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Journal articles on the topic 'Art and popular culture – Nigeria'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Sparks, Donald L. "A Culture of Corruption: Everyday Deception and Popular Discontent in Nigeria, Daniel Jordan Smith." Africa Today 54, no. 4 (2008): 114–16. http://dx.doi.org/10.2979/aft.2008.54.4.114.

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FERREYRA-OROZCO, GABRIEL. "A Culture of Corruption: Everyday Deception and Popular Discontent in Nigeria by Daniel Jordan Smith." American Anthropologist 110, no. 1 (2008): 145–46. http://dx.doi.org/10.1111/j.1548-1433.2008.00018_72.x.

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3

Popoola, Rosemary, Matthew Egharevba, and Oluyemi Oyenike Fayomi. "Celebrity Advocacy and Women’s Rights in Nigeria." Journal of Asian and African Studies 55, no. 7 (2020): 1007–22. http://dx.doi.org/10.1177/0021909619900903.

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To bring development closer to the reality of “ordinary” people, popular personalities, working on behalf of themselves, family, or organizations (profit and non-profit) in Africa have consistently given visibility to social problems to influence public opinion for positive transformation. The involvement of celebrities in development-centered issues has evoked debates from scholars in the global north who thought that their act is an extension of neoliberalism that sought to transform complex social realities into a spectacle of performance and entertainment for public amusement. While schola

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NOLTE, INSA. "A culture of corruption. Everyday deception and popular discontent in Nigeria by Smith, Daniel Jordan." Social Anthropology 16, no. 2 (2008): 253–55. http://dx.doi.org/10.1111/j.1469-8676.2008.00026_13.x.

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Adunbi, Omolade, and Babajide Ololajulo. "‘Proceed to your death’: Lakuwa, environmental disaster management, and the culture of oil politics in Nigeria." Journal of Material Culture 25, no. 1 (2019): 36–59. http://dx.doi.org/10.1177/1359183519843695.

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Since the 1990s, in the riverine areas of Nigeria, the ecological menace of water hyacinth has been turned into an object of politics by various administrations. Among the Ilajes, an oil-rich community in the southwestern part of Nigeria, water hyacinth is considered to be poisonous and an impediment to people’s livelihoods. Drawing on ethnographic fieldwork, the authors explore how an invasive species, known locally as lakuwa – translated as ‘proceed to your death’ – gets inserted into the politics of oil distribution. They argue that, just like oil, water hyacinth presents certain features t

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Ottuh, Peter O. O. "Evwie (Kola Nut) and its socio-religious values among Idjerhe people of Nigeria PEOPLE OF NIGERIA." Australasian Review of African Studies 42, no. 1 (2021): 51–63. http://dx.doi.org/10.22160/22035184/aras-2021-42-1/51-63.

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The popular edible fruit called kola nut that is found all over the Earth is native to the people of West Africa. In Idjerhe (Jesse) culture, the kola nut is part of the people’s traditional religious activities and spirituality. The presentation, breaking, and eating of the kola nut signifies hospitality, friendship, love, mutual trust, manliness, peace, acceptance, happiness, fellowship, and communion with the gods and spirits. These socio-religious values of the kola nut among the Idjerhe people are not well documented,however, and this paper aims to fill the lacuna. It employs participator

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Adisa, Toyin Ajibade, Olatunji David Adekoya, and Kareem Folohunso Sani. "Stigma hurts: exploring employer and employee perceptions of tattoos and body piercings in Nigeria." Career Development International 26, no. 2 (2021): 217–37. http://dx.doi.org/10.1108/cdi-09-2020-0239.

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PurposeThis study draws on social stigma and prejudice to examine the perceptions and beliefs of managers and employees regarding visible tattoos and body piercings, as well as the impact they have on potential employment and human resource management in the global South, using Nigeria as the research context.Design/methodology/approachThe study uses a qualitative research approach, drawing on data from 43 semi-structured interviews with employees and managers in Nigeria.FindingsContrary to the popular opinion that tattoos and body piercings are becoming more accepted and mainstream in society

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Tsika, Noah. "Nollywood: The Creation of Nigerian Film Genres by Jonathan Haynes, Nollywood Central: The Nigerian Videofilm Industry by Jade Miller, and Nollywood: Popular Culture and Narratives of Youth Struggles in Nigeria by Paul Ugor." Film Quarterly 71, no. 2 (2017): 112–14. http://dx.doi.org/10.1525/fq.2017.71.2.112.

