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Journal articles on the topic 'African masks'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Hammer, Deborah Stokes. "Faces of Africa: African Masks." African Arts 20, no. 4 (August 1987): 82. http://dx.doi.org/10.2307/3336642.

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2

Bjarnesen, Jesper, Jack Boulton, Uroš Kovač, Ndubueze Mbah, Bruce Whitehouse, and Robert Wyrod. "Of Masks and Masculinities in Africa." Africa Spectrum 58, no. 3 (December 2023): 191–200. http://dx.doi.org/10.1177/00020397231217520.

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Contemporary forms of precarity, migration, connectivity, and sociality have transformed what it means to be a man in many African communities. Responding with agency and creativity to various incentives and constraints, Africans have adapted practices pertaining to labour, marriage, and sexuality to the exigencies of modern life amid the impacts of European colonialism, rapid urban growth, economic hardship, and political conflict. Drawing upon ethnographic and historical research to study settings in East, West, and Southern Africa, the articles in this special issue review the social changes that have taken place regarding men's roles and assess prospects for the emergence of counter-hegemonic masculinities.
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Commodore-Mensah, PhD, RN, Yvonne, Cheryl Dennison Himmelfarb, PhD, ANP, RN, Charles Agyemang, PhD, MPH, and Anne E. Sumner, MD. "Cardiometabolic Health in African Immigrants to the United States: A Call to Re-examine Research on African-descent Populations." Ethnicity & Disease 25, no. 3 (August 5, 2015): 373. http://dx.doi.org/10.18865/ed.25.3.373.

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<p> </p><p> In the 20th century, Africans in Sub-Saharan Africa had lower rates of cardiometabolic disease than Africans who migrated. How­ever, in the 21st century, beyond infectious diseases, the triple epidemics of obesity, diabetes and hypertension have taken hold in Africa. Therefore, Africans are acquiring these chronic diseases at different rates and different intensity prior to migration. To ensure optimal care and health outcomes, the United States practice of grouping all African-descent populations into the “Black/ African American” category without regard to country of origin masks socioeconomic and cultural differences and needs re-evalu­ation. Overall, research on African-descent populations would benefit from a shift from a racial to an ethnic perspective. To dem­onstrate the value of disaggregating data on African-descent populations, the epide­miologic transition, social, economic, and health characteristics of African immigrants are presented. <em>Ethn Dis. </em>2015;25(3):373- 380.</p>
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4

Kovac, Senka. "A VIEW OF WEST AFRICAN MASKS." ЕтноАнтропоЗум/EthnoAnthropoZoom 1 (2000): 181–91. http://dx.doi.org/10.37620/eaz0010181k.

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5

Hardin, Kris L., and Sidney L. Kasfir. "West African Masks and Cultural Systems." African Studies Review 34, no. 1 (April 1991): 137. http://dx.doi.org/10.2307/524272.

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6

Flock, T. S. "Disguise: Masks and Global African Art." African Arts 50, no. 3 (September 2017): 85–86. http://dx.doi.org/10.1162/afar_r_00361.

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7

Wolff, Rebecca. "Disguise: Masks and Global African Art." African Arts 50, no. 3 (September 2017): 86–88. http://dx.doi.org/10.1162/afar_r_00362.

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Richards, Christopher. "Disguise: Masks and Global African Art." African Arts 50, no. 3 (September 2017): 88–91. http://dx.doi.org/10.1162/afar_r_00363.

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9

Picton, John, and Sidney L. Kasfir. "West African Masks and Cultural Systems." African Arts 23, no. 1 (November 1989): 95. http://dx.doi.org/10.2307/3336810.

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10

Bontadi, Jarno, and Mauro Bernabei. "Inside the Dogon Masks: The Selection of Woods for Ritual Objects." IAWA Journal 37, no. 1 (March 1, 2016): 84–97. http://dx.doi.org/10.1163/22941932-20160122.

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At the foot of the Bandiagara cliffs in Mali lives one of the most studied and yet most mysterious ethnic groups of West Africa, the Dogon. According to their religion, masks have a key role in traditional rites, since they are the link between the earthly and the divine. The production and maintenance of such important tools have precise rules handed down by the Dogon secret society called Awa. Fifteen traditional Dogon masks were studied to ascertain the wood species selected to carve them. The analysis shows the occasional use of marula (Sclerocarya birrea, 3 masks) and African grape (Lannea spec., 2 masks) and a preference for ceiba (Ceiba pentandra, 10 masks), a tree revered as sacred by the Dogon. The results suggest potential implications concerning the use of trees and woods in Dogon tradition.
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11

Adjei, Kofi, Kwame Opoku-Bonsu, and Edward Appiah. "Concealment and Exposure: Contemporary Application of Masks in Lampshade." International Journal of Art, Culture and Design Technologies 5, no. 2 (July 2016): 17–29. http://dx.doi.org/10.4018/ijacdt.2016070102.

