Relevant bibliographies by topics / Arts africains

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

Academic literature on the topic 'Arts africains'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Arts africains"

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Poinsot, Marie. "Lille, carrefour des arts africains." Hommes et Migrations 1228, no. 1 (2000): 103–7. http://dx.doi.org/10.3406/homig.2000.3606.

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Darish, Patricia, Michèle Coquet, and Michele Coquet. "Textiles Africains." African Arts 27, no. 4 (1994): 91. http://dx.doi.org/10.2307/3337328.

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Leurquin, JeannineLéon. "Faïk-Nzuji C.M. : Arts africains. Symboles et signes." L'Anthropologie 104, no. 4 (October 2000): 573–74. http://dx.doi.org/10.1016/s0003-5521(00)80040-0.

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Andriamirado, Virginie. "Les plasticiens africains sur le pont des arts." Africultures 65, no. 4 (2005): 68. http://dx.doi.org/10.3917/afcul.065.0068.

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Petit, Anne-Marie. "Le Musée des Arts Africains et Océaniens : impressions océaniennes." Bulletin de l'Association française des anthropologues 39, no. 1 (1990): 89–96. http://dx.doi.org/10.3406/jda.1990.1504.

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Cohen, Joshua. "Stages in Transition." Journal of Black Studies 43, no. 1 (November 7, 2011): 11–48. http://dx.doi.org/10.1177/0021934711426628.

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Les Ballets Africains, the first globally touring African performance company, debuted in the United States as a private Paris-based troupe in 1959 and toured again in 1960 as National Ballet of the newly independent Republic of Guinea. Although rarely considered in scholarship, Les Ballets Africains’ history during these years—encompassing the company’s first U.S. appearances and reflecting the influence of its founder, Fodéba Keita—are significant in relation to 20th-century trajectories of staged African dance, convergences between African and American performing arts practices and liberation struggles, and cultural transformations in Guinea under president Sékou Touré.
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Ze Belinga, Martial. "Économie des arts et artisanats africains : Attractivité internationale versus prédation globale." Présence Africaine 167-168, no. 1 (2003): 36. http://dx.doi.org/10.3917/presa.167.0036.

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Castelli, Enrico. "Les arts africains dans les collections nationales françaises : anarchie et ségrégation." Histoire de l'art 11, no. 1 (1990): 81–85. http://dx.doi.org/10.3406/hista.1990.2408.

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Benefice, Eric, and Marcelle Geber. "L'enfant africain dans un monde de changement: Etude ethno-psychologique dans huit pays sud-africains." Journal of the Royal Anthropological Institute 5, no. 3 (September 1999): 501. http://dx.doi.org/10.2307/2661326.

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Seksig, Alain. "Du musée des colonies au musée national des arts africains et océaniens." Hommes et Migrations 1117, no. 1 (1988): 38–41. http://dx.doi.org/10.3406/homig.1988.1239.

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Dissertations / Theses on the topic "Arts africains"

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Galaverna, Christine. "Philosophie de l'art et arts africains : une approche pragmatique." Grenoble 2, 1999. http://www.theses.fr/1999GRE29026.

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L'enjeu de cette these est l'elaboration d'une approche pragmatique de la philosophie de l'art, c'est-a-dire une approche prenant en compte l'ensemble du processus artistique depuis le projet de l'artiste jusqu'a l'activation de l'oeuvre par un public. Cette approche s'est construite a partir des ouvertures pragmatiques presentes dans langages de l'art de nelson goodman ainsi qu'a partir de l'exemple des arts africains compris comme exemple limite dans la mesure ou ils permettent de mettre en evidence les ambiguites de la problematique de l'art, notamment en ce qui concerne la definition de l'art. Ces ambiguites ont ete mises en evidence par l'examen des museographies presentant les objets africains en occident. L'approche pragmatique de la philosophie de l'art, soutenant que l'objet n'est pas donne mais construit, fait alors une large place a la notion de contexte. Celui-ci sera defini comme l'ensemble des situations et actions permettant de mettre en evidence les differentes phases du processus artistique : la production, la diffusion et la reception. Les analyses proposees dans cette these fournissent un mode d'explication de l'art en tant qu'activite humaine faisant intervenirde multiples agents : artistes et personnel de renfort (howard becker), marchands, collectionneurs, conservateurs, critiques, theoriciens de l'art, publics, dont les actions ne vont prendre sens qu'au sein du cadre general dans lequel elles s'inserent, cadre general qui sera defini comme monde de l'art. L'examen du masque danse (en afrique dite traditionnelle), ainsi que sa confrontation avec sa presentation museale (en occident) permet a terme de mettre a l'epreuve le modele pragmatique propose. Cette confrontation conduit notamment de definir le cadre general dans lequel s'insere le masque danse, non pas comme monde de l'art, mais comme monde rituel.
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Lambert, Aurélien. "Les objets d'ailleurs, ici et là-bas : perceptions, usages et significations des objets africains." Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0373.

