Himalaya: Listen. Learn. Grow.

4.8K Ratings
Open In App
title

African Studies Centre

Oxford University

13
Followers
23
Plays
African Studies Centre

African Studies Centre

Oxford University

13
Followers
23
Plays
OVERVIEWEPISODESYOU MAY ALSO LIKE

Details

About Us

The University of Oxford is one of the world's leading centres for the study of Africa. In every Faculty and Division across the University there are active research programmes focused on the continent. The African Studies Centre, within the School of Interdisciplinary Area Studies, acts as a focal point for graduate level work and faculty research on Africa. Alongside the vibrant doctoral programmes, the MSc in African Studies, inaugurated in 2006, is already recognised as Europe's most prestigious and successful training programme in its field.

Latest Episodes

Looking back on 4 years in data science

Jonny Brooks-Bartlett, Senior machine learning engineer at Spotify, gives a talk on his experiences as a data scientist and as machine learning engineer in top rated companies around the world. It's been almost 4 years since I left academia to work as a data scientist in industry. In that time I've worked in several teams at a couple of companies. I've also spoken to many other data scientists and consulted literature to get a better picture of the current landscape. In this presentation I take you on my journey from the point at which I decided to become a data scientist to now becoming a senior machine learning engineer at a global music streaming service, Spotify. I'll describe the projects I've worked on and do a bit of a deep dive into a ranking system that I built whilst working at Deliveroo. Finally I'll discuss some observations that I have about data science in general that I hope will give a better idea about how data science works in industry and how it differs from what one might do in an academic setting. Brief bio: Jonny Brooks-Bartlett is a senior machine learning engineer at Spotify working on improving the search experience for customers. Outside of work Jonny is a keen science communicator delivering public talks on science maths and AI. He also enjoys sports and taking part in functional fitness competitions

45 min2 d ago
Comments
Looking back on 4 years in data science

Presidential Campaigns stops in Ghana

For this seminar we hosted George Bob-Milliar (Kwame Nkrumah University of Science and Technology). Professor Bob-Milliar's lecture is titled Presidential Campaigns stops in Ghana.

46 min1 w ago
Comments
Presidential Campaigns stops in Ghana

Somali Kinship and Bureaucratic Governance at Dagahaley Refugee Camp in Kenya

For this seminar we hosted Fred Ikanda from Maseno University. Professor Ikanda's spoke about his research and fieldwork experiences with the Dagahaley Refugee Camp. Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

42 min3 w ago
Comments
Somali Kinship and Bureaucratic Governance at Dagahaley Refugee Camp in Kenya

Our Own Way in This Part of the World: Biography of an African Community, Culture, and Nation

For this seminar today we hosted Kwasi Konadu (Colgate University). Professor Konadu, Colgate University, spoke about his book, Our Own Way in This Part of the World: Biography of an African Community, Culture, and Nation.

55 minOCT 23
Comments
Our Own Way in This Part of the World: Biography of an African Community, Culture, and Nation

To the Volcano and Other Stories

Elleke Boehmer (University of Oxford) in conversation with Wale Adebanwi (University of Oxford)

40 minOCT 16
Comments
To the Volcano and Other Stories

Book Launch: Extralegal Groups in Post-Conflict Liberia

In this seminar, Christine Cheng explores how states and extra-legal groups work together and analyzes how our definitions of what is legal affect our view of the state and governance.

49 minJAN 30
Comments
Book Launch: Extralegal Groups in Post-Conflict Liberia

The Elders know Nothing: the Inversion of Tradition in the New Mining Context

Ramon Sarró and Marina P. Temudo deliver paper at 'Cultural Production in Africa's Extractive Communities' workshop. This is the fourth of five papers delivered at this workshop on 16 May 2019. ‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus. This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the 21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it?

30 min2019 DEC 15
Comments
The Elders know Nothing: the Inversion of Tradition in the New Mining Context

Youth, insecurity and intimacy in the popular arts of the Niger Delta

David Pratten delivers paper at 'Cultural Production in Africa's Extractive Communities' workshop. This is the third of five papers delivered at this workshop on 16 May 2019. ‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus. This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the 21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it? Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

29 min2019 DEC 15
Comments
Youth, insecurity and intimacy in the popular arts of the Niger Delta

Artistic Movements: Music, Popular Painting and Cultural Exchanges on the central African Copperbelt

Enid Guene delivers paper at 'Cultural Production in Africa's Extractive Communities' workshop. This is the second of five papers delivered at this workshop on 16 May 2019. ‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus. This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the 21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it? Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

28 min2019 DEC 15
Comments
Artistic Movements: Music, Popular Painting and Cultural Exchanges on the central African Copperbelt

Mobutist Modernism: Art Education, State Sponsorship and the Visual Arts in Zaire

Sarah Van Beurden delivers paper at 'Cultural Production in Africa's Extractive Communities' workshop. This is the first of five papers delivered at this workshop on 16 May 2019. ‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus. This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the 21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it?