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This study explored the use of traditional African masks in the designing and production of interior design accessories. Through pre-colonial antecedent and masks' contemporary explorations, three masks were selected and redesigned for interior ambiance using ceramics studio practice. The selection of the masks was based on their physical characteristics and associated meanings. Masks are believed to be carriers of the spirits they represent and may possess religious, reproductive, socio-cultural and theatrical significance. Due to their original use and symbolism, African masks have scarcely been sociable objects for ordinary domestic and public adaptations. They are deemed mystical, ritualistic, and psychic, and create auras whose exploration for today's design concerns seem plausible. The design outcomes from the study showed that masks as cultural objects associated with mysticism and socio-cultural purifications, could through effective design decisions be adapted for functional and aesthetic concerns.
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Aloui-Zarrouk, Zohra, Lahcen El Youssfi, Kingsley Badu, Adeniyi Francis Fagbamigbe, Damaris Matoke-Muhia, Caroline Ngugi, Natisha Dukhi, and Grace Mwaura. "The wearing of face masks in African countries under the COVID-19 crisis: luxury or necessity?" AAS Open Research 3 (August 5, 2020): 36. http://dx.doi.org/10.12688/aasopenres.13079.1.

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The unforeseeable global crisis of the spread of coronavirus disease 2019 (COVID-19) has caused almost all affected countries to adopt a range of protective measures as recommended by the World Health Organization. However, the speed, type and level of adoption of these protective measures have been remarkably different. Social distancing and quarantine were the main measures adopted in addition to observing basic hygiene. Based on the available evidences, WHO continues to recommend wearing of face masks for healthcare workers and for those people caring for COVID-19 patients. However, some countries and organisations have recommended, and some have even made it mandatory, for their citizens to wear face masks. Particularly in low- and middle-income countries, protecting by wearing face masks is viewed as an affordable yet proactive preventive measure to avoid and slow down viral spread based on the experience of other affected countries. However, the wearing of face masks is controversial due to shortages in their stocks and uncertainty around the quality of masks, as well as their efficiency as a protective mechanism. Masks should be used based on appropriate use and management guidelines. This paper discusses the wearing of face masks from the perspective of low- and middle-income countries, particularly in Africa; and then makes some recommendations that will greatly inform policy makers on epidemic mitigation strategies throughout the African continent.
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13

Cameron, Elisabeth L. "Men Portraying Women: Representations in African Masks." African Arts 31, no. 2 (1998): 72. http://dx.doi.org/10.2307/3337523.

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14

Salum, Marta Heloísa Leuba. "Discursive notes in front of African masks." Revista do Museu de Arqueologia e Etnologia, no. 6 (December 12, 1996): 233. http://dx.doi.org/10.11606/issn.2448-1750.revmae.1996.109263.

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Procuramos aqui discutir algumas idéias e conceitos correntes na abordagem de máscaras africanas em catálogos e exposições. Fora de seu contexto de origem, e integradas no universo das coleções, o que significam “máscaras-antílope”, “máscaras representando um ser mítico”? Como poderíamos, em poucas palavras, explicar o que é “máscara ancestral”? Refletindo sobre isso numa perspectiva estético-antropológica, e na de quem as vê pela primeira vez, apresentamos vinte máscaras de madeira provenientes da África do acervo do Museu de Arqueologia e Etnologia da Universidade de São Paulo, inéditas em sua grande maioria.
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15

Lyakhovskaya, Nina D. "The fate of African mask in the works of French-speaking writers in West and Central Africa." Vestnik of Kostroma State University 27, no. 3 (October 28, 2021): 202–9. http://dx.doi.org/10.34216/1998-0817-2021-27-3-202-209.

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The article examines the attitude of contemporary African writers to the traditional zoomorphic and anthropomorphic masks. In the 1960s–70s, for the supporters of the theory of negritude, the sacred mask embodied the spirit of ancestors and an inextricable connection with tradition. In a transitional era (the 1990s – the early 21st century), the process of desacralisation of the mask has been observed and such works appear in which the idea of the death of tradition is carried out. The article consistently examines the history of the emergence and strengthening of interest in the image of the African mask as the most striking symbol of African traditions on the part of cultural, art and scientific workers and the reflection of this symbol in the works of representatives of Francophone literature in West and Central Africa in different periods of time. The article concludes about the transformation of the views of the studied writers on the future of African traditions from an enthusiastic and romantic (as, for example, in the lyrics of Léopold Sédar Senghor or Samuel-Martin Eno Belinga) attitude to the images of the African past and tradition – masks, ancestor cult – to despair and bitterness from the awareness of the desacralisation of traditional objects and images and the profanation of tradition under the pressure of the realities of the present day (drama by Koffi Kwahulé). The attitude of African writers to the image of the mask, which is directly related to the themes of preserving traditions and the search of their identity by African literary heroes, is gradually changing, demonstrating the pessimistic view of Francophone African writers on the future of African traditions.
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16

Roh, Youn Sun. "A Study on Fashion Illustrations Utilizing African Masks." KOREA SCIENCE & ART FORUM 18 (December 31, 2014): 235. http://dx.doi.org/10.17548/ksaf.2014.12.18.235.

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17

Roberts, Allen F. "The Eternal Face: African Masks and Western Society." African Arts 33, no. 4 (2000): 78. http://dx.doi.org/10.2307/3337794.

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18

Johnson, Krista. "Between Self-help and Dependence: Donor Funding and the Fight Against HIV/AIDS in South Africa." Africa 78, no. 4 (November 2008): 496–517. http://dx.doi.org/10.3366/e0001972008000417.

