Academic literature on the topic 'Art, Senufo (African people)'
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Journal articles on the topic "Art, Senufo (African people)"
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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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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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Tamari, Tal. "The Development of Caste Systems in West Africa." Journal of African History 32, no. 2 (July 1991): 221–50. http://dx.doi.org/10.1017/s0021853700025718.
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Endogamous artisan and musician groups are characteristic of over fifteen West African peoples, including the Manding, Soninke, Wolof, Serer, Fulani, Tukulor, Songhay, Dogon, Senufo, Minianka, Moors, and Tuareg. Castes appeared among the Malinke no later than 1300, and were present among the Wolof and Soninke, as well as some Songhay and Fulani populations, no later than 1500. All the West African castes ultimately developed from at most three centers, located among the Manding, Soninke, and/or Wolof. Migration is the key process explaining the current distribution of caste people. Formation of blacksmith and bard castes among the Manding may be related to the Sosso–Malinke war, described in the Sunjata epic, which led to the founding of the Mali empire. As they evolved over time, castes acquired secondary specializations or changed occupations, and moved up or down in rank relative to other social groups. Although marriage alliances took place within a caste or among a limited number of castes, castes did not form demographic isolates. Children of caste men and slave concubines had caste status, while free persons taken captive in war sometimes claimed to be caste members. Assimilation of local artisans to a caste may have occurred when caste institutions were first introduced into a given area.
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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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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.
Dissertations / Theses on the topic "Art, Senufo (African people)"
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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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FIGUEIREDO, BERNARDO AMADO BAPTISTA DE. "AFRICAN ART: A STUDY ON THE BELIEFS AND PREFERENCES OF INTERESTED PEOPLE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11354@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROTrata-se de pesquisa qualitativa, realizada por meio de grupos focais e painéis visuais com interessados em objetos de arte africana no Brasil, com o objetivo de levantar crenças e preferências desses indivíduos. O estudo explorou o conceito de arte africana junto a esse público, imagens e emoções associadas a esse conceito, motivos que orientam a preferência por alguns objetos sobre outros e aspectos importantes do valor simbólico e estético dos objetos de arte africana. A pesquisa também trouxe observações sobre a adequação dos objetos de arte africana às propriedades encontradas em objetos de consumo hedônico e sobre alguns aspectos do consumo e posse de objetos de arte africana.
This qualitative research uses focal groups and visual panels to elicit beliefs and preferences of some Brazilians interested in objects of African art. It hás explored the concept of African art, the images and emotions associated with it, the driving motives underlying the preferences for certain art objects over others. This study also discusses some important simbolic and aesthetic aspects of hedonic consumption related to African art.
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Famule, Olawole Francis. "Art and spirituality : the Ijumu northeastern-Yoruba egúngún /." Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1372%5F1%5Fm.pdf&type=application/pdf.
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Hirst, Manton Myatt. "The healer's art : Cape Nguni diviners in the townships of Grahamstown." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1001601.
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This is a study of Cape Nguni diviners practising in the townships of Grahamstown where, during the 1970s, there was a large and active concentration of diviners treating clients from the locality, the rural areas and even the large urban centres further afield. The study situates local diviners in the socio-economic, cultural and religious context of contemporary township Iife during the 1970s (see chapter 1 and section 2.1). The personalities and socio-economic circumstances of diviners (and herbalists) are described as well as their case-loads, the various problems they treat, the relations between them and their clients, the economics of healing and the ethics pertaining to the profession (see chapter 2) . Chapter three focuses on the various problems and afflictions - which are largely of an interpersonal nature - suffered by those who are eventually inducted as diviners and the ritual therapy this necessarily entails. Here we see how the diviner, what Lewis (1971) terms a 'wounded healer', becomes an expert in interpersonal and social relations as a result of suffering problems - largely connected to the family but not necessarily limited to it - in interpersonal relations and that require a ritual, and thus social, prophylaxis. The main theoretical argument is that the diviner, qua healer, functions as a hybrid of Levi-Strauss' s bricoleur and Castaneda's 'man of knowledge' artfully combining the ability of the former to invert, mirror or utilise analogies from linguistics to make everything meaningful and the ability of the latter to creatively bend reality . The diviner's cosmology is described in terms of a 'handy', limited but extensive cultural code/repertoire of signs, symbols and metaphors that is utilised in getting the message across to others and in which animals bear the main symbolic load (see chapter 4). This leads logically to a reappraisal of Hammond-Tooke's (1975b) well-known model of Cape Nguni symbolic structure particularly in so far as it pertains to the way in which diviners classify animals, both wild and domestic (see section 4.6). A striking evocation and confirmation of the view argued here, namely of the diviner as bricoleur/'man of knowledge', is contained in chapter five dealing with an analysis of the diviner's 'river' myth and the context, form and content of the divinatory consultation itself. Finally, the conclusions, arising out of this study of contemporary Cape Nguni diviners in town, are evaluated in the ligrht of Lewis's (1966, 1971, 1986) deprivation hypothesis of spirit possession (see chapter 6)
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Tshiluila, Shaje'a. "A la mémoire des ancêtres: le grand art funéraire Kongo, son contexte social et historique." Doctoral thesis, Universite Libre de Bruxelles, 1986. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213572.
