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1
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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Chuks, Madukasi, Francis. "Ozo Title: An Indigenous Institution In Traditional Religion That Upholds Patriarchy In Igbo Land South-Eastern Nigeria." International Journal of Social Sciences and Humanities Invention 5, no. 5 (May 3, 2018): 4640–52. http://dx.doi.org/10.18535/ijsshi/v5i5.02.
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In Igbo land, the institution of Ozo title has underpinnings of male chauvinism and often used by men to remind those who appear to be very forward of their subordinate place in the society. Among the Igbo people, the Ozo title is an indigenous institution that is regarded as a central aspect of African indigenous religious practice through which they engage questions about the meaning for life. Through an ethnographic study conducted in recent years, I propose to explore the origin of the Ozo title and the symbolic significance of this indigenous sacred institution with specific reference to its religious, cultural, political, ethical and social significance, a method by which the indigenous communities keeps in constant religious communication with their deities and ancestors. However, I propose to not only examine the various ways in which Ozo title as a sacred institution has been used by their initiates to mediate religious beliefs and practices in African religion, but to specifically focus on its members as agents or ambassadors of different communities. Through an evaluation of significant Igbo religious practices involving Ozo title as a sacred institution performed by initiated men only which upholds patriarchy, I wish to suggest that the Ozo title as a sacred institution has two significant and related functions. The first one is that it enables the initiates to bridge the gap between the visible and unseen world of the ancestors and thus making possible an Igbo understanding of those forces that are believed to control the destinies of man. Secondly, Ozo title as a sacred institution of the Igbo is believed to uphold and sustain the Igbo religious system, and a complex of traditional religious rituals which uphold the privileges of those men who have been initiated into the ancestral cult. This paper point to particular understandings of Ozo title as integral to African religion, and proposes to illustrate this through an examination of Traditional Igbo Religion through the mediation of Ozo title as a sacred institution as part of the broader socio-sacral order.
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Nwafor, Matthew Ikechukwu. "The living-dead (ancestors) among the Igbo-African people: An interpretation of Catholic sainthood." International Journal of Sociology and Anthropology 9, no. 4 (April 30, 2017): 35–42. http://dx.doi.org/10.5897/ijsa2017.0719.
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Salami, Ali, and Bamshad Hekmatshoar Tabari. "IGBO NAMING COSMOLOGY AND NAMESYMBOLIZATION IN CHINUA ACHEBE’S TETRALOGY." Folia linguistica et litteraria XI, no. 33 (2020): 39–61. http://dx.doi.org/10.31902/fll.33.2020.2.
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Things Fall Apart, No Longer at Ease, Arrow of God and A Man of the People, the first four novels by Chinua Achebe, the contemporary Nigerian novelist, are among the most outstanding works of African postcolonial literature. As a matter of fact, each of these four novels focuses on a different colonial or postcolonial phase of history in Nigeria and through them Achebe intends to provide an authentic record of the negative and positive impacts of ‘hybridity’ on different aspects of the life of native subjects. Briefly stated, Achebe is largely successful in taking advantages of variable discursive tools he structures based on the potentials of the hybrid, Igbo-English he adopts. Thus, it might be deduced that reading these four novels in line with each other, and as chains or sequels of Tetralogy, might result in providing a more vivid picture of the Nigerian (African) subjects and the identity crises emerging in them as a result of colonization. To provide an account of the matter, the present study seeks to focus on one of the discursive strategies Achebe relies on in those four novels: Igbo Naming Cosmology and Name-symbolization.
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Salami, Ali, and Bamshad Hekmatshoar Tabari. "IGBO NAMING COSMOLOGY AND NAMESYMBOLIZATION IN CHINUA ACHEBE’S TETRALOGY." Folia linguistica et litteraria XI, no. 33 (2020): 39–61. http://dx.doi.org/10.31902/fll.33.2020.2.
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Things Fall Apart, No Longer at Ease, Arrow of God and A Man of the People, the first four novels by Chinua Achebe, the contemporary Nigerian novelist, are among the most outstanding works of African postcolonial literature. As a matter of fact, each of these four novels focuses on a different colonial or postcolonial phase of history in Nigeria and through them Achebe intends to provide an authentic record of the negative and positive impacts of ‘hybridity’ on different aspects of the life of native subjects. Briefly stated, Achebe is largely successful in taking advantages of variable discursive tools he structures based on the potentials of the hybrid, Igbo-English he adopts. Thus, it might be deduced that reading these four novels in line with each other, and as chains or sequels of Tetralogy, might result in providing a more vivid picture of the Nigerian (African) subjects and the identity crises emerging in them as a result of colonization. To provide an account of the matter, the present study seeks to focus on one of the discursive strategies Achebe relies on in those four novels: Igbo Naming Cosmology and Name-symbolization.
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Afigbo, A. E. "The Spell of Oral History: A Case Study from Northern Igboland." History in Africa 33 (2006): 39–52. http://dx.doi.org/10.1353/hia.2006.0003.
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My case study is taken from the northern Igbo of Nigeria and focuses on the village-group of Ihuwe, which name is today rendered as Ihube— thanks to its Anglicization during the period of colonial rule. This not-withstanding, the people still call themselves “Ihuwe,” the form I use in this paper. The Northern Igbo area, especially the area around Awka, Orlu, and Okigwe, is commonly regarded as the heartland of Igbo culture and civilization. Ihuwe, in that portion of old Okigwe Division known today as Okigwe Local Government Area (LGA), lies in a region of southern Nigeria that has been identified as having witnessed human activity from very early times, at least from the period of Acheulean culture. It also lies on the geographically and historically prominent Nsukka-Udi-Okigwe cuesta, which archeology tells us entered the Iron Age quite early in African history, no later than about the eighth century BCE. We are thus dealing with one of the areas of ancient human occupation, as well as an area known for its dense demographic profile. It is these features–early human settlement and occupation with its attendant consequence of severely attenuated oral history, dense demographic profile, and being the cradle land of Igbo culture—that help to define the Northern Igbo and mark them out from the Western, Eastern, Southern, and North-Eastern Igbo, believed to be relatively more recent descendants from them.Perhaps another feature that calls for mention here is their political culture. Although, like their other Igbo kinsmen, they could boast of having evolved only micro-, and therefore weak, states (what social anthropologists of the colonial period refused to refer to as states), they had their own special model of these micro-states.
