Nber Working Paper Series the Evolution of Culture
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Evidence from the Kuba Kingdom*
The Evolution of Culture and Institutions:Evidence from the Kuba Kingdom* Sara Lowes† Nathan Nunn‡ James A. Robinson§ Jonathan Weigel¶ 16 November 2015 Abstract: We use variation in historical state centralization to examine the impact of institutions on cultural norms. The Kuba Kingdom, established in Central Africa in the early 17th century by King Shyaam, had more developed state institutions than the other independent villages and chieftaincies in the region. It had an unwritten constitution, separation of political powers, a judicial system with courts and juries, a police force and military, taxation, and significant public goods provision. Comparing individuals from the Kuba Kingdom to those from just outside the Kingdom, we find that centralized formal institutions are associated with weaker norms of rule-following and a greater propensity to cheat for material gain. Keywords: Culture, values, institutions, state centralization. JEL Classification: D03,N47. *A number of individuals provided valuable help during the project. We thank Anne Degrave, James Diderich, Muana Kasongo, Eduardo Montero, Roger Makombo, Jim Mukenge, Eva Ng, Matthew Summers, Adam Xu, and Jonathan Yantzi. For comments, we thank Ran Abramitzky, Chris Blattman, Jean Ensminger, James Fenske, Raquel Fernandez, Carolina Ferrerosa-Young, Avner Greif, Joseph Henrich, Karla Hoff, Christine Kenneally, Alexey Makarin, Anselm Rink, Noam Yuchtman, as well as participants at numerous conferences and seminars. We gratefully acknowledge funding from the Pershing Square Venture Fund for Research on the Foundations of Human Behavior and the National Science Foundation (NSF). †Harvard University. (email: [email protected]) ‡Harvard University, NBER and BREAD. (email: [email protected]) §University of Chicago, NBER, and BREAD. -
Africans: the HISTORY of a CONTINENT, Second Edition
P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 This page intentionally left blank ii P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 africans, second edition Inavast and all-embracing study of Africa, from the origins of mankind to the AIDS epidemic, John Iliffe refocuses its history on the peopling of an environmentally hostilecontinent.Africanshavebeenpioneersstrugglingagainstdiseaseandnature, and their social, economic, and political institutions have been designed to ensure their survival. In the context of medical progress and other twentieth-century innovations, however, the same institutions have bred the most rapid population growth the world has ever seen. The history of the continent is thus a single story binding living Africans to their earliest human ancestors. John Iliffe was Professor of African History at the University of Cambridge and is a Fellow of St. John’s College. He is the author of several books on Africa, including Amodern history of Tanganyika and The African poor: A history,which was awarded the Herskovits Prize of the African Studies Association of the United States. Both books were published by Cambridge University Press. i P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 ii P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 african studies The African Studies Series,founded in 1968 in collaboration with the African Studies Centre of the University of Cambridge, is a prestigious series of monographs and general studies on Africa covering history, anthropology, economics, sociology, and political science. -
Regents of the University of California 18Th-Century Kuba King Figures
Regents of the University of California 18th-Century Kuba King Figures Author(s): Monni Adams Source: African Arts, Vol. 21, No. 3 (May, 1988), pp. 32-38+88 Published by: UCLA James S. Coleman African Studies Center Stable URL: http://www.jstor.org/stable/3336440 Accessed: 27-10-2016 15:08 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Regents of the University of California, UCLA James S. Coleman African Studies Center are collaborating with JSTOR to digitize, preserve and extend access to African Arts This content downloaded from 141.213.142.215 on Thu, 27 Oct 2016 15:08:27 UTC All use subject to http://about.jstor.org/terms 18th-Century Kuba King Figures MONNI ADAMS The arts of large sub-Saharan African iar methods of iconographical and histor- of its culture and structure, as Vansina courts fit more readily into the famil- ical investigation. This can be demon- found during 1953-1956, when he con- iar categories of European art history strated by a description of the steps ducted an intensive study of the king- with regard to subject, purpose, and taken by scholars to identify and date dom. -
Blood Rubber*
