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Journal articles on the topic 'Dogon Art'

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Published: 4 June 2021
Last updated: 1 August 2024

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1

Ezra, Kate. "The Art of the Dogon." African Arts 21, no. 4 (August 1988): 30. http://dx.doi.org/10.2307/3336741.

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2

VANYUKOVA, Darya. "2022 Expedition to Mali." Oriental Courier, no. 1 (2022): 86. http://dx.doi.org/10.18254/s268684310021414-3.

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The 2022 field season (January 23 – February 23) turned out to be very productive: we managed to clarify the history of Dogon migrations from the Mande Country to the Bandiagara Highlands. We received quite complete information on the prophet Abirɛ, who predicted the return of Dogon to their historical homeland and completely new information about Bozo and Bambara puppets. Finally, we acquired many interesting artifacts for the State Museum of Oriental Arts. Due to the inability to arrive to the Dogon Country, it was decided to focus on the area of the city of Bougouni (Sikasso region) in southern Mali and on the Mande Country (regions of Koulikoro and Kayes, from the city of Kangaba in the west to Bamako in the east). Two magnificent, beautifully attributed works of traditional Bambara art were acquired in Bougouni for the collection of the State Museum of Oriental Arts: “Monkey” (Warabilen) and “Wild buffalo” (Sigi; Sigifin) masks. During the expedition, new and very significant data were obtained on the migrations of the Dogon from the Mande Country to the Bandiagara Highlands. A lot of information has now been accumulated regarding how the Dogon came to their new homeland. They were published, including in Russian. But the Manding oral traditions about the exodus of Dogon are still little known. We have partially succeeded in making up for this shortcoming. Oral historical traditions about the exodus of the Dogon from the Mande Country are changeable, internally contradictory and extremely unstable narratives with confused chronology, filled with omissions and vague allusions. However, some conclusions can still be drawn: there is almost no doubt that the root cause of the Dogon leaving for the lifeless rocks of Bandiagara was some kind of difficult and bloody conflict, accompanied by numerous victims. It is also clear that there were several waves of resettlement, and the last Dogon left for the highlands in the middle of the second half of the 19th century. It was also possible to find out that the Bambara and Bozo puppets are not at all a secularized popular theater. The puppet society is associated with the Koré secret society, and is perhaps one of the most powerful Bambara societies, which in this case refers to three ethnic groups: the Bambara proper, the Bozo (Dogon partners in a marriage-prohibitive joking relations) and the Marka (Soninké). Ceremonies involving puppets are completely sacred (only members of the Society take part in them), semi-sacred (only men take part in them), and, finally, publicly available — everyone, including women and children, takes part in them.
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3

Falgayrettes-Leveau, Christiane, and Michel Leveau. "Dogon Art at the Musée Dapper: The Last Reunion?" African Arts 28, no. 4 (1995): 80. http://dx.doi.org/10.2307/3337298.

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4

Vaniukova, D. V., and P. A. Kutsenkov. "EXPEDITION TO MALI, 2020." Journal of the Institute of Oriental Studies RAS, no. 3 (13) (2020): 12–28. http://dx.doi.org/10.31696/2618-7302-2020-3-12-28.

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The research expedition of the Institute of Oriental studies of the Russian Academy of Sciences has been working in Mali since 2015. Since 2017, it has been attended by employees of the State Museum of the East. The task of the expedition is to study the transformation of traditional Dogon culture in the context of globalization, as well as to collect ethnographic information (life, customs, features of the traditional social and political structure); to collect oral historical legends; to study the history, existence, and transformation of artistic tradition in the villages of the Dogon Country in modern conditions; collecting items of Ethnography and art to add to the collection of the African collection of the. Peter the Great Museum (Kunstkamera, Saint Petersburg) and the State Museum of Oriental Arts (Moscow). The plan of the expedition in January 2020 included additional items, namely, the study of the functioning of the antique market in Mali (the “path” of things from villages to cities, which is important for attributing works of traditional art). The geography of our research was significantly expanded to the regions of Sikasso and Koulikoro in Mali, as well as to the city of Bobo-Dioulasso and its surroundings in Burkina Faso, which is related to the study of migrations to the Bandiagara Highlands. In addition, the plan of the expedition included organization of a photo exhibition in the Museum of the village of Endé and some educational projects. Unfortunately, after the mass murder in March 2019 in the village of Ogossogou-Pel, where more than one hundred and seventy people were killed, events in the Dogon Country began to develop in the worst-case scenario: The incessant provocations after that revived the old feud between the Pel (Fulbe) pastoralists and the Dogon farmers. So far, this hostility and mutual distrust has not yet developed into a full-scale ethnic conflict, but, unfortunately, such a development now seems quite likely.
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5