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Stokes, Deborah. "Shifting Views: People and Politics in Contemporary African Art." African Arts 51, no. 2 (June 2018): 83–85. http://dx.doi.org/10.1162/afar_r_00406.
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Densu, Kwasi. "Omenala: Toward an African-Centered Ecophilosophy and Political Ecology." Journal of Black Studies 49, no. 1 (September 7, 2017): 29–52. http://dx.doi.org/10.1177/0021934717729503.
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This article seeks to contribute to the reconstruction of an African-centered ecophilosophy and political ecology. Employing Cheikh Anta Diop’s theory of African cultural unity, it considers the Ndi Igbo philosophy Omenala, its paradigmatic implications for Africana studies, and its capacity to demonstrate the continuity of indigenous African socioecological praxis cross culturally. In addition, it explores the relevance of Omenala to the development of an authentic social history of African people and as a theory to analyze contemporary problems in the African world. Three key issues are addressed. First, the article accounts for the absence of ecological theory within Africana studies. Second, it explicates the cultural and philosophical basis for an African-centered ecophilosophy and political ecology. Third, it envisions new approaches and areas of inquiry within Africana studies.
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Nnaemeka Onwuatuegwu PhD, Ignatius. "AN OVERVIEW OF THE IGBO COSMOLOGIC-ONTOLOGICAL CONCEPTION AND THE STRUCTURE OF THE WORLD: A PHILOSOPHICAL REFLECTION." International Journal of Advanced Research 9, no. 5 (May 30, 2021): 25–30. http://dx.doi.org/10.21474/ijar01/12803.
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Practically speaking, the way people understand reality (ontology) cuts across the nexus of their thought pattern, belief system and consequently their general attitude to life. Hence, ontology and cosmology are at the basis of Igbo conception of reality and also the spiritual and physical operations of the human world. It is an established fact that a traditional Igbo would like to hold tenaciously to the already established concepts by the Igbo forebears. Hence, any attempt at a critical analysis of these accepted concepts are quickly waved off with such statements as: it has been so and has to remain so. For the Igbo, it is morally wrong to question the wisdom of the ancestors. The wisdom of the ancestors is to be cherished, preserved and propagated to the future generations and not to be questioned or criticized. But materiality is part of reality. As such, neither the created beings nor the universe in general are static but rather dynamic. Dynamism is the natural condition of existence in the world of the moving and sensible reality. Hence, peoples concepts of reality should be necessarily subjected to constant evaluation and re-evaluation in order to ascertain their validity. Thus, the main purpose of this research is to challenge and encourage Igbo-African scholars to delve into many traditional concepts as to critically evaluate them either to discover the truth hidden in them or to make possible the attainment of certainty. However, the research adopts primarily the method of philosophical appraisal to reach to the goal of the research.
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Tembo, Nick Mdika. "Ethnic Conflict and the Politics of Greed Rethinking Chimamanda Adichie's." Matatu 40, no. 1 (December 1, 2012): 173–89. http://dx.doi.org/10.1163/18757421-040001011.
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The African continent today is laced with some of the most intractable conflicts, most of them based on ethnic nationalism. More often than not, this has led to poor governance, unequal distribution of resources, state collapse, high attrition of human resources, economic decline, and inter-ethnic clashes. This essay seeks to examine Chimamanda Ngozi Adichie's through the lens of ethnic conflict. It begins by tracing the history and manifestations of ethnic stereotypes and ethnic cleavage in African imaginaries. The essay then argues that group loyalty in Nigeria led to the creation of 'biafranization' or 'fear of the Igbo factor' in the Hausa–Fulani and the various other ethnic groups that sympathized with them; a fear that crystallized into a thirty-month state-sponsored bulwark campaign aimed at finding a 'final solution' to a 'problem population'. Finally, the essay contends that Adichie's anatomizes the impact of ethnic cleavage on the civilian Igbo population during the Nigeria–Biafra civil war. Adichie, I argue, participates in an ongoing re-invention of how Africans can extinguish the psychology of fear that they are endangered species when they live side by side with people who do not belong to their 'tribe'.
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Smith, Katherine. "African Religions and Art in the Americas." Nova Religio 16, no. 1 (August 1, 2012): 5–12. http://dx.doi.org/10.1525/nr.2012.16.1.5.
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This print symposium of Nova Religio is devoted to African religions and arts in the Americas, focusing specifically on devotional arts inspired by the Yoruba people of West Africa. The authors presented here privilege an emic approach to the study of art and religion, basing their work on extensive interviews with artists, religious practitioners, and consumers. These articles contribute an understanding of devotional arts that shows Africa, or the idea of Africa, remains a powerful political and aesthetic force in the religious imagination of the Americas.
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Kanu, Ikechukwu Anthony. "Igwebuike theology of Omenani and the missionary bifurcation of horizons." OGIRISI: a New Journal of African Studies 16 (October 2, 2020): 127–44. http://dx.doi.org/10.4314/og.v16i1.8.
