Swahili Port Cities
182 pages
English

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182 pages
English

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Description

On the Swahili coast of East Africa, monumental stone houses, tombs, and mosques mark the border zone between the interior of the African continent and the Indian Ocean. Prita Meier explores this coastal environment and shows how an African mercantile society created a place of cosmopolitan longing. Meier understands architecture as more than a way to remake local space. Rather, the architecture of this liminal zone was an expression of the desire of coastal inhabitants to belong to places beyond their homeports. Here architecture embodies modern ideas and social identities engendered by the encounter of Africans with others in the Indian Ocean world.


Introduction: The Place In-Between
1. Difference Set in Stone: Place and Race in Mombasa
2. A "Curious" Minaret: Sacred Place and the Politics of Islam
3. Architecture Out of Place: The Politics of Style in Zanzibar
4. At Home in the World: Living with Transoceanic Things
Conclusion: Trading Places
Notes
Bibliography
Index

Sujets

Informations

Publié par
Date de parution 25 avril 2016
Nombre de lectures 0
EAN13 9780253019172
Langue English
Poids de l'ouvrage 2 Mo

Informations légales : prix de location à la page 0,0500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

SWAHILI
PORT CITIES
AFRICAN EXPRESSIVE CULTURES
Patrick McNaughton, editor
ASSOCIATE EDITORS
Catherine M. Cole
Barbara G. Hoffman
Eileen Julien
Kassim Kon
D. A. Masolo
Elisha Renne
Z. S. Strother
SWAHILI
PORT CITIES

