Journal articles: 'Arts africains'

1

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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Jézéquel, Jean-Hervé. "Les professionnels africains de la recherche dans l'État colonial tardif." Revue d'Histoire des Sciences Humaines 24, no. 1 (2011): 35. http://dx.doi.org/10.3917/rhsh.024.0035.

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Ferraz Barbosa, Bartira, and Natália Moragas. "Indigènes, Africains et Afrodescendants dans l’œuvre de Frans Post." Caravelle, no. 107 (December 31, 2016): 31–44. http://dx.doi.org/10.4000/caravelle.2058.

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Batard, Anouk. "Les arts de faire bureaucratique(s) de Nollywood." Emulations - Revue de sciences sociales, no. 37 (March 19, 2021): 93–117. http://dx.doi.org/10.14428/emulations.037.06.

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Cet article explore, par l’ethnographie, l’hétérogénéité des arts de faire bureaucratique(s) de producteurs audiovisuels ouest-africains relativement autonomes, qui se sont émancipés avec succès de la télévision publique nigériane au moment de l’ajustement structurel. Au travers d’associations professionnelles, une fragile élite autoproclamée du cinéma nigérian déploie des formes d’adaptation créative devant « faire avec » les processus de bureaucratisation de la société. Ces praticiens se réapproprient, voire contournent, des formes de bureaucratisation, tout en « faisant bureaucratique », c’est-à-dire en se (re)présentant tout disposés à mettre en œuvre des normes issues des modèles de la démocratie libérale et du capitalisme global. Finalement, la bureaucratisation de Nollywood se caractérise par la régulation de cet espace réputé informel saisi comme marché au service de l’État-nation.

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Alves-Melo, Patricia. "Histoires, identités et frontières : Indiens et Africains dans l’Amazonie coloniale." Caravelle, no. 107 (December 31, 2016): 45–55. http://dx.doi.org/10.4000/caravelle.2076.

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Aka-Evy, Jean-Luc. "Nu pour soi, Nu pour autrui. Sur la résistance des arts « traditionnels » négro-africains à la muséification." Présence Africaine 171, no. 1 (2005): 9. http://dx.doi.org/10.3917/presa.171.0009.

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Dasen, Pierre R. "Développement psychologique et activités quotidiennes chez des enfants africains." Enfance 41, no. 3 (1988): 3–23. http://dx.doi.org/10.3406/enfan.1988.2152.

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Kuczynski, Liliane. "La dictature du nom. Du patronyme au pseudonyme chez les marabouts africains de Paris." L'Homme 37, no. 141 (1997): 101–17. http://dx.doi.org/10.3406/hom.1997.370204.

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18

Merdinger, J. E. (Jane E. ). "Episcopus et plebs: L'eveque et la communaute ecclesiale dans les conciles africains (345-525) (review)." Catholic Historical Review 91, no. 4 (2005): 777–79. http://dx.doi.org/10.1353/cat.2006.0064.

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Dompierre, Sylvie, and Marguerite Lavallée. "Degré de Contact et Stress Acculturatif Dans le Processus D'adaptation des Réfugiés Africains." International Journal of Psychology 25, no. 2 (January 1990): 417–37. http://dx.doi.org/10.1080/00207599008247875.

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20

Mouralis, Bernard. "Les crivains africains francophones et l'essai: littrature d'ides ou prise de position?" International Journal of Francophone Studies 9, no. 1 (April 1, 2006): 17–39. http://dx.doi.org/10.1386/ijfs.9.1.17/1.

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21

Hondius, Dienke. "Black Africans in Seventeenth-Century Amsterdam." Renaissance and Reformation 31, no. 2 (January 1, 2008): 87–105. http://dx.doi.org/10.33137/rr.v31i2.9185.