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African theology points to the fact that every particular situation or context calls for a particular theological reflection, that is, if the theological reflection is to make meaning within that unique circumstance. It is within this context that Igwebuike theology of Omenani emerges in relation to the understanding of culture as the Seed of the Word of God, which already pre-existed in Africa even before the emergence of the Western missionaries. The purpose of adopting this idea of culture as the Seed of the Word of God is to enhance the reconciliation between the African and Christian/Western ’worldhoods’. This piece presented the African culture as an important element in evangelization in Africa, as it is the spirit that animates the African people. It, therefore, located the Seed of the Word of God in the Omenani (the law of the land) of the African people through which they were able to achieve holiness even before the advent of the gospel. It observed that the failures of the missionary enterprise were majorly because of their lack of openness to the African religion and culture. The purpose of this study is to bridge the bifurcation created by the missionaries between the Christian and African ‘worldhoods’. The theoretical framework employed in this research is the Igwebuike sympathetic and non-derogatory framework, which emphasizes evangelization with a sense of understanding.
Keywords: Omenani, Logos Spermatikos, Culture, African, Igbo, Evangelization, Igwebuike
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Adebayo, Akanmu G. "Currency Devaluation and Rank: The Yoruba and Akan Experiences." African Studies Review 50, no. 2 (September 2007): 87–109. http://dx.doi.org/10.1353/arw.2007.0077.
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Abstract:Jane Guyer has clearly demonstrated in Marginal Gains (2004) that the ranking of people historically was linked to quantitative scales of money. Guyer's study focuses on the Igbo and Ibibio, two societies in which ranking was by achievement rather than ascription. How do ranking and money interface in other African societies with strong monarchical or centralized social systems? What impact does currency instability have on rank in such societies? This paper examines these questions. Focusing on the Yoruba of Nigeria and the Akan of Ghana, it evaluates the degree to which ranking has been affected by currency devaluation and economic instability since the mid-1980s.
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FRANCIS, JACQUELINE. "The Being and Becoming of African Diaspora Art." Journal of American Studies 47, no. 2 (April 17, 2013): 405–16. http://dx.doi.org/10.1017/s0021875813000091.
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By and large, “African diaspora art” is a generic label, presently applied with the purpose of broadly situating modern and contemporary artwork by people of African descent in discussions of African art, most often in connection with “traditional” West African ritual sculpture, installation, and performance. I focus on the work that this term has done or has been summoned to do in the US since the late twentieth century. This essay considers several artistic projects and critical and institutional missions linked to African diaspora art and culture: (1) a 1960s essay by art historian Robert Farris Thompson that organizes nineteenth-century material culture under this heading, (2) the black body as icon of the African diaspora in in the work of US artist David Hammons from the 1970s, and (3) the founding of the Museum of the African Diaspora (MoAD) in San Francisco in 2002. We are in the process of institutionalizing African diaspora art, situating it as a cultural consciousness that supersedes other identifications and narratives of association. We value and celebrate this epistemological construct, and, in doing so, reveal that it is also a social formation driven by doubts about racial and national belonging and the desire for a transformative signification and new, organizing logics of being.Cultural identity … is a matter of “becoming” as well as of “being.”Stuart Hall1By and large, “African diaspora art” is a generic label, often summoned to broadly situate modern and contemporary artwork by people of African descent and to connect it to “traditional” West African ritual sculpture, installation, and performance.2 It is a valued and celebrated epistemological construct; it is also a social formation driven by doubts about racial and national belonging and the desire for a transformative signification and organizing logics of difference. We are in the process of institutionalizing African diaspora art, situating it as a cultural consciousness that is meant to supersede other powerful identifications and narratives of political association.
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LAW, ROBIN. "Ali-Ogba: A History of Ogba People. By FRANCIS J. ELLAH. Enugu: Fourth Dimension Publishing Co., 1995. Pp. xiv + 226. $18.00; £9.95 (ISBN 978-156-400-8). (Distributed by African Books Collective, The Jam Factory, 27 Park End Street, Oxford OX1 1HU.)." Journal of African History 38, no. 1 (March 1997): 123–77. http://dx.doi.org/10.1017/s0021853796496906.
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The Ogba are an Igbo-speaking group, situated in the extreme south-west of the Igbo area, in the modern Rivers State of Nigeria (though the maps in this book, which depict only the Ogba country itself, do not convey a very clear sense of its location). This history of the community, written by its current Eze (king), sets out to cover the entire sweep of its history, from ‘the origin of the Ogbas’ (attributed to the fourteenth century) to the colonial period (post-independence history being treated only cursorily). It is based mainly on local oral traditions, taken partly from colonial Intelligence Reports, but also including extensive new material collected by the author; some use is also made, for the colonial period, of contemporary documents from British and Nigerian archives, and for prehistory, of archaeological evidence.
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Beyers, Jaco, and Lize Kriel. "John Muafangejo’s How God Loves His People All Over the World as Material Religion." Religion and the Arts 24, no. 4 (October 26, 2020): 379–98. http://dx.doi.org/10.1163/15685292-02404002.
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Abstract The artworks produced at the Evangelical Lutheran Church Art and Craft Centre at Rorke’s Drift, KwaZulu-Natal, have been highly appraised and appreciated in South African art-historical circles, not in the least so as African expressions of postcolonial and anti-apartheid resistance. The work of Namibian artist John Muafangejo (1943–1987) is prominent amongst these. In this article, while borrowing generously from the methods of art historical research, our interest is primarily in works of art as objects of material religion. Erwin Panofsky introduced iconology as a way of determining the meaning of art. Iconology wants to enable the seeing of the unseen; seeing the transcendence—making it most applicable to the study of religion as a cultural practice. This article investigates in a critical way how iconology can assist in the study of material religion, especially as applied to the study of religious art. Because meaning is contextual, the conditions under which religious objects are made and interpreted are as important as the work itself. A discussion of a specific work by John Muafangejo originating from the Rorke’s Drift Centre will be conducted by testing the potential of iconology as an analytical tool in this African Christian environment.