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9

Kulić, Vladimir. "Building the Socialist Balkans." Southeastern Europe 41, no. 2 (2017): 95–111. http://dx.doi.org/10.1163/18763332-04102001.

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This article introduces the special issue of Southeastern Europe dedicated to architecture in the Balkans produced in the networks of socialist internationalism. The built heritage of socialism has suffered several waves of erasure, most spectacularly exemplified by the current remake of Skopje, but it is also undergoing a surge in popular and scholarly interest. Focusing on Bucharest, Skopje, Sofia, and the activities of the Belgrade company Energoprojekt in Nigeria, the issue contributes to the growing scholarship on socialist and postsocialist space by analyzing architecture’s global entang

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10

Heap, Simon. "‘Jaguda boys’: pickpocketing in Ibadan, 1930–60." Urban History 24, no. 3 (1997): 324–43. http://dx.doi.org/10.1017/s0963926800012384.

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ABSTRACTBy examining the development of pickpocketing by juveniles (jaguda in Yoruba) in the later colonial era, the paper provides important information on popular urban society in the most populous city in Nigeria and tropical Africa: Ibadan. Representations of the urban experience for a group of criminally-minded citizens are detailed through explorations of street-life, public order, citizenry and neighbourhood reactions. It contributes to the emerging literature on urban patterns in colonial Africa, especially the growth of non-ethnic associations among the lower orders. The resistance of

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11

Jedlowski, Alessandro. "Paul Ugor, Nollywood: popular culture and narratives of youth struggles in Nigeria. Durham NC: Carolina Academic Press (pb US$29 – 978 1 61163 777 9). 2016, 188 pp." Africa 88, no. 4 (2018): 884–85. http://dx.doi.org/10.1017/s0001972018000566.

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12

Pierce, Steven. "Daniel Jordan Smith, A Culture of Corruption: everyday deception and popular discontent in Nigeria. Princeton and Oxford: Princeton University Press (hp $27.95 - 0 691 12722 0). 2007, xvii + 263 pp." Africa 77, no. 4 (2007): 608–9. http://dx.doi.org/10.3366/afr.2007.77.4.608.

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13

Jaworski, Marcin. "Popular Author of Popular Art." Creativity. Theories – Research - Applications 3, no. 1 (2016): 118–26. http://dx.doi.org/10.1515/ctra-2016-0009.

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AbstractThe article provides a report on research conducted on the creative activity of Jerzy Wróblewski, a Polish author of comics published in the book „Urodzony, żeby rysować”. Twórczość komiksowa Jerzego Wróblewskiego, “Born to Draw.” Jerzy Wróblewski’s Comic Art (Jaworski, 2015). It is the first study of this kind in Poland. From this point of view, it contains not only a body of knowledge in the form of a monograph of the comic writer’s artistic creativity, but it also includes a developed research model. The structure of this model, combining traditional monographic narrative with broad

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14

Caswell, Lucy Shelton. "Popular Culture and the Art Library." Art Reference Services Quarterly 1, no. 2 (1993): 65–73. http://dx.doi.org/10.1300/j102v01n02_07.

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15

Ayobade, Dotun. "Invented Dances, Or, How Nigerian Musicians Sculpt the Body Politic." Dance Research Journal 53, no. 1 (2021): 5–22. http://dx.doi.org/10.1017/s0149767721000048.

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AbstractPopular dances encapsulate the aliveness of Africa's young. Radiating an Africanist aesthetic of the cool, these moves enflesh popular music, saturating mass media platforms and everyday spaces with imageries of joyful transcendence. This essay understands scriptive dance fads as textual and choreographic calls for public embodiment. I explore how three Nigerian musicians, and their dances, have wielded scriptive prompts to elicit specific moved responses from dispersed, heterogenous, and transnational publics. Dance fads of this kind productively complicate musicological approaches th

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16

Eisner, Sigmund. "Professor Loomis and Popular Culture." Arthuriana 8, no. 3 (1998): 76–77. http://dx.doi.org/10.1353/art.1998.0054.