Schildkrout, Enid. "Drawing Tradition: Dogon Children's Art in the Age of Tourism." African Arts 37, no. 1 (April 1, 2004): 46–94. http://dx.doi.org/10.1162/afar.2004.37.1.46.

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6

Imperato, Pascal James. "Art of the Dogon: Selections from the Lester Wunderman Collection." African Arts 22, no. 1 (November 1988): 87. http://dx.doi.org/10.2307/3336695.

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7

Hoffman, Rachel, and Kate Ezra. "Art of the Dogon: Selections from the Lester Wunderman Collection." African Arts 21, no. 4 (August 1988): 14. http://dx.doi.org/10.2307/3336736.

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8

de Grunne, Bernard. "Ancient Sculpture of the Inland Niger Delta and Its Influence on Dogon Art." African Arts 21, no. 4 (August 1988): 50. http://dx.doi.org/10.2307/3336745.

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9

Ciarcia, Gaetano. "Dogons et Dogon." L'Homme, no. 157 (January 1, 2001): 217–30. http://dx.doi.org/10.4000/lhomme.92.

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10

Kutsenkov, P. A. "New data on the traditional art of the Dogon on the basis of fieldwork in 2015–2019." Kunstkamera 6, no. 4 (2019): 35–42. http://dx.doi.org/10.31250/2618-8619-2019-4(6)-35-42.

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11

Ezra, Kate, and Jean-Christophe Huet. "Dogon." African Arts 30, no. 2 (1997): 14. http://dx.doi.org/10.2307/3337417.

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12

Davis, Shawn R. "Dogon Funerals." African Arts 35, no. 2 (July 1, 2002): 66–92. http://dx.doi.org/10.1162/afar.2002.35.2.66.

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13

Mackey, Nathaniel. "Dogon Eclipse." Callaloo, no. 26 (1986): 96. http://dx.doi.org/10.2307/2931061.

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14

Leloup, Hélène, and Helene Leloup. "Dogon Figure Styles." African Arts 22, no. 1 (November 1988): 44. http://dx.doi.org/10.2307/3336689.

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15

Raunig, Walter. "Duchâteau, Armand: Sakrale Eisenskulpturen der Dogon. Sacred Iron Sculptures of the Dogon." Anthropos 110, no. 1 (2015): 226–28. http://dx.doi.org/10.5771/0257-9774-2015-1-226.

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16

Krieger, Milton H., Genevieve Calame-Griaule, and Deirdre LaPin. "Words and the Dogon World." Western Folklore 47, no. 3 (July 1988): 232. http://dx.doi.org/10.2307/1499924.

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17

Bedaux, R. M. A. "Tellem and Dogon Material Culture." African Arts 21, no. 4 (August 1988): 38. http://dx.doi.org/10.2307/3336743.

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18

Roberts, Allen F. "Of Dogon Crooks and Thieves." African Arts 21, no. 4 (August 1988): 70. http://dx.doi.org/10.2307/3336749.

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19

Jolly, Éric. "Dogon virtuels et contre-cultures." L'Homme, no. 211 (July 7, 2014): 41–74. http://dx.doi.org/10.4000/lhomme.23600.

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20

Jolly, Éric. "Rêveries exotiques sur les Dogon." L'Homme, no. 182 (May 2, 2007): 187–214. http://dx.doi.org/10.4000/lhomme.4349.

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21

Jamin, Jean. "Organisation sociale des Dogon (inédit)." L'Homme 38, no. 147 (1998): 9–15. http://dx.doi.org/10.3406/hom.1998.370502.

