REFERENCES

Abiodun, Rowland. 2014. Yoruba Art and Language: Seeking the African in African Art. Cambridge: Cambridge University Press.

Abu-Lughod, Lila. 1991. “Writing against Culture.” In Recapturing Anthropology: Working in the Present, edited by Richard Fox, 137–162. Santa Fe, NM: School of American Research Press.

Achebe, Chinua. (1964) 1974. Arrow of God. Oxford: Heinemann.

Adams, Monni. 1989. “African Visual Arts from an Art Historical Perspective.” African Studies Review 32 (2): 55–103.

Aden (Akare), Jonathan E. 2003. “Anvils of Blood, Oaths of Iron: A History of Power and Association in the Komo Complex of the Western Sudan (West Africa) from the Late Nineteenth Century to the Present.” PhD diss., Indiana University.

Adichie, Chimamanda Ngozi. 2009. Transcript for “The Danger of a Single Story.” TEDGlobal, July 2009. Accessed March 9, 2020, https://www.ted.com/talks/chimamanda_ngozi_adichie_the_danger_of_a_single_story/transcript.

Ahmed, Sara. 2017. Living a Feminist Life. Durham, NC: Duke University Press.

Amselle, Jean-Loup. (1990) 1998. Mestizo Logics: Anthropology of Identity in Africa and Elsewhere. Stanford, CA: Stanford University Press.

Amselle, Jean-Loup. (1990) 2010. Logique métisses. Paris: Petite Bibliothèque Payot.

Amselle, Jean-Loup, and Emmanuelle Sibeud. 1998. “Introduction: Maurice Delafosse face à l’histoire et à l’anthropologie.” In Maurice Delafosse. Entre orientalisme et ethnographie: l’itinéraire d’un africaniste (1870–1926), edited by Jean-Loup Amselle and Emmanuelle Sibeud, 9–18. Paris: Maisonneuve et Larose.

Anderson, Martha G., and Christine Mullen Kreamer. 1989. Wild Spirits, Strong Medicine: African Art and the Wilderness. New York: Center for African Art.

Anderson, Samuel Mark. 2018. “Letting the Mask Slip: The Shameless Fame of Sierra Leone’s Gongoli.” Africa: Journal of the International African Institute 88 (4): 718–743.

Andrew, Dudley. 1995. “Falaises sacrées et espaces communs.” Iris: A Journal on Image and Sound 18:113–135.

Appadurai, Arjun. 1988. “Putting Hierarchy in Its Place.” Cultural Anthropology 3 (1): 36–49.

Arens, W., and Ivan Karp, eds. 1989. Creativity of Power: Cosmology and Action in African Societies. Washington, DC: Smithsonian Institution Press.

Argenti, Nicolas. 2007. The Intestines of the State: Youth, Violence, and Belated Histories in the Cameroon Grassfields. Chicago: University of Chicago Press.

Arnoldi, Mary Jo. 1995. Playing with Time: Art and Performance in Central Mali. Bloomington: Indiana University Press.

Aronson, Lisa. 1991. “African Women in the Visual Arts.” Signs: Journal of Women in Culture and Society 16 (3): 550–575.

Austen, Ralph A. 2007. “Beyond ‘History’: Two Films of the Deep Mande Past.” In Black and White in Color: African History on Screen, edited by Vivian Bickford-Smith and Richard Mendelsohn, 28–40, 326–328. Oxford: James Currey; Athens: Ohio University Press; Cape Town: Double Storey.

L’Avant-scène cinéma. 1998. “Yeelen (La Lumière), un film de Souleymane Cissé.” L’Avant-scène cinéma 476:n.p.

Bamberger, Joan. 1974. “The Myth of Matriarchy: Why Men Rule in Primitive Society.” In Woman, Culture, and Society, edited by Michelle Zimbalist Rosaldo and Louise Lamphere, 263–280. Stanford: Stanford University Press.

Bangali, Lamissa. 2002. “‘We Are Tagwa, but My Mother Is a Smith’: Ethnicity and Identity Transformations among the Sena-Tagwa of Burkina Faso.” PhD diss., University of Illinois at Urbana-Champaign.

Barber, Karin. 2007. “Audiences and Publics.” In The Anthropology of Texts, Persons and Publics: Oral and Written Culture in Africa and Beyond, 137–174. Cambridge: Cambridge University Press.

Bassett, Thomas J. 2003. “Dangerous Pursuits: Hunter Associations (donzo ton) and National Politics in Côte d’Ivoire.” Africa: Journal of the International African Institute 73 (1): 1–30.

Bassett, Thomas J. 2004. “Containing the Donzow: The Politics of Scale in Côte d’Ivoire.” Africa Today 50 (4): 31–49.

Baxandall, Michael. 1972. Painting and Experience in Fifteenth Century Italy. New York: Oxford University Press.

Bays, James. 2019. “Why Is Violence Increasing in Burkina Faso?” Al Jazeera Inside Story, March 8, 2019. Accessed January 18, 2020, https://www.aljazeera.com/programmes/insidestory/2019/03/violence-increasing-burkina-faso-190308174211600.html; see https://web.archive.org/web/20210110144856/. https://www.aljazeera.com/program/episode/2019/3/8/why-is-violence-increasing-in-burkina-faso.

Bazin, Jean. 1985. “À chacun son Bambara.” In Au coeur de l’ethnie: ethnies, tribalisme, et état en afrique, edited by Jean-Loup Amselle and Elikia M’Bokolo, 87–127. Paris: La Découverte.

Bazin, Jean. 1986. “Retour aux choses-dieux.” In Corps des dieux, edited by Charles Malamoud and Jean-Pierre Vernant, 253–273. Paris: Gallimard.

Beck, Julie. 2014. “‘Do No Harm’: When Doctors Torture.” The Atlantic, December 12, 2014. Accessed April 26, 2017, https://www.theatlantic.com/health/archive/2014/12/do-no-harm-when-doctors-torture/383677/.

Bellamy, [François Auguste?]. 1886. “Notes ethnographiques recueillies dans le Haut-Sénégal.” Revue d’ethnographie 5:81–84.

Bellman, Beryl Larry. 1984. The Language of Secrecy: Symbols & Metaphors in Poro Ritual. New Brunswick, NJ: Rutgers University Press.

Ben-Amos, Paula. 1980. “Patron-Artist Interactions in Africa.” African Arts 13 (3): 56–57, 92.

Bennett, Susan. 1997. Theatre Audiences: A Theory of Production and Reception. 2nd ed. London: Routledge.

Binger, Louis-Gustave. 1892. Du Niger au golfe de Guinée par le pays de Kong et le Mossi, 1887–1889. Paris: Hachette.

Bird, Charles S., and Martha B. Kendall. 1980. “The Mande Hero.” In Explorations in African Systems of Thought, edited by Ivan Karp and Charles S. Bird, 13–26. Bloomington: Indiana University Press.

Bird, Charles S., Martha B. Kendall, and Kalilou Tera. 1995. “Etymologies of nyamakala.” In Status and Identity in West Africa: Nyamakalaw of Mande, edited by David C. Conrad and Barbara E. Frank, 27–35. Bloomington: Indiana University Press.

Biro, Yaëlle. 2018. Fabriquer le regard: marchands, réseaux et objets d’art africains à l’aube du XXe siècle. Dijon: Les presses du réel.

Black, James Eric (Jay). 2012. “Silent Cal and the Invisible Audience: The Sociotechnological Significance of the Presidential Voice.” ETC.: A Review of General Semantics 69 (1): 3–20.

Blackburn, Stuart. 1996. Inside the Drama-House: Rama Stories and Shadow Puppets in South India. Berkeley: University of California Press.

Blier, Suzanne Preston. 1993. “Truth and Seeing: Magic, Custom, and Fetish in Art History.” In Africa and the Disciplines: The Contributions of Research in Africa to the Social Sciences and Humanities, edited by Robert H. Bates, V. Y. Mudimbe, and Jean O’Barr, 139–166. Chicago: University of Chicago Press.

Blommaert, Jan. 2008. “Artefactual Ideologies and the Textual Production of African Languages.” Language & Communication 28:291–307.

Bochet, Gilbert. 1959. “Le ‘Poro’ des Dieli.” Bulletin de l’Institut français d’Afrique noire (Sciences humaines) 21:61–101.

Bochet, Gilbert. 1964. “A propos des fondements spirituels de la vie sociale des Sénoufo.” Bulletin de la Société royale belge d’anthropologie et de préhistoire 74:5–31.

Bochet, Gilbert. 1965. “Les masques sénoufo de la forme à la signification.” Bulletin de l’Institut français d’Afrique noire (Sciences humaines) 27:636–677.

Bochet, Gilbert. 1973. Ivory Coast: The Supernatural Within Reach. Paris: Connaissance des Voyages; Abidjan: Ivory Coast Ministry of State for Tourism.

Bochet, Gilbert. 1993. “The Poro of the Senufo.” In Art of Côte d’Ivoire: From the Collection of the Barbier-Mueller Museum, vol. 1, edited by Jean Paul Barbier, 54–85, 413. Geneva: Barbier-Mueller Museum.

Boone, Sylvia Ardyn. 1986. Radiance from the Waters: Ideals of Feminine Beauty in Mende Art. New Haven, CT: Yale University Press.

Bouttiaux, Anne-Marie. 2009. “Guro Masked Performers: Sculpted Bodies Serving Spirits and People.” African Arts 42 (2): 56–67.

Bouttiaux, Anne-Marie. 2016. Guro. Visions of Africa. Milan: 5 Continents.

Bravmann, René A. 1973. Open Frontiers: The Mobility of Art in Black Africa. Seattle: Henry Art Gallery and University of Washington Press.

Brenner, Louis. 2000. “Histories of Religion in Africa.” Journal of Religion in Africa 30 (2): 143–167.

Brett-Smith, Sarah C. 1982. “Symbolic Blood: Cloths for Excised Women.” RES: Anthropology and Aesthetics 3:15–31.

Brett-Smith, Sarah C. 1983. “The Poisonous Child.” RES: Anthropology and Aesthetics 6:47–64.

