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Bridging history and anthropology, this richly documented account of the Lunda-Ndembu people of northwestern Zambia has at its center the paradox of continuity and change. To legitimate and justify innovations to their cultural identity and practice, the Lunda-Ndembu propose that such innovations have conceptual similarities to long-standing traditions.     While framing the discussion around classic anthropological oppositions—the individual versus the group, old versus young, females versus males, rich versus poor, us versus them, people versus the natural environment, the physical world vs. the metaphysical world—James A. Pritchett also offers a work of historical imagination. It is at the shifting boundaries of these relationships, he argues, that change is actually confronted on a daily basis, spoken about, and negotiated into conformity with widespread and enduring traditions.     Juxtaposing Victor Turner's ethnographic data on the Ndembu from the 1950s with his own fieldwork in the 1980s and 1990s, Pritchett demonstrates that, by restudying areas already well known, it is possible to generate richly nuanced answers about social change that more accurately reflect local sensibilities.

Bridging history and anthropology, this richly documented account of the Lunda-Ndembu people of northwestern Zambia has at its center the paradox of continuity and change. To legitimate and justify innovations to their cultural identity and practice, the Lunda-Ndembu propose that such innovations have conceptual similarities to long-standing traditions.     While framing the discussion around classic anthropological oppositions—the individual versus the group, old versus young, females versus males, rich versus poor, us versus them, people versus the natural environment, the physical world vs. the metaphysical world—James A. Pritchett also offers a work of historical imagination. It is at the shifting boundaries of these relationships, he argues, that change is actually confronted on a daily basis, spoken about, and negotiated into conformity with widespread and enduring traditions.     Juxtaposing Victor Turner's ethnographic data on the Ndembu from the 1950s with his own fieldwork in the 1980s and 1990s, Pritchett demonstrates that, by restudying areas already well known, it is possible to generate richly nuanced answers about social change that more accurately reflect local sensibilities.

·An anthropological journey, narrated in photographs, that tells the story of the Lunda people of modern-day CongoThe Lunda are dignified people, powerful and faithful to their traditions. Their civilization was one of the largest in Africa in the 18th and mid-19th century, and it remains vibrant in the 21st. In Musumba, their imperial capital located in the South of the Democratic Republic of the Congo, Lunda rites continue to be practiced with fervor by the population, and the dynasty of kings still holds renowned traditional authority.The Italian photographer Angelo Turconi, who is well acquainted with the region, wanted to show the vitality of these Bantu people, who maintain a strong attachment to their culture and social structure despite the border divisions which occurred during the colonization period. Together with John Anthony, also a photographer, and anthropologist Manuela Palmeirim, who has authored a documented study on the Lunda culture, Turconi takes us on a journey to a part of Africa which preserves many ancient traditions and yet is firmly rooted in the present.Text in English and French.

·An anthropological journey, narrated in photographs, that tells the story of the Lunda people of modern-day CongoThe Lunda are dignified people, powerful and faithful to their traditions. Their civilization was one of the largest in Africa in the 18th and mid-19th century, and it remains vibrant in the 21st. In Musumba, their imperial capital located in the South of the Democratic Republic of the Congo, Lunda rites continue to be practiced with fervor by the population, and the dynasty of kings still holds renowned traditional authority.The Italian photographer Angelo Turconi, who is well acquainted with the region, wanted to show the vitality of these Bantu people, who maintain a strong attachment to their culture and social structure despite the border divisions which occurred during the colonization period. Together with John Anthony, also a photographer, and anthropologist Manuela Palmeirim, who has authored a documented study on the Lunda culture, Turconi takes us on a journey to a part of Africa which preserves many ancient traditions and yet is firmly rooted in the present.Text in English and French.

The book "Lunda Geometry" explains how the mathematical concepts of mirror curves and Lunda-designs were discovered in the context of the authors research of 'sona, illustrations traditionally made in the sand by Cokwe storytellers from eastern Angola (a region called Lunda) and neighboring regions of Congo and Zambia. Examples of mirror curves from several cultures are presented. Lunda-designs are aesthetically attractive and display interesting symmetry properties. Examples of Lunda-patterns and Lunda-polyominoes are presented. Some generalizations of the concept of Lunda-design are discussed, like hexagonal Lunda-designs, Lunda-k-designs, Lunda-fractals, and circular Lunda-designs. Lunda-designs of Celtic knot designs are constructed. Several chapters were published in journals like 'Computers & Graphics (Oxford), 'Visual Mathematics (Belgrade), and 'Mathematics in School (UK). (198 pp.)

The book "Lunda Geometry" explains how the mathematical concepts of mirror curves and Lunda-designs were discovered in the context of the authors research of 'sona, illustrations traditionally made in the sand by Cokwe storytellers from eastern Angola (a region called Lunda) and neighboring regions of Congo and Zambia. Examples of mirror curves from several cultures are presented. Lunda-designs are aesthetically attractive and display interesting symmetry properties. Examples of Lunda-patterns and Lunda-polyominoes are presented. Some generalizations of the concept of Lunda-design are discussed, like hexagonal Lunda-designs, Lunda-k-designs, Lunda-fractals, and circular Lunda-designs. Lunda-designs of Celtic knot designs are constructed. Several chapters were published in journals like 'Computers & Graphics (Oxford), 'Visual Mathematics (Belgrade), and 'Mathematics in School (UK). (198 pp.)

In Makishi: Mask Characters of Zambia, Manuel Jordán reveals the beauty and complexity of the remarkable masquerade traditions of the Chokwe, Mbunda, Lunda, Lwena/Luvale, and Luchazi peoples who live in the “Three Corners” region of northwestern Zambia, northeastern Angola, and southwestern Democratic Republic of the Congo. The distinct yet overlapping mask types and styles used by these groups reflect their continual interaction and demonstrate the constant reformulation of visual and performance genres. Relations among peoples of the “Three Corners” are further complicated by recent refugee flows, and the masquerades that Jordán considers and vividly illustrates in his field photographs reflect histories of compromise and creative tension, as well as contemporary struggles for survival.While exquisite masks drawn from the Fowler Museum's collections demonstrate long use, Jordán shows how new characters can be created within earlier categories, so that basic dramatic plots are preserved while reference is made to new technologies, foreign encounters, and the dynamics of social interaction in a rapidly changing world. In many ways, as the author astutely argues, the masks are a performative mechanism used to explain, cope with, and, often enough, celebrate life's most difficult transitions and transformations. Makishi vibrantly documents the ability of theater to perpetuate tradition while providing an adaptive leading edge.

Himba, treze anos acabados de fazer, perde-se do resto da família, vendo--se de repente sozinha no mundo. Sem outros meios que não sejam a sua inteligência, consegue chegar a Lunda, onde conhece Kassule, um menino de dez anos que perdeu uma perna devido a estilhaços de uma mina. Ambos órfãos vítimas da guerra, dependendo do lixo dos restaurantes, unem-se para conseguirem subsistir, lutando pela sobrevivência dia a dia. Sofia, que há muito aguarda uma oportunidade para mudar de vida, aceita gerir um restaurante, onde também dá conselhos sobre temperos. À medida que o restaurante vai ganhando clientes da classe alta de Luanda, também a ambição de Sofia vai sendo alimentada. E está disposta a agarrar todas as oportunidades que lhe garantam uma vida melhor, a ela e ao irmão Diego, um artista de rua que sonha expor em galerias. Se o Passado não Tivesse Asas cruza duas histórias, duas grandes personagens femininas, numa narrativa original com um desfecho imprevisível, que retrata os últimos vinte anos da história de Angola. Se o Passado Não Tivesse Asas de Pepetela