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Ce travail de recherche vise à analyser, au moyen de l'enquête ethnographique, le phénomène de qualification des « objets africains » ainsi que les problématiques personnelles et institutionnelles qui justifient leur appropriation et leur appréciation. En se basant sur une enquête de terrain effectuée en France et au Mali, l'étude s'attache à circonscrire le spectre des pratiques individuelles et collectives qui s'organisent avec et autour de ces productions. Européens ou Africains, amateurs du dimanche, collectionneurs aguerris, sculpteurs, touristes ou marchands, une multiplicité d'acteurs individuels, issus de sphères parfois totalement étrangères les unes aux autres, gravitent autour de cette catégorie d'objets et les envisagent selon des perspectives variées. Fondé sur une approche dynamique et une mise en perspective historique visant à dessiner une anthropologie symétrique de ces objets - symétrie Afrique/Occident, objets/personnes, expert/profane -, l'objectif est donc de construire un cadre d'observation qui permette de respecter la diversité des formes d'appropriation de ces productions matérielles. Il s'agit, en d'autres termes, d'analyser les transformations physiques, sémantiques ou conceptuelles auxquelles sont soumis ces objets en vue de leur circulation et du fait de leur circulation entre des espaces géographiques, des cultures nationales et des mondes économiques différents. L'observation des dispositifs socio-techniques sur lesquels s'appuient les goûts, les pratiques et les visions du monde de ces acteurs permet ainsi d'identifier les enjeux qui les unissent ou les opposent
This research aims to analyze, through ethnographic inquiry, the phenomenon of qualification of the "African objects" as well as the personal and institutional problems that justify their appropriation and appreciation. Based on a field survey conducted in France and Mali, the study seeks to identify the spectrum of individual and collective practices that are organized around and with these productions. Europeans or Africans, amateurs, collectors, carvers, tourists and merchants, a multiplicity of individual actors, sometimes coming from areas totally strangers to each other, revolve around this object class and consider them from various perspectives. Based on a dynamic approach and on a historical viewpoint to draw a symmetrical anthropology of these objects - symmetry Africa/West, objects/people, expert/layperson - the goal is to build an observation framework which allows to respect the diversity of appropriation forms of these material productions. In other words, this work wants to analyze the physical, semantic or conceptual transformations which objects are subject for their circulation and because of their transit between geographical areas, national cultures and different economic worlds. The observation of socio-technical devices on which lean on the tastes, practices and worldviews of these actors allows to identify the stakes that unite them or divide them
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Ndiaye, El Hadji Malick. "Arts contemporains africains et enjeux du débat critique postcolonial : cartographies artistiques et discursives entre Paris et Dakar (1966-2006)." Rennes 2, 2011. http://www.theses.fr/2011REN20018.