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Les hommes et les femmes d’Afrique noire sont arrivés dans les villes d’Europe du Nord en tant que serviteurs, esclaves, amants et employés des marchands portugais et espagnol, ou en tant que diplomates. Le statut de ces noirs d’Afrique était une nouveauté et fluctuait, et on constate une surprenante variété de leurs expériences au Pays-Bas. En 1596, un premier groupe de plus de 100 africains — hommes, femmes et enfants — est arrivé de manière imprévue dans le port de Middlebourg. Étonnamment, les autorités locales ont proclamé leur libération, mais le capitaine qui considérait ces gens comme sa marchandise a protesté et a obtenu la permission de les convoyer vers les Indes Occidentales. Parmi les noirs présents à Amsterdam, des mariages mixtes ont eu lieu, des juifs noirs ont été enterrés dans le cimetière juif portugais à l’extérieur d’Amsterdam, et on sait que Rembrandt avait des voisins d’Afrique noire. Ces données extraites des archives locales se révèlent prometteuses pour la recherche sur la présence urbaine des noirs en Europe durant les débuts de la modernité.

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Oliveira, Solange Ribeiro. "Referências intermidiáticas em Ponciá Vicêncio e Um defeito de cor/." Revista Letras Raras 9, no. 3 (August 29, 2020): 24. http://dx.doi.org/10.35572/rlr.v9i3.1864.

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RESUMOÁ luz dos conceitos de “referência”, proposto por Irina Rajewsky, e de ´”écfrase”, na conceituação de Claus Clüver, o texto analisa as referências intermidiáticas em dois romances brasileiros, Ponciá Vicêncio (2003), de Conceição Evaristo, e Um defeito de cor (2017), de Ana Maria Gonçalves. Em ambos os romances destaca-se o tema da liberdade e da memória cultural dos povos de cor em sua relação com a as artes visuais: a arte do barro, explorada em Ponciá Vicêncio e a criação de máscaras africanas (gélédes), em Um defeito de cor. No decorrer de sua experiência , duas jovens negras, protagonistas dos dois romances, em sua própria prática ou no encontro com a obra de um artista africano, acabam por encontrar na arte um veículo para a preservação da história de seu povo. Nesse contexto, a narrativa finalmente conduz a considerações não só sobre a influência da arte africana na criação contemporânea como também sobre a possibilidade de sua continuidade na produção de artistas brasileiros em nossos dias. PALAVRAS-CHAVE: Referências intermidiáticas;; Literatura e as artes visuais; Arte e memória cultural

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23

Talton, Benjamin. "1960s Africa in Historical Perspective." Journal of Black Studies 43, no. 1 (October 3, 2011): 3–10. http://dx.doi.org/10.1177/0021934711420258.

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Scholars and other commentators have largely characterized the histories of African nations in terms of failed states, economic underdevelopment, political corruption, and civil war. This introduction and the articles that follow demonstrate the utility of breaking out of the mold of measuring African “successes” and “failures” in terms of national politics and economics, without due consideration of local political histories, popular culture, and the arts, which offer a dramatically different view of Africa’s and Africans’ influences and success within the continent and on the global stage. Toward that end, this introductory essay advocates mitigating the standard analytical model through close studies of relationships between Africans and people of African descent in which politics and economic “development” are placed alongside the arts, popular culture, and sports, with a particular emphasis on the critical decade of the 1960s as central to shaping the course of “postcolonial” African histories.

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Aggarwal, Kusum. "Centième anniversaire de L.S. Senghor. Cent ans de littérature, de pensée africaine et de réflexion sur les arts africains. N° sp. d’Éthiopiques. Revue négro-africaine de littérature et de philosophie, (Dakar : Fondation Senghor), n°76, 1 semestre 2006, 406 p. – ISSN 0850-2005." Études littéraires africaines, no. 23 (2007): 70. http://dx.doi.org/10.7202/1035463ar.

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25

Lowe, Kate. "Black Africans' Religious and Cultural Assimilation to, or Appropriation of, Catholicism in Italy, 1470-1520." Renaissance and Reformation 31, no. 2 (January 1, 2008): 67–86. http://dx.doi.org/10.33137/rr.v31i2.9184.