35 min2019 DEC 15
Comments
Mobutist Modernism: Art Education, State Sponsorship and the Visual Arts in Zaire

Latest Episodes

Looking back on 4 years in data science

Jonny Brooks-Bartlett, Senior machine learning engineer at Spotify, gives a talk on his experiences as a data scientist and as machine learning engineer in top rated companies around the world. It's been almost 4 years since I left academia to work as a data scientist in industry. In that time I've worked in several teams at a couple of companies. I've also spoken to many other data scientists and consulted literature to get a better picture of the current landscape. In this presentation I take you on my journey from the point at which I decided to become a data scientist to now becoming a senior machine learning engineer at a global music streaming service, Spotify. I'll describe the projects I've worked on and do a bit of a deep dive into a ranking system that I built whilst working at Deliveroo. Finally I'll discuss some observations that I have about data science in general that I hope will give a better idea about how data science works in industry and how it differs from what one might do in an academic setting. Brief bio: Jonny Brooks-Bartlett is a senior machine learning engineer at Spotify working on improving the search experience for customers. Outside of work Jonny is a keen science communicator delivering public talks on science maths and AI. He also enjoys sports and taking part in functional fitness competitions

45 min2 d ago
Comments
Looking back on 4 years in data science

Presidential Campaigns stops in Ghana

For this seminar we hosted George Bob-Milliar (Kwame Nkrumah University of Science and Technology). Professor Bob-Milliar's lecture is titled Presidential Campaigns stops in Ghana.

46 min1 w ago
Comments
Presidential Campaigns stops in Ghana

Somali Kinship and Bureaucratic Governance at Dagahaley Refugee Camp in Kenya

For this seminar we hosted Fred Ikanda from Maseno University. Professor Ikanda's spoke about his research and fieldwork experiences with the Dagahaley Refugee Camp. Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

42 min3 w ago
Comments
Somali Kinship and Bureaucratic Governance at Dagahaley Refugee Camp in Kenya

Our Own Way in This Part of the World: Biography of an African Community, Culture, and Nation

For this seminar today we hosted Kwasi Konadu (Colgate University). Professor Konadu, Colgate University, spoke about his book, Our Own Way in This Part of the World: Biography of an African Community, Culture, and Nation.

55 minOCT 23
Comments
Our Own Way in This Part of the World: Biography of an African Community, Culture, and Nation

To the Volcano and Other Stories

Elleke Boehmer (University of Oxford) in conversation with Wale Adebanwi (University of Oxford)

40 minOCT 16
Comments
To the Volcano and Other Stories

Book Launch: Extralegal Groups in Post-Conflict Liberia

In this seminar, Christine Cheng explores how states and extra-legal groups work together and analyzes how our definitions of what is legal affect our view of the state and governance.

49 minJAN 30
Comments
Book Launch: Extralegal Groups in Post-Conflict Liberia

The Elders know Nothing: the Inversion of Tradition in the New Mining Context

Ramon Sarró and Marina P. Temudo deliver paper at 'Cultural Production in Africa's Extractive Communities' workshop. This is the fourth of five papers delivered at this workshop on 16 May 2019. ‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus. This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the 21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it?

30 min2019 DEC 15
Comments
The Elders know Nothing: the Inversion of Tradition in the New Mining Context

Youth, insecurity and intimacy in the popular arts of the Niger Delta

David Pratten delivers paper at 'Cultural Production in Africa's Extractive Communities' workshop. This is the third of five papers delivered at this workshop on 16 May 2019. ‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus. This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the 21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it? Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

29 min2019 DEC 15
Comments
Youth, insecurity and intimacy in the popular arts of the Niger Delta

Artistic Movements: Music, Popular Painting and Cultural Exchanges on the central African Copperbelt

Enid Guene delivers paper at 'Cultural Production in Africa's Extractive Communities' workshop. This is the second of five papers delivered at this workshop on 16 May 2019. ‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus. This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the 21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it? Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

28 min2019 DEC 15
Comments
Artistic Movements: Music, Popular Painting and Cultural Exchanges on the central African Copperbelt

Mobutist Modernism: Art Education, State Sponsorship and the Visual Arts in Zaire

Sarah Van Beurden delivers paper at 'Cultural Production in Africa's Extractive Communities' workshop. This is the first of five papers delivered at this workshop on 16 May 2019. ‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus. This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the 21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it?

35 min2019 DEC 15
Comments
Mobutist Modernism: Art Education, State Sponsorship and the Visual Arts in Zaire
success toast
Welcome to Himalaya LearningClick below to download our app for better listening experience.Download App