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Une histoire culturelle partielle des modernités artistiques africaines permet de dresser une facette non iconoclaste de leur caractère. Les spécificités qui se dégagent de l’histoire des objets (chronotope du territoire, frontières spatio-temporelles, décontextualisation, aura, etc. ) indiquent les latitudes d’une géopolitique de l’iconographie. Cependant, la densité historique des années 1990 témoigne d’un changement de paradigme introduit par l’exposition Magiciens de la Terre (1989), les politiques culturelles et par l’histoire intense des biennales et festivals. Les rapports artistiques entre un Centre et une Périphérie (modèle de Samir Amin) glissent d’un internationalisme asymétrique vers un cosmopolitisme traduit par l’exposition Africa Remix (2005). La corrélation entre aires culturelles et limites géographiques perd toute pertinence, elle est progressivement remplacée par les réseaux dans une hétérogénéité spatiale. Au sein de cette nouvelle géopolitique culturelle, l’importance et la démultiplication des rôles du commissaire d’exposition sont concomitantes à la traversée des frontières par l’oeuvre d’art et par l’artiste contemporain. Il en résulte que le commissaire est un agent de transfert et de transmutation dont l’action semble de plus en plus oeuvrer entre les cultures plutôt qu’entre les canons, comme en témoigne la pratique curatoriale d’Okwui Enwezor. C’est à ce niveau qu’il importe de marquer la rupture et l’affinité qui existent entre cette génération d’acteurs culturels de la diaspora africaine, où le militantisme critique passe essentiellement par une écriture avec l’objet, et la génération senghorienne où il passait par une écriture sur l’objet. Les changements constatés au sein des cartographies artistiques et discursives permettent alors de mieux cerner l’écologie de l’oeuvre d’art dans les jeux du display. En partant de l’iconographie, cette évolution autorise l’appréhension des différents rapports entre modernité, « nationalisme » et épistémologie, tout en s’accordant avec Georges Matoré sur le fait que « l’image se souvient. Elle est à la fois potentialité et nostalgie»
A partial cultural history of African artistic modernities allows to show that they are not iconoclastic. The specificities engendered by an history which is object-based to define the hierarchy established between the images produced within and without the Western cultural space. The history of art of the 1990s saw a paradigmatic change taking place with the groundbreaking exhibition Magiciens de la Terre (1989), developments in cultural politics and the intense sequence of biennales and other mega-events. The artistic relationship between Center and Periphery shifted from an asymmetric internationalism towards the cosmopolitanism represented by the exhibition Africa Remix (2005). The relationship between cultural spaces and geographic borders progressively lost its significance, and was replaced by networks of artists from different geographic backgrounds. At the center of these new cultural geopolitics, the importance and the possible roles of the curator are paralleled by the border-crossing process of artists and artworks, resulting in the figure of a curator who is an agent of transfer and transmutation, and whose actions operate within cultures more than within canons, as demonstrated by the practice of Okwui Enwezor. At this moment it is important to mark both the break and the affinity created between a generation of cultural actors of the African diaspora, for whom critical militancy is embodied by curatorial practice, and the senghorian generation for whom this critical militancy is embodied by art criticism. The changes taking place within the artistic and discursive geopolitics allow to reveal the artwork’s evolution through the variations of its display. From an iconographical standpoint, it is important to explore the relationships created between modernity, nationalism and knowledge which, as suggested by Georges Matoré, will allow to emphasize the role of the image as an agent of memory and nostalgia
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Bertho, Elara. "Mémoire postcoloniale et figures de résistants africains dans la littérature et dans les arts. Nehanda, Samori, Sarraounia comme héros culturels." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA111.

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Tour à tour gloires nationales, héros, pères fondateurs ou au contraire tyrans sanguinaires et sorciers malfaisants, les résistants africains à la colonisation ont souvent connu une grande fortune littéraire et suscitent la fascination collective.D'abord investies par la littérature orale africaine et par l'historiographie coloniale, ces figures émergent souvent au tournant des indépendances et font leur apparition sur la scène culturelle : romans, pièces de théâtre, ballets, films, chants s'attachent à réécrire l'histoire dite nationale des nouveaux Etats. Interroger les représentations en littérature et dans les arts de ces figures héroïques, c'est donc analyser l'écriture de l'histoire en acte, la mémoire collective et l'imaginaire commun en formation.Notre hypothèse est la suivante : les arts, et la littérature au premier plan, jouent un rôle prépondérant dans la création d'identités collectives. Il s'agit donc de vérifier de manière pragmatique la place du fait littéraire, et plus généralement artistique, dans la formation d'imaginaires collectifs, de lier littérature, histoire, société afin d'expérimenter que la littérature n'est pas qu'un « lieu de mémoire » sanctuarisé mais qu'elle participe activement à son élaboration. La littérature est alors liée au fait politique, au sens large de construction du vivre-ensemble dans et par les discours
Great figures, national heroes, founding fathers or on the contrary tyrannical figures or witches, African resistants to colonisation often appear in literature and arts, and they possess a fascinating aura. Those heroes have emerged since the end of the nineteenth century in oral african literature and in the colonialist European literature. Then, they morphed into National heroes during the independence period and they still play a prominent role in today's African literature and in fictions more generally.The aim of my thesis is to analyse different kinds of updating those heroes, from 1890 to the contemporary world, in fictions and “texts” in its extensive meaning. This study is inspired by Certeau's approach to historical writing. Literature (theatre, poetry, novels...) but also other texts less valued by institutions or less studied as songs, ballets (in television or in theatres), school books (as history textbooks). The latter section requires fields research, as manuals cannot be found in France.Samori (Guinea Conakry), Sarraounia (Niger) and Nehanda (Zimbabwe) were converted from historical person into narrative characters, and as such they embody the memory of the colonization process, the fascinating values (with all connotations, whether positive or negative) of a group, and a collective imagination of history. Far from being a sanctuary dedicated to the preservation of memory and history, literature plays a major role in the construction of imaginative communities and in the elaboration of a common past. Literature, through such cultural heroes or “literary myths”, performs the critical function of encompassing as well as reshaping the lines of postcolonial memory
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Reis, Edmilson Quirino dos. "A representação do corpo humano na arte Iorubá." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-27042015-154306/.