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22

Jentsch, Thunar. "Die steinernen Wächter der Dogon." Anthropos 113, no. 1 (2018): 135–50. http://dx.doi.org/10.5771/0257-9774-2018-1-135.

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23

Bird, Charles, Genevieve Calame-Griaule, and Deirdre La Pin. "Words and the Dogon World." Journal of American Folklore 101, no. 400 (April 1988): 241. http://dx.doi.org/10.2307/540115.

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24

Panggabean, Donwill, Mario Limbong, Riena F. Telussa, and Desi Fatmawati. "UKURAN PERTAMA KALI TERTANGKAP DAN RASIO POTENSI PEMIJAHAN UDANG DOGOL MENGGUNAKAN JARING ARAD DI PERAIRAN BREBES." BAWAL Widya Riset Perikanan Tangkap 15, no. 1 (May 30, 2023): 25. http://dx.doi.org/10.15578/bawal.15.1.2023.25-32.

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Keterbatasan data yang tersedia di Kabupaten Brebes menyebabkan sulitnya menduga potensi dan status stok sumber daya udang. Upaya yang dapat dilakukan untuk menduga status sumber daya udang dan strategi pengelolaannya adalah dengan pendekatan aspek biologi dan rasio potensi pemijahan. Sampel udang dogol yang ditangkap menggunakan jaring arad diambil di Kabupaten Brebes selama 2 bulan. Panjang karapas udang dogol yang diukur berjumlah 1.004 ekor dengan menggunakan jangka sorong. Penelitian dilakukan untuk melihat komposisi hasil tangkapan, ukuran pertama kali tertangkap, serta rasio potensi pemijahan. Hasil penelitian menunjukkan bahwa hasil tangkapan jaring arad di perairan Brebes didominasi hasil tangkapan sampingan (80,10%), hasil tangkapan utama (16,98%), dan hasil tangkapan lainnya yang dibuang ke laut (discard) sebanyak 2,92%. Hasil tangkapan utama yang paling banyak tertangkap adalah udang dogol dengan kisaran panjang karapas sekitar 30,1 – 56,0 mmCL. Ukuran karapas pertama kali tertangkap udang dogol berada di atas ukuran pertama kali matang gonad. Selektivitas alat tangkap jaring arad yang digunakan untuk menangkap udang dogol sekitar 40,87 mmCL. Status sumber daya udang dogol berdasarkan nilai rasio potensi pemijahan tergolong baik sehingga penangkapan udang dogol dengan jaring arad masih berkelanjutan.
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25

van Beek, Walter E. A. "African Tourist Encounters: Effects of Tourism on Two West African Societies." Africa 73, no. 2 (May 2003): 251–89. http://dx.doi.org/10.3366/afr.2003.73.2.251.

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AbstractThis article compares encounters with tourism in two African communities, the Dogon in Mali and the Kapsiki in north Cameroon. The societies are comparable in many respects, but the effects on them of the tourist presence quite different. The Dogon react to tourism by bolstering their cultural pride and self esteem, and they develop inventive ways of gearing their cultural performances to tourist demands without compromising the rituals to which the performances belong. For them, the tourist presence signals the importance and intrinsic interest of Dogon culture. The Cameroonian Kapsiki (called Higi in north Nigeria) interpret the attention bestowed upon them and their country as indicating that they are marginal, living at the rim of the habitable world. They translate the tourist quest for ‘authenticity’ as being ‘backward’ and left out. The reasons for these different reactions are traced to processes inherent in cultural tourism, to the specific agenda of tourism in either place, and to some characteristics of the host '. The overall effect of tourist encounters with local communities seems to be to reinforce existing patterns of identity construction and to restate the images of the relevant ‘other’ already current in those cultures.
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26

van Beek, Walter E. A. "Functions of Sculpture in Dogon Religion." African Arts 21, no. 4 (August 1988): 58. http://dx.doi.org/10.2307/3336747.

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27

Dieterlen, Germaine. "Masks and Mythology among the Dogon." African Arts 22, no. 3 (May 1989): 34. http://dx.doi.org/10.2307/3336777.