Brett-Smith, Sarah C. 1994. The Making of Bamana Sculpture: Creativity and Gender. Cambridge: Cambridge University Press.

Brett-Smith, Sarah C. 1997. “The Mouth of the Komo.” RES: Anthropology and Aesthetics 31:71–96.

Brett-Smith, Sarah C. 2001. “When Is an Object Finished? The Creation of the Invisible among the Bamana of Mali.” RES: Anthropology and Aesthetics 39:102–136.

Brett-Smith, Sarah C. 2005. “The Knowledge of Women.” In Anthropologies of Art, edited by Mariët Westermann, 143–163. Williamstown, MA: Sterling and Francine Clark Art Institute.

Brett-Smith, Sarah C. 2014. The Silence of Women: Bamana Mud Cloths. Milan: 5 Continents.

Brottem, Leif V. 2018a. “Dig Your Own Well: A Political Ecology of Rural Institutions in Western Sub-Saharan Africa.” Annals of the American Association of Geographers 108 (4): 1075–1095.

Brottem, Leif V. 2018b. “Why Extreme Poverty Still Haunts Rural Africa.” Washington Post, December 16, 2018. Accessed December 17, 2018, https://www.washingtonpost.com/outlook/2018/12/16/why-extreme-poverty-still-haunts-rural-africa/.

Buthelezi, Mbongiseni. 2016. “We Need New Names Too.” In Tribing and Untribing the Archive, vol. 2, edited by Carolyn Hamilton and Nessa Leibhammer, 587–599. Pietermaritzburg: University of KwaZulu-Natal Press.

Butler, Judith. 1993. Bodies That Matter: On the Discursive Limits of “Sex.” New York: Routledge.

Butler, Judith. 1999. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge.

Cameron, Elisabeth L. 2013. “The Fieldworker and the Portrait: The Social Relations of Photography.” In Portraiture and Photography in Africa, edited by John Peffer and Elisabeth L. Cameron, 141–174. Bloomington: Indiana University Press.

Carlson, Amanda B. 2010. “Calabar Carnival: A Trinidadian Tradition Returns to Africa.” African Arts 43 (4): 42–59.

Cashion, Gerald A. 1984. “Hunters of the Mande: A Behavioral Code and Worldview Derived from the Study of Their Folklore.” PhD diss., Indiana University.

Castelnuovo, Enrico, and Carlo Ginzburg. (1979) 1981. “Domination symbolique et géographique dans l’histoire de l’art italien.” Actes de la Recherche en Sciences Sociales 40 (1): 51–72.

Centre national du cinéma et de l’image animée. 2010. Yeelen de Souleymane Cissé: Dossier lycéens et apprentis au cinéma. Paris: CNC.

Cissé, Souleymane, dir. (1975) 2009. Den Muso. Ennetbaden: Trigon-Film. DVD.

Cissé, Souleymane, dir. (1987) 2002. Yeelen. New York: Kino International. DVD.

Cissé, Souleymane, with Howard Schissel. 1984. “People’s Film-maker.” West Africa no. 3481 (May 7): 973–974.

Cissé, Souleymane, and Jean-François Senga. 1987. “Interview de Souleymane Cissé par Jean-François Senga.” Présence Africaine 144 (4): 133–138.

Clark, T. J. (1973) 1999. “On the Social History of Art.” In Image of the People: Gustave Courbet and the 1848 Revolution, 9–20. Berkeley: University of California Press.

Clifford, James. 1988. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge, MA: Harvard University Press.

Cole, Herbert M. 1985. “Introduction: The Mask, Masking, and Masquerade Arts in Africa.” In I Am Not Myself: the Art of African Masquerade, edited by Herbert M. Cole, 15–27. Los Angeles: Museum of Cultural History, University of California.

Cole, Herbert M. 2010. “Masquerade, Theater, Dance Costumes.” In Berg Encyclopedia of World Dress and Fashion: Africa, vol. 1, edited by Joanne B. Eicher and Doran H. Ross, 120–130. Oxford: Berg.

Coleman, Nicole. 2018. “Design for Humanistic Inquiry.” Lecture presented in the MAP IT | Little Dots, Big Ideas series, Emory University, Atlanta, Georgia, February 1, 2018.

Colin, Roland. 2004. Kènèdougou au crépuscule de l’Afrique coloniale. Mémoires des années cinquante. Suivies du Mémorial de Kèlètigui Berté. Paris: Présence Africaine.

Colin-Noguès, Renée. 2006. Sénoufo du Mali, Kènèdougou, terre de lumière. Bamako: Musée National du Mali.

Colleyn, Jean-Paul. 1988. Les Chemins de Nya: culte de possession au Mali. Paris: l’École des Hautes Études en Sciences Sociales.

Colleyn, Jean-Paul, ed. 2001. Bamana: The Art of Existence in Mali. New York: Museum for African Art; Zurich: Museum Rietberg; Ghent: Snoeck-Ducaju & Zoon.

Colleyn, Jean-Paul. 2009a. Bamana. Visions of Africa. Milan: 5 Continents.

Colleyn, Jean-Paul. 2009b. Boli. Montreuil: Gourcuff Gradenigo; Paris: Johann Levy Art Primitif.

Colleyn, Jean-Paul, and Danielle Jonckers. 1983. “‘Ceux qui refusent le maître’: la conception du pouvoir chez les Minyanka du Mali.” Africa: Journal of the International African Institute 53 (4): 43–58.

Collier, Delinda. 2020. Media Primitivism: Technological Art in Africa. Durham, NC: Duke University Press.

Conrad, David C. 1992. “Searching for History in the Sunjata Epic: The Case of Fakoli.” History in Africa 19:147–200.

Conrad, David C. 2001. “Pilgrim Fajigi and Basiw from Mecca: Islam and Traditional Religion in the Former French Sudan.” In Bamana: The Art of Existence in Mali, edited by Jean-Paul Colleyn, 25–34. New York: Museum for African Art; Zurich: Museum Rietberg; Ghent: Snoeck-Ducaju & Zoon.

Conrad, David C., and Barbara E. Frank. 1995. Status and Identity in West Africa: Nyamakalaw of Mande. Bloomington: Indiana University Press.

Convers, Michel. 1997. “In the Wake of the Massa Movement among the Senufo.” World of Tribal Arts 3 (4): 52–66.

Cooksey, Susan Elizabeth. 2004. “Iron Staffs in the Crossroads: Art and Divination in Toussiana, a Southwestern Burkina Faso Community.” PhD diss., University of Iowa.

Cooper, Frederick. 2014. Citizenship between Empire and Nation: Remaking France and French Africa, 1945–1960. Princeton, NJ: Princeton University Press.

Cousins, Mark, dir. 2012. The Story of Film: An Odyssey, episode 12, 2012. Chicago: Music Box Films.

Cowcher, Kate. 2019. “Soviet Supersystems and American Frontiers: African Art Histories amid the Cold War.” The Art Bulletin 101 (3): 144–166.

Crampton, Jeremy W. 2013. “Mappings.” In The Wiley-Blackwell Companion to Cultural Geography, edited by Nuala Johnson, Richard Schein, and Jamie Winders, 423–436. Chichester: Wiley-Blackwell.

Crampton, Jeremy W. 2015. “Collect It All: National Security, Big Data, and Governance.” GeoJournal 80 (4): 519–531.

Crampton, Jeremy W., Susan M. Roberts, and Ate Poorthuis. 2014. “The New Political Economy of Geographical Intelligence.” Annals of the Association of American Geographers 104 (1): 196–214.

Crapanzano, Vincent. 2003. Imaginative Horizons: An Essay in Literary-Philosophical Anthropology. Chicago: University of Chicago Press.

Delafosse, Maurice. 1912. Haut-Sénégal-Niger (Soudan français). 3 vols. Paris: Émile Larose.

Dewast, Louise. 2020. “France Summit: Sahel Crisis in Danger of Slipping out of Control.” BBC News, January 13, 2020. Accessed January 13, 2020, https://www.bbc.com/news/world-africa-51061229.

Diamitani, Boureima Tiékoroni. 1999. “Identities, Komo Societies, and Art among the Tagwa Senufo of Burkina Faso.” PhD diss., University of Iowa.

Diamitani, Boureima Tiékoroni. 2004. “Speaking and Nonspeaking Power Objects of the Senufo.” In African Folklore: An Encyclopedia, edited by Philip M. Peek and Kwesi Yankah, 434–435. New York: Routledge.

Diamitani, Boureima Tiékoroni. 2008. “Observing Komo among Tagwa People in Burkina Faso: A Burkinabe Art Historian’s View.” African Arts 41 (3): 14–25.

Diamitani, Boureima Tiékoroni. 2011. “The Insider and the Ethnography of Secrecy: Challenges of Collecting Data on the Fearful Komo of the Tagwa-Senufo.” African Archaeological Review 28:55–70.

Diarra, Nyamaton, Adama Mara, and Sarah C. Brett-Smith. 1996. The Artfulness of M’Fa Jigi: An Interview with Nyamaton Diarra. Madison: African Studies Program, University of Wisconsin–Madison.

Diawara, Manthia. 1988. “Souleymane Cissé’s Light on Africa.” Black Film Review 4:12–16.

Diawara, Manthia. 2007. “Self Representation in African Cinema.” Nka 75:74–81.

Dieterlen, Germaine. 1951. Essai sur la religion bambara. Paris: Presses Universitaires de France.

Dieterlen, Germaine, and Youssouf Tata Cissé. 1972. Les fondements de la société d’initiation du Komo. Paris: Mouton.

Dofini, Romuald. 2019. “Bobo-Dioulasso: Les dozos de la sous-région invoquent les mânes pour la paix et la cohésion sociale.” LeFaso.net, April 29, 2019. Accessed August 31, 2020, https://lefaso.net/spip.php?article89354.

Doris, David T. 2011. Vigilant Things: On Thieves, Yoruba Anti-Aesthetics, and the Strange Fates of Ordinary Objects in Nigeria. Seattle: University of Washington Press.