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A dissertação tem como objeto de pesquisa obras de arte tradicionais de origem africana do grupo étnico Iorubá onde se encontra representado o corpo humano. Busco elucidar as causas sociais, históricas, filosóficas que possibilitaram as produções escultóricas artísticas que apresentam geralmente formas antropóides.
The dissertation has as object of research works of traditional art from Africa\'s Yoruba ethnic group where the representation of the human body. Seeking to explain the social, historical, philosophical causes that allowed the artistic sculptural productions usually feature anthropoid forms.
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Boaro, Júlio César. "Esculpir o tempo: arte, educação e ancestralidade entre os Fons, os Iorubás e os Tchokwes." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-30092013-161541/.

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Esta dissertação aponta para um caminho cuja trajetória é a busca e o entendimento da complexidade da arte e da cultura africana, especialmente da África subsaariana e, dessa forma, contribuir para uma reflexão sobre a formação da cultura brasileira nos seus modos de ser e de pensar, através das características atribuídas aos descendentes de africanos que para o Brasil foram trazidos na condição de escravos. Nosso ponto de partida é a religiosidade de matriz africana reinventada no Brasil, e o motivo pelo qual a escolhemos como base, sem nos aprofundarmos em seus significados, é que ela guarda, mesmo que recriados, traços importantes da linguagem e de um modo de ser que refletem uma maneira muito peculiar característica dos habitantes daquele continente. Aportando nossos estudos no citado território, especialmente nos sítios dos iorubás (Nigéria, principalmente), dos fons (Benim) e dos tchokwes (Angola e Congo), utilizamos a arte não somente como uma maneira de expressão da cultura, mas também apresentando a produção escultórica como uma forma de dialogar com a mitologia. História, arte, mitologia, ancestralidade, poesia e educação africana estão presentes nesta pesquisa que também visa contribuir com as Leis 10639/03 e 11.645/08, de ensino de história e culturas africanas e afro-brasileiras nas salas de aula.
This work points to a path whose trajectory is seeking and understanding of the complexity of art and African culture, especially Sub-Saharan Africa and thereby contribute to a reflection on the formation of Brazilian culture in their ways of being and thinking, through the characteristics attributed to the descendants of Africans who were brought to Brazil as slaves. Our starting point is the religiosity of African reinvented in Brazil, and the reason we chose as the base, without delving into their meanings, is that she keeps, even recreated important features of language and a way of being that reflect a very peculiar characteristic of the inhabitants of that continent. Bringing our studies in the said territory, especially in sites Yoruba (Nigeria, mostly), the fons (Benin) and tchokwes (Angola and Congo), we use the art not only as a way of expression of culture, but also showing the production sculpture as a form of dialogue with the mythology. History, art, mythology, ancestry, poetry and African education are present in this study also aims to contribute to the Laws 10639/03 and 11.645/08, teaching history and African cultures and african-Brazilian classrooms.
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Lim, Samuel. "L'art africain : systématicité et classification : exemple : la statuaire africaine." Paris 1, 1999. http://www.theses.fr/1999PA010634.