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Quinlan, Catherine L. "An Interdisciplinary Investigation of African Rock Art Images to Learn about Science & Culture: Blending Biology, Geology, History & Ethics." American Biology Teacher 81, no. 1 (January 1, 2019): 40–46. http://dx.doi.org/10.1525/abt.2019.81.1.40.
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Image analysis of African rock art creates a unique opportunity to engage in authentic explorations of science and culture using rock art images as data. African rock art and its context provide insights into the intersection of science, scientific research, research ethics, intellectual property, law, government, economy, indigenous people, and crime. This article specifically considers the rock art and other cultural contributions of the San people of Southern Africa, which offer a rich interdisciplinary exploration of biology—including the climate and weather of biomes, plant biology, human physiology, and more. An understanding of the nature of science, crosscutting concepts, and disciplinary core ideas in the Next Generation Science Standards (NGSS) is implicated.
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Matiza, Vimbai. "African Traditional Art Forms, Democratic Governance and Economic Growth in Zimbabwe." Southern African Journal for Folklore Studies 27, no. 2 (February 8, 2018): 55–66. http://dx.doi.org/10.25159/1016-8427/3184.
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The article seeks to explore the role of African oral traditional art forms and governance in Zimbabwe for economic development. African philosophies, embedded in oral literature were part and parcel of the people’s life. Everybody participated in the activities that affected them in society. Thus African peoples used oral literature, which is dependent on the performer who formulates it on a specific occasion—this forms part of issues of governance. Some problems, which people, and Zimbabweans in particular are facing, emanate from colonialism, and have led them to believe that they had no culture or anything to shape their way of thinking. These problems have always been there, and people had a way of circumventing them through the philosophies that were embedded in their oral art forms. It is against this backdrop that the researcher seeks to explore the place of oral art forms; which include proverbs, riddles, folktales among others; and governance as vehicles to drive economic growth in Zimbabwe. The article is based on a conceptual method of study, where examples of oral art forms used have been taken from various speech communities in Africa. The researcher’s arguments are guided by the Afrocentricapproach and the discussion establishes that issues of democracy and governance were part and parcel of indigenous people’s way of doing things, in a bid to achieve economic growth in their societies.
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Yadav, Prabhu Ray. "The Role of a Writer: Reflections of a Novelist." Tribhuvan University Journal 31, no. 1-2 (December 31, 2017): 153–58. http://dx.doi.org/10.3126/tuj.v31i1-2.25349.
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Chinua Achebe is an iconic name in Africa as well as world literature. He is a writer committed to the social uplift of marginalized and downtrodden people. He believes that serious writer should have a sense of responsibility to enhance the quality of humanity by way of exposing all manmade suppression and oppression in society. Achebe is a crusader against colonialism that enslaved the African countries and their people. He is opposed to the injustice and atrocities perpetrated by colonial rulers, and he wants to awaken the African people to rise up against the onslaught of colonialism in future. The present work serves as an inspiring guide to the African people and writers to pursue the spirit of struggle to gain self dignity and recognition. He writes with a missionary zeal and exhorts the writers to use their art as a weapon to assert their confidence and past glory. For him, art is a means to bring about change in society. His works have served as a teacher for his readers. So, Achebe has become a novelist cum teacher, especially for African people, and in general for his readers all over the world.
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Stulov, Yu V. "IDEOLOGY, RACE, AND ART: JAMES BALDWIN’S LEGACY." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (October 25, 2019): 853–58. http://dx.doi.org/10.35634/2412-9534-2019-29-5-853-858.
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In the 1950s-60s the outstanding African American writer James Baldwin took an active part in the events of the so-called Black Revolution in the USA, which had a tremendous effect on the country’s social and political life for the following years. African American people of art got strongly divided into two camps on the ideological issues. Baldwin belonged to the integrationists who did not separate their fate from the fate of America and insisted on the decisive measures to be taken by the US administration to change the attitude towards the black population. His position as well as his works written at that period aroused severe criticism on the part of the Black radicals. Time took care of it, but Baldwin’s lesson is important for understanding the problems of the connection between ideology and art.
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Roozen, Geert V. T., Ruchika Meel, Joyce Peper, William D. F. Venter, Roos E. Barth, Diederick E. Grobbee, Kerstin Klipstein-Grobusch, and Alinda G. Vos. "Electrocardiographic and echocardiographic abnormalities in urban African people living with HIV in South Africa." PLOS ONE 16, no. 2 (February 2, 2021): e0244742. http://dx.doi.org/10.1371/journal.pone.0244742.
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Background Studies from high income countries report that HIV-positive people have an impaired systolic and diastolic cardiac function compared to HIV-negative people. It is unclear if results can be translated directly to the Sub-Saharan Africa context. This study assesses electro- and echocardiographic characteristics in an urban African population, comparing HIV-positive people (treated and not yet treated) with HIV-negative controls. Methods We conducted a cross-sectional study in Johannesburg, South Africa. We enrolled HIV-positive participants from three randomized controlled trials that had recruited participants from routine HIV testing programs. HIV-negative controls were recruited from the community. Data were collected on demographics, cardiovascular risk factors, medical history and electrocardiographic and echocardiographic characteristics. Results In total, 394 HIV-positive participants and 153 controls were enrolled. The mean age of HIV-positive participants was 40±9 years (controls: 35±10 years), and 34% were male (controls: 50%). Of HIV-positive participants 36% were overweight or obese (controls: 44%), 23% had hypertension (controls: 28%) and 12% were current smoker (controls: 37%). Median time since HIV diagnosis was 6.0 years (IQR 2.3–10.0) and median treatment duration was 4.0 years (IQR 0.0–8.0), 50% had undetectable viral load. The frequency of anatomical cardiac abnormalities was low and did not differ between people with and without HIV. We observed no relation between HIV or anti-retroviral therapy (ART) and systolic or diastolic heart function. There was an association between ART use and corrected QT interval: +11.8 ms compared to HIV-negative controls (p<0.01) and +18.9 ms compared to ART-naïve participants (p = 0.01). We also observed a higher left ventricular mass index in participants on ART (+7.8 g/m2, p<0.01), but this association disappeared after adjusting for CD4 cell count, viral load and HIV-duration. Conclusion The low number of major cardiac abnormalities in this relatively young, well managed urban African HIV-positive population is reassuring. The increase in corrected QT interval and left ventricular mass may contribute to higher cardiac mortality and morbidity in people living with HIV in the long term.