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28

Lane, Paul J. "Tourism and Social Change among the Dogon." African Arts 21, no. 4 (August 1988): 66. http://dx.doi.org/10.2307/3336748.

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29

Luttmann, Ilsemargret. "Mansfeld, Christine: Vom Dogon-Land nach Bamako." Anthropos 103, no. 1 (2008): 275–78. http://dx.doi.org/10.5771/0257-9774-2008-1-275.

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30

Michel-Jones, Françoise. "À propos d'une lecture de Retour aux Dogon." L'Homme, no. 160 (January 1, 2001): 115–16. http://dx.doi.org/10.4000/lhomme.127.

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31

Bouju, Jacky. "Nommo—The Spirit of Water—in the Dogon World." Leonardo 36, no. 4 (August 2003): 279–80. http://dx.doi.org/10.1162/002409403322258628.

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32

Strassmann, Beverly I. "The function of menstrual taboos among the dogon." Human Nature 3, no. 2 (June 1992): 89–131. http://dx.doi.org/10.1007/bf02692249.

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33

Holder, Gilles. "Esclaves et captifs au pays dogon. La société esclavagiste sama." L'Homme 38, no. 145 (1998): 71–108. http://dx.doi.org/10.3406/hom.1998.370416.

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34

Poudiougou, Ibrahima. "Dan Nan Ambassagou, un mouvement d’autodéfense armé en pays dogon." Anthropos 118, no. 2 (2023): 395–418. http://dx.doi.org/10.5771/0257-9774-2023-2-395.

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“Our aim is to create a climate of peace and freedom in our towns and villages. This goes against the birth of a jihadist movement that advocates the obligation to respect another form of Islam. We say no to this and we want our parents who reside in our villages to have the freedom to practice, if they wish, the religion of their ancestors.” The Dan Nan Ambassagou spokesman made this statement to the media in July 2017, commenting on the creation of an armed self-defense movement led by Y. Toloba. The analysis of this armed mobilization needs to take into account factors such as the emancipation of the social cadets (Bayart 1979) from the established elites, violence for agricultural and pastoral land, and the progressive transformation of a “terroir historique” into a political entity. This article describes the mobilization of armed self-defense movements and insecurity in the Dogon territory in central Mali.
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35

Sáez, Oscar Calavia. "Soñando con los Dogon. En los orígenes de la etnografía francesa." Mana 12, no. 1 (April 2006): 249–52. http://dx.doi.org/10.1590/s0104-93132006000100010.

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36

Richards, Polly. "Masques Dogons in a Changing World." African Arts 38, no. 4 (December 1, 2005): 46–93. http://dx.doi.org/10.1162/afar.2005.38.4.46.

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37

Roeck, Bernd. "Zu Kunstauftragen des Dogen Agostino Barbarigo (1419-1501)." Zeitschrift für Kunstgeschichte 55, no. 1 (1992): 1. http://dx.doi.org/10.2307/1482598.

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38

Cuesta Torre, Luzdivina. "La magia de las imágenes y la magia de las figuras, palabras y caracteres en Enrique Fi de Oliva." Archivum 72 (December 7, 2022): 129–67. http://dx.doi.org/10.17811/arc.72.1.2022.129-167.

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El Enrique fi de Oliva publicado en 1498 es una novela original castellana basada en el cantar de gesta primitivo sobre Doon de la Roche, del que se conservan versiones en noruego, islandés, francés y feroese. Los textos reflejan la evolución de la percepción cultural de la magia en los diferentes espacios geográficos y épocas de recepción. El análisis de los objetos mágicos del Enrique fi de Oliva desde el punto de vista del tipo de magia que representan, de su finalidad y función en la obra, permite comprender mejor su naturaleza, el significado de los mismos, su repercusión en la configuración del personaje de Tomillas, y la transformación sufrida en las distintas versiones europeas.
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39

Hantgan, Abie, and Stuart Davis. "Bondu-so vowel harmony: A descriptive analysis with theoretical implications." Studies in African Linguistics 41, no. 2 (June 15, 2012): 2–26. http://dx.doi.org/10.32473/sal.v41i2.107276.

