Relevant bibliographies by topics / Art, Igbo (African people)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Art, Igbo (African people)'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Art, Igbo (African people)"

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Zahid, Sazzad Hossain. "Cultural Diversity in Igbo Life: A Postcolonial Response to Chinua Achebe’s Arrow of God." International Journal of Social Sciences 5, no. 23 (June 20, 2021): 69–89. http://dx.doi.org/10.52096/usbd.5.23.5.5.

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In his book Chinua Achebe, David Caroll (1980) describes the novel Arrow of God as a fight for dominance both on the theological and political level, as well as in the framework of Igbo philosophy. In Critical Perspectives on Chinua Achebe (1990), famous Achebe critics C. L. Innes and Berth Lindforts consider Arrow of God as a novel with conflicting ideas and voices inside each community with the tensions and rivalries that make it alive and vital. Another profound scholar on Achebe Chinwe Christiana Okechukwu (2001) in Achebe the Orator: The Art of Persuasion in Chinua Achebe's Novels assesses Arrow of God, which depicts a community under imminent danger of cultural genocide unleashed by agents of Western imperialism who have recently arrived in the indigenous society. However, the author in this study attempts to see Arrow of God as a postcolonial response to cultural diversity that upholds its uniting and cohesive force in Nigerian Igbo life. The goal is to look at how Achebe, in response to misleading western discourses, develops a simplistic image and appreciation that persists in Igbo life and culture even as colonization takes hold. This paper also exhibits how the Igbo people share their hardships, uphold their age-old ideals, celebrate festivals, and even battle on disagreements. This study employs postcolonial theory to reconsider aspects of cultural diversity among the African Igbo people, which are threatened by the intervention of European colonialism in the name of religion, progress, and civilization.
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van den Bersselaar, Dmitri. "Creating ‘Union Ibo’: Missionaries and the Igbo language." Africa 67, no. 2 (April 1997): 273–95. http://dx.doi.org/10.2307/1161445.

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AbstractThe literature of ethnicity in Africa indicates a major role for Christian missionaries in the creation of languages in Africa. It has been argued that certain African ethnic groups owe their existence to the ‘invention’ of their language by missionaries who created a written dialect—based on one or more vernacular(s)—into which they translated the Bible. This language came to be used for education in mission schools and later also in government schools. The Bible dialect consequently became the accepted standard language of the ethnic group and acquired the function of one of the group's prime identity markers.In the case of the Igbo language, the history of the CMS missionaries' efforts at creating a written standard Igbo shows that the process was not always straightforward. The article describes the problematic process of creating a written language. The missionaries undertook continual attempts on the basis of several dialects, but it was half a century before they produced the first translation of the Bible. They complicated matters by working in different dialects, but eventually created a standard dialect which they named Union Ibo, a mixture based on several Igbo dialects.The missionaries were also confronted with resistance from at least part of the Igbo population, who contested their choice of dialect. However, it appears that the majority of the Igbo were simply not interested. The Igbo population were far more interested in education in English, and although the CMS missionaries forced some vernacular education upon the people, actual interest remained limited. It is thus not surprising that the Bible language did not become the accepted standard language of the Igbo ethnic group. The spoken Igbo language does nevertheless function as one of the prime identity markers of the group. The article argues that the importance of the Igbo language to Igbo identity is partly the result of the missionary activity.
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Newell, Stephanie. "Remembering J. M. Stuart-Young of Onitsha, Colonial Nigeria: Memoirs, Obituaries and Names." Africa 73, no. 4 (November 2003): 505–30. http://dx.doi.org/10.3366/afr.2003.73.4.505.