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O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.
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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.
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Asante, Molefi Kete. "The Remarkable Curvature of the Mind of Abdias do Nascimento." Journal of Black Studies 52, no. 6 (April 15, 2021): 577–87. http://dx.doi.org/10.1177/00219347211008918.
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Nascimento transcended the country of his birth and established himself in the minds and hearts of Africans everywhere as a combatant against racism and classism. Abdias do Nascimento was to Brazil what Langston Hughes and Katherine Dunham were to African Americans, a phenomenon of cultural energy that lifted his people to the highest dimensions of art in defiance of a designed degradation of blackness. Abdias grew up as a rebel spirit, as he would often say, in the tradition of his mother, who had called out abusive behavior toward blacks, in a brazenly racist country that had exploited the indigenous and African people for centuries. Thus, he was to become a Malcolm X, Du Bois, and Paul Robeson in the Brazilian context. Combining artistic skill, militant resistance, world knowledge, historical understanding, and an adventurous nature, his active mind did not rest in one field but in several art forms and research areas. He found his first love in the practice of African art and spirituality while creating the Black Experimental Theatre in Rio de Janeiro in the l940s.
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Kalichman, Seth C., Lisa Eaton, Moira O. Kalichman, and Chauncey Cherry. "Medication beliefs mediate the association between medical mistrust and antiretroviral adherence among African Americans living with HIV/AIDS." Journal of Health Psychology 22, no. 3 (July 10, 2016): 269–79. http://dx.doi.org/10.1177/1359105315600239.
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Medical mistrust is a significant barrier to medication adherence among African Americans living with HIV. In this study 380 African American people receiving antiretroviral therapy (ART) in a southern US city completed computerized measures at a community-based research site. Multiple mediation modeling showed that medical provider mistrust was associated with medication beliefs and ART adherence. Also, medication beliefs predicted adherence. The indirect effects of medical mistrust on adherence via medication beliefs was significant; the indirect effect was significant for medication concerns beliefs, but not medication necessity beliefs. Medication concerns beliefs therefore mediate the association between medical mistrust and ART adherence.
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Dapena-Tretter, Antonia, and Eloise Pelton. "African Art at the Kreeger Museum: Validating a Collection and Its Historic Stakeholders." Collections: A Journal for Museum and Archives Professionals 14, no. 1 (March 2018): 63–93. http://dx.doi.org/10.1177/155019061801400104.
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Written by The Kreeger Museum's former head of education and its founding archivist, this article looks closely at provenance and makes use of primary source documents and photographs to relive the rich story of how The Kreeger Museum's African art collection came to be. A detailed account of the negotiations, communications, transactions, and circulations of people, objects, and ideas—the following narrative offers an interesting case study into the early European and American art collectors' circuit.
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Cernasev, Alina, William L. Larson, Cynthia Peden-McAlpine, Todd Rockwood, Paul L. Ranelli, Olihe Okoro, and Jon C. Schommer. "The Significance of Taking Antiretroviral Medications for African-Born People Living with HIV and Residing in Minnesota." Pharmacy 8, no. 2 (June 26, 2020): 108. http://dx.doi.org/10.3390/pharmacy8020108.
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Thanks to the development of antiretroviral (ART) medications, HIV is now a chronic and manageable disease. This study aimed to (1) capture the experiences of African-born persons living with HIV and taking antiretroviral treatment, and (2) explore the impact of social and cultural factors on their decisions to follow the prescribed treatment. For this study, a qualitative approach was used. The participants were recruited via fliers, then screened for inclusion and exclusion criteria. Recruitment of the participants continued until data saturation occurred. The interview guide was developed based on the extensive literature and recommendations from the clinical team. In-person narrative interviews were conducted with 14 participants—African-born persons living with HIV and residing in Minnesota. Thematic Analysis revealed three emergent themes: “To exist I have to take the medicine”; barriers and facilitators in taking ART medications; and the power of spirituality and prayers. The findings of this study paint a picture of African-born persons living with HIV, and their experiences with ART medications. This study not only presents the participants’ medication experiences and their significance, but also tells their stories of how God and prayers play a significant role in helping them to get through the difficult moments of their lives.
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Okafor, Eddie E. "Francophone Catholic Achievements in Igboland, 1883-–1905." History in Africa 32 (2005): 307–19. http://dx.doi.org/10.1353/hia.2005.0020.
