Questions the reasoning behind Western images of the environmental destruction taking place in Africa. This book addresses the issue of how environmental orthodoxies become established, and what the alternative and appropriate approaches for policy-making are. It shows that many of the established orthodoxies are ill-conceived or represent the interests of certain powerful groups. The editors draw together material from 11 key case studies across the continent which use first hand research in different ecological zones. Melissa Leach & RobinMearns are Fellows at the Institute of Development Studies (IDS), University of Sussex Published in association with the International African Institute
Once the grain basket for South Africa, much of Lesotho has become a scarred and treeless wasteland. The nation's spectacular gullying has concerned environmentalists and conservationists for more than half a century, In Imperial Gullies: Soil Erosion and Conservation in Lesotho, Kate B. Showers documents the truth behind this devastation. Showers reconstructs the history of the landscape, beginning with a history of the soil. She concludes that Lesotho's distinctive erosion chasms, called dongas, often cited as an example of destructive land-use practices by African farmers, actually were caused by colonial and postcolonial practices. The residents of Lesotho emerge as victims of a failed technology. Their efforts to mitigate or resist implementation of destructive soil conservation engineering works were thwarted, and they were blamed for the consequences of policies promoted by international soil conservationists since the 1930s. Imperial Gullies calls for an observational, experimental and, most importantly, a fully consultative and participatory approach to address Lesotho's serious contemporary problems of soil erosion. The first book to bring to center stage the historical practice of colonial soil science and a cautionary tale of western science in unfamiliar terrain it will interest a broad, interdisciplinary audience in African and environmental studies, social sciences, and history. "Showers shows how local people understood that colonial contour conservation methods and road building actually stimulated gully erosion, something colonial scientists failed to realize. Overall it is undoubtedly one of the most important books written to date on any part of the environmental history of Africa. Moreover it stands out in the discipline of environmental history in general as an unusually sophisticated work of great insight and explanatory power."---Richard H. Grove, author of Green Imperialism: Colonial Expansion, Tropical Island Edens and the Origins of Environmentalism, 1600-1860 Kate B. Showers is a visiting research fellow and senior research associate at the Centre for World Environmental History, University of Sussex, England. She has lived in rural Lesotho and has served as head of research, Institute of Southern African Studies, National University of Lesotho.
In this book, James Fairhead and Melissa Leach bring science to the heart of debates about globalisation, exploring transformations in global science and contrasting effects in Guinea, one of the world's poorest countries, and Trinidad, a more prosperous, industrialised and urbanised island. The book focuses on environment, forestry and conservation sciences that are central to these countries and involve resources that many depend upon for their livelihoods. It examines the relationships between policies, bureaucracies and particular types of scientific enquiry and explores how ordinary people, the media and educational practices engage with this. In particular it shows how science becomes part of struggles over power, resources and legitimacy. The authors take a unique ethnographic perspective, linking approaches in anthropology, development and science studies. They address critically prominent debates in each, and explore opportunities for new forms of participation, public engagement and transformation in the social relations of science.
African Environmental Crisis explores how and why the idea of the African environmental crisis developed and persisted through colonial and post-colonial periods, and why it has been so influential in development discourse.
This book explores how NGOs have been influential in shaping global biodiversity, conservation policy, and practice. It encapsulates a growing body of literature that has questioned the mandates, roles, and effectiveness of these organizations–and the critique of these critics. This volume seeks to nurture an open conversation about contemporary NGO practices through analysis and engagement.
The Shattered Gourd uses the lens of visual art to examine connections between the United States and the Yoruba region of western Nigeria. In Yoruba legend, the sacred Calabash of Being contained the Water of Life; when the gourd was shattered, its fragments were scattered over the ground, death invaded the world, and imperfection crept into human affairs. In more modern times, the shattered gourd has symbolized the warfare and enslavement that culminated in the black diasporas. The "re-membering" of the gourd is represented by the survival of people of African origin all over the Americas, and, in this volume, by their rediscovery of African art forms on the diaspora soil of the United States. Twentieth-century African American artists employing Yoruba images in their work have gone from protest art to the exploration and celebration of the self and the community. But because the social, economic, and political context of African art forms differs markedly from that of American culture, critical contradictions between form and meaning often appear in African American works that use African forms. In this book -- the first to treat Yoruba forms while transcending the conventional emphasis on them as folk art, focusing instead on the high art tradition -- Moyo Okediji uses nearly four dozen works to illustrate a broad thematic treatment combined with a detailed approach to individual African and African American artists. Incorporating works by such artists as Meta Warrick Fuller, Hale Woodruff, Aaron Douglas, Elizabeth Catlett, Ademola Olugebefola, Paul Keene, Jeff Donaldson, Howardena Pindell, Muneer Bahauddeen, Michelle Turner, Michael Harris, Winnie Owens-Hart, and John Biggers, the author invites the reader to envision what he describes as "the immense possibilities of the future, as the twenty-first century embraces the twentieth in a primal dance of the diasporas," a future that heralds the advent of the global as a distinct movement in art, beyond postmodernism.