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AbstractColonial Onitsha provided the stage for John Moray Stuart-Young (1881–1939), a Manchester trader and poet, to perform the role of an educated gentleman. In his autobiographical writing, Stuart-Young created a host of famous metropolitan friends and constructed for himself a past through which he invited African readers to remember him. The extent to which Onitsha citizens accepted his version of his life is explored in this article, for during the period of Stuart-Young's residence in town, from approximately 1909 until his death in 1939, different sectors of Igbo society observed him closely, read his publications, worked with him and witnessed his patronage of young men. Local people, including the children, studied his behaviour over time and produced a range of African names and watchwords by which they remembered his life.
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Ikwuemesi, Chuu Krydz. "Problems and Prospects of Uli Art Idiom and the Igbo Heritage Crisis." Utafiti 14, no. 2 (March 4, 2020): 171–201. http://dx.doi.org/10.1163/26836408-14010011.

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Abstract In their various books on Igbo culture, Simon Ottenberg, Adiele Afigbo, P-J Ezeh, Herbert Cole and Chike Aniakor make references to ‘Igbo receptivity’, the ‘resurgence of Igbo arts’, and ‘Igbo cultural self-hate’, in an attempt to capture the wandering of Igbo cultural attitudes from one level of experience to another. While ‘receptivity’ and ‘resurgence’ are positive characterisations and paint a picture of resilience, ‘self-hate’ depicts a postcolonial nihilist tendency also at the heart of Igbo culture. If art is one major index for expressing and assessing the culture of a people, the Igbo uli art, arguably spanning three stages of historical-stylistic development, offers a basis on which Igbo culture and heritage can be appreciated and appraised in light of its receptivity, resurgence, as well as self-hate. Relying on the works of the uli women classicists, the Nsukka artists, and the outcomes of the Art Republic workshops, I argue that traditions never die in any finalistic sense, but rather degenerate and then regenerate new ideas, while nourishing and refreshing paradigms which extend the history and experience of the old.
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Islam, Momtajul. "The Role of Native Weaknesses and Cultural Conflicts in Escalating Colonial Supremacy in the Igbo Society, as Perceived in Arrow of God by Chinua Achebe." International Linguistics Research 4, no. 2 (April 27, 2021): p19. http://dx.doi.org/10.30560/ilr.v4n2p19.

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The colonial invaders and their repressive means of governance in Africa were not the only reasons that could be solely held accountable for the fall of indigenous African society during the colonial invasion. Native weaknesses, socio-cultural conflicts and hegemony were equally responsible for the falling apart of native social setups when confronted with colonial alternatives. Native people had had their own covert religious and cultural limitations long before the colonizers entered their soil. The colonial powers cleverly used such inherent societal flaws of African people as excuses to impose European religion and traditions on them. Chinua Achebe does not blindly idealize native African traditions in his writings. He frequently narrates his doubts on flawed socio-cultural practices and moral dualities in the native society, too. This paper is an attempt to explore how innate weaknesses of native Igbo people, socio-cultural conflicts and domination in the native society have also made it easier for the colonial administration to prolong their supremacy in the Igbo land, as depicted in Arrow of God by Chinua Achebe. It also elaborates how Ezeulu, the chief priest of god Ulu, falls from dominance in his society because of his intent to execute personal desires which jeopardize his societal role in the Igbo land.
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Nwauwa, A. O. "The Dating of the Aro Chiefdom: A Synthesis of Correlated Genealogies." History in Africa 17 (January 1990): 227–45. http://dx.doi.org/10.2307/3171814.

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Precolonial African historiography has been plagued by historical reconstructions which remain in the realm of legend because events are suspended in almost timeless relativity.Igbo history has not been adequately researched. Worse still, the little known about the people has not been dated. It might be suggested that the major reason which makes the study of the Igbo people unattractive to researchers has been the lack of a proper chronological structure. Igbo genealogies have not been collected. The often adduced reason has been that the Igbo did not evolve a centralized political system whereby authority revolved round an individual—king or chief—which would permit the collection of regnal lists. Regrettably, Nigerian historians appear to have ignored the methodology of dating kingless or chiefless societies developed and applied elsewhere such as in east Africa. In west African history generally, there has been an overdependence for dating on external sources in European languages or in Arabic, and combining these with the main regnal list of a kingdom. Even within kingdoms, genealogies of commoners and officials have rarely been collected or correlated with the regnal lists. Among the Igbo, the external sources are rare and the regnal lists few. Even the chiefdoms—Onitsha and Aboh, Oguta and Nri—were ignored for a long time after modern historiography had achieved major advances elsewhere. Arochukwu has been another neglected Igbo chiefdom. Most of these states with hereditary leadership were peripheral to the Igbo heartland. Nevertheless, they were important because of their interactions with the heartland and the possibility of dating interactive events from their genealogies.
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Nnebedum, Chigozie. "Empirical Identity as Dimension of Development in Africa: With Special Reference to the Igbo Society of South-east of Nigeria." Mediterranean Journal of Social Sciences 9, no. 2 (March 1, 2018): 195–204. http://dx.doi.org/10.2478/mjss-2018-0039.