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When the leading European powers were scrambling for political dominion in Africa, the greatest rival of France was Britain. The French Catholics were working side by side with their government to ensure that they would triumph in Africa beyond the boundaries of the territories already annexed by their country. Thus, even when the British sovereignty claim on Nigeria was endorsed by Europe during the Berlin Conference of 1884-85, the French Catholics did not concede defeat. They still hoped that in Nigeria they could supplant their religious rivals: the British Church Missionary Society (CMS) and the other Protestant missionary groups. While they allowed the British to exercise political power there, they took immediate actions to curtail the spread and dominion of Protestantism in the country. Thus some of their missionaries stationed in the key French territories of Africa—Senegal, Dahomey, and Gabon—were urgently dispatched to Nigeria to compete with their Protestant counterparts and to establish Catholicism in the country.Two different French Catholic missions operated in Nigeria between 1860s and 1900s. The first was the Society of the African Missions (Société des Missions Africaines or SMA), whose members worked mainly among the Yoruba people of western Nigeria and the Igbos of western Igboland. The second were the Holy Ghost Fathers (Pères du Saint Esprit), also called Spiritans, who ministered specifically to the Igbo people of southeastern Nigeria. The French Catholics, the SMA priests, and the Holy Ghost Fathers competed vehemently with the British Protestants, the CMS, for the conversion of African souls. Just as in the political sphere, the French and British governments competed ardently for annexation and colonization of African territories.
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Klein, Melanie. "Creating the Authentic? Art Teaching in South Africa as Transcultural Phenomenon." Culture Unbound 6, no. 7 (December 15, 2014): 1347–65. http://dx.doi.org/10.3384/cu.2000.1525.1461347.
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The question about what art and craft from Black individuals in South Africa should look like as well as how and for what purposes it could be created was of prominent importance within the contact zone of educational institutions from the 1930s onwards. Art teachers of mostly European origin established provisional art educational venues for African students first, within the curricula of mission schools and then as workshops and art schools in their own right. They transferred modernistic concepts from Europe into the South African context, yet were also confronted with divergent expectations of their students and the overarching policy of Bantu Education that was launched in 1953.
A closer look at selected case studies reveals complex and ambivalent theoretical approaches that were negotiated and discussed in the seemingly autonomous context of art schools and workshops. The teachers’ attitudes seemed to oscillate between the search for an ‘authentic’ African idiom and the claim to partake in global archives or in the making of an art history that was imagined as universally applicable. Art educational institutions perceived as transcultural contact zones exemplify a genesis of modern art from South Africa that was formed by mutually influencing perspectives apart from the restrictions for and the re-tribalisation of Black people imposed by the apartheid regime.
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Alshameri, Faleh, and Abdul Karim Bangura. "Generating metadata to study and teach about African issues." Information Technology & People 27, no. 3 (July 29, 2014): 341–65. http://dx.doi.org/10.1108/itp-06-2013-0112.
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Purpose – After almost three centuries of employing western educational approaches, many African societies are still characterized by low western literacy rates, civil conflicts, and underdevelopment. It is obvious that these western educational paradigms, which are not indigenous to Africans, have done relatively little good for Africans. Thus, the purpose of this paper is to argue that the salvation for Africans hinges upon employing indigenous African educational paradigms which can be subsumed under the rubric of ubuntugogy, which the authors define as the art and science of teaching and learning undergirded by humanity toward others. Design/methodology/approach – Therefore, ubuntugogy transcends pedagogy (the art and science of teaching), andragogy (the art and science of helping adults learn), ergonagy (the art and science of helping people learn to work), and heutagogy (the study of self-determined learning). That many great African minds, realizing the debilitating effects of the western educational systems that have been forced upon Africans, have called for different approaches. Findings – One of the biggest challenges for studying and teaching about Africa in Africa at the higher education level, however, is the paucity of published material. Automated generation of metadata is one way of mining massive data sets to compensate for this shortcoming. Originality/value – Thus, the authors address the following major research question in this paper: What is automated generation of metadata and how can the technique be employed from an African-centered perspective? After addressing this question, conclusions and recommendations are offered.
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Jopling, Rebecca, Primrose Nyamayaro, Lena S. Andersen, Ashraf Kagee, Jessica E. Haberer, and Melanie Amna Abas. "A Cascade of Interventions to Promote Adherence to Antiretroviral Therapy in African Countries." Current HIV/AIDS Reports 17, no. 5 (August 10, 2020): 529–46. http://dx.doi.org/10.1007/s11904-020-00511-4.
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Abstract Purpose of Review We reviewed interventions to improve uptake and adherence to antiretroviral therapy (ART) in African countries in the Treat All era. Recent Findings ART initiation can be improved by facilitated rapid receipt of first prescription, including community-based linkage and point-of-care strategies, integration of HIV care into antenatal care and peer support for adolescents. For people living with HIV (PLHIV) on ART, scheduled SMS reminders, ongoing intensive counselling for those with viral non-suppression and economic incentives for the most deprived show promise. Adherence clubs should be promoted, being no less effective than facility-based care for stable patients. Tracing those lost to follow-up should be targeted to those who can be seen face-to-face by a peer worker. Summary Investment is needed to promote linkage to initiating ART and for differentiated approaches to counselling for youth and for those with identified suboptimal adherence. More evidence from within Africa is needed on cost-effective strategies to identify and support PLHIV at an increased risk of non-adherence across the treatment cascade.
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Greenwood, Jeremy, Philipp Kircher, Cezar Santos, and Michèle Tertilt. "An Equilibrium Model of the African HIV/AIDS Epidemic." Econometrica 87, no. 4 (2019): 1081–113. http://dx.doi.org/10.3982/ecta11530.
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Twelve percent of the Malawian population is HIV infected. Eighteen percent of sexual encounters are casual. A condom is used a third of the time. To analyze the Malawian epidemic, a choice‐theoretic general equilibrium search model is constructed. In the developed framework, people select between different sexual practices while knowing the inherent risk. The calibrated model is used to study several policy interventions, namely, ART, circumcision, better condoms, and the treatment of other STDs. The efficacy of public policy depends upon the induced behavioral changes and equilibrium effects. The framework complements the insights from epidemiological studies and small‐scale field experiments.