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This article examines funding for HIV/AIDS in South Africa, and the relationship between foreign donors and the South African government. The recognition of the AIDS pandemic as an epochal crisis has led to a proliferation of international and donor organizations now directly involved in the governance, tracking and management of the pandemic in many African countries. In many ways, the heavy donor hand that is increasingly defining the pandemic and the global response to it feeds into a new imperialist logic that subordinates pan-African agendas, masks broader issues of access central to the fight against the pandemic, and strengthens traditional relationships of dependence between wealthy Western nations and poorer African nations. The South African government's relationship with foreign donors, however, has been shaped by its efforts to develop an African response to the pandemic not determined nor primarily funded by foreign aid. This article highlights the positive and negative implications of the sometimes contentious relationship between the South African government and foreign donors, as well as the Africa-centred, self-help agenda it pursues, highlighting the opportunities as well as challenges for African governments to define the global response to the pandemic.
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19

BADEROON, GABEBA. "Shooting the East/Veils and Masks: Uncovering Orientalism in South African Media." African and Asian Studies 1, no. 4 (2002): 367–84. http://dx.doi.org/10.1163/156921002x00079.

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ABSTRACT In this essay the author analyzes a series of South African newspaper articles on a Cape Town-based group called Pagad (People against Gangsterism and Drugs). The essay draws upon a larger study of the images of Islam in the South African media and reveals that both the Pagad and the media make use of regressive discourses about Islam. The author finds traces in the media of what Edward Said has referred to as Orientalism. Through the Pagad stories, Muslims in South Africa are treated by the media with an extremely constricted vocabulary which gives little of the suppleness needed to distinguish between Muslims, and the violence enacted in the name of Islam. The answer to the problem of stereotypical and racist representations in the media lies for Baderoon in people reading critically, insisting on complexity, claiming the right to ethical journalistic practices, establishing media with varied ownership, providing alternative visions, and inserting repressed histories into the media.
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20

Rule, Audrey C., Sarah E. Montgomery, Gloria Kirkland Holmes, Dwight C. Watson, and Yvonne Ayesiga. "African Mask-Making Workshop: Professional Development Experiences of Diverse Participants." International Journal of Multicultural Education 17, no. 2 (June 28, 2015): 135. http://dx.doi.org/10.18251/ijme.v17i2.953.

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Diverse education professionals learned about African cultures in a workshop experience by making African masks using authentic symbolism. Analysis of reflections to evaluate the workshop for applicability to participants with and without African heritage showed that both groups expanded their cultural knowledge of traditional African ethnic groups. Those participants with African heritage noted valuing of women while those without African heritage expressed appreciation for African culture, self-evaluation of work, and the desire to investigate their own heritages.
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Kalina, Marc, Jonathan Kwangulero, Fathima Ali, and Elizabeth Tilley. "“You need to dispose of them somewhere safe”: Covid-19, masks, and the pit latrine in Malawi and South Africa." PLOS ONE 17, no. 2 (February 22, 2022): e0262741. http://dx.doi.org/10.1371/journal.pone.0262741.

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The ongoing Covid-19 pandemic has generated an immense amount of potentially infectious waste, primarily face masks, which require rapid and sanitary disposal in order to mitigate the spread of the disease. Yet, within Africa, large segments of the population lack access to reliable municipal solid waste management (SWM) services, both complicating the disposal of hazardous waste, and public health efforts. Drawing on extensive qualitative fieldwork, including 96 semi-structured interviews, across four different low-income communities in Blantyre, Malawi and Durban, South Africa, the purpose of this article is to respond to a qualitative gap on mask disposal behaviours, particularly from within low-income and African contexts. Specifically, our purpose was to understand what behaviours have arisen over the past year, across the two disparate national contexts, and how they have been influenced by individual risk perceptions, established traditional practice, state communication, and other media sources. Findings suggest that the wearing of cloth masks simplifies disposal, as cloth masks can (with washing) be reused continuously. However, in communities where disposable masks are more prevalent, primarily within Blantyre, the pit latrine had been adopted as the most common space for ‘safe’ disposal for a used mask. We argue that this is not a new behaviour, however, and that the pit latrine was already an essential part of many low-income households SWM systems, and that within the Global South, the pit latrine fulfils a valuable and uncounted solid waste management function, in addition to its sanitation role.
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22

Shes, Emil. "A Voice Behind the Masks: Three Companies, Three Continents." Canadian Theatre Review 56 (September 1988): 79–81. http://dx.doi.org/10.3138/ctr.56.016.

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If South African President P.W. Botha has something to fear, it is not just a clenched black fist: it is Nomvula Qosha’s smile. Denied a full education when she had to leave school and abandon her love for drama, she toiled for years as a domestic servant to support her children. Like many South African women, she was deserted by her husband. Today she is an actress, and at one point during the unpaid rehearsals for You Strike the Woman, You Strike the Rock, life and art fused when she had to pull down her township home and salvage her belongings before they could be destroyed. “We carry a heavy burden that defeats men,” she says in the play. “But it won’t defeat us.”
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Ebigbo, Alanna, John Gásdal Karstensen, Purnima Bhat, Uchenna Ijoma, Chukwuemeka Osuagwu, Hailemichael Desalegn, Ganiyat K. Oyeleke, et al. "Impact of the COVID-19 pandemic on gastrointestinal endoscopy in Africa." Endoscopy International Open 08, no. 08 (August 2020): E1097—E1101. http://dx.doi.org/10.1055/a-1210-4274.