T HE A RCHITECTURE OF E LSEWHERE
PRITA MEIER
This book is a publication of
Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA
iupress.indiana.edu
2016 by Sandy Prita Meier
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z 39.48-1992.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Meier, Prita, author.
Swahili port cities : the architecture of elsewhere / Prita Meier.
pages cm - (African expressive cultures)
Includes bibliographical references and index.
ISBN 978-0-253-01909-7 (cloth : alk. paper) - ISBN 978-0-253-01915-8 (pbk. : alk. paper) - ISBN 978-0-253-01917-2 (ebook) 1. Architecture and society-Africa, East. 2. Stone buildings-Africa, East. 3. Port cities-Africa, East. 4. Islamic architecture-Africa, East. I. Title. II. Series: African expressive cultures.
NA 2543. S 6. M 48 2016
720.1 03-dc23
2015033413
1 2 3 4 5 21 20 19 18 17 16
F r M di Richter, in Liebe
CONTENTS
Acknowledgments
INTRODUCTION The Place In-between
1 Difference Set in Stone: Place and Race in Mombasa
2 A Curious Minaret: Sacred Place and the Politics of Islam
3 Architecture Out of Place: The Politics of Style in Zanzibar
4 At Home in the World: Living with Transoceanic Things
CONCLUSION Trading Places
Appendix
Notes
Bibliography
Index
ACKNOWLEDGMENTS
This book took shape in many places, with the help of many individuals. At its center stand the exceptional people of Mombasa and Zanzibar. Mombasa remains a place I call home, and I continue to be inspired by the compassion and wisdom of my colleagues and friends there. First and foremost among them are Mohamed Mchulla, his wife Rukiya Abdulrehman, and their wonderful children. Aunty Rukiya lights up the world and her hospitality is unsurpassed. Mchulla s willingness to help, integrity, and quick wit are unrivaled. I owe an enormous debt of gratitude to them. I also remain grateful to Mzee Mohamed Matano, who shared his remarkable life experiences and knowledge unreservedly, making this project possible. His passing in 2008 was a great loss to many. His relatives, especially Mohammad Ahmed and Mohamed Abdallah Mohamed, also kindly offered essential guidance. Mama Hubwa and her extended family have been welcoming me to Mombasa since 2003, and her granddaughter Sharazad Sherry Mohammad, her husband, and their children continue to amaze with their kindness and generosity. Mzee Hamid Ahmed Al Baloushi, who passed away in 2015, was the grandest of father figures and his wise counsel will always be missed and appreciated. I am also thankful to his family members, including those living in the UK, Zanzibar, and Dubai. His daughter, Naila, is a wonderful friend; her passion for life continues to make every day with her an adventure.
The people who patiently shared their knowledge of Swahili coast history and culture are listed in the appendix, but I want to thank in particular Mzee Mohamed Shalli and Msellem Amin for many hours of provocative conversations. I am also indebted to Professor Abdul Sheriff, who kindly facilitated my access to various places and institutions when I first arrived in Zanzibar. I have learned much from his scholarship and fascinating stories about life in Zanzibar. I am obliged to the leadership and staff of the National Museums of Kenya ( NMK ), Kenya National Archives, Mombasa Old Town Conservation Office, and the Zanzibar National Archives. During his tenure as Head of Coastal Archaeology, Athman Lali Omar advised me countless times, and he continues to do so in the present. I benefited from many discussions with Athman Hussein, NMK Assistant Director of Museums, Sites, and Monuments, whose knowledge and friendship have had a tremendous impact on this project. I very much appreciate the help and support of Salum S. Salum, Acting Director of the Zanzibar Department of Archives and Records. Many others in Zanzibar and Mombasa have been extremely kind, including Zeineb Mohamed, Noor Sood Mohammad Shikely, Abdulwahid Hinawy, Mariam Abubakar, Masoud Riyami, Chama Al Baloushi, and their families.
In North America I am especially grateful to Raymond A. Silverman. His principles, intellect, and care have inspired and nurtured me for almost two decades. His influence is evident in every part of this book, and my gratitude to him and the lovely Mary Duff-Silverman runs deep. Allen F. Roberts has also been an important influence over the years. His and Polly Nooter Roberts work was what first drew me to Africanist art history, and I am thankful for all they have shared with me, including their unflagging support.
I first began working on the subject of this book during my studies in the Department of the History of Art and Architecture at Harvard University, where I was part of a wonderful community of students and scholars. Suzanne Preston Blier shaped my thinking in innumerable ways. She is a brilliant scholar, generous mentor, and dear friend; her sharp insights always manage to jolt me out of states of stasis or confusion. Thomas B. F. Cummins, Carrie Elkins, G lru Necipoglu, and David Roxburgh also provided essential guidance during my years at Harvard. I learned much from fellow students Ladan Akbarnia, Makeda Best, Chanchal Dadlani, Miguel Debaca, Mark DeLancey, Miraj Dhir, Brendan Fay, Emine Fetvaci, Hallie Franks, C cile Fromont, Rachel Goshgarian, Genevieve Hyacinthe, Aden Kumler, Michelle Kuo, Leora Maltz-Leca, Jacob Proctor, Gemma Rodrigues, Jennifer Pruitt, Dalila Scruggs, Ruth Simbao, and Suzan Yalman. The friendship of Kristina van Dyke and Sarah Rogers was especially important; their support and love made all the difference.
During my time as a postdoc at Johns Hopkins University I benefited from the support and counsel of a number of people, including Sara Berry, Stephen Campbell, Don Juedes, Pier Larson, Herica Valladares, and all the faculty and students associated with the Africa Seminar. Gaby Spiegel s incisive ideas and close reading of my work enriched this project in fundamental ways. I am particularly grateful to Herbert Kessler, who remains a tremendously generous supporter and friend. Fellow fellow Bibi Obler was a delightful office mate, and I rely on her wisdom and friendship still.
A residential fellowship at Cornell University s Society for the Humanities in 2009-2010 provided me the opportunity to work through important conceptual challenges and complete key sections of this book. The scholars I met there pushed my thinking in new directions. Most important in this respect were the Society fellows: Seeta Changani, Peter Dear, Maria Fernandez, TJ Hinrichs, Mary Jacobus, Ruth Mas, Martha Schoolman, and Stephanie Tsai. Thanks also to Annetta Alexandridis, Judy Byfield, Iftikar Dadi, Elvira Dyangani, Ramez Elias, Reem Fadda, Renate Ferro, Cheryl Finley, Sandra Greene, Nidhi Mahajan, Fouad Makki, Natalie Melas, Tim Murray, and Viranjini Munasinghe for making my time in Ithaca so much fun and intellectually rewarding. Also, I am grateful to Salah M. Hassan, whose support and pioneering approach to the study of African modernities have been essential to my work.
I spent two rewarding years teaching at Wayne State University, where I was surrounded by wonderful colleagues and students. I want to express my sincere thanks to Dora Apel for being such a superb mentor and friend during my time in Detroit. It was she who first recommended I include the Elsewhere in title, and I benefited greatly from our lively conversations. John Richardson was the coolest department chair, which made everything easy. Marie Persha, who passed away in 2015, was an exceptionally dedicated colleague; she is deeply missed by many. At Wayne and in the wider community I made lifelong friends who have all left a lasting impression on me. Thank you especially to Jeff Abt, Danielle Aubert, Iris Eichenberg, Bill Ferry, Jonathan Flatley, Fanny Gutierrez, ren e hoogland, Todd Meyers, Richard Oosterom, Scott Richmond, Grace Vandervliet, and Greg Wittkopp.
My current colleagues, students, and friends at the University of Illinois at Urbana-Champaign have been a great help on many levels, and I am delighted to be part of such an amazing group of artists, activists, and scholars. I cannot name them all, but I must express my sincere thanks to fellow art historians Anne Burkus-Chasson, Jennifer Burns, Jennifer Greenhill, Areli Marina, David O Brien, Amy Powell, Kristin Romberg, Lisa Rosenthal, Oscar V zquez, and Terri Weissman for creating such a nurturing and inclusive community. Lisa has also been the most wonderful junior faculty mentor. Thank you also to Jim Brennan, Anita Chan, Lauren Goodlad, Kevin Hamilton, Patrick Hammie, Heather Minor, Michael Rothberg, and Yasemin Yildiz. I am especially grateful to Allyson Purpura and Jesse Ribot for the joys of their friendship. They make Il

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