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17

Ogbonna, Hyginus Obinna. "A Monograph on Theoretical Understanding of the Contradictions of Vested Interests and Underdevelopment in Peripheral Social Formation." Mediterranean Journal of Social Sciences 12, no. 4 (2021): 130. http://dx.doi.org/10.36941/mjss-2021-0034.

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This paper focuses on theoretical understanding of the contradictions of vested interests and the underdevelopment in the peripheral social formations; having as its raison d'être, to explore the possible ways by which the vested interests of a particular social group or class has contributed in shaping the underdevelopment of the periphery in the global economy –with inferences from a sub-Saharan African country, Nigeria (with empirical-based evidences); and moving forward, to find ways to counteract or mitigate these contradictions for the amelioration of the human condition in the periphery

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18

Darts, David. "The Art of Culture War: (Un)Popular Culture, Freedom of Expression, and Art Education." Studies in Art Education 49, no. 2 (2008): 103–21. http://dx.doi.org/10.1080/00393541.2008.11518729.

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19

Duncum, Paul. "Revisioning Premodern Fine Art as Popular Visual Culture." Studies in Art Education 55, no. 3 (2014): 203–13. http://dx.doi.org/10.1080/00393541.2014.11518930.

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20

Le, Vincent. "The Deepfakes to Come: A Turing Cop’s Nightmare." Identities: Journal for Politics, Gender and Culture 17, no. 2-3 (2020): 8–18. http://dx.doi.org/10.51151/identities.v17i2-3.468.

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In 1950, Turing proposed to answer the question “can machines think” by staging an “imitation game” where a hidden computer attempts to mislead a human interrogator into believing it is human. While the cybercrime of bots defrauding people by posing as Nigerian princes and lascivious e-girls indicates humans have been losing the Turing test for some time, this paper focuses on “deepfakes,” artificial neural nets generating realistic audio-visual simulations of public figures, as a variation on the imitation game. Deepfakes blur the lines between fact and fiction, making it possible for the mer

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Ibrahim, Adekunle A., and Samuel Otu Ishaya. "Popular Culture and the Dilemma of Corruption in Nigeria." Human and Social Studies 7, no. 3 (2018): 47–65. http://dx.doi.org/10.2478/hssr-2018-0024.

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Abstract This paper examines the nexus between popular culture and the problem of corruption in Nigeria within the theoretical framework of the Socratic dictum that “the unexamined life is not worth living”. The paper argues that corruption is a social behavior that is propelled by popular culture and sustained by skewed application of logical thinking in critical decision making. Hence, the paper posits that formal education remains the bedrock upon which corruption can be curtailed and also equips people with logical tools to examine their actions as individuals and its consequences on the l

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22

Janick, J. "THE PEAR IN HISTORY, LITERATURE, POPULAR CULTURE, AND ART." Acta Horticulturae, no. 596 (December 2002): 41–52. http://dx.doi.org/10.17660/actahortic.2002.596.1.

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23

Catherine Salmon. "Evolutionary Perspectives on Popular Culture: State of the Art." Evolutionary Studies in Imaginative Culture 2, no. 2 (2018): 47. http://dx.doi.org/10.26613/esic.2.2.92.

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24

Duncum, Paul. "What, Even Dallas? Popular Culture within the Art Curriculum." Studies in Art Education 29, no. 1 (1987): 6. http://dx.doi.org/10.2307/1320452.

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25

Guard, Julie, D’Arcy Martin, Laurie McGauley, Mercedes Steedman, and Jorge Garcia-Orgales. "Art as Activism." Labor Studies Journal 37, no. 2 (2012): 163–82. http://dx.doi.org/10.1177/0160449x11431895.