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Abstract Background and study aims As with all other fields of medical practice, gastrointestinal endoscopy has been impacted by the COVID-19 pandemic. However, data on the impact of the pandemic in Africa, especially sub-Saharan Africa are lacking. Methods A web-based survey was conducted by the International Working Group of the European Society for Gastrointestinal Endoscopy and the World Endoscopy Organization to determine the impact and effects the COVID-19 pandemic has had on endoscopists in African countries. Results Thirty-one gastroenterologists from 14 countries in north, central, and sub-Saharan Africa responded to the survey. The majority of respondents reduced their endoscopy volume considerably. Personal protective equipment including FFP-2 masks were available in almost all participating centers. Pre-endoscopy screening was performed as well. Conclusion The COVID-19 pandemic has had a substantial impact on gastrointestinal endoscopy in most African countries; however, the impact may not have been as devastating as expected.
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Berube, Michael. "Masks, Margins, and African American Modernism: Melvin Tolson's Harlem Gallery." PMLA 105, no. 1 (January 1990): 57. http://dx.doi.org/10.2307/462343.

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Astudillo, Marise, Alfonso Revilla, Nuria Llevot, Olga Bernad, Christian Coffi, and Papalaye Seck. "Young Africa: art and diaspora. An experience at the University of Lleida." Ehquidad Revista Internacional de Políticas de Bienestar y Trabajo Social, no. 19 (January 15, 2022): 65–102. http://dx.doi.org/10.15257/ehquidad.2023.0003.

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This article is the result of an inter-university, international and transdisciplinary experience carried out at the University of Lleida with the collaboration of the University of Zaragoza in the academic year 2021-2022, in which other groups and institutions also participated, on Young Africa: art and diaspora. Two seminars were held, a theoretical-practical one with students of the Degree in Social Education on the black-African artistic object as a reference of cultural pluralism and another international seminar with three papers on Art, resilience and rehumanisation, which dealt with music, dance and orality as a resilient therapy in African and Afrodiasporic traditions; an initiative on Top Manta, which is the brand of the commercial project of the Sindicato Mantero and, finally, a practical proposal to intervene from the artistic context in groups at risk, i.e. three proposals combined with an exhibition on Black African masks entitled "Learning to see the invisible".
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Islam Ahmed Mohamed Mohamed El Sayed and Ahmed Farouk AbdelGawad. "Computational Investigation of The Exhalation Process with and Without Wearing a Protective Mask." Journal of Advanced Research in Fluid Mechanics and Thermal Sciences 83, no. 2 (June 8, 2021): 149–63. http://dx.doi.org/10.37934/arfmts.83.2.149163.

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This paper shows different simulations of airflow patterns for the human face during exhalation with and without wearing a protective mask. The nasal airways were defined based on biological anthropology and medicine instructions. A three-dimensional body-manikin of African athlete of 1.8 meters tall was employed to the expiration (exhalation) flow study using ANSYS-Fluent software. There were two different mask models included in the flow simulations and were manufactured by means of 3D-printing technology. The two manufactured masks were designed using SolidWorks software. The study was carried out four times during the exhalation process of a human wearing the two masks and without wearing them. The velocity magnitudes were significantly different while wearing the mask in comparison to the cases of not wearing it. The results demonstrate the capability of using 3D-printed masks as a replacement of the traditional medical masks (i.e., N95 and surgical masks) with retaining the same functions of the protective mask. Thus, based on the present study and due to the great shortage of surgical and medical masks availability locally and globally, the 3D-printed masks might be a temporary solution to limit the vast spread of contagious diseases like the dangerous COVID-19 outbreak.
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Rovine, Victoria L. "New Masks, New Meanings: Covid Perspectives on African Art History: Part 1: Behind The Mask: African Art History in a Pandemic Era." African Arts 55, no. 4 (2022): 1–4. http://dx.doi.org/10.1162/afar_a_00676.

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Kocur, Mirosław. "Maska jako aktorka." Prace Kulturoznawcze 21, no. 3 (September 27, 2018): 47–58. http://dx.doi.org/10.19195/0860-6668.21.3.4.

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Mask as an actorThis paper proposes a performative analysis of a mask in order to research its agency, an active role in initiating world events. I will study four, in my opinion, basic “doings” of the mask: transformation, inspiration, transmission, and relocation. I am going to look at ancient masks as well as at Japanese, African and Asiatic ones. Of course, in a short paper the complete discussion of so complex subject matter is impossible. So, I will refer to selected case studies that most clearly expose the mask’s agency. I will use my own field research, my experience of directing plays and relevant scholarship — following a renown British social anthropologist Alfred Gell and archaeologist Ian Hodder.
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Spillman, Deborah Shapple. "AFRICAN SKIN, VICTORIAN MASKS: THE OBJECT LESSONS OF MARY KINGSLEY AND EDWARD BLYDEN." Victorian Literature and Culture 39, no. 2 (May 18, 2011): 305–26. http://dx.doi.org/10.1017/s1060150311000015.