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Abstract Identity, as discussed in this paper, is seen as a phenomenon which is constantly changing under certain circumstances. From empirical point of view, the identity of man is influenced by the environment through experience and unconscious socialization; it is continually modified by the individual’s encounter with the world. The aim of this work is to analyse the intricacies involved in understanding the situation and mentality of the Igbos as far as identity is concerned and to determine how this hampers or helps in the development of the Igbo/African society. In this work ‘identity’ as a means of development with regard to the Igbo people of South-East Nigeria is treated. The work is methodically qualitative. It analyses literatures and different views on identity and tailors the discussion of development along the lines of hermeneutical approach to subjective experiences. The Igbos and Africans find themselves sometimes in the danger of a mixture of identity. This is the case with most of the Igbo people who are scattered all over the world and who are becoming more foreign in their trends and ways of life. Being unable to maintain a definite identity, one is lost in the politics of development. Those who still hang on to pure imitation of the western life are jeopardizing their autonomy and by extension, frustrating development of the African society. Rediscovering the Igbo/African Identity and putting it to the service of development in the African continent is the task of the Africans themselves.
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Majeed Kadhem, Suhaib. "Conflict between Tradition and Change in Chinua Achebe's postcolonial novel Things Fall Apart." Al-Adab Journal 1, no. 124 (September 15, 2018): 81–92. http://dx.doi.org/10.31973/aj.v1i124.115.

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In studying the history of Asian and African countries, the colonial period plays an important role in understanding their history, religion, tradition and culture. Things Fall Apart is an English novel by the Nigerian author Chinua Achebe, published in 1957, which shows the African culture, their religious and traditions through the Igbo society. This novel captures the colonial period and its effect on Igbo society. It is a response and a record of control of western colonialism on the traditional values of the African people. This paper treats the novel as a postcolonial text, by focusing on the clash between occupied and colonizers, the clash between tradition and change, and the clash between different cultures, The Europe Empire and the African natives
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Cole, Jennifer. "Foreword: Collective Memory and the Politics of Reproduction in Africa." Africa 75, no. 1 (February 2005): 1–9. http://dx.doi.org/10.3366/afr.2005.75.1.1.

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When Bamileke women in urban Cameroon give birth, older women often recall the ‘troubles’, the period between 1955 and 1974 when the UPC (Union des Populations du Cameroun) waged a battle of national independence, as a way of teaching their daughters about the hazards of reproduction and threats to Bamileke integrity as a people (Feldman-Savelsberget al.). Slightly to the north-west, in the Nigerian city of Kano, Igbo talk constantly about their memories of the Biafran war, using them to forge a sense of Igbo ethnic distinctiveness that reinforces patterns of patron-client relations critical to the maintenance of transregional connections (Smith), while further to the south many Yoruba are reassessing the meaning of the old practice of pawning children (Renne). Meanwhile in Botswana, where the AIDS epidemic exacts a high death toll, members of an Apostolic church create distinctive practices of remembering what caused a person's death. In so doing, they counter the attenuation of care and support that often occurs when people interpret death as due to illnesses transmitted through blood and improper sexual relations (Klaits). By contrast in a Samburu community in Kenya, the cultural practice ofntotoi, a complex board game, reproduces a male-dominated history of kinship, while systematically erasing a female narrative of adulterous births and forced infanticide. And among rural Beng in Côte d'Ivoire, beliefs and practices that structure infant care serve as an indirect critique of the violence of French colonialism and of its aftermath that continues to interfere in Beng lives in the form of high rates of infant mortality (Gottlieb). As these examples taken from this volume indicate, the papers gathered together in this special issue examine the complex and often contradictory ways in which the reproduction of memories shapes the social and biological reproduction of people.
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van den Bersselaar, Dmitri. "Missionary Knowledge and the State in Colonial Nigeria: On How G. T. Basden became an Expert." History in Africa 33 (2006): 433–50. http://dx.doi.org/10.1353/hia.2006.0006.

