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A collection of short-term, small-group, in-depth studies in the fields of theology, ethics, mission, hermeneutics (biblical interpretation), and church history. Each volume includes leader\/learner helps to support group leaders with the sessions. The resource is designed for use in Sunday morning groups, midweek groups, independent study, or retreats. Sessions range in length from 45 to 90 minutes. How do we define divine healing? Is divine healing always worth the price? What is the connection between the divine and human roles in the healing of ourselves, our loved ones, our churches, and our communities? How do we need one another for healing? Does prayer make a difference in healing? Will we seek healing if we believe we should suffer? How do we experience divine healing through rituals, spiritual practices, and worship? 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Yet African art, perhaps more than any other, is widely misunderstood. Far from being primitive, it represents a highly developed aesthetic expressed by accomplished professional artists who have complete mastery over their materials and techniques.\u003c\/p\u003e\u003cp\u003eThe study of African art is in its infancy, and Westerners are only beginning to learn the complex system of symbols embodied in the carved, cast, and painted objects that altered the course of modern art early in this century. Most African art is functional, with decoration that is often secondary. Many objects are made to express and support fundamental spiritual values essential to the survival of the community. Much African art serves a directly religious function--as tribute to a spirit or as a diviner's aid. Some objects insure fertility, not only in humans, but in crops, game, and livestock as well. Cultural traditions are transmitted across the generations through works of art used in rites of initiation. Other art is political in function; images of kings proclaim their wealth and power; the possession of a crown, for example, can prove the legitimacy of a leader's succession. The arts also serve politics in the objects created for use by the men's societies that govern many villages. \u003c\/p\u003e\u003cp\u003eThe 150 objects discussed and illustrated here are from the collection of Paul and Ruth Tishman, whose interest in African art began more than twenty years ago. Since then, the Tishmans have constantly refined their collection, which now contains the full range of African sculptures, from delicate sixteenth-century Sherbro-Portuguese ivories to boldly conceived wooden figures from Cameroon (front cover).\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFor Spirits and Kings\u003c\/em\u003e presents the art of six major regions south of the Sahara: the Western Sudan, the Guinea Coast, Nigeria, Equatorial Africa, Central Africa, and the Southeast. Susan Vogel, curator of African art at The Metropolitan Museum of Art, has contributed a valuable general introduction and a brief essay on the art of each area listed. Outstanding examples of the art of each area are then illustrated with striking photographs and discussed by seventy-one eminent specialists from the United States, Europe, and Africa. Each author has written about objects in his area of expertise, and many writers have supplemented their texts with field photographs showing related objects in traditional contexts. The result is a splendid book that Philippe de Montebello, director of the Metropolitan Museum, has called an ambitious scholarly achievement, a veritable anthology of the most recent scholarship, . . . a major contribution to the field of African studies.  This book was originally published in 1981 and has gone out of print. 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