Blood Rubber* Sara Lowes† Eduardo Montero‡ Bocconi University, IGIER, and CIFAR Harvard University 27 November 2017 Most Recent Version Here Abstract: We examine the legacy of one of the most extreme examples of colonial extraction, the rubber concessions granted to private companies under King Leopold II in the Congo Free State, the present-day Democratic Republic of Congo. The companies used violent tactics to force villagers to collect rubber. Village chiefs were co-opted into supporting the rubber regime, and villagers were severely punished if they did not meet the rubber quotas. We use a regression discontinuity design along the well-defined boundaries of the ABIR and Anversoise concessions to show that historical exposure to the rubber concessions causes significantly worse education, wealth, and health outcomes. We then use survey and experimental data collected along a former concession boundary to examine effects on local institutions and culture. We find a negative effect on local institutional quality and a positive effect on culture. Consistent with the historical co-option of chiefs by the concession companies, village chiefs within the former concessions are more likely to be hereditary, rather than elected, and they provide fewer public goods. However, individuals within the concessions are more trusting, more cohesive, and more supportive of sharing income. The results suggest that colonial extraction may have different effects on institutions and culture. Keywords: Africa, development, culture, institutions, colonialism. JEL Classification: O15,N47,D72,O43,Z13. * We thank Alberto Alesina, Robert Bates, Alberto Bisin, Melissa Dell, James Feigenbaum, James Fenske, Claudia Goldin, Robert Harms, Adam Hochschild, Richard Hornbeck, Stelios Michalopoulos, Nathan Nunn, Rohini Pande, James A. -
An Examination of the Instability and Exploitation in Congo from King Leopold II's Free State to the 2Nd Congo War
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Central Florida (UCF): STARS (Showcase of Text, Archives, Research & Scholarship) University of Central Florida STARS HIM 1990-2015 2014 An Examination of the Instability and Exploitation in Congo From King Leopold II's Free State to the 2nd Congo War Baldwin Beal University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/honorstheses1990-2015 University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by STARS. It has been accepted for inclusion in HIM 1990-2015 by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Beal, Baldwin, "An Examination of the Instability and Exploitation in Congo From King Leopold II's Free State to the 2nd Congo War" (2014). HIM 1990-2015. 1655. https://stars.library.ucf.edu/honorstheses1990-2015/1655 AN EXAMINATION OF THE INSTABILITY AND EXPLOITATION IN CONGO FROM KING LEOPOLD II’S FREE STATE TO THE 2ND CONGO WAR by BALDWIN J. BEAL A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in History in the College of Arts and Humanities and in The Burnett Honors College at the University of Central Florida Orlando, Florida Fall Term 2014 Thesis Chair: Dr. Ezekiel Walker Abstract This thesis will analyze the Congo from King Leopold II’s Free State to the 2nd Congo War. After a thorough investigation of the colonial period, this thesis will analyze the modern period. -
Coming to Terms with Heritage Kuba Ndop and the Art School of Nsheng
Coming to Terms with Heritage Kuba Ndop and the Art School of Nsheng Elisabeth L. Cameron n 1989, I was in Zaïre (now the Democratic Republic of feet. For example, Shyaam aMbul aNgoong banned gambling and the Congo) doing pre-dissertation fieldwork and trying introduced the lyeel game (Vansina 1978:60). He is also credited to find the perfect research topic. The Kuba kingdom for bringing a time of peace that gave people leisure time to play was an irresistible draw and I spent several months in games. Therefore, he chose thelyeel game as his symbol. Thendop the area exploring various topics. I was especially privi- was used during the king’s lifetime as his surrogate when he was leged to stay at Nsheng,1 the capital of the Kuba king- absent from the capital. At his death, the incoming king slept with dom, as the guest of the king’s mother. One evening a young man the ndop of the previous king to absorb his ngesh or bush spirit.3 Iapproached me and gave me an ndop, a carved figure represent- The ndop then became a memorial figure that was kept by the ing the seventeenth century king Shyaam aMbul aNgoong (Fig. king’s surviving wives and occasionally displayed. When the Afri- 1). He introduced himself as Musunda-Kananga from the Sala can American missionary William Sheppard arrived at the court Mpasu area and heritage and explained that he had aspirations in 1892, he described the scene: of becoming a contemporary artist. He had applied to go to the On an elevation were statues of four former kings. -
The Genetic Landscape of Ethiopia: Diversity, Intermixing and the Association With