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Baholo, Keresemose Richard. "A pictorial response to certain witchcraft beliefs within Northern Sotho communities." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/21197.
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Bibliography: pages 58-62.This study focuses on stories of witchcraft within the Batlokwa - a sub-group of the Northern Sotho community living in the northern Transvaal. Having grown up in this society where witchcraft beliefs are predominant, my fears, as a child, of witches were very real. In later life I have attempted to ignore these fears. However, I do not think they will ever disappear entirely, as I will never be able to extricate myself from my origins. This experience of the dangerous witch is one of the reasons that compelled me to respond pictorially to some of these perceptions for the purpose of highlighting the concerns of ordinary people and the extent to which they have been affected by belief in witchcraft. My paintings are a translation of real and unreal incidents fused together producing a visual narrative.
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Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /." Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.
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Clark-Brown, Peter Gabriel. "A graphic interpretation of some social constructions of disability." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/17494.
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Bibliography: pages 37-38.The work undertaken for my Masters degree seeks to address some of the prejudice experienced by disabled people. Society's concept of a normal body prescribes unattainable standards for people with disabilities, thereby isolating and marginalising them. Instead of accommodating these physical differences, society encourages disabled people to withdraw from society or to try to conform to able-bodied ideals and to appear 'as normal as possible'. The very physical presence of disabled people challenges these assumptions of normality. Therefore, attempts are made to cosmetically hide the offending part or exclude the person from society (e.g. a hollow shirt sleeve or 'special' school). When individuals fail to conform to the prescribed standards of normality, they face the stigma of being viewed as pitifully inferior and dependent upon their able-bodied counterparts. In this way disabled people do not 'suffer' so much from their condition, as from the oppression of able-bodied biases. Through different eyes, society could be seen as handicapped as a result of its inability to adapt to, or deal with difference. In reality, however, disabilities are experienced by many people and can range from those which are physically visible and easily identified to those less obvious, but often more debilitating such as abrasive, socially aggressive personalities or learning disabilities. It is possible, therefore, to extend the understanding of the term disability to any physical or emotional impairment that limits a person's functioning within a so-called normal society. Although many people and organisations have searched for less pejorative or negative terms to describe an impairment such as 'Very Special', 'people with abilities' or 'physically challenged', these attempts have failed to reverse prejudice. Instead, these descriptions have only re-described the emphasis on 'otherness' and 'difference'. In addition, these replaced descriptions are again associated with the same stigmas that they were intentionally designed to avoid. In the following discussion I have consciously used the word disabled or disability to refer to individuals with various disabilities which I have nevertheless defined as socially constructed. In doing so I am suggesting no pejorative associations. Through this project I wanted to explore notions of disability within various debates associated with disability and society. I have done this in the context of my own experience of disability, and my own attempts to come to terms with disability. In this sense this project represents a personal journey.
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Williams, Sandy IV. "Nigga Is Historical: This Is Not An Invitation For White People To Say Nigga." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5926.