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Popular theater has significant, although largely overlooked, potential as a tool for unions to raise members’ political consciousness and strengthen their relationship to the union movement. Activist theater validates workers’ own knowledge, builds workers’ solidarity and self-confidence, and fosters an activist culture. It can also raise gender consciousness within unions. It has particular value for unions attempting to organize precarious workplaces such as call centers, where workers are especially vulnerable and often unfamiliar with unions and union culture. The experience of one group

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26

Žikić, Bojan. "Anthropological Studies of Popular Culture." Issues in Ethnology and Anthropology 5, no. 2 (2010): 17–39. http://dx.doi.org/10.21301/eap.v5i2.1.

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One of the questions raised at the symposium "Our World, Other Worlds. Anthropology, Science Fiction and Cultural Identity", held in Belgrade in December 2009, is how anthropology is to study contemporary art forms: how research issues are to be defined and approached; how research is to be organized in a specific semantic area, which cannot always and with absolute certainty be said not to be an anthropological construction; whether the subject of research can be said to have the shared nature of cultural communication; whether the anthropologist is to interpret the author/artist’s intention,

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27

Ugor, Paul. "Small Media, Popular Culture, and New Youth Spaces in Nigeria." Review of Education, Pedagogy, and Cultural Studies 31, no. 4 (2009): 387–408. http://dx.doi.org/10.1080/10714410903133012.

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28

Monsiváis, Carlos, and Lois Parkinson Zamora. "The Neobaroque and Popular Culture." PMLA/Publications of the Modern Language Association of America 124, no. 1 (2009): 180–88. http://dx.doi.org/10.1632/pmla.2009.124.1.180.

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Carlos Monsiváis is hard to pin down. He is a chronicler of every aspect of Mexican reality past and present; A cultural critic focusing on poetry, film, art, and music; and an erudite essayist committed to the connections between elite and popular cultures. His style is both acerbic and festive in ways that epitomize the Mexican character, and nothing escapes his incisive curiosity: the cult of national heroes that finds its twin in the society of spectacle, the cultural migrations between television talk and devotional discourse, the mass movements that advance and recede in a welter of demo

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29

Putri, Citra Kemala. "The Influence Of Popular Culture On The Visual Music Album Cover." ArtComm : Jurnal Komunikasi dan Desain 3, no. 1 (2020): 98–113. http://dx.doi.org/10.37278/artcomm.v3i1.285.

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Mass culture and popular culture is one of the important phenomena that was born after the postmodern era. In a society that lives in the midst of mass culture and popular culture, will grow consumer communities that produce new cultural symbols and activities. This discourse then influenced various aspects, for example, the emergence of popular music and popular art movements which soon became a commodities that was consumed by many youth people. This study discusses the influence of popular culture on the visuals of music album covers which take several album covers of international musician

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30

Stroeva, Olesya Vitalyevna. "The Effect of Media Culture on Modern Art: Photography, Hyperrealism, Video Art." Journal of Flm Arts and Film Studies 7, no. 1 (2015): 82–91. http://dx.doi.org/10.17816/vgik7182-91.

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The article analyzes the problem of changing a perception of visual arts, as well as the transformation of art functioning mechanism emerged under the influence of media sphere evolution. The author treats the most popular genres of contemporary art: photography, hyperrealism and video art, analyzes a new type of media thinking, based on collective perception.

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31

Chang, Yong-Sock. "The Art Educators’ Role in Defusing Violence in Popular Culture." Journal of Research in Art Education 17, no. 2 (2016): 93–108. http://dx.doi.org/10.20977/kkosea.2016.17.2.93.

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32

Fahey, Patrick. "Popular Culture, Art Making and the Case of G.I. Joe." Marilyn Zurmuehlen Working Papers in Art Education 8, no. 1 (1990): 46–58. http://dx.doi.org/10.17077/2326-7070.1179.

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33

Grogan, Marie Schilling. "Chaucer’s Afterlife: Adaptations in Recent Popular Culture by Kathleen Forni." Arthuriana 23, no. 4 (2013): 117–18. http://dx.doi.org/10.1353/art.2013.0049.

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34

Szekely, Ilona. "Art at the Mall: A Look at the Aesthetics of Popular Mall Art Culture." International Journal of Art & Design Education 27, no. 2 (2008): 192–201. http://dx.doi.org/10.1111/j.1476-8070.2008.00574.x.