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This paper provides a descriptive analysis of the [ATR] vowel harmony system of Bondu-so (Dogon, Mali), a previously undocumented language. Data come from fieldwork and have not yet been published. While Bondu-so has seven surface vowels, namely, two [+ATR, +high] vowels ([i], [u]), a [–ATR +low] vowel [a] and a [±ATR] contrast in the mid vowels with front [e]/[ɛ] and back [o]/[ɔ], there is evidence for a more abstract vowel system phonologically consisting of ten vowels with [±ATR] contrasts with all vowel heights. Further, the language shows a three-way contrast with respect to the feature [ATR] on suffixal vowels: some suffixal vowels act as [+ATR] dominant, spreading their [+ATR] feature onto the root; other suffixes act as [–ATR] dominant, spreading [–ATR] onto the root, and still other suffixes have vowels unspecified for [ATR] receiving their [±ATR] feature by rightward spreading of the [±ATR] value of the root vowel. We offer an autosegmental analysis and then discuss the theoretical implications of such an analysis. These implications include the ternary use of [ATR], the issue of phonological versus morphological harmony, the relationship between vowel inventories and [ATR] harmony systems, and the question of abstractness in phonology.
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40

Leahy. "Making Sense. In and of Doron Rabinovici." Austrian Studies 29 (2021): 15. http://dx.doi.org/10.5699/austrianstudies.29.2021.0015.

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41

Leahy, Caitríona. "Making Sense. In and of Doron Rabinovici." Austrian Studies 29, no. 1 (2021): 15–31. http://dx.doi.org/10.1353/aus.2021.0005.

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42

Lane, Paul J. "The Social Production and Symbolism of Cloth and Clothing among the Dogon of Mali." Anthropos 103, no. 1 (2008): 77–98. http://dx.doi.org/10.5771/0257-9774-2008-1-77.

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43

Sri Ariyani, Luh Putu, A. A. Ngurah Anom Kumbara, Nengah Bawa Atmadja, and Ida Bagus Gde Pujaastawa. "“DADI-DADI DOGEN”AS IDEOLOGY IN THE DEVELOPMENT OF ELEMENTARY SCHOOL LIBRARY IN THE CITY OF SINGARAJA, BULELENG, BALI." E-Journal of Cultural Studies 14, no. 4 (November 30, 2021): 1. http://dx.doi.org/10.24843/cs.2021.v14.i04.p01.

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The Law of the Republic of Indonesia Number 43 Year 2007 concerning Libraries states that schools are required to have school libraries based on the National Standards of Library (SNP). This condition forces every school to develop a library, even though the conditions are still far from the standard set. To realize the existence of library, each school uses various resources in its school to establish a school library. This study aims to explore the efforts of primary schools in Singaraja City to fulfill their obligations in providing library space. This study uses a qualitative approach based on critical social theory commonly used in the Cultural Studies approach. The data collection was carried out by in-depth interviews, involved observation and document study. Data analysis in this study follows Peter Berger's model with the following steps: conceptualization, conceptualization results, verification, and objectivation. The results show that the obligation to have a school library at the primary school level is not easy due to various obstacles. This gave rise to the ideology of permissivism or in Balinese it is called dadi dadi dogen. This ideology allows schools to use various types of spaces to become libraries, for example classrooms, teacher rooms, warehouses, UKS, and so on. Keywords: elementary school libraries, dadi dadi dogen, permissivism, ideology
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44

Beneduce, Roberto. "Le dessous de choses. Sorcellerie, violence et complicité ethnographique en Afrique de l’Ouest (Plateau Dogon)." Anthropos 111, no. 2 (2016): 479–96. http://dx.doi.org/10.5771/0257-9774-2016-2-479.

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45

Douny, Laurence. "Wild Silk Textiles of the Dogon of Mali: The Production, Material Efficacy, and Cultural Significance of Sheen." TEXTILE 11, no. 1 (March 2013): 58–77. http://dx.doi.org/10.2752/175183513x13588738654891.