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While addressing the Royal African Society, founded in honor of Mary Henrietta Kingsley, Edward Wilmot Blyden reflected on one of his more memorable experiences in Victorian England: During a visit to Blackpool many years ago, I went with some hospitable friends to the Winter Garden where there were several wild animals on exhibition. I noticed that a nurse having two children with her, could not keep her eyes from the spot where I stood, looking at first with a sort of suspicious, if not terrified curiosity. After a while she heard me speak to one of the gentlemen who were with me. Apparently surprised and reassured by this evidence of a genuine humanity, she called to the children who were interested in examining a leopard, “Look, look, there is a black man and he speaks English.” (Blyden, “West” 363) Blyden, a West Indian-born citizen of Liberia and resident of Sierra Leone, assures his audience that such scenes were not unique for the African abroad, even at the turn of the twentieth century; seen as “an unapproachable mystery,” an African traveler like himself was “at once ‘spotted’ as a peculiar being – sui generis” who, as if by nature, “produce[d] the peculiar feelings of the foreigner at the first sight of him” (Blyden, “West” 362, 363). Keenly aware of how non-Europeans were displayed at metropolitan zoos, fairs, and exhibitions throughout the nineteenth century, Blyden puns on the leopard's spots in order to highlight his experience of being marked as an object of curiosity. Indeed, the nurse's anxious wavering between curiosity and terror dissipates not because Blyden ceases to appear marked, or “spotted,” but because the taxonomic crisis he arouses by not standing on the other side of the fence has been temporarily contained: she distances the threat of Blyden's difference as “a black man” while evading the equally threatening possibility of recognizing his sameness as one who “speaks English.” The nurse, to borrow the words of Homi Bhabha in describing the fetishism of such colonial “scenes of subjectification” (Bhabha 81), constructs the man before her as “at once an ‘other’ and yet entirely knowable and visible” in a way that attempts to “fix” Blyden's identity and the Victorian categories his appearance unsettles (Bhabha 70–71), while making the relation between differences and their appended significance appear natural (Bhabha 67). If, by expressing himself in his characteristically impeccable English in order to vindicate his “genuine humanity” (Blyden, “West” 363), Blyden appears to be “putting on the white world” at the expense of his autonomy (Fanon 36), he simultaneously wages battle in this world at the level of signification in ways that anticipate the work of the later African nationalist and West Indian emigrant, Frantz Fanon. An extensive reader and ordained minister who recognized the politics of exegesis as well as semiosis, Blyden implicitly asks his audience, “Can the Ethiopian change his skin, or the leopard his spots?” (Jeremiah 13, 23). Posing a rhetorical question that argues rather than asks, that brandishes the very texts often used against him, Blyden subtly deploys this passage typically associated with the intransience of human character in order to defy attempts at determining him entirely from without. Serving as a kind of object lesson demonstrating the need for less objectifying knowledge about Africans and their cultures, Blyden's anecdote challenged his contemporaries to further the lessons he and Mary Kingsley offered through their writing.
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Wright, M. "African Identity in Post-Apartheid Public Architecture: White skin, black masks." African Affairs 112, no. 446 (December 3, 2012): 167–68. http://dx.doi.org/10.1093/afraf/ads078.

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31

Chronopoulos, Themis. "African identity in post-apartheid public architecture: white skin, black masks." Planning Perspectives 27, no. 3 (July 2012): 492–94. http://dx.doi.org/10.1080/02665433.2012.680291.

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KB Matovu, Joseph, Alex Mulyowa, Rogers Akorimo, and Daniel Kirumira. "Knowledge, risk-perception, and uptake of COVID-19 prevention measures in sub-Saharan Africa: a scoping review." African Health Sciences 22, no. 3 (October 28, 2022): 542–60. http://dx.doi.org/10.4314/ahs.v22i3.59.

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Background: The COVID-19 pandemic has almost affected the entire globe and is currently in a resurgent phase within the sub-Saharan African region. Objective: This paper presents results from a scoping review of literature on knowledge, risk-perception, conspiracy theories and uptake of COVID-19 prevention measures in sub-Saharan Africa. Methods: We used the following search terms: ‘COVID-19’, ‘knowledge’, ‘perceptions’, ‘perspectives’, ‘misconceptions’, ‘conspiracy theories’, ‘practices’ and ‘sub-Saharan Africa’. Basing on the Preferred Reporting Items for Systematic Reviews and Meta-Analyses extension for scoping reviews (PRISMA-ScR) guidelines, we identified 466 articles for review; 36 articles met the inclusion criteria. We extracted data on knowledge, risk-perception, conspiracy theories and uptake of COVID-19 primary prevention measures. Results: Knowledge of COVID-19 was high (91.3-100%) and associated with age and education; risk-perception was equally high (73.3-86.9%) but varied across studies. Uptake of hand-washing with water and soap or hand-sanitizing ranged between 63-96.4%, but wearing of face masks and social distancing fared poorly (face masks: 2.7%-37%; social distancing: 19-43%). Conclusion: While knowledge of COVID-19 is nearly universal, uptake of COVID-19 prevention measures remains sub-optimal to defeat the pandemic. These findings suggest a need for continued health promotion to increase uptake of the recommended COVID-19 prevention measures in sub-Saharan Africa. Keywords: COVID-19; prevention; sub-Saharan Africa.
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Phillips, Elayne Kornblatt, Alex Owusu-Ofori, and Janine Jagger. "Bloodborne Pathogen Exposure Risk Among Surgeons in Sub-Saharan Africa." Infection Control & Hospital Epidemiology 28, no. 12 (December 2007): 1334–36. http://dx.doi.org/10.1086/522681.