Douce, Sophie. 2018. “Le Burkina Faso désormais sur la carte du djihadisme.” Le Monde, October 18, 2018. Accessed January 18, 2020, https://www.lemonde.fr/afrique/article/2018/10/18/le-burkina-faso-desormais-sur-la-carte-du-djihadisme_5371448_3212.html.

Dovey, Lindiwe. 2015. “Afri-Cannes? African Film and Filmmakers at the World’s Most Prestigious Film Festival.” In Curating Africa in the Age of Film Festivals, 45–57. London: Palgrave.

Downing, John D. H. 1996. “Post-Tricolor African Cinema: Towards a Richer Vision.” In Cinema, Colonialism, Postcolonialism: Perspectives from the French and Francophone Worlds, edited by Dina Sherzer, 188–228. Austin: University of Texas Press.

Drabo, Adama, dir. 1997. Taafe Fanga (Pouvoir de Pagne / Skirt Power). Bamako: Centre national de production cinématographique du Mali; Undervelier: Thelma Film AG; San Francisco: California Newsreel.

Drewal, Henry John. 1990. “African Art Studies Today.” In African Art Studies: The State of the Discipline, Papers Presented at a Symposium Organized by the National Museum of African Art, Smithsonian Institution, September 16, 1987, 29–62. Washington, DC: National Museum of African Art.

Drewal, Henry John, and Margaret Thompson Drewal. 1983. Gelede: Art and Female Power among the Yoruba. Bloomington: Indiana University Press.

Drewal, Margaret Thompson. 1989. “Performers, Play, and Agency: Yorùbá Ritual Process.” PhD diss., New York University.

Drewal, Margaret Thompson. 1991. “The State of Research on Performance in Africa.” African Studies Review 34 (3): 1–64.

Drewal, Margaret Thompson. 1992. Yoruba Ritual: Performers, Play, Agency. Bloomington: Indiana University Press.

Eberhard, David M., Gary F. Simons, and Charles D. Fennig, eds. 2020. Ethnologue: Languages of the World. 23rd ed. Dallas, TX: SIL International. Accessed December 28, 2020, http://www.ethnologue.com.

The Economist. 2016. “An Al-Qaeda Attack in Burkina Faso Leaves 28 Dead,” signed by C. B. The Economist, January 17, 2016. Accessed January 18, 2020, https://www.economist.com/middle-east-and-africa/2016/01/17/an-al-qaeda-attack-in-burkina-faso-leaves-28-dead.

The Economist. 2018. “Burkina Faso, West Africa’s Linchpin, Is Losing Its War on Terror.” The Economist, December 15, 2018. Accessed January 18, 2020, https://www.economist.com/middle-east-and-africa/2018/12/15/burkina-faso-west-africas-linchpin-is-losing-its-war-on-terror.

Einstein, Carl. (1915) 2004. “Negro Sculpture.” Translated by Charles W. Haxthausen and Sebastian Zeidler. October 107:122–138.

Einstein, Carl. 1920. Negerplastik. 2nd ed. Munich: Kurt Wolff. 1st ed., Leipzig: Weissen Bücher, 1915.

Elbadawi, Soeuf. 2000. “Nahawa Doumbia.” RFI Musique, July 26, 2000. Accessed May 15, 2018, http://musique.rfi.fr/musique/20000726-nahawa-doumbia.

Enwezor, Okwui. 1997. “The Joke Is on You: The Work of Yinka Shonibare.” Nka 6/7:10–11.

Epelboin, Alain, Constant Hamès, Johana Larco Laurent, and Jean Louis Durand. 2013. “Un art secret: les écritures talismaniques de l’Afrique de l’Ouest,” catalogue “enrichi” de l’exposition (avril 2013). Paris: Institut du monde arabe.

Ewell, Philip. 2020. “Beethoven Was an Above Average Composer—Let’s Leave It at That.” Music Theory’s White Racial Frame: Confronting Racism and Sexism in American Music Theory (blog), April 24, 2020. Accessed December 18, 2020, https://musictheoryswhiteracialframe.wordpress.com/2020/04/24/beethoven-was-an-above-average-composer-lets-leave-it-at-that/.

Fabian, Johannes. 1986. Language and Colonial Power: The Appropriation of Swahili in the Former Belgian Congo, 1880–1938. Berkeley: University of California Press.

Favret-Saada, Jeanne. (1977) 1980. Deadly Words: Witchcraft in the Bocage. Translated by Catherine Cullen. Cambridge: Cambridge University Press.

Fenton, Jordan. 2016. “Masking and Money in a Nigerian Metropolis: The Economics of Performance in Calabar.” Critical Interventions: Journal of African History and Visual Culture 10 (2): 172–192.

Fenton, Jordan. 2022. Masquerade and Money in Urban Nigeria: The Case of Calabar. Rochester: University of Rochester Press.

Ferme, Mariane. 2001. The Underneath of Things: Violence, History, and the Everyday in Sierra Leone. Berkeley: University of California Press.

Ferrarini, Lorenzo. 2014. Kalanda: The Knowledge of the Bush. Manchester: University of Manchester, Granada Centre for Visual Anthropology.

Fischer, Eberhard. 2008. Guro: Masks, Performances, and Master Carvers in Ivory Coast. Zurich: Museum Rietberg; Munich: Prestel.

Fischer-Lichte, Erika. 2008. The Transformative Power of Performance: A New Aesthetics. Translated by Saskya Iris Jain. Abingdon, Oxon, and New York: Routledge.

Formanoir, Maxime de. 2018. “Pour une approche de la statuaire du sud-ouest du Gabon et de la République du Congo sous l’angle des sociétés initiatiques.” Anthropos 113:1–16.

Förster, Till. 1985. Divination bei den Kafibele-Senufo. Zur Aushandlung und Bewältigung von Alltagskonflikten. Berlin: Reimer.

Förster, Till. 1988. Die Kunst der Senufo, Museum Rietberg Zürich, aus Schweizer Sammlungen. Zurich: Museum Rietberg.

Förster, Till. 1993. “Senufo Masking and the Art of Poro.” African Arts 26 (1): 30–41, 101.

Förster, Till. 1997. Zerrissene Entfaltung: Alltag, Ritual und künstlerische Ausdrucksformen im Norden der Côte d’Ivoire. Cologne: Rüdiger Köppe.

Förster, Till. 2004. “Songs of Insult: A Senufo Headdress (Daagu).” In See the Music, Hear the Dance: Rethinking African Art at the Baltimore Museum of Art, edited by Frederick John Lamp, 102–104. Munich: Prestel.

Förster, Till. 2012. “Imagining the Nation: Independence Ceremonies under Rebel Domination in Northern Côte d’Ivoire.” African Arts 45 (3): 42–55.

Förster, Till. 2018. “‘Things of the Night’ A Poro Ritual Nobody Talks About.” In Secrecy: Who’s Allowed to Know What, edited by Museum der Kulturen Basel, 136–143. Basel: Museum der Kulturen; Berlin: Hatje Cantz.

Frank, Barbara. 1987. “Open Borders: Style and Ethnic Identity.” African Arts 20 (4): 48–55, 90.

Frank, Barbara. 2007. “Marks of Identity: Potters of the Folona (Mali) and Their ‘Mothers.’” African Arts 40 (1): 30–41.

Frank, Barbara. 2021. Griot Potters of the Folona: The History of an African Ceramic Tradition. Bloomington: Indiana University Press.

Freshwater, Helen. 2009. Theatre & Audience. New York: Palgrave Macmillan.

Freshwater, Helen. 2011. “‘You Say Something’: Audience Participation and the Author.” Contemporary Theatre Review 21 (4): 405–409.

Gaborit, Aurélien. 2014. Bois sacré: initiation dans les forêts guinéennes (hors-série). Issy-les-Moulineaux: Beaux arts.

Gagliardi, Susan Elizabeth. 2010. “Crossing Borders, Pushing Boundaries: Arts of Power Associations on the Senufo-Mande Cultural ‘Frontier.’” PhD diss., University of California, Los Angeles.

Gagliardi, Susan Elizabeth. 2013. “Masquerades as the Public Face: Art of Contemporary Hunters’ Associations in Western Burkina Faso.” African Arts 46 (4): 46–59.

Gagliardi, Susan Elizabeth. 2014. Senufo Unbound: Dynamics of Art and Identity in West Africa. Cleveland: Cleveland Museum of Art; Milan: 5 Continents.

Gagliardi, Susan Elizabeth. 2015. Senufo sans frontières. La dynamique des arts et des identités en Afrique de l’Ouest. Translated by Anne-Marie Bouttiaux. Cleveland: Cleveland Museum of Art; Milan: 5 Continents.

Gagliardi, Susan Elizabeth. 2016. “Antelopes and Queens: Bambara Sculpture from the Western Sudan: A Groundbreaking Exhibition at the Museum of Primitive Art, New York, 1960.” In Heilbrunn Timeline of Art History. New York: Metropolitan Museum of Art, 2000–. Accessed March 1, 2022, http://www.metmuseum.org/toah/hd/bamb/hd_bamb.htm.

Gagliardi, Susan Elizabeth. 2018a. “Art and the Individual in African Masquerades: Introduction.” Africa: Journal of the International African Institute 88 (4): 702–717.

Gagliardi, Susan Elizabeth. 2018b. “Seeing the Unseeing Audience: Women and West African Power Association Masquerades.” Africa: Journal of the International African Institute 88 (4): 744–767.

Gagliardi, Susan Elizabeth. 2020a. “Mapping Senufo: Mapping as a Method to Transcend Colonial Assumptions.” In The Routledge Companion to Digital Humanities and Art History, edited by Kathryn Brown, 135–154. New York: Routledge.

Gagliardi, Susan Elizabeth. 2020b. “Ambiguity and Indeterminacy in Arts of West African Power Associations,” invited contribution published in translation as “Ambiguité et indétermination dans les arts des sociétés initiatiques ouest-africaines.” In The Postcard Dialogues. Mélanges en l’honneur de Dario Gamboni, edited by Sarah Burkhalter and Laurence Schmidlin, 23–30. Geneva: art&fiction.