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Glendinning, Elizabeth, Johanna Spiers, Jonathan A. Smith, Jane Anderson, Lucy J. Campbell, Vanessa Cooper, and Rob Horne. "A Qualitative Study to Identify Perceptual Barriers to Antiretroviral Therapy (ART) Uptake and Adherence in HIV Positive People from UK Black African and Caribbean Communities." AIDS and Behavior 23, no. 9 (September 2019): 2514–21. http://dx.doi.org/10.1007/s10461-019-02670-x.
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Abstract To inform the development of interventions to increase uptake and adherence to antiretroviral therapy (ART), we explored perceptions of ART in semi-structured interviews with 52 men and women from UK black African and black Caribbean communities. Verbatim transcripts were analyzed using framework analysis. Perceptions of ART could be grouped into two categories: doubts about the personal necessity for ART and concerns about potential adverse effects. Doubts about necessity stemmed from feeling well, doubts about the efficacy of ART, religious beliefs and the belief that treatment was futile because it could not cure HIV. Concerns about adverse effects included the fear that attending HIV services and taking treatment would lead to disclosure of HIV, feeling overwhelmed at the prospect of starting treatment soon after diagnosis, fears about side effects and potential long-term effects, and physical repulsion. The findings will facilitate the development of interventions to increase uptake and adherence to ART.
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Ottenberg, Simon. "Religion and ethnicity in the arts of a Limba Chiefdom." Africa 58, no. 4 (October 1988): 437–65. http://dx.doi.org/10.2307/1160351.
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Opening ParagraphThis article examines the major visual and performing arts of one society and explores what changes have occurred to them over roughly one hundred years as a consequence of external religious and ethnic forces. This is a holistic, processual view of a people's arts in a particular region, providing a model to balance the excellently detailed studies of specific art forms which now exist for Africa. Using a holistic view we will raise certain issues concerning changes in African art. One of the most significant is the interrelationship of ethnicity and religion. Scholars (Bravmann, 1974, 1983; Prussin, 1986) have written extensively on the influence of Islam on African art, but have not seriously raised the question of the ethnic factor associated with Islam, which is equally important. In the case of Islam and its carriers there is a delicate intermixing of religion and ethnicity which is at issue and needs exploration. Further, the holistic approach employed here brings to the fore the reasons behind the wide range of responses to change of the various art forms of a people. Why do some syncretise, some disappear and others remain unchanged? Again, the holistic view allows us to ask to what extent the arts of a people merely reflect forces of change, or do they play roles in leading and directing it? The approach requires considerable background history, which is presented below.
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Quinn, Katherine, Julia Dickson-Gomez, Michelle Broaddus, and Jeffrey A. Kelly. "“It's Almost Like a Crab-in-a-Barrel Situation”: Stigma, Social Support, and Engagement in Care Among Black Men Living With HIV." AIDS Education and Prevention 30, no. 2 (April 2018): 120–36. http://dx.doi.org/10.1521/aeap.2018.30.2.120.
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Social support is associated with improved health outcomes for people living with HIV (PLWH), including initiation and engagement in HIV care and antiretroviral therapy (ART) adherence. Yet, stigma may negatively affect the availability and utilization of social support networks, especially among African American PLWH, subsequently impacting HIV care and health out-comes. This qualitative study examines the relationship between stigma and social support relationships among African American PLWH. We conducted 23 interviews with Black men living with HIV who reported being out of care or non-adherent to ART. Thematic content analysis revealed three primary themes including variation in social support, experiences of stigma and discrimination, and coping mechanisms used to deal with stigma. Findings reveal that although social support may be protective for some men, many African American PLWH face challenges in harnessing and sustaining needed social support, partly due to stigma surrounding HIV and homo-sexuality.
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Classen, Albrecht. "Caravans of Gold, Fragments in Time: Art, Culture, and Exchange Across Medieval Saharan Africa, ed. Kathleen Bickford Berzock. Evanston, IL: Block Museum of Art, Northwestern University; Princeton, NJ, and Oxford: Princeton University Press, 2019, 312 pp., many colored ill. and maps." Mediaevistik 32, no. 1 (January 1, 2020): 266–67. http://dx.doi.org/10.3726/med.2019.01.20.
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This catalog accompanies a fascinating and innovative exhibition documenting the art in medieval Saharan Africa, first shown at the Block Museum of Art, Northwestern University, Evanston, IL, from Jan. 26 to July 21, 2019, then at The Aga Khan Museum, Toronto, from Sept. 21 2019 to Feb. 23, 2020, and finally at the National Museum of African Art, Smithsonian Institution, Washington, DC, April 8 to Nov. 29, 2020. To bring all those very valuable objects together and to organize this exhibit, represents a major task involving many people. Here I want to concentrate only on the catalog itself, magisterially edited by Kathleen Bickford Berzock, Associate Director of Curatorial Affairs, Block Museum of Art.
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Martinez, Katharine. "The Art Libraries and Research Resources of the Smithsonian Institution." Art Libraries Journal 13, no. 1 (1988): 9–13. http://dx.doi.org/10.1017/s0307472200005484.
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The Smithsonian Institution, a public organisation established in 1846 “for the increase and diffusion of knowledge”, includes ten museums and several research bureaux. Most but not all of the associated libraries are linked through the Smithsonian Institution Libraries; they include several art libraries which contribute significantly to the overall provision of art library service to the American people but do not of themselves constitute a “national art library”. Most of the Smithsonian’s libraries enter their records in a database (SIBIS) which is accessible online via OCLC. Co-ordinated collection development has been pursued since 1984. In two areas in particular, American and African art, Smithsonian libraries aim to provide a national service.
