This article presents a polycentric Africanist reading of Dada Masilo's Giselle, which debuted in South Africa in 2017. Although ballet was used as a tool of colonization in South Africa, establishing cultural and aesthetic norms from a European paradigm, while undermining Indigenous arts and excluding non-white artists, I argue that Dada Masilo's choreographic choices employ the narrative of Giselle to decolonize through ballet. Masilo's choreography indigenizes the ballet, transforming local and global practices through an Indigenous lens. Dada Masilo's Giselle embodies African philosophies such as ancestorism, as well as gender fluidity and complementarity. It mobilizes techniques such as signifyin(g), comedic resistance, code-switching, battling, shouting, and critically reappropriating Tswana and diasporic movements in order to convey a distinctly South African version of the European ballet. This work transcends the romantic love of Giselle in order to convey a decolonial love by centering South African ways of knowing and being in the world.

In much of the emerging literature in African philosophy on the question of life's meaning, little, if anything, has been said about the relationship between African conceptions of death and the question of life's meaning. Drawing from clues in the literature on African metaphysics/philosophy of religion, this article will argue that within the context of an African conception of death, life is ultimately meaningless. To do this, I will begin by curating an African conception of death that sees death as primarily the disembodiment of subjective consciousness. Through this disembodiment, the individual can approach death with meaning in life and pivot into meaning after life. However, I will show this view to be mistaken on several grounds – the implausibility of the metaphysics grounding the possibility of disembodiment; and the idea of a second death inherent in the African conception of death. Thus, I will conclude that the finality of death provides good reason to acknowledge that life is ultimately meaningless.

Following deglaciation of the Cook Inlet region of Alaska approximately 16 000 years ago, anadromous threespine stickleback (Gasterosteus aculeatus) rapidly colonized emerging lakes and rivers forming resident, freshwater populations. Although the precise body shape of the ancestral marine population is unknown, marine sticklebacks sampled from both Pacific and Atlantic sites present remarkably little body shape variation among populations, which suggests that the morphology of any of the marine populations could be used to represent the ancestral phenotype. To infer the net evolutionary trajectories of body shape change in the Cook Inlet radiation, derived body shapes of lacustrine samples were compared to the presumptive, primitive body shape, represented by the mean shape of two anadromous samples from Cook Inlet. In general, some derived body shape traits are shared by all freshwater populations but many traits evolved in opposite directions. The principal axes of shape variation among freshwater sample means were computed using Principal Components Analysis. The strong correlation between the direction of the principal component axes and lake habitat variables suggest that populations evolved toward selection peaks that are biased along the component axes due to biotic and abiotic features of the lakes.

ANTIQUITY has had a long tradition of publishing pieces on Stonehenge, represented in our cover design. Here we present an intriguing and thought-provoking paper, which draws an analogy with Madagascar to help explain the meaning of the enigmatic monument.