Gagliardi, Susan Elizabeth, and Joanna Gardner-Huggett. 2017. “Introduction to the Special Issue: Spatial Art History in the Digital Realm.” Historical Geography 45:17–36.

Gagliardi, Susan Elizabeth, and Yaëlle Biro. 2019. “Beyond Single Stories: Addressing Dynamism, Specificity, and Agency in Arts of Africa.” African Arts 52 (4): 1–2, 4–6.

Gagliardi, Susan Elizabeth, and Constantine Petridis. 2021. “Mapping Senufo: Reframing Questions, Reevaluating Sources, and Reimagining a Digital Monograph.” History in Africa, 1–45. Accessed August 28, 2021, https://doi.org/10.1017/hia.2021.5.

Gagliardi, Susan Elizabeth, and Constantine Petridis. Forthcoming. “Mapping Senufo: Making Visible Debatable Information and Situated Knowledge.” Art Institute Review.

Gallieni, Joseph-Simon. 1885. Voyage au Soudan français (Haut Niger et pays de Ségou), 1879–1881. Paris: Hachette.

Gamboni, Dario. 2002. Potential Images: Ambiguity and Indeterminacy in Modern Art. London: Reaktion Books.

Geary, Christraud M. 1994. The Voyage of King Njoya’s Gift: A Beaded Sculpture from the Bamum Kingdom, Cameroon, in the National Museum of African Art. Washington, DC: National Museum of African Art.

Gentile, Philip. 1995. “In the Midst of Secrets: Souleymane Cissé’s Yeelen.” Iris: A Journal of Theory on Image and Sound 18:125–135.

Geschiere, Peter. 1997. The Modernity of Witchcraft: Politics and the Occult in Postcolonial Africa. Charlottesville: University of Virginia Press.

Gilbert, Michelle. 1983. Review of Africa, Tribal Art of Forest and Savanna by Arnold Bamert; Art and Society in Africa by Robert Brain; The Last Africans by Gert Chesi, Sonja Bahn, and Ingrid Vogrin; Art and Death in a Senufo Village by Anita J. Glaze; Terres Cuites Anciennes de l’Ouest Africain / Ancient Terracottas from West Africa by Bernard de Grunne; African Furniture and Household Objects by Roy Sieber; Antilopes du Soleil, Arts et Rites Agraires d’Afrique Noire by Dominique Zahan. Africa: Journal of the International African Institute 53 (3): 99–104.

Glaze, Anita J. 1975. “Women Power and Art in a Senufo Village.” African Arts 8 (3): 24–29, 68–68, 96.

Glaze, Anita J. 1976. “Art and Death in a Senufo Village (Kufulo / Fodonon region).” PhD diss., Indiana University.

Glaze, Anita J. 1978. “Senufo Ornament and Decorative Arts.” African Arts 12 (1): 63–71, 107–108.

Glaze, Anita J. 1981. Art and Death in a Senufo Village. Bloomington: Indiana University Press.

Glaze, Anita J. 1986. “Dialectics of Gender in Senufo Masquerades.” African Arts 19 (3): 30–39, 82.

Glaze, Anita J. 1993. “The Senufo” and “Senufo: Kpeliye’e Mask.” In Art of Côte d’Ivoire: From the Collection of the Barbier-Mueller Museum, edited by Jean Paul Barbier, vol. 1:30–53, 413; vol. 2:11, cat. 1. Geneva: Barbier-Mueller Museum.

Goïta, Mando Nanta. n.d. “Le Ciwara en milieu senoufo et mianka.” Paper. Région de Sikasso, Direction Régionale de la Jeunesse, des Sports, des Arts et de la Culture, Division du Patrimoine Culturel.

Goldwater, Robert J. 1960. Bambara Sculpture from the Western Sudan. New York: Museum of Primitive Art.

Goldwater, Robert J. 1964. Senufo Sculpture from West Africa. Greenwich, CT: New York Graphic Society.

Goode, Chris. 2011. “The Audience Is Listening.” Contemporary Theatre Review 21 (4): 464–471.

Goody, Jack. 1967. The Social Organisation of the LoWiili. London: Oxford University Press.

Goody, Jack. 2000. The Power of the Written Tradition. Washington, DC: Smithsonian Institution Press.

Goody, Jack. 2002. “The Bagre in All Its Variety.” In The Third Bagre: A Myth Revisited, by Jack Goody and S. W. D. K. (Kum) Gandah, xiii–xxvii. Durham, NC: Carolina Academic Press.

Gottschalk, Burkhard. 2002. Senufo: Massa und die Statuen des Poro. Düsseldorf: U. Gottschalk.

Grammont, Étienne Carton de, and Films Cissé. (1987) 2016. A bè munumunu. Atlanta: Marian K. Heilbrun Music and Media Library, courtesy of Étienne Carton de Grammont. DVD.

Griaule, Marcel, Michel Leiris, Deborah Lifchitz, Éric Lutten, Jean Mouchet, Gaston-Louis Roux, and André Schaeffner. 2015. Cahier Dakar-Djibouti, edited by Éric Jolly et Marianne Lemaire in collaboration with Julien Bondaz, Claire Bosc-Tiessé, Marie Gautheron, Brice Gérard, Jean Jamin, Makeda Ketcham, Cécile van den Avenne, and Anaïs Wio. Meurcourt: Éditions les Cahiers.

Groebner, Valentin. 2004. Defaced: The Visual Culture of Violence in the Late Middle Ages. New York: Zone Books.

Gundlach, Cory. 2019. “Spirited Objects: Lobi Art in West Africa and Beyond.” PhD diss., University of Iowa.

Guyer, Nanina. 2015. “Full of History: Photographs of the Sande and Poro Associations in Sierra Leone and Liberia, 1890–1930.” PhD diss., University of Basel.

Guyer, Nanina. 2018. “‘Secret Societies’ in West Africa: A History of an Inappropriate Term.” In Secrecy: Who’s Allowed to Know What, edited by Museum der Kulturen Basel, 30–43. Basel: Museum der Kulturen; Berlin: Hatje Cantz.

Hagberg, Sten. 2004. “Political Decentralization and Traditional Leadership in the Benkadi Hunters’ Association in Western Burkina Faso.” Africa Today 50 (4): 51–70.

Hagberg, Sten. 2007. “The Authority and Violence of a Hunters’ Association in Burkina Faso: ‘Each Bird is Sitting in its Own Tree.’” In Conflicts over Land and Water in Africa, edited by Bill Derman, Rie Odgaard, and Espen Sjaastad, 187–201. Oxford: James Currey; East Lansing: Michigan State University Press; Pietermaritzburg: University of KwaZulu-Natal Press.

Hahner-Herzog, Iris, Maria Kecskési, and Lázló Vajda. (1997) 2007. African Masks: The Barbier-Mueller Collection. Munich: Prestel.

Hamilton, Carolyn, and Nessa Leibhammer, eds. 2016. Tribing and Untribing the Archive, 2 vols. Pietermaritzburg: University of KwaZulu-Natal Press.

Harley, George W. 1941. “Notes on the Poro in Liberia.” Papers of the Peabody Museum of American Archaeology and Ethnology, Harvard University 19 (2): 1–39.

Haxaire, Claudie. 2009. “The Power of Ambiguity: The Nature and Efficacy of the Zamble Masks Revealed by ‘Disease Masks’ among the Gouro People (Côte d’Ivoire).” Africa: Journal of the International African Institute 79 (4): 543–569.

Hay, Jonathan. 2007. “The Mediating Work of Art and Interventions: The Author Replies.” Art Bulletin 89 (3): 435–459, 496–501.

Hellweg, Joseph Raymond. 2001. “The Mande Hunters’ Movement of Côte d’Ivoire: Ritual, Ethics, and Performance in the Transformation of Civil Society, 1990–1997.” PhD diss., University of Virginia.

Hellweg, Joseph Raymond. 2004. “Encompassing the State: Sacrifice and Security in the Hunters’ Movement of Côte d’Ivoire.” Africa Today 50 (4): 3–28.

Hellweg, Joseph Raymond. 2006. “Manimory and the Aesthetics of Mimesis: Forest, Islam and State in Ivoirian Dozoya.” Africa: Journal of the International African Institute 76 (4): 461–484.

Hellweg, Joseph Raymond. 2011. Hunting the Ethical State: The Benkadi Movement of Côte d’Ivoire. Chicago: University of Chicago Press.

Henry, Joseph. 1910. L’âme d’un peuple africain. Les Bambara, leur vie psychique, éthique, sociale, religieuse. Münster: Aschendorffschen Buchhandlung.

Hersak, Dunja. 2010. “Reviewing Power, Process, and Statement: The Case of Songye Figures.” African Arts 43 (2): 38–51.

Himmelheber, Hans. 1954/1955. “Massa: Fetisch der Rechtschaffenheit.” Tribus 4/5:56–62.

Hobsbawm, Eric. 1983. “Introduction: Inventing Traditions.” In The Invention of Tradition, edited by Eric Hobsbawm and Terence Ranger, 1–14. Cambridge: Cambridge University Press.

Højbjerg, Christian Kordt. 2007. Resisting State Iconoclasm among the Loma of Guinea. Durham, NC: Carolina Academic Press.

Holas, Bohumil. 1957a. Les Sénoufo, y compris les Minianka. Paris: Presses Universitaires de France.

Holas, Bohumil. 1957b. “Note sur la fonction rituelle de deux catégories de statues sénoufo.” Artibus Asiae 20 (1): 29–35.

Holas, Bohumil. 1965. Le séparatisme religieux en Afrique noire, l’exemple de la Côte d’Ivoire. Paris: Presses Universitaires de France.

Holas, Bohumil. 1978. L’art sacré sénoufo. Abidjan: Nouvelles Éditions Africaines.

Homann, Lisa. 2014/2015. “Alluring Obscurity: Dancing Nocturnal White Masks in Southwestern Burkina Faso.” RES: Anthropology and Aesthetics 65/66:158–178.

Homann, Lisa. 2018. “Controversy and Human Agency in ‘Portrait Masks’ from the Studio of André Sanou.” Africa: Journal of the International African Institute 88 (4): 768–801.