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Over the past several years I have been on a quest to locate a world beyond the one I’ve been presented. I am interested in the history of atomic particles - like everything that radiates off of a monument (both literally and those things that are metaphorically reified) - invisible things, and the ways in which these things insect beyond our knowledge systems. This inquiry takes many forms. Mine is a conceptually based practice linked to record keeping and time, and the ways in which these concepts find plurality within our culture; or more pointedly, the importance that we attach to “time” and “the record”, as they relate to our “legacies”, “cultures”, or “the canon”; our histories and the ahistorical, the prehistorical, fantasies, the things that never happened but could’ve, imagined futures and parallel universes.
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Nhlangwini, Andrew Pandheni. "The ibali of Nongqawuse: translating the oral tradition into visual expression." Thesis, Port Elizabeth Technikon, 2003. http://hdl.handle.net/10948/237.
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The tribal life and the oral traditions of black South Africans have been marginalized. The consequence of the western civilization and the apartheid regime forced people to do away from their traditional heritage and culture; they adopted the western way of life. They buried their oral tradition and only a little has survived. To save the dying culture of the art of the oral tradition we need to go out and record and document the surviving oral tradition as soon as possible. Since the art of the oral tradition is an art form conducted by an artist, it may be possible to tell the ibali likaNongqawuse by means of visual imagery. Visual images can be read and be understood easily by the public because visual forms, sings, images can make up a language for both the literate as well as the illiterate.
Books on the topic "Art, Senufo (African people)"
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Förster, Till. Glänzend wie Gold: Gelbguss bei den Senufo, Elfenbeinküste. Berlin: Museum für Völkerkunde Berlin, 1987.
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Förster, Till. Glänzend wie Gold: Gelbguss bei den Senufo Elfenbeinkünste : Museum für Völkerkunde, Berlin. Berlin: Reimer Verlag, 1987.
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Garrard, Timothy F. La sagesse d'un peuple: 2000 proverbes Senoufo. s.l: At the author, 2001.
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Garrard, Timothy F. La sagesse d'un peuple: 2000 proverbes Senoufo. s.l: At the author, 2001.
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Allou, René Kouamé, 1960- writer of preface, ed. Histoire des Senoufo Niarafolo: Ferkessédougou, Côte d'Ivoire. Paris: L'Harmattan, 2014.
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Ferdinand, Ouattara Tiona. La mémoire senufo: Bois sacré, éducation et chefferie. Paris: Association pour la promotion de la recherche scientifique en Afrique noire, 1988.
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Celis, Georges. Métallurgies traditionnelles du fer: Sénoufo, Malinké et Somono, Côte d'Ivoire, Burkina Faso et Mali. Tervuren, Belgique: Musée royal de l'Afrique centrale, 2001.
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Lemaire, Marianne. Les sillons de la souffrance: Représentations du travail en pays sénoufo, Côte d'Ivoire. Paris: Maison des sciences de l'homme, 2009.
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Tuo, Daniel. Valaw kpe?̳eleganma =: Les techniques culturales. Abidjan: EDILIS, 2002.
Find full textBook chapters on the topic "Art, Senufo (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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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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Röschenthaler, Ute M. "Copying, Branding, and the Ethical Implications of Rights in Immaterial Cultural Goods." In Brand Culture and Identity, 1482–502. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7116-2.ch080.
Full textAbstract:
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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Owusu-Ansah, Frances Emily, and Gordon M. Donnir. "Psychotherapy in Indigenous Context Psychotherapy in Indigenous Context." In Research Anthology on Rehabilitation Practices and Therapy, 1080–95. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-3432-8.ch053.
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This chapter posits that the science of psychotherapy is a culturally defined art. Psychological theories must, of necessity and efficacy, be adapted and responsive to the context within which they are practiced. The Ghanaian cultural context is deeply spiritually-oriented. Socio-religious beliefs in this cultural context define the Ghanaian concept of health, ill health, and health-seeking behaviours. Therefore, effective psychotherapy and culturally competent care must be context specific and suited to the needs, norms, practices and beliefs of the indigenous people. Yet, it is not unusual to find clinicians who practice in one cultural context but were trained in another; a situation that sometimes hinders effective service delivery. The chapter discusses some of the challenges faced by Ghanaian psychotherapists, practicing in Ghana, who were trained in a non-African cultural context. Excerpts of clinical case studies are used to illustrate these issues and suggestions for culturally competent care conclude the chapter.
Conference papers on the topic "Art, Senufo (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