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To document the frequency and circumstances of bloodborne pathogen exposures among surgeons in sub-Saharan Africa, we surveyed surgeons attending the 2006 Pan-African Association of Surgeons conference. During the previous year, surgeons sustained a mean of 3.1 percutaneous injuries, which were typically caused by suture needles. They sustained a mean of 4.1 exposures to blood and body fluid, predominantly from blood splashes to the eyes. Fewer than half of the respondents reported completion of hepatitis B vaccination, and postexposure prophylaxis for human immunodeficiency virus was widely available. Surgeons reported using hands-free passing and blunt suture needles. Non-fluid-resistant cotton gowns and masks were the barrier garments worn most frequently.
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Oladipo, Elijah Kolawole, Seun Elijah Olufemi, Taiwo Ooreoluwa Ojo, Daniel Adewole Adediran, Akindele Felix Idowu, Usman Abiodun Idowu, and Helen Onyeaka. "Africa (COVID-19) Vaccine Technology Transfer: Where Are We?" Life 13, no. 9 (September 9, 2023): 1886. http://dx.doi.org/10.3390/life13091886.

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The rampant spread of the COVID-19 infection poses a grave and formidable challenge to global healthcare, with particular concern to the inhabitants of the African continent. In response to these pressing concerns, different strategies have been employed to combat the emergence of this insidious disease, encompassing crucial measures such as physical distancing, the utilization of face masks, meticulous hand hygiene, and widespread vaccination campaigns. Nevertheless, the economic realities faced by numerous African nations, characterized by their classification as “low-income countries (LICs)”, present a formidable barrier to accessing and distributing approved vaccines to their populations. Moreover, it is essential to discuss the hesitancy of the European Union (EU) in releasing intellectual property rights associated with the transfer of vaccine technology to Africa. While the EU has been a key player in global efforts to combat the pandemic, there has been reluctance in sharing valuable knowledge and resources with African countries. This hesitancy raises concerns about equitable vaccine access and the potential for a prolonged health crisis in Africa. This review underscores the urgent imperative and need of establishing localized vaccine development and production facilities within Africa, necessitating the active involvement of governments and collaborative partnerships to achieve this crucial objective. Furthermore, this review advocates for the exploration of viable avenues for the transfer of vaccine technology as a means to facilitate equitable vaccine access across the African continent and also the cruciality and the need for the EU to reconsider its stance and actively engage in transferring vaccine technology to Africa through sharing intellectual property. The EU can contribute to the establishment of localized vaccine production facilities on the continent, which will not only increase vaccine availability but also promote self-sufficiency and resilience in the face of future health emergencies.
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35

DeCarbo, Ed. "The African Roots of the Amistad Rebellion: Masks of the Sacred Bush." African Arts 34, no. 2 (2001): 78. http://dx.doi.org/10.2307/3337916.

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Barnard, Anette. "Challenging portrait conventions: ‘Types’, masks and the series in South African portraiture." de arte 51, no. 1 (January 2, 2016): 42–56. http://dx.doi.org/10.1080/00043389.2016.1176379.

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37

Baderoon, Gabeba. "Shooting the East/Veils and Masks: Uncovering Orientalism in South African Media." African and Asian Studies 1, no. 4 (December 1, 2002): 367–84. http://dx.doi.org/10.1163/15692090260450029.

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Chancy, Myriam J. A., and Tejumola Olaniyan. "Scars of Conquest/Masks of Resistance: The Invention of Cultural Identities in African, African-American, and Caribbean Drama." American Literature 68, no. 2 (June 1996): 480. http://dx.doi.org/10.2307/2928322.

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Montgomery, Sarah E., and Audrey C. Rule. "Integrating the Arts: Pre-Service Elementary Teachers Make African Masks of Six Cultures." Social Studies Research and Practice 6, no. 1 (March 1, 2011): 89–109. http://dx.doi.org/10.1108/ssrp-01-2011-b0006.

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Cohen, Joshua I. "Fauve Masks: Rethinking Modern “Primitivist” Uses of African and Oceanic Art, 1905–8." Art Bulletin 99, no. 2 (April 3, 2017): 136–65. http://dx.doi.org/10.1080/00043079.2017.1252241.

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Adams, Monni. "African Roots of the Amistad Revolt:Sierra Leone: The African Roots of the Amistad Revolt: Masks of the Sacred Bush." American Anthropologist 103, no. 2 (June 2001): 518–21. http://dx.doi.org/10.1525/aa.2001.103.2.518.

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42

Roess, Amira A., Rebecca C. Robert, Doris Kuehn, Nwanneamaka Ume, Brianna Ericson, Emily Woody, Swathi Vinjamuri, and Paulette Thompson. "Disparities in Breastfeeding Initiation Among African American and Black Immigrant WIC Recipients in the District of Columbia, 2007–2019." American Journal of Public Health 112, no. 4 (April 2022): 671–74. http://dx.doi.org/10.2105/ajph.2021.306652.