Homann, Lisa. 2020. “Incremental Shifts: The Contemporariness of Masquerade.” African Arts 53 (4): 38–45.

Howell, Martha, and Walter Prevenier. 2001. From Reliable Sources: An Introduction to Historical Methods. Ithaca, NY: Cornell University Press.

Human Rights Watch. 2020. “Mali: Army, UN Fail to Stop Massacre.” Human Rights Watch, March 18, 2020. Accessed August 31, 2020, https://www.hrw.org/news/2020/03/18/mali-army-un-fail-stop-massacre.

Hynes, Nancy. 2001. “Re-dressing History.” African Arts 34 (3): 60–65, 93.

Imperato, Pascal James. 2009. “Surface Symbols: The Meanings of Color, Patina, Encrustation, and Design on Bamana Sculpture.” In Surfaces: Color, Substances, and Ritual Applications on African Sculpture, edited by Leonard Kahan, Donna Page, and Pascal James Imperato, 151–196. Bloomington: Indiana University Press.

Irvine, Judith. 2008. “Subjected Words: African Linguistics and the Colonial Encounter.” Language & Communication 28:323–343.

Jackson, Michael. 1989. Paths Toward a Clearing: Radical Empiricism and Ethnographic Inquiry. Bloomington: Indiana University Press.

Jamin, Jean. 1973. La Nébuleuse du Koulo Tyolo. Essai de rapport de stage et d’enquête en pays sénoufo. Abidjan: Centre ORSTOM du Petit Bassam.

Jansen, Jan. 2000. “The Mande Magical Mystery Tour—The Mission Griaule in Kangaba (Mali).” Mande Studies 2:97–114.

Jespers, Philippe. 1995. “Masks and Utterance: The Analysis of an Auditory Mask in the Initiatory Society of the Komo (Minyanka, Mali).” In Objects: Signs of Africa, edited by Luc de Heusch, 37–56. Ghent: Snoeck-Ducaju & Zoon.

Jespers, Philippe. 2001. “La puissance du masque: de l’audible au visible.” In Puissances de la voix: corps sentant, corde sensible, edited by Sémir Badir and Herman Parret, 51–70. Limoges: Presses Universitaires de Limoges.

Jespers, Philippe. 2013. “L’ouverture des yeux au Komo.” Studies in Social Sciences and Humanities 176:37–66.

Kaplan, Julia A., and Yinka Shonibare. 2002. “Yinka Shonibare” in “Give & Take Conversations.” Art Journal 61 (2): 82–83.

Kart, Susan. 2020. “The Missing Women of Sande: A Necessary Exercise in Museum Decolonization.” African Arts 53 (3): 72–83.

Kasfir, Sidney Littlefield. 1984. “One Tribe, One Style? Paradigms in the Historiography of African Art.” History in Africa 11:63–193.

Kasfir, Sidney Littlefield. 1986. Review of Art History in Africa: An Introduction to Method by Jan Vansina. African Arts 19 (2): 10, 12, 14, 17, 19, 92.

Kelly, Julia. 2007. Art, Ethnography, and the Life of Objects: Paris, c. 1925–35. Manchester: Manchester University Press.

Kenney, Nancy. 2020. “How Medical Experts Helped Curators Discover the Hidden Secrets of a Senufo Helmet Mask.” The Art Newspaper, January 4, 2020. Accessed January 18, 2020, https://www.theartnewspaper.com/2020/01/04/how-medical-experts-helped-curators-discover-the-hidden-secrets-of-a-senufo-helmet-mask.

Kloman, Susan. 2018. “Origins: Or Where the Wild Things Are.” Origins: Masterworks of African and Oceanic Art, Christie’s New York, Sale 16150, May 17, 2018, 6–7. New York: Christie’s.

Knops, Pierre. 1958. “Critique de ‘Fondements spirituels de la vie sociale sénoufo’ de M. Bohumil Holas.” Bulletin de la Société royale belge d’anthropologie et de préhistoire 69:130–138.

Knops, Pierre. 1980. Les anciens Sénufo, 1923–1935. Berg en Dal: Afrika Museum.

Kochnitzky, Léon. 1948. Negro Art in Belgian Congo. New York: Belgian Government Information Center.

Koné, Kassim. 2022. “Ugly as a Kɔmɔ Mask: An Aesthetics of Horror among the Bamana.” In The Language of Beauty in African Art, edited by Constantine Petridis, 244–249. Chicago: Art Institute of Chicago.

Labouret, Henri. 1934. “Les Manding et leur langue.” Bulletin du comité d’études historiques et scientifiques de l’Afrique occidentale française 17 (1): 1–270.

Lamp, Frederick John. 1996. Art of the Baga: A Drama of Cultural Reinvention. New York: Museum for African Art; Munich: Prestel.

Lamp, Frederick John. 1999. “Africa Centered.” African Arts 32 (1): 1, 4, 6, 8–10.

Lamp, Frederick John, ed. 2004. See the Music, Hear the Dance: Rethinking African Art at the Baltimore Museum of Art. Munich: Prestel.

Lancaster, Kurt. 1997. “When Spectators become Performers: Contemporary Performance-Entertainments Meet the Needs of an ‘Unsettled’ Audience.” Journal of Popular Culture 30 (4): 75–88.

Latour, Bruno. 2005. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press.

Latour, Bruno. 2010. On the Modern Cult of the Factish Gods. Durham, NC: Duke University Press.

Launay, Robert. 1982. Traders without Trade: Responses to Change in Two Dyula Communities. Cambridge: Cambridge University Press.

Launay, Robert. 1992. Beyond the Stream: Islam and Society in a West African Town. Berkeley: University of California Press.

Launay, Robert. 1999. “Stereotypic Vision: ‘The Moral Character’ of the Senufo in Colonial and Postcolonial Discourse.” Cahiers d’études africaines 39 (154): 271–292.

Lawal, Babatunde. 1996. The Gẹ̀lẹ̀dẹ̀ Spectacle: Art, Gender, and Social Harmony in African Culture. Seattle: University of Washington Press.

Lawal, Babatunde. 2012. Yoruba. Visions of Africa. Milan: 5 Continents.

Le Barbier, Louis. 1906. Les Bambaras: mœurs, coutumes, religions. Paris: Émile Larose.

Le Barbier, Louis. 1918. Étude sur les populations bambaras de la Vallée du Niger. Paris: Dujarric et Cie.

LeFaso.net. 2014. “Burkina Faso: Blaise Compaoré a rendu sa démission.” LeFaso.net, October 31, 2014. Accessed January 18, 2020, https://lefaso.net/spip.php?article61550.

LeFaso.net. 2019. “Burkina: Quatre terroristes tués dans un affrontement avec des Dozos.” LeFaso.net, September 11, 2019. Accessed August 31, 2020, https://lefaso.net/spip.php?article91852.

LeFaso.net. 2020. “Sécurité au Sahel: la France déconseille à ses ressortissants de se rendre dans plusieurs pays.” LeFaso.net, August 16, 2020. Accessed August 31, 2020, https://lefaso.net/spip.php?article98730.

Leiris, Michel. (1934) 1981. L’Afrique fantôme. Paris: Gallimard.

Leiris, Michel. (1934) 2017. Phantom Africa. Translated by Brent Hayes Edwards. Calcutta: Seagull Books.

Lelièvre, Samuel. 2013. La lumière de Souleymane Cissé: cinéma et culture. Paris: L’Harmattan.

Le Monde avec AFP. 2019. “Le Burkina Faso entièrement déconseillé aux voyageurs, selon le Quai d’Orsay.” Le Monde, November 20, 2019. Accessed January 18, 2020, https://www.lemonde.fr/afrique/article/2019/11/20/le-burkina-faso-entierement-deconseille-aux-voyageurs-selon-le-quai-d-orsay_6019831_3212.html.

Lewis, Roy, and Yvonne Foy. 1972. The Times Map of the Tribes, Peoples, & Nations of Modern Africa. London: The Times. Accessed May 15, 2018, https://www.loc.gov/item/73691651/.

Lifschitz, Edward. 1988. “Hearing Is Believing: Acoustic Aspects of Masking in Africa.” In West African Masks and Cultural Systems, edited by Sidney L. Kasfir, 221–229. Tervuren: Musée royal de l’Afrique centrale.

Little, Kenneth. 1951. The Mende of Sierra Leone: A West African People in Transition. London: Routledge & K. Paul.

Loock, Ulrich. 2012. “Opacity.” Frieze, November 7, 2012. Accessed September 1, 2020, https://www.frieze.com/article/opazit%C3%A4t.

Lubet, Steven. 2018. Interrogating Ethnography: Why Evidence Matters. Oxford: Oxford University Press.

Macamo, Elísio. 2017. “Urbane Scholarship: Studying Africa, Understanding the World.” 2017 European Conference on Africa Studies, Universität Basel, Switzerland, June 29, 2017. Accessed December 30, 2020, https://www.youtube.com/watch?v=tooclmpUmnc.

Macamo, Elísio. 2018. “Urbane Scholarship: Studying Africa, Understanding the World.” Africa 88 (1): 1–10.

MacDougall, Clair. 2018. “Insecurity Shadows Mali’s President. It May Also Help Him Get Re-Elected.” New York Times, July 27, 2018. Accessed January 18, 2020, https://www.nytimes.com/2018/07/27/world/africa/insecurity-shadows-malis-president-it-may-also-help-him-get-re-elected.html.

MacGaffey, Wyatt. 1977. “Fetishism Revisited: Kongo Nkisi in Sociological Perspective.” Africa: Journal of the International African Institute 47 (2): 172–184.

MacGaffey, Wyatt. 1988. “Complexity, Astonishment and Power: The Visual Vocabulary of Kongo Minkisi.” Journal of Southern African Studies 14 (2): 188–203.

MacGaffey, Wyatt. 1994. “African Objects and the Idea of Fetish.” RES: Anthropology and Aesthetics 25:123–131.