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À de rares exceptions près, l'analyse des arts africains n'a guère dépassé la phase purement descriptive des phénomènes ou des simples généralités. Le plus souvent, elle n'a pas cherché le moins du monde à constituer une problématique. Carl Einstein fut cependant, en ce domaine, un précurseur émérite. Et, à notre connaissance, il le reste encore, bien que certaines de ses vues soient tombées aujourd'hui en désuétude. C'est alors que parait, en 1915, à Leipniz en Allemagne, le negerplastik dont Carl Einstein fut l'auteur, bref ouvrage ethnographiquement des plus flous et des plus ambigus, mais esthétiquement très important et fiable, car les qualités maitresses de la sculpture noire y sont mises éminemment en évidence dans la mesure ou l'auteur y découvrait à sa grande surprise des réponses à certains problèmes cardinaux et cruciaux qui se posaient alors pour les plus sagaces des artistes européens. Art visant au premier chef moins à décrire qu'à instaurer des réalités et qui, dédaigneux des virtuosités, exigeait l'établissement, entre les diverses parties de l'œuvre, des connexions plastiques indépendantes, des connexions d'ordre logique dues à ce que la chose figurée présente par elle-même une unité (personnage, par exemple, ou motif quelconque qui a été saisi comme un tout isolable), art dont l'un des objectifs majeurs était l'organisation cohérente et vivante des formes, soit leur liaison par analogie ou par contraste, leur équilibre et leur assujettissement à un rythme. La sculpture noire se situait, au point de vue morphologique, sur un plan voisin de celui du cubisme tel qu'il était alors connu
With very rare exceptions the analysis of African art has hardly progressed beyond the purely descriptive stage or that of simple generalities. In most cases, it has not sought in the least degree to constitute a problematic. Carl einstein was however a distinguished predecessor in this domain. And, to our knowledge, he still romains so, even if some of his views have today fallen into disuse. Carl Einstein's negerplastik appeared in leipniz, germany in 1915. It was a short work which in terms of ethnography ranks amongst the most vague and ambiguous exemples, even as it is aesthetically very important and trustworthy, because it puts clearly in evidence the masterful qualities of blac sculpture, to the extent that the author discovers to his great surprise responses or answers to cortain fundamental and crucial problems that then occupied the most penetrating and knowedgeable european artists. The essential aim of this art is not so much to describe, but rather to establish certain realities. This approach requires a turn from virtuosity in favor of the establishment of plastik connections between diverse parts of the work, independent of connections of a logical order : owing to this, the thing figured represents for itself a unity (a personage for instance, or whatever motif has been grasped as an isolable whole). Given that one of the major objectives of this art was the coherent and lively organisation of forms, either liason by analogy or contrast their balance and subjection to a rythm, black sculpture situated itself on a plane morphologic neughbowring cubism as it was then known
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Mauchan, Fiona. "The African Biennale : envisioning ‘authentic’ African contemporaneity." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2596.

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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009.
This thesis aims to assess the extent to which the African curated exhibition, Dak’Art: Biennale de l’art africain contemporain , succeeds in subverting hegemonic Western representations of African art as necessarily ‘exotic’ and ‘Other.’ My investigation of the Dak’Art biennale in this thesis is informed and preceded by a study of evolutionist assumptions towards African art and the continuing struggle for command over the African voice. I outline the trajectory of African art from primitive artifact to artwork, highlighting the prejudices that have kept Africans from being valued as equals and unique artists in their own right. I then look at exhibiting techniques employed to move beyond perceptions of the tribal, to subvert the exoticising tendency of the West and remedy the marginalised position of the larger African artistic community.
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Coleman, Tasha. "Including African Americans in the mainstream museum experience /." Philadelphia, Pa. : Drexel University, 2000.

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Pretorius, Susanna Cornelia. "Visitors' perceived contribution of South African arts festivals to the arts / Susanna Cornelia Pretorius." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9824.

