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Western aid is in decline. New forms of aid, from within the developing countries themselves and elsewhere, are in the ascent, and a new set of global economic and political processes are shaping development in the twenty-first century. Katy Gardner and David Lewis have completely rewritten and updated their earlier, influential work, bringing it up to the present day. They engage with nearly two decades of continuity and change in the development industry, arguing in particular that while international development has expanded since the 1990s, it has become more rigidly technocratic. Anthropology & Development will serve as a reformulation of the field and as an excellent textbook for both graduate and undergraduates alike.

When the past is painful, as riddled with violence and injustice as it is in postapartheid South Africa, remembrance presents a problem at once practical and ethical: how much of the past to preserve and recollect and how much to erase and forget if the new nation is to ever unify and move forward? The new South Africa’s confrontation of this dilemma is Martin J. Murray’s subject in Commemorating and Forgetting. More broadly, this book explores how collective memory works—how framing events, persons, and places worthy of recognition and honor entails a selective appropriation of the past, not a mastery of history.

How is the historical past made to appear in the present? In addressing these questions, Murray reveals how collective memory is stored and disseminated in architecture, statuary, monuments and memorials, literature, and art—“landscapes of remembrance” that selectively recall and even fabricate history in the service of nation-building. He examines such vehicles of memory in postapartheid South Africa and parses the stories they tell—stories by turn sanitized, distorted, embellished, and compressed. In this analysis, Commemorating and Forgetting marks a critical move toward recognizing how the legacies and impositions of white minority rule, far from being truly past, remain embedded in, intertwined with, and imprinted on the new nation’s here and now.

Under the auspices of ArtsEngine at the University of Michigan, the Mellon Research Project examines the increasingly prevalent integration of arts practice and study at research universities. ArtsEngine National’s initial mission to “transform the research university through the infusion of arts practice” in response to growing recognition of the value of arts integration practices across the landscape of higher education led to a $500,000 grant from The Andrew W. Mellon Foundation. This grant supported an initial investigation of present practices in arts integration at researchuniversities, encompassing a national network of faculty and administrators who embrace innovative methods in teaching, research, and co-curricular programming linking the arts to other disciplinary domains.
This study presents “best practices in the integration of arts practice in U.S. research universities . . . , fulfill[ing] the need for a document that articulates models, obstacles, implementation strategies, costs, and impact on students and faculty as well as on research, practice, and teaching in other knowledge areas” (ArtsEngine). Rather than providing a detailed set of instructions, this document maps the landscape of arts integration at 30 partner institutions in the Alliance for the Arts in Research Universities (a2ru) and at 16 other institutions. It highlights aspirational models and presents an overall guide to current practices linking the arts to other learning areas.