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Kruzh Morzhadinu, Da Fonseka Vera. "HISTORICAL RESEARCH OF MODERNISM IN AFRICAN ARCHITECTURE OF LOW-RISE SOCIAL HOUSING." Construction Materials and Products 3, no. 2 (July 10, 2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.
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the purpose of this study is to examine the emergence of modernism as a cultural response to the conditions of modernity to change the way people live, work and react to the world around them. In this regard, the following tasks were formulated: 1) study the development of modernism on the world stage, 2) identify its universal features, and 3) analyze how the independence of Central and sub-Saharan Africa in the 1950s and 1960s coincided with a particularly bright period of modernist architecture in the region, when many young countries studied and asserted their identity in art. The article analyzes several objects of modernist architecture in Africa: urban development projects in Casablanca (Morocco), Asmara (Eritrea), Ngambo (Tanzania). The main features and characteristics of modernism which were manifested in the African architecture of the XX century are also formulated. It is concluded that African modernism is developed in line with the international modernist trend. It is also summarized that modernism which differs from previous artistic styles and turned out to be a radical revolution in art is their natural successor.
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Frishkopf, Michael. "West African Polyrhythm: culture, theory, and representation." SHS Web of Conferences 102 (2021): 05001. http://dx.doi.org/10.1051/shsconf/202110205001.
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In this paper I explicate polyrhythm in the context of traditional West African music, framing it within a more general theory of polyrhythm and polymeter, then compare three approaches for the visual representation of both. In contrast to their analytical separation in Western theory and practice, traditional West African music features integral connections among all the expressive arts (music, poetry, dance, and drama), and the unity of rhythm and melody (what Nzewi calls “melo-rhythm”). Focusing on the Ewe people of south-eastern Ghana, I introduce the multi-art performance type called Agbekor, highlighting its poly-melo-rhythms, and representing them in three notational systems: the well-known but culturally biased Western notation; a more neutral tabular notation, widely used in ethnomusicology but more limited in its representation of structure; and a context-free recursive grammar of my own devising, which concisely summarizes structure, at the possible cost of readability. Examples are presented, and the strengths and drawbacks of each system are assessed. While undoubtedly useful, visual representations cannot replace audio-visual recordings, much less the experience of participation in a live performance.
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Graham, James. "The Quiet Editor: Ivan Vladislavić and South African cultural production." Journal of Commonwealth Literature 52, no. 1 (October 26, 2016): 56–69. http://dx.doi.org/10.1177/0021989416675017.
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This article examines the literary and sociological significance of Ivan Vladislavić’s “double life” as both editor and writer. With reference to a number of his editorial roles as well as the joint projects he has worked on with writers and visual artists, the article considers how Vladislavić’s work with others spreads symbolic value. Described by one of his clients as the “quiet editor”, Vladislavić can be read as a new kind of author; what he terms “creative editing” as a new kind of writing, through which more traditional models of authorship and literary production are thrown into question — less Bourdieu’s “field of literary production” or Casanova’s “world literary space”, red in tooth and claw, and more Howard Becker’s “art world”: a convivial “network of cooperating people, all of whose work is essential to the final outcome”.
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Mamokhere, John. "China’s engagements on the african continent: interrogating its true mission and objectives on the continent." Business and Management Review 11, no. 02 (December 15, 2020): 134–40. http://dx.doi.org/10.24052/bmr/v11nu02/art-16.
Full textAbstract:
China’s engagement(s) throughout the African continent has met with mixed reactions from academics, politicians, civil society, and interest groups. In that regards, this paper questions the link between China-Africa, if this is a new form of colonialism or is China kind to the continent. Thus, this paper examines whether the debates regarding the nature of the China-Africa relations can be qualified or categorized as a new form of colonialism approach or not. Also, the paper analyzes the perception of academics, politicians, civil society and interested groups about the implications towards the China-Africa economic cooperation and explains whether China is taking advantage of the weak African states in the name of South-South cooperation or playing the role of a contemporary substitute of the old colonial system. The paper has adopted an Afrocentricity theory as a lens sometimes referred as a theory of social change that is initiated and better clarified by Asante Molefi Kete (1980 and 2003). Afrocentricity is an approach to the study of world history that focuses on the history of people of recent African descent. To achieve the aims of this paper, the author(s) benefited from Critical Discourse Analysis (CDA) of secondary data covering China’s economic engagements in Africa. Conceptually, it is found that China has a large influence in Zambia over the mining industry. It is affirmed that China’s investments in the mining sector control over 88%. Therefore, it is concluded in this paper that China’s presence on the African continent presents equal opportunities (economic development, e.g., employment creation) and threats (loss of Sovereignty, employment exploitation). Thereafter, this paper recommends that African governments should be pro-active in order to exploit the potential opportunities. The paper also recommends that there should be an economic win-win cooperation as per China’s African Policy (2006), which implies that there should be a mutual benefit.
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Park, Marlene. "Lynching and Antilynching: Art and Politics in the 1930s." Prospects 18 (October 1993): 311–65. http://dx.doi.org/10.1017/s0361233300004944.
Full textAbstract:
Lynching became a fact of American life after the Civil War, but it only became an important subject for writers of the Harlem Renaissance in the 1920s and a subject for visual artists in the 1930s. During the Depression, antilynching works were first a reaction to the widespread outrage over the Scottsboro case and then part of the political and legislative efforts to make lynching a federal offense. In early 1935, both the National Association for the Advancement of Colored People and the Communist Party's John Reed Club held competing art exhibitions that not only condemned lynching but also supported their legislative objectives. After World War II, when Civil Rights legislation became the main priority, images of lynching continued primarily in the works of African-American artists. But in these later works, lynching became the prime symbol of American racism, springing from a black perspective rather than from particular political campaigns or from contemporary experience.