MacGaffey, Wyatt. 1998. “‘Magic, or As We Usually Say, Art’: A Framework for Comparing European and African Art.” In The Scramble for Art in Central Africa, edited by Enid Schildkrout and Curtis A. Keim, 217–235. Cambridge: Cambridge University Press.

MacGaffey, Wyatt. 2014/2015. “Franchising Minkisi in Loango: Questions of Form and Function.” RES: Anthropology and Aesthetics 65/66:148–157.

Maclean, Ruth. 2020. “When the Soldiers Meant to Protect You Instead Come to Kill.” New York Times, June 22, 2020. Accessed August 31, 2020, https://www.nytimes.com/2020/06/22/world/africa/burkina-faso-terrorism.html.

MacRae, Suzanne H. 1995. “‘Yeelen’: A Political Fable of the ‘Komo’ Blacksmith / Sorcerers.” Research in African Literatures 26 (3): 57–66.

Maesen, Albert. 1946. “De plastiek in de kultuur van de Senufo van de Ivoorkust (Fransch West Afrika).” PhD diss., Ghent University.

Mahmood, Saba. (2005) 2012. Politics of Piety: The Islamic Revival and the Feminist Subject. Princeton, NJ: Princeton University Press.

Malé, Salia. 1999. “La présentation des objets de cultures vivantes: le cas du Musée national du Mali.” Journal des Africanistes 69 (1): 29–52.

Mann, Gregory. 2003. “Fetishizing Religion: Allah Koura and French ‘Islamic Policy’ in Late Colonial French Soudan (Mali).” Journal of African History 44 (2): 263–282.

Mann, Gregory. 2006. Native Sons: West African Veterans and France in the Twentieth Century. Durham, NC: Duke University Press.

Maranci, Christina. 2006. “Building Churches in Armenia: Art at the Borders of Empire and the Edge of the Canon.” Art Bulletin 88 (4): 656–675.

Marks, Simon. 2019. “‘We Looked to Escape Death’: Violence Uproots Nearly 500,000 in Burkina Faso.” New York Times, October 15, 2019. Accessed January 18, 2020, https://www.nytimes.com/2019/10/15/world/africa/burkina-faso-violence.html.

Mary, André. 1999. Le défi du syncrétisme. Le travail symbolique de la religion d’Eboga (Gabon). Civilisations et Sociétés, 97. Paris: l’École des Hautes Études en Sciences Sociales.

Maxwell, Heather A. 2002. “Destiny’s Divas: Wassolu Singing, Music Ideologies, and the Politics of Performance in Bamako, Mali.” PhD diss., Indiana University.

Mbembe, Achille. 1991. “Domaines de la nuit et autorité onirique dans les maquis du Sud-Cameroun (1955–1958).” Journal of African History 32 (1): 89–121.

Mbembe, Achille. 2001. On the Postcolony. Berkeley: University of California Press.

McCall, Daniel. 1982. Review of Art and Death in a Senufo Village by Anita J. Glaze. International Journal of African Historical Studies 15 (3): 550–551.

McGovern, Mike. 2012. Unmasking the State: Making Guinea Modern. Chicago: University of Chicago Press.

McNaughton, Patrick R. 1977. “The Bamana Blacksmiths: A Study of Sculptors and Their Art.” PhD diss., Yale University.

McNaughton, Patrick R. 1979a. Secret Sculptures of Komo: Art and Power in Bamana (Bambara) Initiation Associations. Philadelphia: Institute for the Study of Human Issues.

McNaughton, Patrick R. 1979b. “Bamana Blacksmiths.” African Arts 12 (2): 65–92.

McNaughton, Patrick R. 1982a. “Language, Art, Secrecy, and Power: The Semantics of Dalilu.” Anthropological Linguistics 24 (4): 487–505.

McNaughton, Patrick R. 1982b. “The Shirts That Mande Hunters Wear.” African Arts 15 (3): 54–58, 91.

McNaughton, Patrick R. 1987. “African Borderland Sculpture.” African Arts 22 (4): 76–77, 91–92.

McNaughton, Patrick R. 1988. The Mande Blacksmiths: Knowledge, Power, and Art in West Africa. Bloomington: Indiana University Press.

McNaughton, Patrick R. 1995. “The Semantics of Jugu: Blacksmiths, Lore, and ‘Who’s Bad’ in Mande.” In Status and Identity in West Africa: Nyamakalaw of Mande, edited by David C. Conrad and Barbara E. Frank, 46–57. Bloomington: Indiana University Press.

McNaughton, Patrick R. 2000. “Comments on ‘Secrets and Lies.’” Mande Studies 2:175–183.

McNaughton, Patrick R. 2001. “Introduction” and “The Kòmò.” In Bamana: The Art of Existence in Mali, edited by Jean-Paul Colleyn, 166–173, 174–183. New York: Museum for African Art; Zurich: Museum Rietberg; Ghent: Snoeck-Ducaju & Zoon.

McNaughton, Patrick R. 2008. A Bird Dance Near Saturday City: Sidi Ballo and the Art of the West African Masquerade. Bloomington: Indiana University Press.

McNaughton, Patrick R. 2009. “Introduction.” In Surfaces: Color, Substances, and Ritual Applications on African Sculpture, edited by Leonard Kahan, Donna Page, and Pascal James Imperato, 1–10. Bloomington: Indiana University Press.

McNaughton, Patrick R. 2013. “Talking to People about Art.” In African Art, Interviews, Narratives, edited by Joanna Grabski and Carol Magee, 12–24. Bloomington: Indiana University Press.

McNaughton, Patrick R. 2018. “Agency in Artistry: Comments on ‘Art and the Individual in African Masquerades.’” Africa: Journal of the International African Institute 88 (4): 824–839.

Mednick, Sam. 2020. “Burkina Faso’s Volunteer Fighters Are No Match for Jihadists.” Washington Post, July 9, 2020. Accessed August 31, 2020, https://www.washingtonpost.com/world/africa/burkina-fasos-volunteer-fighters-are-no-match-for-jihadists/2020/07/09/715ca7f2-c1b2-11ea-8908-68a2b9eae9e0_story.html.

Mehretu, Julie, and Steven Nelson. 2016. “Roski Talk: Julie Mehretu and Steven Nelson.” The Broad, Los Angeles, California, October 13, 2016. Accessed September 1, 2020, https://youtu.be/mHLkwpWw6So.

Metropolitan Museum of Art. 2015/2016. “Nayland Blake on Boli.” The Artist Project, season 1. Accessed April 5, 2017, http://artistproject.metmuseum.org/1/nayland-blake/.

Mills, Richard. 2003. Dictionnaire sénoufo-français. 2 vols. Cologne: Rüdiger Köppe.

Mitter, Partha. 2008. “Decentering Modernism: Art History and Avant-Garde Art from the Periphery.” The Art Bulletin 90 (4): 531–548.

Monroe, John Warne. 2012. “Surface Tensions: Empire, Parisian Modernism, and ‘Authenticity’ in African Sculpture, 1917–1939.” The American Historical Review 117:445–475.

Monroe, John Warne. 2018. “The Market as ‘Artist’: The French Origins of the Obsession with Provenance in Historical African Art.” Critical Interventions 12 (1): 52–70.

Monroe, John Warne. 2019. Metropolitan Fetish: African Sculpture and the French Invention of Primitive Art. Ithaca, NY: Cornell University Press.

Monteil, Charles. 1924. Les Bambara du Ségou et du Kaarta (étude historique, ethnographique et littéraire d’une peuplade du Soudan français), par Charles Monteil. Paris: É. Larose.

Mori, Emiliano, Ivan Maggini, and Mattia Menchetti. 2013. “When Quills Kill: The Defense Strategy of the Crested Porcupine Hystrix cristata L., 1758.” Mammalia 78 (2): 229–234.

Morris, Rosalind C., and Daniel H. Leonard. 2017. The Returns of Fetishism: Charles de Brosses and the Afterlives of an Idea. Chicago: University of Chicago Press.

Mott, Carrie, and Daniel Cockayne. 2017. “Citation Matters: Mobilizing the Politics of Citation toward a Practice of ‘Conscientious Engagement.’” Gender, Place & Culture 24 (7): 954–973.

Murphy, David. 2000. “Africans Filming Africa: Questioning Theories of an Authentic African Cinema.” Journal of African Cultural Studies 13 (2): 239–249.

Nair, Sreedevi K. 2009. “When Goddess Turns Spectator: On Multiple Audiences in Tholpava Koothu Performance in Kerala.” Studies in Theatre & Performance 29 (2): 173–186.

Narayan, Kirin. 1993. “How Native Is a ‘Native’ Anthropologist?” American Anthropologist 95 (3): 671–686.

Nelson, Steven. 2020. “‘An Embodiment of Experience’: Steven Nelson on African Art and Writing History,” May 5, 2020, in In the Foreground: Conversations on Art & Writing, produced by Caro Fowler, podcast, MP3 audio, 39:14. Accessed March 1, 2022, https://www.clarkart.edu/research-academic/podcast/steven-nelson.

Nield, Sophie. 2008. “The Rise of the Character Named Spectator” (Backpages 18.4). Contemporary Theatre Review 18 (4): 531–544.

Nooter [Roberts], Mary H, ed.. 1993. Secrecy: African Art that Conceals and Reveals. New York: Museum for African Art; Munich: Prestel.

O’Hern, Robin. 2012. “On the Surface: A Cultural and Scientific Analysis of Two West African Komo Masks’ Surfaces.” MA thesis, University of California, Los Angeles.

O’Hern, Robin, Ellen Pearlstein, and Susan Elizabeth Gagliardi. 2016. “Beyond the Surface: Where Cultural Contexts and Scientific Analyses Meet in the Conservation of Komo Helmet Masks in Museum Collections.” Museum Anthropology 39 (1): 70–86.

Olbrechts, Frans M. 1943. “Contribution to the Study of the Chronology of African Plastic Art.” Africa: Journal of the International African Institute 14 (4): 183–193.

O’Malley, Michelle. 2005. The Business of Art: Contracts and the Commissioning Process in Renaissance Italy. New Haven, CT: Yale University Press.

