I am an evolutionary anthropologist interested in the emergence of language, art, ritual and religion. My fieldwork has been with Hadza hunter-gatherers, Tanzania  2003-4

Anthropology Programme Leader

Darwinian models of the evolution of culture with special focus on African hunter-gatherer cosmology and gender ritual; evolution of language, art and ritual in modern humans; Neanderthal symbolic behaviour; beauty; sexual selection; cosmetics; red ochre; pigments; initiation; early human kinship

• BSc Anthropology

AI1112 Introduction to the Origins of Culture

AI1121 Politics of Sex and Kinship

AI2142 Origins of Culture

AI2147 African Cosmology

AI3151 Biological Anthropology

AI3152 Cognitive and Linguistic Anthropology

AI3165 Human Sociobiology

Power, C, V. Sommer and I Watts (in press) Female reproductive synchrony and male behaviour: from monkeys to Neanderthals and modern humans. PaleoAnthropology

Knight, C. and C. Power (2012). Social conditions for the emergence of language. In M. Tallerman and K.Gibson (eds), The Oxford Handbook of Language Evolution. Oxford: Oxford University Press.

Power, C. and C Knight 2012. Arrest for attempted street theatre. Anthropology Today 28, 24-26.

Power, C. 2011. Lunarchy in the Kingdom of England. Radical Anthropology 5, 18-26.

Power, C. 2010. Cosmetics, identity and consciousness. Journal of Consciousness Studies 17, 73-94

Power, C. 2009. Sexual selection models for the emergence of symbolic communication: Why they should be reversed. In R. Botha and C. Knight (eds) The Cradle of Language. Oxford: Oxford University press, pp.257-280.

Opie, K. and C. Power 2008. Grandmothering and female coalitions: A basis for matrilineal priority? In N. J. Allen, H. Callan, R. Dunbar and W. James (eds) Early Human Kinship: From sex to social reproduction. Malden, MA and Oxford: Blackwells, pp. 168-186.

Knight, C. and C. Power 2005. Grandmothers, politics, and getting back to science. In E. Voland, A. Chasiotis and W. Schienfenhövel (eds.), Grandmotherhood: The evolutionary significance of the second half of female life. New Brunswick: Rutgers, pp. 81-98.

Power, C. 2004. Women in prehistoric art. In G. Berghaus (ed.) New Perspectives on Prehistoric Art. Praeger: Westport, CT/London, pp. 75-103.

Power, C. 2000. Secret language use at female initiation: bounding gossiping communities. In C. Knight, M. Studdert-Kennedy and J. R. Hurford (eds) The Evolutionary Emergence of Language. Social function and the origins of linguistic form. Cambridge: Cambridge University Press, pp.81-98.

Power, C. and I. Watts 1999 First gender, wrong sex. In H. Moore, T. Sanders and B. Kaare (eds) Those who play with fire. Gender, fertility and transformation in East and Southern Africa. London: Athlone Press, pp.101-132.

Power, C. 1998. Old Wives Tales. The gossip hypothesis and the reliability of cheap signals. In Approaches to the Evolution of Language: Social and Cognitive Bases (eds.) J. Hurford, C. Knight and M. Studdert-Kennedy. Cambridge: Cambridge University Press, pp. 111-129.

Power, C. and I. Watts 1997. The Woman with the Zebra’s Penis. Gender, mutability and performance. Journal of the Royal Anthropological Institute (N. S.) 3, 537-560.

Knight, C., C. Power and I. Watts 1995. The human symbolic revolution: a Darwinian account. Cambridge Archaeological Journal 5, 75-114.

Member of the Association of Social Anthropologists.

Editor of Radical Anthropology

From 'Lunarchy in the Kingdom of England' Radical Anthropology 2011, p.18

'There is more life and reality in the first act of "The Merry Wives

of Windsor" alone than in all German literature,’ wrote Fred Engels to Karl Marx on Dec.10, 1873. Engels had an unerring instinct for sexual communism wherever it lurked. Shakespeare’s play has a lot of fun with pompous husbands’ endeavours to assert their marital proprietorial rights, yet, structurally, the drama celebrates women’s collective carnival freedom. Ritually potent laughter, riot, rituals of licence, subversion of the established order were called ‘misrule’ by the powers that be. Comedy in the formal dramatic sense has its roots in popular, ritual action, ritual uprising. Most especially the female kind

http://www.radicalanthropologygroup.org/new/Journal.html