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Objectives. To estimate differences in breastfeeding initiation (BFI) rates between African Americans and Black immigrants enrolled in the District of Columbia Special Supplemental Nutrition Program for Women, Infants and Children (WIC) between 2007 and 2019. Methods. We used data collected as part of routine WIC program activities for first-time mothers (n = 38 142). Using multivariable logistic regression models, we identified determinants of BFI for African Americans, Black immigrants, non-Hispanic Whites, and Hispanics. To assess the trend in BFI over time, we calculated the average of the annual percentage changes. Results. Compared with African Americans, Black immigrants had a 2.7-fold higher prevalence and Hispanics had a 5.8-fold higher prevalence of BFI. The average of the annual percentage changes was 0.85 for Hispanics, 3.44 for Black immigrants, 4.40 for Non-Hispanic Whites, and 4.40 for African Americans. African Americans had the only statistically significant change (P < .05). Disparities in BFI persisted over the study period, with African Americans demonstrating the lowest rates each year. Conclusions. Significant differences exist in BFI between Black immigrants and African Americans. Combining African Americans and Black immigrants masks important differences, overestimates rates among African Americans, and may lead to missed opportunities for targeting interventions and policies to improve breastfeeding. (Am J Public Health. 2022;112(4):671–674. https://doi.org/10.2105/AJPH.2021.306652 )
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Redd, Tina. "Book Review: Scars of Conquest/Masks of Resistance: The Invention of Cultural Identities in African, African-American and Caribbean Drama." Theatre Journal 48, no. 2 (1996): 249–51. http://dx.doi.org/10.1353/tj.1996.0048.

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Homann, Lisa. "New Masks, New Meanings: Covid Perspectives on African Art History: Part 2: Coups, Pandemics, and Careers in African Art History." African Arts 55, no. 4 (2022): 4–5. http://dx.doi.org/10.1162/afar_a_00677.

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Ndlovu-Gatsheni, Sabelo J. "When Did the Masks of Coloniality Begin to Fall? Decolonial Reflections on the Bandung Spirit of Decolonization." Bandung 6, no. 2 (November 5, 2019): 210–32. http://dx.doi.org/10.1163/21983534-00602004.

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The ‘Bandung spirit of decolonization’ pre-dates and post-dates the physicality of the Bandung Conference of 1955. The concept of the ‘spirit’ encapsulates a melange of resistance and struggles against colonial encounters, colonialism, and coloniality—going as far back as the time of the Haitian Revolution (1791–1804). This article posits that to gain a deeper appreciation of the significance of the ‘Bandung spirit of decolonization’ it is vital to begin with an analysis of technologies of the invention of the Global South within global coloniality. The ‘Bandung spirit of decolonization’ gains a broader canvas as a name for the long standing anti-colonial resistances and decolonial struggles not only against global imperial designs and breaking from Cold War coloniality but also as a terrain of self-invention in opposition to the Northern domination. Thus, this article performs the following tasks: conceptually, it frames the ‘Bandung spirit of decolonization’ with decolonial theory; historically, it traces the politics and technologies of the invention of the global South together with its entrapment in global coloniality and empirically, it lays out the long-standing struggles for liberation beginning with the Haitian Revolution right up to the post-1945 decolonization and pan-African initiatives in Africa. Africa is the author’s locus of enunciation of the ‘Bandung spirit of decolonization’ without delinking it from the rest of the Global South.
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Holston, Denise, and Matthew Greene. "Attitudes Towards COVID-19 Prevention Behaviors and Preferences for Virtual Nutrition Education in Louisiana Differ by Race." Current Developments in Nutrition 5, Supplement_2 (June 2021): 226. http://dx.doi.org/10.1093/cdn/nzab029_027.

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Abstract Objectives The objective of this cross-sectional study was to assess the attitudes of potential SNAP-Ed participants in Louisiana towards COVID-19 mitigation behaviors and their preferences for virtual nutrition education. Methods SNAP-Ed staff in Louisiana distributed an electronic survey to potential participants and community partners which asked participants to report their attitudes about behaviors used to slow the spread of COVID-19 and preferences for the delivery of virtual nutrition education. Pearson chi squared tests were used to assess differences in responses across categories of race, age, and SNAP-Ed eligibility. Unadjusted odds ratios were then calculated using logistic regression to evaluate the effects of race, age, and SNAP-Ed eligibility on each dependent variable of interest. Finally, adjusted odds ratios were calculated using a model which included age, eligibility for SNAP-Ed, and race. Results Of 458 participants, the majority were white (62%), female (91%), aged 18–50 (65%), and eligible for SNAP-Ed (57%). Most agreed with the importance of handwashing (99%), maintaining physical distance (95%), and wearing face masks (79%). African Americans had significantly higher odds of agreeing that it was important to wear a mask compared to white participants, and this did not change in the adjusted model which included SNAP-Ed eligibility and age category (Adjusted OR 15.90 [6.25, 40.4]) African Americans were also more concerned about the risk posed by in-person programming and more likely to report that they would prefer live virtual lessons, online quizzes, and workbooks than white participants. Conclusions It may be appropriate for nutrition education conducted with this population to occur in person, because most potential participants agree with COVID-19 precautions. However, educators working with majority white populations should exercise caution given that the participants who felt it was not important to wear masks were overwhelmingly white. Attitudes expressed by African American participants indicate that nutrition education for African Americans may better reach participants if it is done virtually rather than in-person. Funding Sources SNAP-Ed
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Kutsenkov, Piotr A. "The Image of African Art in Europe. The First Collections and the Reliability of Sources." Oriental Courier, no. 2 (2023): 160. http://dx.doi.org/10.18254/s268684310026748-0.