O’Neil, Megan E. 2009. “Ancient Maya Sculptures of Tikal, Seen and Unseen.” RES: Journal of Anthropology and Aesthetics 55/56:119–134.

ORTM. (2004) 2005. Bulumba: invité Souleymane Cissé, avec Awa Toé (Bamako: ORTM), Disc 5: Bonus, Souleymane Cissé: 30 ans de film. Paris: Pathé distribution; Fox Pathé Europa. DVD.

Ouattara, Syna. 2008. Deux sociétés secrètes dans des espaces publics en Afrique de l’Ouest. Gothenburg: Acta Universitatis Gothoburgensis.

Ouattara, Tiona Ferdinand. 1979a. “Les origines du poro communautaire. L’autonomie des villages sénoufo.” Fraternité Matin, February 27, 1979, 16.

Ouattara, Tiona Ferdinand. 1979b. “Les origines du poro communautaire. Quelques vérités premières.” Fraternité Matin, March 6, 1979, 16–17.

Ouattara, Tiona Ferdinand. 1979c. “Les origines du poro communautaire. Une coutume née de la tradition sénoufo.” Fraternité Matin, March 13, 1979, 17.

Ouattara, Tiona Ferdinand. 1979d. “Débats et controverses. Moyens et méthodes de l’histoire des Sénoufo. Appréciations critiques de l’oeuvre de Bohumil Holas, ethnologue des Sénoufo.” Godo godo 4:122–134.

Ouattara, Tiona Ferdinand. 1979e. “Le Poro communautaire est-il la religion des Sénoufo?” Ivoire Dimanche, June 17, 1979, 20–21.

Ouattara, Tiona Ferdinand. 2012. “Les femmes et les institutions initiatiques de formation de l’homme africain. Le cas des Sénoufo.” In Sources orales et histoires. Mélanges offerts au Pr. Henriette R. Dagri-Diabaté, Abidjan, edited by Moussa Paré, 267–283. Abidjan: Éditions du CERAP.

Ouédraogo, Idrissa, dir. 1990. Tilaï. Paris: Médiathèque des trois mondes.

Oyěwùmí, Oyèrónkẹ́. 2002. “Conceptualizing Gender: The Euro-Centric Foundations of Feminist Concepts and the Challenge of African Epistemologies.” Jenda: A Journal of Culture and African Women Studies 2 (1): 2–9.

Oyěwùmí, Oyèrónkẹ́. 2003a. “Introduction: Feminism, Sisterhood, and Other Foreign Relations.” In African Women & Feminism: Reflecting on the Politics of Sisterhood, edited by Oyèrónké. Oyěwùmí, 1–24. Trenton: African World Press.

Oyěwùmí, Oyèrónkẹ́. 2003b. “The White Woman’s Burden: African Women in Western Feminist Discourse.” In African Women & Feminism: Reflecting on the Politics of Sisterhood, edited by Oyèrónké. Oyěwùmí, 25–43. Trenton: African World Press.

Palmié, Stephan. 2013. The Cooking of History: How Not to Study Afro-Cuban Religion. Chicago: University of Chicago Press.

Panh, Rithy, dir. 1991. Souleymane Cissé. Paris: Organisation internationale de la francophonie. PAL video.

Panh, Rithy, dir. (1991) 2005. Souleymane Cissé. Paris: Direction du livre et de la lecture, SECAM.

Pataux, Agnès. 2010. Coeur blanc, ventre blanc. Fétiches et féticheurs. Montreuil: Gourcuff Gradenigo.

Pernet, Henry. 1982. “Masks and Women: Toward a Reappraisal.” History of Religions 22 (1): 45–59.

Petridis, Constantine. 2001. “Olbrechts and the Morphological Approach to African Sculptural Art.” In Frans M. Olbrechts 1899–1958: In Search of Art in Africa, edited by Constantine Petridis, 118–140. Antwerp: Ethnographic Museum.

Petridis, Constantine. 2020. “From the Object to the Field (and Back Again): Complementary Perspectives on African Art.” In Speaking of Objects: African Art at the Art Institute of Chicago, edited by Constantine Petridis, 10–19. Chicago: Art Institute of Chicago.

Petridis, Constantine. 2022. “Visions of Virtue: The Aesthetics of African Art.” In The Language of Beauty in African Art, edited by Constantine Petridis, 30–39. Chicago: Art Institute of Chicago.

Picton, John. 1986. Review of Art History in Africa by Jan Vansina; A Short History of African Art by Werner Gillon; The Art of Eastern Nigeria by G. I. Jones. Journal of African History 27 (3): 553–555.

Picton, John. 1988. “Some Ebira Reflexions on the Energies of Women.” African Languages and Cultures 1 (1): 61–76.

Pieprzak, Katarzyna. n.d. “Material Transformations: Earth, Mud and Paper Rooms.” Unpublished paper.

Pietz, William. 1985. “The Problem of the Fetish, I.” RES: Journal of Anthropology and Aesthetics 9:5–17.

Pietz, William. 1987. “The Problem of the Fetish, II.” RES: Journal of Anthropology and Aesthetics 13:23–45.

Piot, Charles. 1993. “Secrecy, Ambiguity, and the Everyday in Kabre Culture.” American Anthropologist 95 (2): 353–370.

Piot, Charles. 1999. Remotely Global: Village Modernity in West Africa. Chicago: University of Chicago Press.

Porgo, Rédo, dir. 2000. 50 . . . et un monde, “Konomba, le destin panache.” CIRTEF / Radio-Canada / TNB, SECAM.

Portron, Jean-Loïc, dir. 2008. Arts du Mythe, “Boli du Mali.” France: Program 33, ARTE FRANCE, DVD.

Potts, Alex. 2000. The Sculptural Imagination: Figurative, Modernist, Minimalist. New Haven, CT: Yale University Press.

Rarey, Matthew Francis. 2018. “Assemblage, Occlusion, and the Art of Survival in the Black Atlantic.” African Arts 51 (4): 20–33.

Rarey, Matthew Francis. 2023. Insignificant Things: Amulets and the Art of Survival in the Early Black Atlantic. Durham, NC: Duke University Press. Forthcoming.

Ravenhill, Philip L. 1982. Review of Art and Death in a Senufo Village by Anita J. Glaze. African Arts 15 (3): 26–27, 84.

Rea, Will. 2017. “Amòdu and the Material Manifestation of Eégún.” In The Inbetweenness of Things: Materializing Mediation and Movement Between Worlds, edited by Paul Basu, 100–119. London: Bloomsbury Academic.

Reed, Daniel B. 2003. Dan Ge Performance: Masks and Music in Contemporary Côte d’Ivoire. Bloomington: Indiana University Press.

Reed, Daniel B. 2016. Abidjan USA: Music, Dance, and Mobility in the Lives of Four Ivorian Immigrants. Bloomington: Indiana University Press.

Reed, Daniel B. 2018. “Ambiguous Agency: Dan / Mau Stilt Spirit Performance as Ontology in Côte d’Ivoire and the US.” Africa: Journal of the International African Institute 88 (4): 802–823.

Reid, Gwendolynne, and Carolyn R. Miller. 2018. “Classification and Its Discontents: Making Peace with Blurred Boundaries, Open Categories, and Diffuse Disciplines.” In Composition, Rhetoric, and Disciplinarity, edited by Rita Malenczyk, Susan Miller-Cochran, Elizabeth Wardle, and Kathleen Blake Yancey, 87–110. Louisville: Utah State University Press.

RFI. 2018. “Attaque de Koumaga au Mali: comment en est-on arrivé là?” RFI, June 26, 2018. Accessed June 26, 2018, http://www.rfi.fr/afrique/20180626-mali-attaque-koumaga-dozos-tabital-pulaaku-ibrahim-maiga.

Richards, Polly. 2006. “What’s in a Dogon Mask.” RES: Anthropology and Aesthetics 49/50:92–114.

Richter, Dolores. 1979. “Senufo Mask Classification.” African Arts 12 (3): 66–73, 93–94.

Richter, Dolores. 1980. Art, Economics, and Change: The Kulebele of Northern Ivory Coast. La Jolla, CA: Psych/Graphic.

Roberts, Allen F. 2013. A Dance of Assassins: Performing Early Colonial Hegemony in the Congo. Bloomington: Indiana University Press.

Roberts, Mary Nooter. 2010. “Tactility and Transcendence: Epistemologies of Touch in African Arts and Spiritualities.” In Religion and Material Culture: The Matter of Belief, edited by David Morgan, 77–96. New York: Routledge.

Roberts, Mary Nooter, and Allen F. Roberts, eds. 1996. Memory: Luba Art and the Making of History. New York: Museum for African Art; Munich: Prestel.

Roberts, Mary Nooter, and Allen F. Roberts. 2007. Luba. Visions of Africa. Milan: 5 Continents.

Rouch, Jean, and Germaine Dieterlen, dirs. 1969. Sigui 1969: la caverne de Bongo. Meudon: CNRS.

Royer, Patrick. 1999. “Le Massa et l’eau de Moussa. Cultes régionaux, ‘traditions’ locales et sorcellerie en Afrique de l’Ouest.” Cahiers d’études africaines 39 (2): 154, 337–366.

Rubin, Arnold. 1974. African Accumulative Sculpture: Power and Display. New York: Pace.

Scheid, Kirsten. 2017. “The MoMA Visa: Modern Art after the Trump Ban,” review of The Museum of Modern Art’s “Installation Following the Executive Order of January 27, 2017.” H-AMCA Reviews, August 31, 2017.

Scheid, Kirsten. 2019. “How Khalil Saleeby Escapes Us.” Unpublished presentation for Roundtable: Khalil Saleeby (1870–1928), hosted by the American University of Beirut (AUB) Art Galleries and Le Syndicat des Artistes Plasticiens Libanais at Byblos Bank Art Gallery, Beirut, Lebanon, March 19, 2019.

Scheper-Huges, Nancy. 2000. “Ire in Ireland.” Ethnography 1 (1): 117–140.