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Between 1931 and 1937, the Anglican missionary G. T. Basden represented the Igbo people on the Nigerian Legislative Council. The Igbo had not elected Basden as their representative; he had been appointed by the colonial government. Basden's appointment seems remarkable. In 1923 the Legislative Council had been expanded to include seats for Unofficial Members, representing a number of Nigerian areas, with the expressed aim of increasing African representation on the Council. In selecting Basden the government went against their original intention that the representative of the Igbo area would be a Nigerian. However, the government decided that there was no “suitable” African candidate available, and that the appointment of a recognized European expert on the Igbo was an acceptable alternative. This choice throws light on a number of features of the Nigerian colonial state in 1930s, including the limitations of African representation and the definition of what would make a “suitable” African candidate.In this paper I am concerned with the question of how Basden became recognized as an expert by the colonial government and also, more generally, with the linkages between colonial administrations' knowledge requirements and missionary knowledge production. Missionary-produced knowledge occupied a central, but also somewhat awkward position in colonial society. On the one hand, colonial governments and missions shared a number of common assumptions and expectations about African peoples. On the other hand, there also existed tensions between missions and government, partly reflecting differing missionary and administrative priorities, which means that the missionary expert was not often recognized as such.
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Dissertations / Theses on the topic "Art, Igbo (African people)"

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Chukwu, Christopher Nkemdi. "Igbo culture : implications for counseling Nigerian Igbo students in the United States /." View abstract, 1993. http://library.ctstateu.edu/ccsu%5Ftheses/1560.html.

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Thesis (M.S.) -- Central Connecticut State University, 1993.
Thesis advisor: Dr. Paul Tarasuk; Research supervisor: Dr. Rikke Wassenberg. "...in partial fulfillment of the requirements for the degree of Master of Science in Counseling Psychology." Includes bibliographical references (leaves 60-63).
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Obiekezie, Matthew U. "The doctrine of the hypostatic union in the context of Igbo anthropology." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Ikebude, Chukwuemeka. "Identity in Igbo architecture Ekwuru, Obi, and the African Continental Bank building /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1250885407.

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Ifejika-Obukwelu, Kate Omuluzua. "Igbo pottery in Nigeria : issues of form, style and technique /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10939362.

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Affam, Rafael Mbanefo. "Traditional healing of the sick in Igboland, Nigeria." Aachen : Shaker, 2002. http://catalog.hathitrust.org/api/volumes/oclc/52188514.html.

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Asomugha, Catherine. "Constructing an Igbo theology of the Eucharist toward a covenanted kinship /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Pruitt, Richard A. "The incultuartion of the Christian Gospel theory and theology with special reference to the Igbo of southeastern Nigeria /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5061.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on month day year) Includes bibliographical references.
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Obu-Anukam, Angela Ngozi. "The power of the silenced women, agency and conscientization in the Igbo church /." Chicago, IL : Catholic Theological Union at Chicago, 2007. http://dx.doi.org/10.2986/tren.033-0863.

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Ikebude, Chukwuemeka M. "Identity in Igbo Architecture: Ekwuru, Obi, and the African Continental Bank Building." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1250885407.

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Ukpong, Onoyom Godfrey. "Contemporary southern Nigeria art in comparative perspective reassessment and analysis, 1935-2002 /." Diss., Online access via UMI:, 2006.