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The primary goal of the study was to determine the contribution of three distinct South African arts festivals to the arts, namely Klein Karoo National Arts Festival (KKNK), Innibos and Vryfees arts festivals as perceived by visitors to the festivals. To achieve this goal, five objectives were formulated. Firstly, to provide a literature overview of the arts phenomena, by exploring the relationship between arts and culture, the arts context, the arts-related tourism product and then the perceived contributions of arts festivals to the arts; secondly, to determine the perceptions that the visitors to Klein Karoo National Arts Festival (KKNK) have regarding the festival’s contribution to the arts and whether the perceived contributions differs according to the sociodemographic characteristics of the visitors to KKNK; thirdly, to determine the perceived contribution of Innibos Low Veld National Arts Festival (Innibos) and Vryfees Arts Festival (Vryfees) to the arts and, here, to analyse possible differences regarding festival visitors’ involvement in the arts according to their arts preferences; fourthly, to determine the perceived contribution of arts festivals in South Africa to the arts at three arts festivals, namely the KKNK, Innibos and Vryfees festivals, and then to analyse whether or not the festivals differ in terms of their contribution to the arts; and lastly, to draw conclusions from the research and to make recommendations regarding the contributions that these selected South African arts festivals make to the arts. The first objective was achieved by conducting a literature study. Literature was analysed to dentify the relationship between arts and culture when defining the arts. The arts were then placed in the arts festival context; explaining and identifying different art forms that can be present at these events, where after the arts related tourism products were explored with a particular focus on arts festivals. Six contributing factors that arts festivals have for the arts were identified from the literature and each was discussed separately. The contributing factors discovered include the emotional contribution, educational contribution, economic contribution, quality contribution, marketing contribution and the growth and development contribution. Achieving the second objective entailed using a destination-based survey administered at KKNK in Oudtshoorn, Western Cape. An exploratory factor analysis was subsequently conducted and five factors revealed themselves, being Visual arts enhancement, Performing arts enhancement, Emotional inspiration, Visual arts involvement and Performing arts exposure. The factor analysis indicated that KKNK is perceived to contribute to the arts. ANOVAs and ttests were undertaken for further statistical analysis to determine differences in perception between socio-demographic characteristics, such as age, previous arts exposure, arts preference and geographic location of the visitors to KKNK. As the festival is perceived to contribute to the arts, implications were structured for the festival to ensure its continuing contribution to all forms of the arts equally. The third objective was to determine the contributing factors to the arts of two arts festivals, the Innibos and Vryfees festivals, and to determine whether or not preference for a particular type of art might influence personal arts involvement at the festivals. Surveys were conducted at both Innibos in Mbombela, Mpumalanga and at Vryfees in Bloemfontein, Free State. Separate exploratory factor analyses and two-way frequency tables were subsequently conducted to determine the contributing factors of the festivals. This process was followed by independent ttests that were used to investigate any statistically significant differences between visitors who preferred the performing arts and those who leaned towards the visual arts and to their personal involvement to the arts. The results show some moderate differences between arts preference and personal arts involvement concerning the purchase of performing and visual arts products and activities. The results are relevant when the marketing and planning of arts festivals is considered in order to achieve both better arts contribution and personal arts involvement. The fourth objective sought to determine the perceived contribution of three Afrikaans arts festivals, the KKNK, Innibos and Vryfees festivals, to the arts. Differences in contributions amongst the festivals were analysed and those areas that seemed to lack contribution were identified. Questionnaire surveys were conducted, whereafter an exploratory factor analysis was performed to determine by means of factors the perceived contribution at these arts festivals. ANOVAs were done to determine any statistically significant differences in the contributions of the three festivals to the performing arts and to the visual arts in terms of each contribution as identified in literature. The results of this study indicated that the extent of their contribution varied in terms of both the type and the level of their contribution to the arts they presented. The results confirm that the visitors to Afrikaans arts festivals in South Africa perceive them as contributing to the arts. Marketing, programming and planning proposals to effectively increase the arts contribution at these three festivals were also made. The final objective, to draw conclusions and make recommendations founded on the results of the study, indicated that this study made a significant contribution to arts festival planning as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. This research made a significant contribution to arts festival research and the contribution that arts festivals have to the arts, since this is the first of its kind. It was recommended that the actual contribution of arts festivals to the arts be measured and not merely the contributions these festivals may appear to have according to the perceptions of festival visitors. It was also evident that the personal involvement of visitors to the arts festivals must be considered when evaluating the contribution of the festivals to the arts. Future research on this topic should be conducted at other arts festivals in order to enable comparative studies. A better understanding of the contributing factors of the arts festival to the arts will assist festival managers in implementing strategies that ensures the livelihood and on-going contribution of arts festivals to the arts. Examining arts festivals based on their perceived contributions has, therefore, proved useful to comprehensively evaluate the festivals under review and particularly as they seek to increase their contribution to all types of arts.
Thesis (MCom (Tourism Management))--North-West University, Potchefstroom Campus, 2013.
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Books on the topic "Arts africains"

1

Madiya, C. Faïk-Nzuji. Arts africains: Signes et symboles. Bruxelles: De Boeck Université, 1999.

