This article explores the Ring Shout as a corporeal conjuring of Black-togetherness. Theoretically, I embrace the notion of assembly in ways that offer new comprehension around both implicit and explicit modes of embodiment in constant play within Black cultural modes. I turn to the research of Katrina Hazzard-Donald, Dr. Yvonne Daniel, and M. Jacqui Alexander for theoretical grounding regarding diasporic Afro-spiritualities, while artists such as Talley Beatty, Reggie Wilson, and Chief Xian aTunde Adjuah (formerly Christian Scott) provide landmarks for the artistic and aesthetic discourse of the text. I introduce a concept, AfrOist, as a navigation through and toward a recontextualization of centralized Africanist tendencies. With this shift, cultural inheritances are remembered and claimed.

The body partially disrobed as a visual strategy for self-branding is the theme of this article. During Fascism, photography, in synergy with the communications industry ante-literam, was an essential part of the construction of the cult of the leader that transformed the figure of Mussolini into an icon. Mussolini’s partial nudity is considered here as a powerful political tool. The Duce, in anticipation of our celebrities today, did not hesitate to undress and display his torso in what Valerie Sperling calls ‘iconic public-relations stunts’ that were both exhibitionistic and voyeuristic (Sperling 2014, 21). Deconstructing the visual language of Fascist propaganda that made the man into a myth, this article illustrates the most iconic aspects of Mussolini’s visual strategy, demonstrating his innovative capacity to take advantage of a modern attitude towards self-representation, similar to that adopted by today’s heads of state.

An exploration of African literary studies and what might be its most salient and informed tools of self-constitution and self-understanding in the contemporary moment. More than half a century after formal literary studies emerged in Africa, much of the field is still fixated with a deep suspicion of the true provenance of its own production. The paper theoretically distills some of the expressed or implied evaluative canons of belonging, explores their methods of application, and critically assesses their contemporary relevance—or even resonance. The goal is to arrive at what might be a most enabling conception of African letters for an age I conceive as “post-global.”

This paper concerns the social divisions of later life. Although research in this field has focused on class, gender and, more recently, sexuality as sources of division in later life, the division between the fit and the frail has tended to be ignored or viewed as an outcome of these other divisions. This paper challenges this assumption, arguing that corporeality constitutes a major social division in later life. This in many ways prefigures a return to the 19th-century categorisation of those ‘impotent through age’, whose position was among the most abject in society. Their ‘impotence’ was framed by an inability to engage in paid labour. Improved living standards during and after working life saw age's impotence fade in significance and in the immediate post-war era, social concern turned towards the relative poverty of pensioners. Subsequent demographic ageing and the expanding cultures of the third age have undermined the homogeneity of retirement. Frailty has become a major source of social division, separating those who are merely older from those who are too old. This division excludes the ‘unsuccessfully’ aged from utilising the widening range of material and social goods that characterise the third age. It is this social divide rather than those of past occupation or income that is becoming a more salient line of fracture in later life.

We wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of raves to illustrate our argument. By doing so, we challenge traditional, intellectually oriented and positivistic leadership approaches that hardly recognize nor conceptualize aesthetic, bodily aspects of social interaction between people in the workplace.

The ballroom dance waltz is used as a metaphorical representation of a hierarchical, logical and rational understanding of leadership. The waltz metaphor describes the leader as a dominant individual who knows where to go and the dance partner as a follower or at least as someone with a lesser role in defining the dance. Raves, on the other hand representparadigmatically different kind of a dance and therefore a different understanding of leadership. There are neither dance steps to learn, nor fixed dance partners where one leads and the other follows. Even the purpose or aim of dancing may not be known at the beginning of the dance, but it is negotiated as the raves go on. We think that raves describe the organizational life as it is often seen and felt today: chaotic, full of unexpected changes, ambiguous and changing collaborators in networks. Here leadership becomes a collective, distributed activity where the work processes and the targeted outcome is continually negotiated.

Through the dance metaphors of waltz and raves, we suggest aspects such as gaze, rhythm and space to give an aesthetic description both to a more traditional and an emerging aesthetic paradigm of leadership where the corporeality of leadership is emphasized. We wish to make the point that leadership is aesthetically and corporeally co-constructed both between the leader and the followers as well as between the researcher and the subjects. The metaphor of dance illustrates the corporeal nature of leadership both to practitioners and theoreticians.

Taking as its starting point the ‘irrational passion for dispassionate rationality’, so prevalent in Western thought and practice, this paper traces, through the emotions, current debates surrounding the ambivalent nature of modernity as both order and chaos, conformity and transgression. Reason and emotions are not, it is argued, antithetical to one another, rather there is a need to fundamentally rethink existing epistemological models and ontological ways of being and knowing. These issues are traced, on the one hand, through the increasing rationalisation of Western society, the latest expression of which, it is claimed, is a new form of ‘postemotionalism’, and, on the other hand, through the resurgence of more Dionysian values and collective forms of effervescence. The paper concludes with a critical assessment of these contradictory features and the corporeal dilemmas which underpin them, speculating on the ‘fate’ of emotions at the turn of the century in the light of current postmodern theorising.