Searcey, Dionne, and Jaime Yaya Barry. 2017. “Gunmen Kill 18 at Restaurant in Burkina Faso.” New York Times, August 14, 2017. Accessed January 18, 2020, https://www.nytimes.com/2017/08/14/world/africa/burkina-faso-attack-restaurant.html.

Segy, Ladislas. 1976. Masks of Black Africa. New York: Dover.

Seitz, William C. 1961. The Art of Assemblage. New York: Museum of Modern Art.

Shepard, Joyce Wolf. 1985. Review of Mbari: Art and Life among the Owerri Igbo by Herbert M. Cole and Art and Death in a Senufo Village by Anita J. Glaze. Comparative Studies in Society and History 27 (3): 472–478.

Sieber, Roy, and Arnold Rubin. 1968. Sculpture of Black Africa. Los Angeles: Los Angeles County Museum of Art.

Siegenthaler, Fiona, Ugochukwu-Smooth C. Nzewi, and Nadine Siegert. 2018. “Rethinking the Dialectics of Rural and Urban in African Art and Scholarship.” Critical Interventions 12 (3): 241–250.

Simmel, Georg. 1906. “The Sociology of Secrecy and of Secret Societies.” American Journal of Sociology 11 (4): 441–498.

Smith, Pierre. 1984. “Le ‘mystère’ et ses masques chez les Bédik.” L’Homme 24 (3–4): 5–33.

Sontag, Deborah. 2009. “Headless Bodies from a Bottomless Imagination.” New York Times, June 17, 2009. Accessed March 9, 2020, https://www.nytimes.com/2009/06/21/arts/design/21sont.html.

Stein, Elliott. 1987. “25th New York Film Festival.” Film Comment 23 (6): 60–61, 67–69.

Strother, Z. S. 1993. “Eastern Pende Constructions of Secrecy.” In Secrecy: African Art that Conceals and Reveals, edited by Mary H. Nooter [Roberts], 157–178. New York: Museum for African Art; Munich: Prestel.

Strother, Z. S. 1998. Inventing Masks: Agency and History in the Art of the Central Pende. Chicago: University of Chicago Press.

Strother, Z. S. 2000. “From Performative Utterance to Performative Object: Pende Theories of Speech, Blood Sacrifice, and Power Objects.” RES: Journal of Anthropology and Aesthetics 37:49–71.

Strother, Z. S. 2001. “African Works: Anxious Encounters in the Visual Arts.” RES: Anthropology and Aesthetics 39:5–23.

Strother, Z. S. 2013. “Looking for Africa in Carl Einstein’s Negerplastik.” African Arts 46 (4): 8–21.

Strother, Z. S. 2014/2015. “A Terrifying Mimesis: Problems of Portraiture and Representation in African Sculpture (Congo-Kinshasa).” RES: Anthropology and Aesthetics 65/66:128–147.

Strother, Z. S. 2016. Humor and Violence: Seeing Europeans in Central African Art. Bloomington: Indiana University Press.

Strother, Z. S. 2016/2017. “‘Breaking Juju,’ Breaking Trade: Museums and the Culture of Iconoclasm in Southern Nigeria.” RES: Anthropology and Aesthetics 67/68:21–41.

Strother, Z. S. 2017. “Masks and the Uncanny, in Africa and Beyond.” Lecture sponsored by the Getty Research Institute Council, October 12, 2017. Accessed December 20, 2020, https://youtu.be/XesbBP6PChM.

Strother, Z. S. Forthcoming. “The Uncanny Guest: Masks in Theory and Practice, from Europe to Africa.” Los Angeles: Getty Research Institute.

Taussig, Michael. 1999. Defacement: Public Secrecy and the Labor of the Negative. Stanford: Stanford University Press.

Tautain, Docteur. 1886. “Le domaine géographique des Mandingues.” Revue d’Ethnographie 5:545–547.

Tauxier, Louis. 1927. La religion Bambara. Paris: Librairie Orientaliste Paul Geuthner.

Tonkin, Elizabeth. 1979. “Masks and Powers.” Man 14 (2): 237–248.

Tonkin, Elizabeth. 1983. “Women Excluded? Masking and Masquerading in West Africa.” In Women’s Religious Experience, edited by Pat Holden, 163–74. London: Croom Helm; Totowa, NJ: Barnes & Noble Books.

Trachtenberg, Marvin. 2010. Building-in-Time: From Giotto to Alberti and Modern Oblivion. New Haven, CT: Yale University Press.

Travélé, Moussa. 1929. “Le Komo ou Koma.” Outre-Mer 2:127–150.

Trexler, Richard. 1972. “Florentine Religious Experience: The Sacred Image.” Studies in the Renaissance 19 (7): 7–41.

Trouillot, Michel-Rolph. 2003. “Anthropology and the Savage Slot: The Poetics and Politics of Otherness.” In Global Transformations: Anthropology and the Modern World, 7–28. New York: Palgrave Macmillan.

Ukadike, N. Frank. 2002. “Souleymane Cissé (Mali).” In Questioning African Cinema: Conversations with Filmmakers, 19–28. Minneapolis: University of Minnesota Press.

Ukadike, N. Frank. 2005. “Yeelen (1987): Dialectical and Experiential Interplay between Art and Culture.” In Film Analysis: A Norton Reader, 2nd ed., edited by Jeffrey Geiger and R. L. Rutsky, 808–827. New York: W. W. Norton.

van Beek, Walter E. A. 1991. “Dogon Restudied: A Field Evaluation of the Work of Marcel Griaule.” Current Anthropology 32 (2): 139–158.

van Beek, Walter E. A. 2004. “Haunting Griaule: Experiences from the Restudy of the Dogon.” History in Africa 31:43–68.

van Beek, Walter E. A., and Jan Jansen. 2000. “La mission Griaule à Kangaba (Mali).” Cahiers d’études africaines 40 (158): 363–375.

Van Beurden, Sarah. 2015. Authentically African: Arts and the Transnational Politics of Congolese Culture. Athens: Ohio University Press.

Vandenhoute, Pieter Jan L. 1948. Classification stylistique du masque Dan et Guéré de la Côte d’Ivoire occidentale (AOF). Mededelingen van het Rijksmuseum voor Volkenkunde, 4. Leiden: E. J. Brill.

Vansina, Jan. 1984. Art History in Africa. London: Longman.

Veirman, Anja. 2002. “The Art of Living: Some Aspects of the Art and Culture of the Senufo.” In Forms of Wonderment: The History and Collection of the Afrika Museum, Berg en Dal, edited by Jan-Lodewijk Grootaers and Ineke Eisenburger, 108–132. Berg en Dal: Afrika Museum.

Vendrely, Matthieu. 2019. “Burkina Faso: L’épicentre de la crise sécuritaire au Sahel?” TV5Monde Info, February 20, 2019. Accessed January 18, 2020, https://information.tv5monde.com/afrique/burkina-faso-l-epicentre-de-la-crise-securitaire-au-sahel-285991.

Visonà, Monica Blackmun. 2010. Constructing African Art Histories for the Lagoons of Côte d’Ivoire. London: Routledge.

Vogel, Susan Mullin. 1997. Baule: African Art, Western Eyes. New Haven, CT: Yale University Press.

Vogel, Susan Mullin. 1999. “Known Artists but Anonymous Works: Fieldwork and Art History.” African Arts 32 (1): 40–55, 93–94.

Vogel, Susan Mullin. 2005. “Whither African Art? Emerging Scholarship at the End of an Age.” African Arts 38 (4): 12–17, 91.

Wagner, Anne M. 2000. “Performance, Video, and the Rhetoric of Presence.” October 91:59–80.

Wainaina, Binyavanga. 2005. “How to Write about Africa.” Granta 92. Accessed March 9, 2020, https://granta.com/How-to-Write-about-Africa/.

Whitehouse, Bruce. 2012a. “Amadou Sanogo: Power Is His Middle Name.” Bridges from Bamako: Life in a Budding West African Metropolis (blog), March 24, 2012. Accessed August 30, 2017, https://bridgesfrombamako.com/2012/03/24/amadou-sanogo-power-is-his-middle-name/.

Whitehouse, Bruce. 2012b. “The Force of Action: Legitimizing the Coup in Bamako, Mali.” Africa Spectrum 47 (2–3): 93–110.

Wiesel, Elie. 2005. “Without Conscience.” New England Journal of Medicine 352 (15): 1511–1513.

Willett, Frank. 1982. Review of Art and Death in a Senufo Village by Anita J. Glaze and Mbari: Art and Life among the Owerri Igbo by Herbert M. Cole. Journal of Religion in Africa 13 (3): 227–231.

Willis, John Thabiti. 2014. “Negotiating Gender, Power, and Spaces in Masquerade Performances in Nigeria.” Gender, Place & Culture 21 (3): 322–336.

Willis, John Thabiti. 2018. Masquerading Politics: Kinship, Gender, and Ethnicity in a Yoruba Town. Bloomington: Indiana University Press.

Woll, Josephine. 2004. “The Russian Connection: Soviet Cinema and the Cinema of Francophone Africa.” In Focus on African Films, edited by Françoise Pfaff, 223–240. Bloomington: Indiana University Press.

Zahan, Dominique. 1960. Sociétés d’initiation bambara. Le N’domo, le Koré. Paris, The Hague: Mouton.

Zahan, Dominique. 1974. The Bambara. Leiden: E. J. Brill.

Zahan, Dominique. 1980. Antilopes du soleil: arts et rites agraires d’Afrique noire. Vienna: A. Schendl.

Zeltner, Fr. [Fran(t)z?] de. 1910. “Le Culte du Nama au Soudan.” Bulletins et Mémoires de la Société d’Anthropologie de Paris 1 (1): 361–362.

Zempléni, András. 1990. “How do Societies and ‘Corporate’ Groups Delimit Themselves? A Puzzle Common to Social and Medical Anthropology.” Culture, Medicine, and Psychiatry 14 (2): 201–211.

Zobel, Clemens. 1996. “Les génies du Koma. Identités locales, logiques religieuses et enjeux socio-politiques dans les monts Manding du Mali.” Cahiers d’études africaines 36 (144): 625–658.