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Madiya, C. Faïk-Nzuji. Arts africains: Signes et symboles. Bruxelles: De Boeck Université, 1999.

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Meyer, Laure. Objets africains. Paris: Terrail, 2007.

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Musée national des arts africains et océaniens. Musée des arts africains et océaniens: Guide. Paris: Ministère de la culture et de la communication, Editions de la Réunion des musées nationaux, 1987.

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Objets africains: Vie quotidienne, rites, arts de cour. Paris: Terrail, 1994.

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Michel Leiris et la théorie des arts africains. Paris: L'Harmattan, 2003.

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author, Hardy Floriane, Polle Caroline author, and Sourrieu Marianne Pourtal author, eds. Musée d'arts africains, océaniens, amérindiens: Guide des collections. Paris: Artlys, 2013.

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Biéville, Clémence de. Trente-six sculptures de Jean-Louis Faure: Inventaire descriptif par un expert en arts africains. Nantes: Editions Joca seria, 1993.

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Madiya, C. Faïk-Nzuji. Le dit des signes: Répertoire de signes graphiques dans les cultures et les arts africains. Hull, Québec: Musée canadien des civilisations, 1996.

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Blandin, André. 400 objets africains pour la vie quotidienne, et pour la musique, le jeu, la parade, la chasse, la guerre et autres activités. Marignane, France: A. Blandin, 1996.

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Book chapters on the topic "Arts africains"

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Bidima, Jean-Godefroy. "L'esthétique des arts négro-africains: Pluralité et historicité des imaginaires et pratiques." In Aesthetics and Philosophy of Art, 83–110. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5069-5_5.

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Izibili, Matthew A. "African Arts and Difference." In Handbooks in Philosophy, 1–11. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04941-6_10-1.

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Izibili, Matthew A. "African Arts and Difference." In Handbooks in Philosophy, 205–15. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-14835-5_10.

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Merolla, Daniela. "African verbal arts online." In Oral Literary Performance in Africa, 153–77. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Routledge African studies: Routledge, 2021. http://dx.doi.org/10.4324/9781003111887-13.

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Smethurst, James Edward. "The Black Arts Movement." In A Companion to African American Literature, 302–14. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323474.ch20.

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Adésànyà, Adérónké Adésolá. "African Women in African Arts: Making Art for Change." In The Palgrave Handbook of African Women's Studies, 1–27. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-77030-7_46-1.

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Simanga, Michael. "The Black Arts Movement and CAP." In Amiri Baraka and the Congress of African People, 49–52. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137080653_5.

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Hampton, Verna. "Michelle’s Arms." In Michelle Obama’s Impact on African American Women and Girls, 159–60. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92468-7_17.

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Adésànyà, Adérónké Adésolá. "African Women in African Arts: Activists, Cultural Brokers, and Boundary Breakers." In The Palgrave Handbook of African Women's Studies, 1–28. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-77030-7_177-1.

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Okunade, Adeoluwa. "Arts and Music in African Derived Diaspora Religions." In Contemporary Perspectives on Religions in Africa and the African Diaspora, 125–32. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137498052_11.

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Conference papers on the topic "Arts africains"

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Oladumiye, Bankole E. "Analtical Perception of Arts and Science in Contemporary African Arts." In 2013 International Conference on Cyberworlds (CW). IEEE, 2013. http://dx.doi.org/10.1109/cw.2013.22.

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Netshivhambe Evans, N. "THE IMPORTANCE OF DOCUMENTING INDIGENOUS AFRICAN SHEET MUSIC." In International Conference on Arts and Humanities. The International Institute of Knowledge Management (TIIKM), 2018. http://dx.doi.org/10.17501/icoah.2017.4111.

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Dereje, Debeli, Jieyuan Liu, and Jiu Zhou. "African textile design and fabric arts as a source for contemporary fashion trends." In 2nd International Conference on Science and Social Research (ICSSR 2013). Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/icssr-13.2013.50.