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Dans cet article, j’examine trois exemples d’africains sub-sahariens présents dans l’Italie de la Renaissance et qui ont assimilé avec succès les fondamentaux du catholicisme. On considère qu’il était impossible pour les noirs africains en Europe de se réinventer une nouvelle identité sans être préparés à apprendre comment mener une vie de catholique pieux. Toutefois, ce niveau d’assimilation était contesté régulièrement par les Européens ‘blancs’. On en examine trois exemples: le premier concerne les préjugés courants qui empêchaient qu’un couple d’esclaves noirs donne leur enfant le nom d’un saint catholique. Un deuxième exemple consiste en l’introduction d’un donateur noir dans un retable du XVe siècle. Le troisième exemple analyse le contenu religieux du testament d’une femme d’Afrique noire.

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Santos, Inaicyra Falcão dos. "Creatividad y comunicación intercultural escénica." Revista Aspas 7, no. 1 (September 7, 2017): 20. http://dx.doi.org/10.11606/issn.2238-3999.v7i1p20-33.

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Las limitaciones conceptuales del baile afro o como lo considero africano-brasileño son ocasionadas por las bases epistemológicas hegemónicas construidas oficialmente, las cuales no contribuyen con la difusión de la diversidad artística en sus distintos aspectos y contextos. En este contexto, sigo la discusión planteada en la tesis de doctorado Corpo e ancestralidade, cuya propuesta indica posibilidades de investigación, de creación en las artes escénicas y en la educación desde la relación entre arte y tradición africana-brasileña. En este sentido, propongo establecer relaciones entre estudio, enseñanza y proceso creativo, sobre todo de nuevas posibilidades para las enseñanzas ancestrales africanas desde los aportes más amplios de comunicación intercultural en la contemporaneidad.

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27

Rodary, Estienne. "Thomas Bierschenk, Jean-Pierre Chauveau et Jean-Pierre Olivier de Sardan, eds, Courtiers en développement. Les villages africains en quête de projets." L'Homme, no. 164 (December 1, 2002): 162–63. http://dx.doi.org/10.4000/lhomme.14142.

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Hayman, Rachel. "Laurent Monnier, Bogumil Jewsiewicki and Gauthier De Villers (eds), Chasse au diamant au Congo/Zaïre, Cahiers Africains 45–6 (série 2000). Tervuren: Institut Africain–CEDAF; Paris: Harmattan, 2001, 240 pp., €18.59, ISBN 2 7475 0972 9 paperback." Africa 73, no. 2 (May 2003): 321–22. http://dx.doi.org/10.3366/afr.2003.73.2.321.

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Casares, Aurelia Martín, and Marga G. Barranco. "Popular Literary Depictions of Black African Weddings in Early Modern Spain." Renaissance and Reformation 31, no. 2 (January 1, 2008): 107–21. http://dx.doi.org/10.33137/rr.v31i2.9187.

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Les caractéristiques des noirs d’Afrique sont abondamment décrites dans la littérature espagnole de la Renaissance. Ces descriptions littéraires révèlent beaucoup au sujet de l’image que l’on en avait dans les représentations collectives. La création de protagonistes et de personnages secondaires africains offre une cristallisation des observations des réalités sociales et de l’élaboration artistique de préjugés et de stéréotypes sociaux. Cet article analyse deux textes présentant des mariages de noirs d’Afrique: le premier texte est une courte pièce du XVIIe siècle de Francisco de Avellaneda, et le deuxième est une ballade populaire, datant du XVIIIe siècle, et portant sur la célébration d’un mariage noir en Andalousie. Ces deux sources décrivent le mariage en se concentrant spécialement sur la dégradation des caractéristiques féminines et de la «beauté noire».

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DIAS FERRAZ, THAÍS. "ARTE AFRICANA." Revista Territórios 03, no. 01 (January 29, 2021): 72–80. http://dx.doi.org/10.53782/53.