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35

Omobowale, Ayokunle Olumuyiwa, Mofeyisara Oluwatoyin Omobowale, and Olugbenga Samuel Falase. "The context of children in Yoruba popular culture." Global Studies of Childhood 9, no. 1 (2018): 18–28. http://dx.doi.org/10.1177/2043610618815381.

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The Yoruba of Southwestern Nigeria describes children as the heritage of the society because children occupy a special place in societal survival and continuity. Children are esteemed and appreciated. Thus, the embedded culture propagates the essentiality of children, the need for proper socialisation and internalisation to make a responsible being ( Omoluabi). Also, children are prioritised above material wealth, and the essentiality of child wellbeing and education is emphasised in aspects of popular culture such as oral poetry, proverbs, local songs and popular music among others. Using ext

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36

Poggi, Christine, and Jeffrey Weiss. "The Popular Culture of Modern Art: Picasso, Duchamp, and Avant-Gardism." American Historical Review 101, no. 4 (1996): 1222. http://dx.doi.org/10.2307/2169720.

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37

Whatley, Edward. "Book Review: Freedom of Speech: Reflections in Art and Popular Culture." Reference & User Services Quarterly 57, no. 3 (2018): 226. http://dx.doi.org/10.5860/rusq.57.3.6625.

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For a country that prides itself on the freedoms it bestows on its citizens, the United States has a surprisingly extensive history of censorship. As Patricia L. Dooley’s Freedom of Speech: Reflections in Art and Popular Culture demonstrates, the arts and pop culture have long been favored targets of censors. Sometimes the censors are private citizens or organizations acting as self-appointed guardians of morality. More ominously, they sometimes are government entities intent on controlling the dissemination and consumption of creative products.

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38

Underwood, David. "Popular Culture and High Art in the Work Of Oscar Niemeyer." Anales del Instituto de Investigaciones Estéticas 16, no. 65 (1994): 139. http://dx.doi.org/10.22201/iie.18703062e.1994.65.1705.

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In his early domestic architecture, Oscar Niemeyer following the footsteps of Le Corbusier “monumentalized” the modernist and the Brazilian. Niemeyer’s later work is a more aggressive interactive process: the manipulation of popular traditions for the ideological purposes of populist politics. Niemeyer has reshaped the ritual of the carnival festival by creating a unique space for its yearly celebration: the “Sambódromo.” The institutionalization of the samba parade into a fixed architectural contex implies a demagogic (elite-controlled) restructuring of popular ritual.

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39

Alagić, Aida. "Noël Carroll and Film. A philosophy of art and popular culture." Historical Journal of Film, Radio and Television 40, no. 2 (2019): 448–50. http://dx.doi.org/10.1080/01439685.2019.1686208.

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40

Merenik, Lidija. "Epics, popular culture and politics in a modern work of art." Issues in Ethnology and Anthropology 9, no. 1 (2016): 159. http://dx.doi.org/10.21301/eap.v9i1.9.

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“Death in Dallas” is a video-installation by Zoran Naskovski comprised of a) visual documentary material connected to the assassination of John Fitzgerald Kennedy, the president of the USA and materials about his public and private life; b) a soundtrack comprised of a poem accompanied by gusle by Jozo Karamatić with decasyllabic lyrics “Death in Dallas” by Božo Lasić. The unexpected and strange combo birthed a work of art which contains different layers of meaning and one of the most complete postmodern works of art in Serbian modern art. Naskovski had combined the seemingly incompatible codes

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41

Kuznetsova, Tatyana Viktorovna, and Luiza Vladimirovna Welch. "Family videography is a highly demanded genre of modern popular culture." Философия и культура, no. 2 (February 2021): 61–69. http://dx.doi.org/10.7256/2454-0757.2021.2.35181.

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The subject of this research is a new form of creativity emerging in the social environment &ndash; family videography. This is one of the first articles dedicating to this developing genre of popular culture. The author touches upon the general changes that take place in modern creative environment, the role and relevance of the new forms of culture. The modern period is characterized by transition of many exclusive creative knowledge into popular culture. The knowledge in the field of cinematography is of particular demand. Youth is fascinated with the art of cinematography, audio engine

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42

DIOP, Samba. "Nollywood: Indigenous Culture, Interculturality, and the Transplantation of American Popular Culture onto Postcolonial Nigerian Film and Screen." Communication, Society and Media 3, no. 1 (2019): p12. http://dx.doi.org/10.22158/csm.v3n1p12.