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Books on the topic "Art, Igbo (African people)"

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From ritual to art: The aesthetics and cultural relevance of Igbo satire. Lanham, Md: University Press of America, 2003.

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Toyin, Falola, ed. Igbo art and culture, and other essays. Trenton NJ: Africa World Press, 2006.

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Afigbo, A. E. Weaving tradition in Igbo-Land: History and mechanism of Igbo textile industry. [Lagos: Nigeria Magazine, Dept. of Culture, Federal Ministry of Information, Social Development, Youth, Sports & Culture, 1985.

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University of Nigeria, Nsukka. Institute of African Studies, ed. Aspects of Igbo heritage. Nsukka: Great AP Express Publishers, 2009.

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DomNwachukwu, Chinaka Samuel. Demons are real: An exposition on demon possession and deliverance. [Surulere, Lagos]: C.S. DomNwachukwu, 1990.

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Afulezi, Uju Nkwocha. African (Igbo) scholarship. Lanham, Md: University Press of America, 2000.

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Igbo. New York: Rosen Pub. Group, 1995.

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Nwala, T. Uzodinma. Igbo philosophy. Ikeja, Lagos: Lantern Books, 1985.

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Afigbo, A. E. Igbo genesis. Uturu [Nigeria]: Abia State University Press for Centre for Igbo Studies, Abia State University Uturu, 2000.

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Edeh, Emmanuel M. P. Towards an Igbo metaphysics. Chicago: Loyola University Press, 1985.

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Book chapters on the topic "Art, Igbo (African people)"

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Bernier, Celeste-Marie. "“Feeling for my People”." In The Routledge Companion to African American Art History, 350–58. Routledge, 2019. http://dx.doi.org/10.4324/9781351045193-31.

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May, Brian. "Modernism in Chinua Achebe’s African Tetralogy." In Modernism, Postcolonialism, and Globalism, 33–54. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199980963.003.0002.

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Analyzing Chinua Achebe’s tetralogy of novels, this chapter shows how Achebe addresses one of the central issues of both modernism and postcolonialism: the organization and conceptualization of time. Things Fall Apart (1958) and No Longer at Ease (1960) present snapshot moments of arrested temporality that Achebe treats with the modernist techniques of imagism and epiphany. Taking a more pessimistic turn, Arrow of God (1964) grounds the handling of sequentiality not in Igbo ideas of cyclical change but in Spenglerian, Yeatsian, and Eliotic notions of apocalypse, in which endings do not mark new beginnings but a point of terminal cessation. Finally, Man of the People (1966) further modifies this version of time, replacing the cultural collapse of the previous novel with the more affirmative vision of community and village life found in Eliot’s “East Coker.” In sum, the chapter traces the tetralogy’s evolution of divergent and competing notions of time, especially as they relate to Igboland and more generally to postcolonialism.
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Asubiaro, Toluwase Victor, and Ebelechukwu Gloria Igwe. "A State-of-the-Art Review of Nigerian Languages Natural Language Processing Research." In Advances in IT Standards and Standardization Research, 147–67. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-3468-7.ch008.

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African languages, including those that are natives to Nigeria, are low-resource languages because they lack basic computing resources such as language-dependent hardware keyboard. Speakers of these low-resource languages are therefore unfairly deprived of information access on the internet. There is no information about the level of progress that has been made on the computation of Nigerian languages. Hence, this chapter presents a state-of-the-art review of Nigerian languages natural language processing. The review reveals that only four Nigerian languages; Hausa, Ibibio, Igbo, and Yoruba have been significantly studied in published NLP papers. Creating alternatives to hardware keyboard is one of the most popular research areas, and means such as automatic diacritics restoration, virtual keyboard, and optical character recognition have been explored. There was also an inclination towards speech and computational morphological analysis. Resource development and knowledge representation modeling of the languages using rapid resource development and cross-lingual methods are recommended.
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Hamkins, SuEllen. "Finding One’s Voice: Recovering from Trauma." In The Art of Narrative Psychiatry. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199982042.003.0014.

