This article examines the transformation of trade cloth among the Seminole, Saramaka, Cuna, and Kalahari as examples of non-Western resistance to the dictates of Western regimes of clothing style and as calculated acts of defiance to a world system of fashion hegemony. Because of the unique circumstances of their histories, each of the four societies discussed in this essay has become wholly dependent upon cloth that must be imported from outside yet, at the same time, each society maintains their sense of cultural autonomy and fabricates their own tradition by transforming the cloth they receive in trade into garments that are unique expressions of their aesthetic independence and cultural sovereignty.

Money Has No Smell: The Africanization of New York City. Paul Stoller. Chicago: University of Chicago Press, 2002. 215 pp.. "Africa, whatever it is, is everywhere." So begins a recent review in The New York Times of an exhibition of African art at P.S. 1 Contemporary Arts Center in Queens. "It's far more than just a continent," the review continues. "It's a global diaspora, an international culture, and a metaphor with fantastical associations for the West" (Cotter 2002). This enthusiastic review offers evidenceif any evidence was needed-of the expanding presence and high visibility of Africa in New York City. It also bears witness to a swelling interest among New Yorkers in the arts, fashion, film, music, and cuisine that trace their roots (or is it routes?) to the African continent. Yet, while the products of African cultures have been celebrated and consumed across the city, there has been remarkably little interest in coming to know African people themselves, whose numbers continue to grow rapidly among the ranks of New York's multi-ethnic population. In fact, one could argue, it was not until the widely publicized case in 1999 of Amadou Diallo-an innocent Guinean man gunned down by NYPD officers who incorrectly thought he was armed-that many New Yorkers even took notice of African immigrants living in their midst. Interest in that too has passed. It is curious to note that what has captured the imagination of many New Yorkers is the material culture of Africa which is kept generally behind closed doors or locked in secure museum cases; while African people, whom New Yorkers see daily walking their streets, driving their cabs, or pressed up against them on a crowded subway car, hold little or no interest. Although it would be possible to never see African art nor sample African food in New York City, it would be nearly impossible to avoid encountering African traders engaged in the bustling mercantile economy of city life: a well-dressed Senegalese hawking "Rolex" watches out of an open briefcase on the corner of 41st and Lexington; a Hausa in flowing damask robes transporting a bag of kente-cloth caps on the Lexington Avenue Line heading uptown; a Guinean art dealer selling replica masks and statues outside the Museum of Modern Art; or a Songhay trader peddling music tapes and videos along Canal Street. But while New Yorkers may see these men (and sometimes women) carrying out their daily activities, and might even on occasion purchase goods from them, African immigrants remain anonymous and unknown. As Paul Stoller writes about one such African trader: "Most people who talked to him at the market knew little about his family, his past, his culture, his values, aspirations, or dreams. Although he worked daily on the streets of New York City, he remained, like Ralph Ellison's Invisible Man, an unseen person" (p.6). Making the invisible visible is certainly one of the goals of Paul Stoller's engaging and insightful new book, Money Has No Smell: The Africanization of New York City. At the very least this book brings to light a community of men and women who blanket New York City, yet somehow remain hidden in its shadows and creases. of course this is nothing new to anthropology. After all, much of the history of the discipline has been concerned with rescuing from the margins those societies whose cultures and existence were either unfamiliar or misunderstood. In the 1900s, for example, Franz Boas brought back his knowledge of the Kwakiutl to New York City where he wrote and published his massive ethnographies. In the 1920s, Margaret Mead introduced Americans to Samoans through her publications and, later, museum exhibitions. Yet unlike the Kwakiutl and Samoans of these early anthropological endeavors, studying the African traders who are the subject of Stoller's new book does not require distant travel outside of New York City-in fact many of the traders are within a stone's throw of the Upper Westside offices where Boas and Mead worked. …

Museum AnthropologyVolume 20, Issue 3 p. 5-8 Aritcles published in Museum Anthropology 1992 to 1996 Christopher B. Steiner, Christopher B. SteinerSearch for more papers by this author Christopher B. Steiner, Christopher B. SteinerSearch for more papers by this author First published: December 1996 https://doi.org/10.1525/mua.1996.20.3.5AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume20, Issue3December 1996Pages 5-8 RelatedInformation

Museum AnthropologyVolume 20, Issue 3 p. 3-4 Finis: Editor's Farewell Christopher B. Steiner, Christopher B. SteinerSearch for more papers by this author Christopher B. Steiner, Christopher B. SteinerSearch for more papers by this author First published: December 1996 https://doi.org/10.1525/mua.1996.20.3.3Citations: 2AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article.Citing Literature Volume20, Issue3December 1996Pages 3-4 RelatedInformation

Part of a symposium providing a range of critical perspectives on rethinking the art historical canon. The writer reflects on the meaning of canonicity in art history, with reference to the Souillac Isaiah and his own efforts to create a canon of monsters for a graduate course entitled “Monstrosity in Medieval Art.” Among the topics he discusses are the relation between canon formation and the technology of the reproduction of artworks, an exceptional work's relation to its historical circumstances, the importance of corporeality for art history, and contrasts between the monster and the canon in art.