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46

Velasco Perez, Alvaro. "Ex Africa Aliquid Novum [There is something new coming from Africa]: Herman Haan and Aldo van Eyck’s Journeys in a Pseudo-Ethnographic Vein." International Journal of Islamic Architecture 11, no. 2 (July 1, 2022): 381–407. http://dx.doi.org/10.1386/ijia_00084_1.

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To the field of professional architecture in Europe in the aftermath of World War II, the deserts of Western Africa were a margin that was viewed as an exterior to the modern metropolis and as a realm of escapism. However, to the ethnographic practices that had developed since the late 1800s, the notion of a desert hinterland supposed a primordial land, reflected in forms of habitation. For architects Herman Haan (1914–96) and Aldo van Eyck (1918–99), the desert was a tense geography that moved between being outside and at home. Revisiting the diaries from Haan and van Eyck’s journeys and their mediation of ethnographic methodologies alongside their engagement with modernist design, this article proposes that Haan’s impressions connect two seemingly opposite contexts: the Dogon lands on the Niger River, and Rotterdam. I argue that, in the architectural and ethnographic amateurism of Haan, the modernist metropolis and its exteriors were not delimited, distinct realms, but were rather engaged in a fluctuating relationship reflective of the contemporary fascination with post-Eurocentric landscapes in the discipline of architecture. I assert that this process of immersion was in fact a process of internalization of spatial experience.
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47

Rahim, Intan Putri Nurullia Jabar, Dahlia D. Moelier, and Asyrafunnisa Asyrafunnisa. "Moral Values in the Movie Script The Breadwinner (2017) by Anita Doron." Humaniora: Journal of Linguistics, Literature, and Education 3, no. 1 (June 30, 2023): 15–24. http://dx.doi.org/10.56326/jlle.v3i1.2838.

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This research discussed moral values in the movie script by Anita Doron, an award-winning Canadian-Hungarian writer. The aims of the research were to find out the types of moral values and the impact of moral values contained in The Breadwinner movie script to see how humans act as humans. The qualitative descriptive method was used in this research to explain gaining data through a sociological approach. The theory of Hornby was employed to analyze the types of moral values and to see what moral values are, and the theory of Thomas Lickona was used to analyze the impact. Moral values are dominant in the Breadwinner movie script, and the most dominant of all types was courage. The result showed that there were 8 of the 11 types of moral values found in the movie script of The Breadwinner namely courage, humbleness, honesty, sympathy to others, cooperative, thankfulness, kind-hearted, and love and affection. In The movie script, it was also found that there were only 4 types of impact moral values, namely honesty, courage, honor and love and affection based on Thomas Lickona's theory.
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48

Schaeffner, André. "Introduction à Musique et danses funéraires chez les Dogons de Sanga." L Homme, no. 177-178 (March 30, 2006): 207–50. http://dx.doi.org/10.4000/lhomme.2273.

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49

Frizza, Catherine. "Le lai de Doon, ou le fonctionnement de la brièveté." Médiévales 4, no. 9 (1985): 55–63. http://dx.doi.org/10.3406/medi.1985.1002.

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50

Smart, Mary Ann. "Michel Leiris and the Secret Language of Song." Representations 154, no. 1 (2021): 87–98. http://dx.doi.org/10.1525/rep.2021.154.7.87.

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Best known for his reminiscences of artistic and intellectual life in midcentury Paris and for his chronicle of the 1931 Dakar-Djibouti mission, L’Afrique fantôme (1934), Michel Leiris also wrote obsessively about music, turning to imperfectly recalled fragments of song and opera to evoke key moments of early childhood and to explore affective relationships. This article focuses on two episodes from Leiris’s writings to demonstrate that his highly emotional and anecdotal mode of writing about music anticipates, and quite possibly influenced, the more systematic theories of voice, sound, and language of Roland Barthes and Jacques Derrida. Derrida engaged directly with Leiris in his essay “Tympan” (in The Margins of Philosophy), which quotes at length a text by Leiris on the cognitive and relational dimensions of hearing and writing. Leiris’s experience in the 1930s and 40s developing a lexicon and grammar for the ritual language of the Dogon people of Mali, I argue, fundamentally shaped his conviction that both music and language are most communicative when they permeate and destabilize each other.
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