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A riqueza cultural do continente africano reflete a sua antiga história e é tão diversificada quanto foi a sua natureza ao longo dos anos. O dia a dia das centenas de tribos lá existentes é fortemente marcado por algum segmento artístico. A pequena tribo Ndebele da África do Sul destaca-se com seus grafismos simétricos de cores intensas que estampam casas, roupas, muros e objetos decorativos. Esther Mahlangu foi pioneira ao colocar todo o colorido de Ndebele em telas e a cruzar o oceano para tornar suas obras mundialmente conhecidas.

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McCluskey, John. "Fine Arts & Africana Studies." Callaloo 38, no. 3 (2015): 566–69. http://dx.doi.org/10.1353/cal.2015.0095.

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32

Boulanger, Dorothée. "Elara Bertho, Sorcières, Tyrans, Héros: mémoires postcoloniales de résistants africains. Paris: Éditions Honoré Champion (pb €50 – 978 2 7453 5045 9). 2019, 520 pp." Africa 90, no. 4 (August 2020): 808–9. http://dx.doi.org/10.1017/s0001972020000480.

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33

Emongo, Lomomba. "Cl. M. FAIK-NZUJI, Le Dit des signes. Répertoire de symboles graphiques dans les cultures et les arts africains. Hull, Musée canadien des Civilisations, 1996, 211 p., illustr., tabl., gloss., index." Anthropologie et Sociétés 22, no. 1 (1998): 198. http://dx.doi.org/10.7202/015529ar.

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Santos, Inaicyra Falcão dos. "Criatividade e comunicação intercultural cênica." Revista Aspas 7, no. 1 (September 7, 2017): 6. http://dx.doi.org/10.11606/issn.2238-3999.v7i1p6-19.

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As limitações conceituais acerca da dança afro ou, como a considero, africano-brasileira se devem às bases epistemológicas hegemônicas constituídas oficialmente, as quais não fornecem referenciais que difundam a diversidade artística em seus distintos aspectos e contextos. Nessa vivência, delineio a trilha concebida na tese de doutorado Corpo e ancestralidade – cuja proposta indica possibilidades de pesquisa e criação nas artes cênicas e na educação, a partir da relação entre a arte e a tradição africano-brasileira. Nessa conjunção, proponho trilhas que entrelaçam estudo, ensino e processo criativo, e, sobretudo, destaco novas possibilidades para os ensinamentos ancestrais africanos no entendimento mais amplo da comunicação intercultural na contemporaneidade.

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35

Silva, Ana Carla de Moraes da, and Beatriz Araújo da Silva. "Educação, artes e os saberes ancestrais no combate ao racismo." Filosofia e Educação 13, no. 1 (May 13, 2021): 1938–63. http://dx.doi.org/10.20396/rfe.v13i1.8664181.

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O texto traz uma discussão sobre Educação, Artes e Saberes Ancestrais como aportes importantes para o combate ao racismo. Utilizamos teorias estruturadas no Movimento Negro, de Mulheres Negras no viés Cultural, Político, Estético, Religioso e nos pilares dos Saberes Ancestrais africanos em diásporas. Partimos da reflexão das interações socioculturais e escolares mediante uma práxis dialógica entre Educação, Arte e Saberes Ancestrais, discorrendo sobre o corpo do negro como discurso no mundo e a afetividade como uma tecnologia humana no processo de pertencimento e reconhecimento histórico e social para a reconexão da memória do povo africano em diáspora.

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Eze, Emmanuel C. "The Time and Arts of Africa's Modernity." Antipode 35, no. 2 (March 2003): 392–401. http://dx.doi.org/10.1111/1467-8330.00330.

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NETTLETON, ANITRA. "Arts and Africana: Hierarchies of Material Culture." South African Historical Journal 29, no. 1 (November 1993): 61–75. http://dx.doi.org/10.1080/02582479308671762.

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38

Dewey, William J., Roberto Ballarini, and Christopher Spring. "Black Africa's Traditional Arms." African Arts 28, no. 1 (1995): 15. http://dx.doi.org/10.2307/3337246.