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Dudek, Cheryl Kolak, Margarita Lypiridou, Nasim Sedaghat, Sudhir Mudur, Fred Szabo, Lydia Sharman, and Thomas Fevens. "African Kuba textiles." In ACM SIGGRAPH 2008 art gallery. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1400385.1400411.

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T. Ghodake, Sangita. "ADAPTING CULTURES: A CASE STUDY OF THE SELECTED DALIT AND AFRICAN AMERICAN AUTOBIOGRAPHIES." In International Conference on Arts and Humanities. TIIKM, 2017. http://dx.doi.org/10.17501/icoah.2016.3110.

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Kondrashova Sayko, Yelena. "Experiencia didáctica de artes plásticas en Guinea Ecuatorial." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10321.

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Este trabajo parte del testimonio de mi experiencia didáctica de un taller de artes plásticas en el Centro cultural de España en Malabo, Guinea Ecuatorial, realizado entre los meses febrero y abril de 2019. Se trata de un proyecto personal de enseñanza de técnicas gráficas en torno al retrato como hilo conductor y la maestría de conceptos y técnicas básicas para formar capacidades plásticas y expresivas de los alumnos. La especificidad del país donde transcurre el taller consiste en su situación sociopolítica y vinculación reciente a España, en la ausencia de enseñanzas artísticas regladas como tales, y la extrema dificultad al acceso a los materiales y a fuentes pictóricas y bibliográficas. Política- y socialmente nos encontramos pues en un contexto muy diferente al europeo, y el objetivo de este paper será hacer una reflexión sobre el retrato y la didáctica del arte como campos para la subjetividad en términos políticos y estéticos a partir de una experiencia concreta en un territorio donde de facto se interponen factores materiales, culturales y políticos, así como explorar el contexto artístico y educativo del país que apenas cumple 50 años de independencia respecto a España y tiene una de las rentas per cápita más elevadas del continente africano.
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Andriolo, Arley. "A questão da alteridade no “primitivismo artístico”." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3558.

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Desde 1938, com a publicação do livro de Robert Goldwater, a noção de “primitivismo artístico” evidenciava a visada do artista europeu para as obras plásticas africanas. Em 1984, essa relação foi reforçada com a exposição Primitivism in XXth century art, organizada por William Rubin. Alguns críticos dessa associação mostram que o campo perceptivo daqueles artistas não se dirigia apenas para os habitantes da África, mas para uma série de personagens, dentre os quais, ciganos, prostitutas, loucos e camponeses. Meu objetivo será o de rever essa problemática para propor uma reflexão metodológica que considere a questão da alteridade, particularmente, enfocando a emergência diante do artista de uma multiplicidade de outros a solicitar o seu olhar.
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Qin, Pengju. "Achebe's Racial Political Criticism and the Construction of African Subjectivity." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.57.

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Opoku-Boateng, Judith. "Applying the “baby nursing model” in under-resourced audiovisual archives in Africa." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.4.18.

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It is a well-known fact that there has been extensive documentation of African traditional arts in post-colonial Africa, which has contributed to the growing accumulation of field recordings in Africa that could form the nucleus for archives in individual African countries. These include private collections as well as recordings at broadcasting and television stations; government ministries such as Tourism, Culture and Information; museums and academic institutions. Sadly, these precious traditions – which have been expensively captured – are often not properly managed in their host institutions. The caretakers of this heritage mostly sit by as collections deteriorate and sometimes are disposed of due to lack of institutional support. Such practices prevail in most African archives. This paper proposes a new mode of consciousness of the value of audiovisual heritage materials by comparing them with human babies. This new archival management principle, ‘the baby nursing model’, has been adopted and practiced at the University of Ghana and has achieved positive results.
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Amuhaya, Claire Ayuma, Gbadebo Afolabi, and Joaddan Prisca Kommegni Fongang. "A Shift from Ideological to Soft Power Cooperation of Russia and African Countries in Arts, Education and Science." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.464.

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Reports on the topic "Arts africains"

1

Thomas, Marlan A. The Underrepresentation of African Americans in Army Combat Arms Branches. Fort Belvoir, VA: Defense Technical Information Center, December 2014. http://dx.doi.org/10.21236/ada614091.

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