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More than a hundred years have passed since the “discovery” of African art in Europe, it would not be superfluous to ask questions: how was the selection of the source base of research carried out, and that, in fact, all this time, starting from the mid-10-s. of the last the last century, studied Africanist art history? According to most critics and art historians, African sculptures and masks served as an inspiration for Picasso, Braque, Léger and other French artists, the founders of the early avant-garde. One of his “fathers”, Paul Guillaume, even claimed that the discovery of African art played for Europe in the 20th century the same role as the discovery of antiquity for the Renaissance [Laude, 1966, p. 38]. But how reliable is the source base on the basis of which African art critics have made and continue to draw sometimes very far-reaching theoretical conclusions, and how justified are these conclusions? On the one hand, the selection of monuments in the first collections of African art was completely random; they took what they &quot;liked&quot;; on the other hand, they liked exactly what corresponded to the aesthetic ideas of their time — and at the beginning of the 20th century. the avant-garde quickly came into fashion, and after the choice was made, subsequent collecting was necessarily guided by the tastes of Vlaminck, Braque or Picasso. According to the author, throughout the history of Africanist art history, most of the research was carried out on an artificially narrowed source base, the nature of which was predetermined by the choice of the first collectors. The criteria for selecting things in the first collections were formed by European culture and aesthetics. Even when all available artefacts were collected, those that did not fit the idea of what African art “should” be were rejected and not exhibited. But it was the first collections that became the source base on which the studies of African art were built, and it was then that ultimately predetermined the idea of it. As a result, African art works provide more information about the aesthetic preferences of Europeans than Africans.
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Michalopoulos, Stelios, and Elias Papaioannou. "National Institutions and Subnational Development in Africa *." Quarterly Journal of Economics 129, no. 1 (December 19, 2013): 151–213. http://dx.doi.org/10.1093/qje/qjt029.

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AbstractWe investigate the role of national institutions on subnational African development in a novel framework that accounts for both local geography and cultural-genetic traits. We exploit the fact that the political boundaries on the eve of African independence partitioned more than 200 ethnic groups across adjacent countries subjecting similar cultures, residing in homogeneous geographic areas, to different formal institutions. Using both a matching type and a spatial regression discontinuity approach we show that differences in countrywide institutional structures across the national border do not explain within-ethnicity differences in economic performance, as captured by satellite images of light density. The average noneffect of national institutions on ethnic development masks considerable heterogeneity partially driven by the diminishing role of national institutions in areas further from the capital cities.
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Den Otter, Elisabeth. "The Legend of Biton and Faaro: A Reinterpretation of a Creation Myth from the Epic of Bamana Segu Performed with Puppets and Masks in Mali." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 2 (December 30, 2023): 121–33. http://dx.doi.org/10.54103/2724-3346/22202.

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This contribution calls attention to Malian masquerades that reinterpret narrative material drawn from the epic of Bamana Segu through puppets and masks. After providing a general overview of African puppetry, the essay zooms in specifically on the Malian village of Kirango, located on the bank of the Niger River about 35 kilometers northeast of the city of Ségou. The inhabitants of this village (Bamana farmers and Bozo fishermen) celebrate masquerades in which puppets and masks are made to dance by puppeteers whose performance is accompanied by drum-mers and singers. In this context, no difference is made between puppets and masks: both are called sogo (‘animal’), because many of them represent animals such as the hippopotamus, the crocodile, various types of fish (Bozo), antelopes and the buffalo (Bamana). The essay then introduces two characters from the epic of Bamana Segu, Faaro (water spirit and creator god) and Biton (Mamari Coulibaly, a historical Bamana king who, according to a widespread legend, acquired power with the help of Faaro); and it goes on to discuss Faaro’s role in Bozo and Bamana masquerades and explain how a 2009 Bozo performance recreated the legend of Faaro and Biton. The final sections of the essay reflect on the masquerades’ significance with respect to collective memory and cultural identity as well as their possible evolution in the future.
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Pelizzari, Elisa. "La production sociale d’« objets forts » entre mesures de protection et complotisme : le cas du port obligatoire du masque Sanitaire pendant la pandémie de covid-19. Occident et Afrique face-à-face." Rivista Italiana di Antropologia Applicata 9, no. 1 (2023): 21. http://dx.doi.org/10.32054/2499-1848-2023-1-2.

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During the covid-19 pandemic, would surgical masks have transformed from med-ical aids to fetish objects ? Has the magical-therapeutic dimension, usually associ-ated with traditional societies (and African ones in particular), reappeared in the most advanced Western societies? Obviously, the surgical mask is devoid in principle of any magical-religious value, but its use and the social controversies that have emerged could constitute the ex-pression of a zero-level need for protective objects (amulets) against the disease (and evil), both from a health and a psychological-spiritual point of view.
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