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Vivian Owusu, a stunning twenty-one-year-old African woman who grew up in Ghana, was about to walk out of the university counseling center when I went to the waiting room to get her for our initial appointment. Her first psychiatric provider had retired a year after meeting her and her next one took a different job six months later, so I was her third psychiatrist in less than a year. Vivian had not shown for her first two appointments with me and now, due to a double-booking error that was my fault, I was thirty minutes late. I apologized and asked if she had time to stay and meet with me. I could see her anger and agitation. “I suppose.” Irritated but still poised, Vivian followed me down the hall to my office. What an unfortunate beginning, I thought, feeling harried. We had been short-staff ed for months and I had been squeezing patients in as best I could, feeling like I wasn’t doing my best work. Vivian settled herself upright on my couch and looked at me coolly. She had big dark eyes, flawless brown skin, beautifully braided hair, a button nose, and a hostile expression. In response to my questions, she told me she was a junior, pre-law. She hadn’t slept for three or four days. Depression had been plaguing her and she had been having thoughts of killing herself. Her expression of hostility briefly showed a trace of sadness. “I don’t trust people,” she said. “I take things personally and I get annoyed.” She often felt emotionally volatile and easily got upset with people if she felt they were rejecting her. I had skimmed her medical record prior to the appointment and saw that she had had multiple emergency contacts with our clinicians and two psychiatric hospitalizations, the second five months earlier. She said she wasn’t having suicidal thoughts currently and would call us if she did. What she wanted from me was a refill of medicines she was taking to help with the depression and anxiety.
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Oladumiye, Bankole E. "Computer Graphics Reflection in African Digital Age Visual Designs." In Advances in Media, Entertainment, and the Arts, 291–302. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8679-3.ch021.

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African concept of visual design was derived from the concept of creation which has been noted to be the exclusive preserved of the gods. Design and art as it were, are created with intrinsic value such as inventions, innovations technical prowess and deep imagination. To create design in Africa content is unique therefore; design forms which keep on occurring in African arts obviously have significance in the life of those who created them for the purpose of aesthetics and beauty in African digital designs This paper is not mere description or just an historical narration of African digital design and visuals but centers on the deviation of African people from their original system of design and imbibing computer graphic digital application as an alternative to pen and paint box creative designs The paper concluded that the conventional African visual designs should be guided against because African design is center on values and experience which is concern with the essence of African personality and existence of transmission of design legacy from parents to children which leads to physical or merit pattern, which later becomes the object of perception, admiration, and utilization. Computer graphics and visual design reflection in African design is therefore cognitive reaction scientifically which implies conceptualization and, inspiration in 21st century.
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Gonzalez, Aston. "Freedom and Citizenship." In Visualizing Equality, 168–96. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659961.003.0007.

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The sixth chapter analyzes the technological revolutions that influenced representations of black people during the Civil War. Illustrated periodicals visually cataloged the war and depicted the trauma and uncertainties experienced by African Americans. At the same time, black photographers advanced their own views and ideas about the possibilities of emancipation, citizenship, and African American military service. Their images ran counter to racial stereotypes that dominated the visual landscape at the start of the Civil War. The production of these views coincided with numerous black leaders planning a national exhibition of African American art and industry. They proposed an unprecedented display of black artistic and mechanical production to convince people of all races of black intellect and to improve race relations. The exigencies and opportunities seized by fugitive slaves and enlisting black men created by the Civil War appeared in the visual production of African American activists.
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Junior, Nyasha, and Jeremy Schipper. "Introduction." In Black Samson, 1–10. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190689780.003.0001.

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Samson is a popular subject in biblical scholarship on the use of the Bible in art, literature, and popular culture, although this scholarship tends to focus on Samson in White European and White American art and literature. The introduction explains how Samson becomes identified with people of African descent in American literature. It discusses the biblical story of Samson and the lack of physical descriptions of Samson in the Bible. It provides examples of the racialized uses of Samson in poetry, sermons, speeches, narratives by enslaved persons, court records, and newspapers. It offers some possible reasons why the biblical story of Samson may have become associated with African Americans.
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Woyshner, Christine. "‘I feel I am really pleading the cause of my own people’: US southern white students’ study of African-American history and culture in the 1930s through art and the senses." In Sight, Sound and Text in the History of Education, 43–60. Routledge, 2020. http://dx.doi.org/10.4324/9780429202650-3.