Museum AnthropologyVolume 19, Issue 2 p. 3-6 Museums and the Politics of Nationalism Christopher B. Steiner, Christopher B. Steiner J. Paul Getty Center for the History of Art and the Humanities in Santa Monica, CA.Search for more papers by this author Christopher B. Steiner, Christopher B. Steiner J. Paul Getty Center for the History of Art and the Humanities in Santa Monica, CA.Search for more papers by this author First published: September 1995 https://doi.org/10.1525/mua.1995.19.2.3Citations: 20AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume19, Issue2September 1995Pages 3-6 RelatedInformation

American EthnologistVolume 19, Issue 3 p. 634-635 Auctions: The Social Construction of Value. CHARLES W. SMITH CHRISTOPHER B. STEINER, CHRISTOPHER B. STEINER Natural History Museum of Los Angeles CountySearch for more papers by this author CHRISTOPHER B. STEINER, CHRISTOPHER B. STEINER Natural History Museum of Los Angeles CountySearch for more papers by this author First published: August 1992 https://doi.org/10.1525/ae.1992.19.3.02a00530AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume19, Issue3August 1992Pages 634-635 RelatedInformation

Museum AnthropologyVolume 16, Issue 3 p. 53-57 The Invisible Face: Masks, Ethnicity, and the State in Côte d'lvoire, West Africa Assistant Professor Christopher B. Steiner, Assistant Professor Christopher B. Steiner UCLA & University of Southern California.Search for more papers by this author Assistant Professor Christopher B. Steiner, Assistant Professor Christopher B. Steiner UCLA & University of Southern California.Search for more papers by this author First published: October 1992 https://doi.org/10.1525/mua.1992.16.3.53Citations: 2AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume16, Issue3October 1992Pages 53-57 RelatedInformation

Museum AnthropologyVolume 15, Issue 2 p. 34-37 Worlds in Miniature, Worlds Apart: Dioramas, Models, and Mannequins in Peabody Museum Exhibitions, Peabody Museum, Harvard University Christopher B. Steiner, Christopher B. SteinerSearch for more papers by this author Christopher B. Steiner, Christopher B. SteinerSearch for more papers by this author First published: May 1991 https://doi.org/10.1525/mua.1991.15.2.34Citations: 1AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume15, Issue2May 1991Pages 34-37 RelatedInformation

SVA ReviewVolume 6, Issue 1 p. 45-49 Worlds Together, Worlds Apart: The Mediation of Knowledge by Traders in African Art Christopher B. Steiner, Christopher B. Steiner The Department of Anthropology at Harvard University.Search for more papers by this author Christopher B. Steiner, Christopher B. Steiner The Department of Anthropology at Harvard University.Search for more papers by this author First published: March 1990 https://doi.org/10.1525/var.1990.6.1.45Citations: 4AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat References Fischer, Eberhard, and Hans Himmelheber 1984 The Arts of the Dan in West Africa. Zurich : Museum Rietberg. Google Scholar Jules-Rosette, Bennetta 1984 The Messages of Tourist Art. New York : Plenum Press. 10.1007/978-1-4757-1827-0 Google Scholar MacCannell, Dean 1976 The Tourist: A New Theory of the Leisure Class. New York : Schocken Books. Google Scholar Mailfert, André 1968 Au pays des antiquaires. Paris : Flammanon. Web of Science®Google Scholar Price, Sally 1989 Primitive Art in Civilized Places. Chicago : University of Chicago Press. Google Scholar Rheims, Maurice 1961 The Strange Life of Objects. New York : Atheneum. Google Scholar Steiner, Christopher B. 1988 Review of Werewere-Liking, Statues Colons. In African Arts 22(1): 95. 10.2307/3336702 Web of Science®Google Scholar Steiner, Christopher B. 1989a African Art in Movement: Traders, Networks, and Objects in the West African Art Market," Discussion Papers in the Humanities, no.3, African Studies Center, Boston University. Google Scholar Steiner, Christopher B. 1989b Transnational Trajectories: The Circulation of African Art in the World Economy." Paper read at the 88th annual meeting of the American Anthropological Association, Washington, D.C. Google Scholar Citing Literature Volume6, Issue1March 1990Pages 45-49 ReferencesRelatedInformation

Historique de la paralysie faciale en Afrique, representee sur des masques: role culturel et medical