bioRxiv preprint doi: https://doi.org/10.1101/756536; this version posted September 5, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC 4.0 International license. 1 The genetic landscape of Ethiopia: diversity, intermixing and the association with 2 culture 3 Authors: Saioa López1,2*, Ayele Tarekegn3*, Gavin Band4, Lucy van Dorp1,2, Tamiru Oljira5, 4 Ephrem Mekonnen6, Endashaw Bekele7, Roger Blench8,9, Mark G. Thomas1,2, Neil Bradman10, 5 Garrett Hellenthal1,2 6 7 Affiliations: 8 9 1) Research Department of Genetics, Evolution & Environment, University College London, 10 Darwin Building, Gower Street, London, WC1E 6BT, United Kingdom 11 2) UCL Genetics Institute, University College London, Gower Street, London, WC1E 6BT, United 12 Kingdom 13 3) Department of Archaeology and Heritage Management, College of Social Sciences, Addis Ababa 14 University, New Classrooms (NCR) Building, Second Floor, Office No. 214, Addis Ababa 15 University, P. O. Box 1176, Ethiopia 16 4) Wellcome Centre for Human Genetics, University of Oxford, United Kingdom 17 5) Bioinformatics & Genomics Research Directorate (BGRD), Ethiopian Biotechnology Institute 18 (EBTi), Ethiopia 19 6) Institute of Biotechnology, Addis Ababa University, Addis Ababa, Ethiopia 20 7) College of Natural and Computational Sciences, Addis Ababa University, Ethiopia 21 8) McDonald Institute for Archaeological Research, University of Cambridge, United Kingdom 22 9) Department of History, University of Jos, Nigeria 23 10) Henry Stewart Group, London WC1A 2HN, United Kingdom 24 (* = contributed equally) 25 26 27 28 29 30 31 1 bioRxiv preprint doi: https://doi.org/10.1101/756536; this version posted September 5, 2019. -
Africans: the HISTORY of a CONTINENT, Second Edition
P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 This page intentionally left blank ii P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 africans, second edition Inavast and all-embracing study of Africa, from the origins of mankind to the AIDS epidemic, John Iliffe refocuses its history on the peopling of an environmentally hostilecontinent.Africanshavebeenpioneersstrugglingagainstdiseaseandnature, and their social, economic, and political institutions have been designed to ensure their survival. In the context of medical progress and other twentieth-century innovations, however, the same institutions have bred the most rapid population growth the world has ever seen. The history of the continent is thus a single story binding living Africans to their earliest human ancestors. John Iliffe was Professor of African History at the University of Cambridge and is a Fellow of St. John’s College. He is the author of several books on Africa, including Amodern history of Tanganyika and The African poor: A history,which was awarded the Herskovits Prize of the African Studies Association of the United States. Both books were published by Cambridge University Press. i P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 ii P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 african studies The African Studies Series,founded in 1968 in collaboration with the African Studies Centre of the University of Cambridge, is a prestigious series of monographs and general studies on Africa covering history, anthropology, economics, sociology, and political science. -
Mack-Fetish.Pdf
ts 'uortdrrf sep Flrtdl€uBoqldsd uopuo'I 'runesnw qsBrrg aqlJo seelsn{ u-relsed! olur urrol er{]Jo uorlrr;dorddtar lueler eroru erI{V lrrtuaC 'eldoad o8uo;,1 (rsrrya) ern8g .:a.ro.o4 eql etrdsep surcurer rl puy '(saorld duetu ur pesn dTJtreue8 It'te3] erour ,^d.ou v n[-n[ -otlei eqt legt p ro3) surcruer r{Jlr{^a uorlrcqddr u?llJJty ut dq perurlddns seznr a-rn11nc uead -oJng Ielerpour ur lxeluoo slr eleJ Lue 1y 'srasn ueedo.rng -slrrl3 pur smef 'sruqsn141 urlr#17 r{rro51 auop tel 'sueed Pu€ u€frJJy uee.^$eg sr euoF ]e1 's.resn uErr{Y lf,urtsrP -orng pu? suersv 'suecueruy e^rleN '.srepuqsl rgrr€d eql dp:ntpc sll W dq dr,u. arues eqt ur pootsrepun se..v\ trJr ruor3 slcelqo relrurrs dpeorqgo {let or ppo dlrcurrsrp tueos repuo,^a pls .{etu e,la 'os ua,rg 'lq8noqr3o urelled ro llel plno.^A rl 're 'se8erur qonsJo uorlcnpo.rd eqt ur euol? -qoJo d.ro8aleo elqesruSocer e ot reJer ol rurrlr eruos p?q lou sr ecrgv u€rerryS-qns 'asrnof,JO 'tueruecrld rraql tr .{ruef,Jnf prol dgereqt Surure8 u1 'ossqaf tuter ur8prd ur lred luaunuo.rd r pedeld tou s?r{ lueurafuer{ua f,rteql uErr4v tsel[t er{l olur palnlusurrl Jalel xr11 'oJqta{ p -see stseSSns trgt derrn ? ur sl?rJeltru perruf-gnu?ru pue pe>lpr selrJcrrru esen8nl;o4 tsr5 eqJ 'Erl{V pue edorng FrnteuJo dter.re,L olor{^A r qtr.ln, perelof, srralqogo pesn uee.^ teq suorleluo{uoc d1.rea eql ur urSr.ro ue sEq .qsrleJ, sI tI rerllt1 'senqenb Ieuortttueserder rreql auuer 01 s€ os 'Jlestr ruret eql;o.{Solorudre eqi3o &zrr dq sr uonturldxe drrrr aruos ur passorp ro peqlolJ uaeg e^Er{ qslr{^a slcalqo 'ur3r;o -
Coming to Terms with Heritage Kuba Ndop and the Art School of Nsheng