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Hayman, Rachel. "Gauthier De Villers with Jean Omasombo and Erik Kennes, République Démocratique du Congo. Guerre et politique : les trente derniers mois de L. D. Kabila (août 1998–janvier 2001), Cahiers Africains 47-48 (série 2000). Tervuren: Institut Africain-CEDAF; Paris: Harmattan, 2001, 342 pp., €23.55, ISSN 1021-9994 paperback." Africa 73, no. 2 (May 2003): 320–21. http://dx.doi.org/10.3366/afr.2003.73.2.320.

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Friedler, Sharon. "Marche Des Arts Du Spectacle Africain (MASA 97) (review)." Theatre Journal 50, no. 1 (1998): 108–10. http://dx.doi.org/10.1353/tj.1998.0016.

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Sawadogo, Boukary. "Presence and exhibition of African film in Harlem." Journal of African Cinemas 12, no. 2-3 (December 1, 2020): 163–75. http://dx.doi.org/10.1386/jac_00034_1.

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Throughout the twentieth-century American history, the circulation of African arts in the New York City runs parallel with African American activism. The African on-screen presence in Harlem needs to be examined in this broader context in order to better grasp the historical trajectory of its development in the neighbourhood and also the encounters and exchanges between Africans and African Americans. Today, the increased interest in African screen media productions result from the confluence of two phenomena: the current Black renaissance and the reconfigurations of African cinema under the influence of migration. Harlem is once again playing a pivotal role in the dissemination of African culture, specifically African cinema in the New York City.

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Gathogo, Julius, and Margaret W. Gitumu. "Mwendoni-ire Z K”." Jumuga Journal of Education, Oral Studies, and Human Sciences (JJEOSHS) 2, no. 1 (February 20, 2019): 16. http://dx.doi.org/10.35544/jjeoshs.v2i1.13.

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In this article, Professor ZK Mathews is not only seen as a responsible leader in his own right but more importantly, he is seen as a prominent educationist in the complex socio-political situation of apartheid South Africa. “Mwendoni-ire Z K” (beloved ZK) became the first African to obtain a Bachelor of Arts Degree (BA) at the University of South Africa, in 1924. His other public roles as ANC founder, Ambassador, an educationist, activist for social justice, a Pan-Africanist, and an ecumenist makes him one of a kind. As both a community and church leader, the article seeks to assess his display of social responsibility in the dark period of African history when separate development was the vogue. Did he act responsibly in addressing social issues during his heydays? What didn’t he do during his lifetimes? Are there critical communal issues that he failed to do yet he had an opportunity which he did not exhaustively utilize? To this end, this article builds on the premise that the spread of Christianity in Africa, its shape and character, has been the by-product of responsible Leadership, both in the Mission Churches/mainline churches and in the African Instituted Churches, and even from within the emerging afro-Pentecostal churches. Without responsible leadership on the part of the Africans themselves, the spread of Christianity in Africa would have nose-dived. In categorising the three brands of Christianity in Africa, it is critical to acknowledge that, Mission Churches are those that evolved directly from the outreach of Western denominations; afro-Pentecostals are those who consciously or unconsciously allow a measure of dialogue between Pentecostalism and some elements of African culture in their discourses; while African initiated Churches are those Churches which were born in Africa, and were primarily begun by Africans themselves as they protested western intrusion and subjugation of their cultures as Africans. In view of this, ZK is viewed as a responsible leader who confronted social ecclesial matters with a reasonable degree of success.

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Ducournau, Claire. "Qu’est-ce qu’un classique « africain » ?" Actes de la recherche en sciences sociales 206-207, no. 1 (2015): 34. http://dx.doi.org/10.3917/arss.206.0034.

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Saayman, Melville, Martinette Kruger, and Joffrey Erasmus. "Lessons In Managing The Visitor Experience At The Klein Karoo National Arts Festival." Journal of Applied Business Research (JABR) 28, no. 1 (December 21, 2011): 81. http://dx.doi.org/10.19030/jabr.v28i1.6686.

