari, author of SAPIENS: A BRIEF HISTORY OF HUMAN KIND and HOMO DEUS: A BRIEF HISTORY OF TOMORROWWASHINGTON POST'S 50 NOTABLE WORKS OF NONFICTION IN 2017AN NPR BEST BOOK OF 2017A vibrant portrait of the “original affluent society”―the Bushmen of southern Africa―by the anthropologist who has spent much of the last twenty-five years documenting their encounter with modernity.If the success of a civilization is measured by its endurance over time, then the Bushmen of the Kalahari are by far the most successful in human history. A hunting and gathering people who made a good living by working only as much as needed to exist in harmony with their hostile desert environment, the Bushmen have lived in southern Africa since the evolution of our species nearly two hundred thousand years ago.In Affluence Without Abundance, anthropologist James Suzman vividly brings to life a proud and private people, introducing unforgettable members of their tribe, and telling the story of the collision between the modern global economy and the oldest hunting and gathering society on earth. In rendering an intimate picture of a people coping with radical change, it asks profound questions about how we now think about matters such as work, wealth, equality, contentment, and even time. Not since Elizabeth Marshall Thomas’s The Harmless People in 1959 has anyone provided a more intimate or insightful account of the Bushmen or of what we might learn about ourselves from our shared history as hunter-gatherers.

The /Xam Bushmen, hunters, gatherers, some poets among them, were a stone age people who survived nearly 5,000 years in the region now known as the Cape Province of South Africa. By the turn of this century they had completely disappeared, destroyed finally by the murderous European settlement of the interior. Song of the Broken String has its provenance in the oral tradition of this ancient culture. In the 1860s, a German linguist named W. H. Bleek become aware of the genocide in progress. Taking into his service three /Xam Bushmen he found working as convict laborers in a chain gang, he set about preserving a small part of their heritage. After devising a phonetic notation of the /Xam's language, he transcribed the personal narratives, songs, and folktales of these three men and translated them into English. Housed in an archive at the University of Cape Town, the 12,000 pages of the Bleek and Lloyd Collection are all that remains of this people and their language.Stephen Watson, a contemporary South African poet, has explored this archive, "re-translating" Bleek's word-for-word English prose into poems in which something of the power of those original voices lives on, however filtered through the 19th century ethnographer and the 20th century writer. The results not only offer a path into a powerful oral tradition, but also raise questions about the ways in which we listen to and "translate" cultures that are distant or lost. Song of the Broken String does not bring back the /Xam, it is not a collection of artifacts. Something survives here that is almost monumental, certainly beautiful.

 The cornerstone of current understanding of rock art of the San of Drakensberg First published in 1976, People of the Eland was the first major step away from the outsider's view upon San rock art that had dominated studies of rock art for nearly a century. The book, an account of the rock art of the San of theDrakensberg Range, was also about the mountain San themselves: their lives, their beliefs, their culture and their history during colonisation. The book not only brought an extraordinary and dynamic body of art to the attention of aglobal audience, but also helped to lay the foundations for a new generation of research into the meaning of prehistoric art. People of the Eland aimed to gain an insider's view of the rock art using San understandings of the world. Whilefollowing this approach, it quickly became clear to Vinnicombe that the art was very far from simple depictions of daily life as had once seemed likely, but instead reflected the most deeply held San beliefs and symbols. This approach and this understanding has now become the standard for all those working with San rock art. Whilst this early knowledge of San art has been built upon considerably since 1976, People of the Eland remains a cornerstone of our current understanding. Reprinted here in full color, with the original artwork and photographs, People of the Eland remains a seminal work, the impact of which cannot be underestimated.

A companion to People of Eland that allows an overview of Drakensberg rock art Only 1000 copies of People of the Eland were printed in 1976. It was neither reissued nor reprinted. It has become one of the rarest and most expensive of all books on the African past. One of the things that most disturbed Patricia Vinnicombe while she was working at the Rock Art Research Institute at Wits University in the early 2000s was that students could not access her book. As in many libraries, Wits University locks People of the Eland away in its rare and valuable book section. In 2002, Pat started to explore the possibility of republication. But, she did not feel that the book could be reissued without adding additional sections to explain how knowledge had expanded in the decades since the publication of the book. Tragically, Pat died in March 2003 before she could start work on the new sections. Peter Mitchell and Ben Smith have taken up this challenge and brought together the leading scholars in the field to write new sections to explain both how knowledge has changed since the publication of People of the Eland, and how current research is still influenced by this landmark volume. The Eland's People is thus intended as a companion volume to People of the Eland and it is hoped that this new volume will provide a richer appreciation of the importance of Pat's original work, as well as allowing readers an overview of current understandings of Drakensberg rock art.

Urban Bushmen The Art Ensemble of Chicago - CD 042282939425