Coming to Terms with Heritage Kuba Ndop and the Art School of Nsheng Elisabeth L. Cameron Downloaded from http://direct.mit.edu/afar/article-pdf/45/3/28/1816145/afar_a_00009.pdf by guest on 26 September 2021 n 1989, I was in Zaïre (now the Democratic Republic of feet. For example, Shyaam aMbul aNgoong banned gambling and the Congo) doing pre-dissertation fieldwork and trying introduced the lyeel game (Vansina 1978:60). He is also credited to find the perfect research topic. The Kuba kingdom for bringing a time of peace that gave people leisure time to play was an irresistible draw and I spent several months in games. Therefore, he chose thelyeel game as his symbol. Thendop the area exploring various topics. I was especially privi- was used during the king’s lifetime as his surrogate when he was leged to stay at Nsheng,1 the capital of the Kuba king- absent from the capital. At his death, the incoming king slept with dom, as the guest of the king’s mother. One evening a young man the ndop of the previous king to absorb his ngesh or bush spirit.3 Iapproached me and gave me an ndop, a carved figure represent- The ndop then became a memorial figure that was kept by the ing the seventeenth century king Shyaam aMbul aNgoong (Fig. king’s surviving wives and occasionally displayed. When the Afri- 1). He introduced himself as Musunda-Kananga from the Sala can American missionary William Sheppard arrived at the court Mpasu area and heritage and explained that he had aspirations in 1892, he described the scene: of becoming a contemporary artist. -
Kongo and Kuba: the Art of Rulership Display
ARTHIST 345-01/AAAS 348-01/ICS 223- 01/AFRICAN ART: FROM ROYAL COURT TO CONTEMPORARY MARKETPLACE Kongo and Kuba: The Art of Rulership Display Monday, March 30 Map of the Kongo Kingdom Mbanza Kongo (Salvador, Angola), from Olfert Dapper’s Description of Africa, 1688. Above left: L. Degrandpré, The house & funeral of the court minister of commerce, the Ma-Kayi, of Cabinda, c. 1787. Below left: Giovanni Antonio Cavazzi, After being denied a chair by the Portuguese governor, Queen Nzinga Mbundu sits on the back of her attendant, 1690. Engraving. Yombe peoples, Democratic Republic of Congo, Royal scepter, 19th century. Ivory. Above left: Kongo Kingdom, Democratic Republic of Congo/Angola, Royal hat (mpu), before 1674. Woven grass & fiber. Below left: Kongo Kingdom, Democratic Republic of Congo/Angola, Royal apron, before 1674. Woven grass & fiber. Above & below left: renderings of the Kongo cosmogram. Kongo Kingdom, Democratic Republic of Congo, Funeral cylinder (diboondo), 19th century. Terracotta. Left: Kongo Kingdom, Democratic Republic of Congo, Guardian figure (tomba, ntadi), 19th century. Steatite. Right: Yombe peoples, Democratic Republic of Congo, Mother & child statue, 19th century. Wood & mixed media. Above: Photograph of a Bwende funerary mannequin (niombo) during a public ceremony, early 20th century. Right: Bwende, Democratic Republic of Congo, Funerary mannequin (niombo), early 20th century. Cloth, pigment, soil, human remains. Left: Yombe peoples, Democratic Republic of Congo, Power figure (nkisi nkondi), 1905. Wood, metal, glass, & mixed media. Above: Vili peoples, Angola/Democratic Republic of Congo, Double-headed power figure of dog (nkondi), before 1912. Wood, iron & mixed media. Map of Central Africa, 17th century CE. -
Pluriarcs in the Sub-Saharan Africa Collection of the Weltmuseum Wien
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository of the Academy's Library József Brauer-Benke Pluriarcs in the Sub-Saharan Africa Collection of the Weltmuseum Wien Pluriarcs consist of several smaller musical bows which are affixed to a resonator body. Following Sachs’s classification, this type of instrument is called Bogenlaute and bow-lute in German and English academic writing respectively (Sachs 1929: 157, 1940:94). French the term pluriarc, coined by Montandon, has become widely used (Montandon 1934: 35). In the inventory of sub-Saharan African collection of the Vienna Museum of Ethnology, the pluriarcs recorded with names given by their collectors or the responsible curators and appear as Bogenharfe, Bogenlaute, Harfe, Guitarre, Zither or simply Saiteninstrument (stringed instrument).1 Although the playing technique of some pluriarc types is similar to that of the lute, which may explain the name bow-lute, the strings of this musical instrument do not run parallel to each other above a straight neck, as in the case of lutes, but share the morphological features of musical bows. Consequently, it is more appropriate to use the Latin-based French term pluriarc (meaning several bows). According to Schaeffner’s hypothesis, pluriarcs presumably have their origins in Ancient Egypt and may have developed from musical bows affixed to the resonator body of sub-Saharan African bow harps (Schaeffner 1936: 185). However, pluriarcs are first mentioned only in the 16th century and thus the possibility that this type of musical instrument developed over a prolonged time in that era cannot be ruled out.