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Nigeria, the Giant of Africa, has three big tribes: Yoruba, Igbo, and Hausa. It was a British colony which was amalgamated in 1914. The country became independent in 1962 and was right away bedeviled by military coups d’états and a bloody civil war (1967-1970). In 1999, the country experienced democratic dispensation. In the 1990s, the Nollywood nascent movie industry—following in the footpath of Hollywood and Bollywood—flourished. The movie industry grew thanks to four factors: Rapid urbanization; the hand-held video camera; the advent of satellite TV; and, the overseas migrations of Nigerian

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43

Harty, Kevin J. "Medieval Afterlives in Popular Culture ed. by Gail Ashton, Daniel T. Kline." Arthuriana 24, no. 1 (2014): 139–41. http://dx.doi.org/10.1353/art.2014.0005.

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Ukala, Sam. "‘Folkism’: Towards a National Aesthetic Principle for Nigerian Dramaturgy." New Theatre Quarterly 12, no. 47 (1996): 279–87. http://dx.doi.org/10.1017/s0266464x00010277.

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Nigerian playwrights face the problem not only of finding ways of communicating with their audiences which address popular concerns in an assimilable manner, but of deciding the appropriate language in which to do so, in a notion which embraces many language groups and cultures. The solution of employing English as a lingua franca poses problems hung over from the colonialist past – and a tendency for plays written in English also to employ an inappropriate western dramaturgy. In the following article, Sam Ukala considers the various objections raised to English-language Nigerian plays, conced

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45

Okafor, Richard. "Popular Music in Nigeria: Patronising Attitude or Benign Complacency?" British Journal of Music Education 15, no. 2 (1998): 181–89. http://dx.doi.org/10.1017/s0265051700009335.

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The development of musicians and the continuity of the musical art should be the main thrust of music education. The institutions of education should therefore be equipped to mould the development of music in society and to make the strongest input into musical expressions that are fashionable, acceptable and available. Formal music education came to Nigeria by way of Western institutions, drawing from the cultural traditions of Western societies. On the other hand, the media and other agencies have brought in other types of music acceptable in Western societies outside their academic sectors.

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46

Slater, Don. "In the Culture Society: Art, Fashion and Popular Music, by A. McRobbie." Fashion Theory 4, no. 2 (2000): 201–3. http://dx.doi.org/10.2752/136270400779108825.

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47

Weekes, Ann Owens. "Students' Self-Image: Representations of Women in "High" Art and Popular Culture." Woman's Art Journal 13, no. 2 (1992): 32. http://dx.doi.org/10.2307/1358151.

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48

Just, Daniel. "Art and everydayness: Popular culture and daily life in the communist Czechoslovakia." European Journal of Cultural Studies 15, no. 6 (2012): 703–20. http://dx.doi.org/10.1177/1367549412450637.

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This article analyzes the interaction between art and practices of everyday life in communist Czechoslovakia in the 1970s and 1980s. Discussing various forms of adaptations to the politically repressive system – from photography and film to social activities such as ‘cottage homemaking’ and ‘cabining’ – the author describes ways in which popular culture under communism resisted the state-induced drive to modernize which, as a political tool, was designed to pacify the masses. The article suggests that by breaching the gap between the quotidian and the extraordinary, which as a systemic divisio

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49

Callahan, Jamie L., J. Kori Whitener, and Jennifer A. Sandlin. "The Art of Creating Leaders: Popular Culture Artifacts as Pathways for Development." Advances in Developing Human Resources 9, no. 2 (2007): 146–65. http://dx.doi.org/10.1177/1523422306298856.

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50

Keane, Michael. "Review: Alter/Asians: Asian-Australian Identities in Art, Media, and Popular Culture." Media International Australia 103, no. 1 (2002): 136–37. http://dx.doi.org/10.1177/1329878x0210300116.

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