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Baker, Courtney R. "Movin’ on Up—and Out." In Black Cultural Production after Civil Rights, 94–118. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042775.003.0005.

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This chapter discusses the visual culture of 1970s Black America, focusing especially on popular culture artifacts such as film, television, and comics, to make sense of the idea of movement in the postsegregationist United States. It attends to the representation of black people in various locations—from the inner city to the suburbs to a historical memory of the plantation slavery, the middle passage, and an African motherland—in visual forms, including Afrocentrist iconography, photography, and fine art. By attending to popular images, an important if not fuller picture of Black visual politics during the post-civil rights era becomes apparent.
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Röschenthaler, Ute M. "Copying, Branding, and the Ethical Implications of Rights in Immaterial Cultural Goods." In Advances in Media, Entertainment, and the Arts, 101–21. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-2095-5.ch006.

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Laws and regulations are important instruments for governing the relationships between people. In recent years, however, scholars have noted a growing judicialization, which concerns particularly immaterial cultural goods that are turned into intellectual and cultural properties. This chapter explores the implications of these regulations for the different actors involved, their moral responsibility and economic practices in the domains of branding and copying with examples of immaterial cultural goods from different African countries and from Austria. It argues that legal regulations that govern the use of immaterial cultural goods form part of the capitalist system. These regulations may be good for some and a hindrance for others. Piracy might damage the investments of an entrepreneur or artist in a brand or art work but might also help to secure the livelihood of other people and enhance the renown of products. Hence, it is important to analyze the perspectives and interests of individuals that are related to these economically important and ethically relevant activities.
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Conference papers on the topic "Art, Igbo (African people)"

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Geçimli, Meryem, and Mehmet Nuhoğlu. "CULTURE – HOUSE RELATIONS IN THE CONTEXT OF CULTURAL SUSTAINABILITY: EVALUATION ON EXAMPLES." In GEOLINKS International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/geolinks2020/b2/v2/29.

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There are close relationships between the cultural structures of societies and residential areas. The place where the society chooses to live and the ways it is organized is an expression of the cultural structure. Traditional houses are accepted as the most obvious indicator of this situation. One of the ways of preserving cultural sustainability today is to read the design principles of these houses correctly. Culture is about what kind of environment people live in and how they live. Human behaviors are based on cultural references. Religion, view of life and perceptions of the environment are both dialectically shaped culture and shaped by culture. Culture is about where and how human meets his needs throughout his life. It can be said that culture is one of the basic factors that direct human behavior and life. Therefore, the cultural embedding of sustainability thought is important in shaping the world in which future generations will live. Regarding various cultures in the literature; the structure of the society, their way of life and how they shape their places of residence, etc. there are many studies. The riches that each culture possesses are considered to be indisputable. These important studies are mostly based on an in-depth analysis of that culture, concentrating on a single specific culture. In this study, it is aimed to make a more holistic analysis by examining more than one culture. Thanks to this holistic perspective, it is thought that it will be possible to make inferences that can be considered as common to all societies. This study, which especially focuses on Asian and African societies, is the tendency of these societies to maintain their cultural structure compared to other societies. The reflections of cultural practices on residential spaces are examined through various examples. The dialectical structure of Berber houses, integration of Chinese houses with natural environmental references, Toroja houses associated with the genealogy in Indonesia, etc. examples will be examined in the context of cultural sustainability in this study. With this holistic approach, where the basic philosophy of cultural sustainability can be obtained, important references can be obtained in the design of today's residences. This paper was produced from an incomplete PhD dissertation named Evaluation of Cultural Sustainability in the Application of House Design at Yildiz Technical University, Social Sciences Institution, Art and Design Program
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