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The event industry, in particular arts festivals, is one of South Africas fastest growing tourism sectors in tourism industry. However, only minimal research has been done to identify factors that arts festival visitors view as important for a good festival experience. This study identifies the key success factors (KSFs) in managing visitors experience at one of South Africas most popular Afrikaans arts festival, the Klein Karoo National Arts Festival (KKNK). A questionnaire survey (n=443) and factor analysis was used to identify seven KSFs: Safety and personnel, Marketing and accessibility, Venues, Accommodation and ablution facilities, Activities and community, Parking and restaurants and Shows and stalls. Factors that KKNK visitors regarded as important to satisfy their needs and provide a special festival experience were: a wide variety of good and affordable shows and stall products, friendly informed staff, visible emergency and security services, and sufficient air-conditioned venues with good technical aspects. Parking and restaurants and Shows and stalls can be regarded as KSFs that are particularly applicable to South African arts festivals. The study also indicated that other stakeholders play an important role in visitors experience.

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Sizemore-Barber, April. "South Africa's National Arts Festival (review)." Theatre Journal 65, no. 2 (2013): 261–64. http://dx.doi.org/10.1353/tj.2013.0039.

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Hershey, Megan, and Michael Artime. "Narratives of Africa in a Digital World: Kony 2012 and Student Perceptions of Conflict and Agency in Sub-Saharan Africa." PS: Political Science & Politics 47, no. 03 (June 19, 2014): 636–41. http://dx.doi.org/10.1017/s1049096514000778.

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ABSTRACTKony 2012, a film released by the nonprofit Invisible Children in the spring of 2012, drew a flurry of Facebook “shares” and “likes.” However, critics expressed a concern that the film offered a distorted portrayal of Africans and African politics. In this article, we test these criticisms by asking what effects the film had on college students’ perceptions of Africa and Africans. To address this question, we draw on a survey and an experiment conducted at a small liberal arts college whereKony 2012enjoyed popularity. The results show that the film did affect students’ perceptions of Africa; specifically, it led many to perceive Africans as lacking agency and autonomy. We argue that whereas the film did have initial negative effects on students’ perceptions of Africa, these effects seem to fade over time. Future research should explore the compounding effects of exposure to images that misrepresent the African continent.

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Du Bois, W. E. B., and George Steinmetz. "Les origines africaines de la guerre." Actes de la recherche en sciences sociales 171-172, no. 1 (2008): 74. http://dx.doi.org/10.3917/arss.171.0074.

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Sabakinu, Leslie. "Léon de Saint Moulin, Kinshasa: enracinements historiques et horizons culturels. Cahiers Africains 79. Tervuren and Paris: Musée Royal de l'Afrique Centrale and L'Harmattan (pb €37.50 – 978 2 296 96924 7). 2012, 358 pp." Africa 88, no. 3 (July 17, 2018): 629–30. http://dx.doi.org/10.1017/s0001972018000311.

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Diadji, Iba Ndiaye. "L'école dite africaine malade de ses arts et de ses coutures." Présence Africaine 167-168, no. 1 (2003): 194. http://dx.doi.org/10.3917/presa.167.0194.

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Do Nascimento, Taiane Flôres. "Códigos culturais nas religiões afro-brasileiras e de origem africana: percepções geográficas." Geosaberes 8, no. 15 (August 8, 2017): 41. http://dx.doi.org/10.26895/geosaberes.v8i15.568.

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A Geografia Cultural é uma das tendências dentro da ciência geográfica que estuda as diferentes formas de espacialização construídas pelo homem. Seu enfoque está na descrição e análise dos códigos culturais materiais e imateriais, ou seja, de como as formas de linguagem, religião, artes, crenças e outros fenômenos culturais se transformam ou permanecem constantes em determinado espaço. Neste sentido, o objetivo desta pesquisa é ressaltar os códigos culturais mais visíveis dentro das manifestações de religiões afros, onde as mesmas indicam a arte de expressão dentro do código cultural religião. As manifestações tanto culturais quanto políticas, estão ganhando força e novas espacialidades vem se formando diante de inúmeras apresentações das religiões como forma de dinamização da cultura no espaço, o que justifica a relevância desta pesquisa.

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Journal articles on the topic 'Arts africains'

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