Relevant bibliographies by topics / Kongo Art

Contents

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

Academic literature on the topic 'Kongo Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Kongo Art"

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Mosquera, Gerardo. "José Bedia: Postmodern Kongo art." Review: Literature and Arts of the Americas 29, no. 52 (January 1996): 19–52. http://dx.doi.org/10.1080/08905769608594469.

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MacGaffey, Wyatt. "Commodore Wilmot Encounters Kongo Art, 1865." African Arts 43, no. 2 (June 2010): 52–53. http://dx.doi.org/10.1162/afar.2010.43.2.52.

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Martínez-Ruiz, Bárbaro. "Kongo Ins-(ex)piration in Contemporary Art." Art Bulletin 98, no. 3 (July 2, 2016): 291–96. http://dx.doi.org/10.1080/00043079.2016.1157410.

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Heimlich, Geoffroy, Jean-Loïc Le Quellec, and Clément Mambu Nsangathi. "Lovo, rock images, and mythology in the Land of the Kongo." Journal of Social Archaeology 18, no. 1 (February 2018): 30–49. http://dx.doi.org/10.1177/1469605317751171.

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In Kongo Central, rock art sites stretch from Kinshasa to the Atlantic coast and from northern Angola to southern Congo-Brazzaville. Preliminary research revealed one coherent entity situated north of the Kongo kingdom: the Lovo Massif, presently inhabited by the Ndibu, one of the Kongo subgroups. Comparison of the ethnological, historical, archaeological, and mythological points of view confirms that certain Kongo ritual and symbolic aspects are pre-Christian and refer to cosmogony, anthropogony, or narratives associated with the mythical origin of death. Investigating rock images allows us to better understand the link between the images, the myths, and their repercussions on the life of the Kongo today.
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Heimlich, Geoffroy, Pascale Richardin, Nathalie Gandolfo, Eric Laval, and Michel Menu. "First Direct Radiocarbon Dating of the Lower Congo Rock Art (Democratic Republic of the Congo)." Radiocarbon 55, no. 3 (2013): 1383–90. http://dx.doi.org/10.1017/s0033822200048311.

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Lower Congo rock art is concentrated in a region that stretches from Kinshasa to the Atlantic coast and from northern Angola to southern Congo-Brazzaville. Although Lower Congo rock art was identified as early as the 19th century, it had never been a subject of thorough investigation. Presently inhabited by the Ndibu, one of the Kongo subgroups, the Lovo Massif is situated north of the ancient Kongo Kingdom. With 102 sites (including 16 decorated caves), the massif has the largest concentration of rock art in the entire region. In 2008 and 2010, we were able to collect pigment samples directly on the panels of the newly discovered decorated cave of Tovo. Unlike the Sahara and southern Africa, both extensively prospected, rock art of central Africa is still widely unknown and not dated. Radiocarbon dating of rock art in Africa is a real challenge and only a few direct dates have been obtained thus far. After verifying that the pigment samples were indeed charcoal, we proceeded to 14C date them using accelerator mass spectrometry (AMS). The results indicate dates between cal AD 1480 and 1800, confirming that the occupation of Tovo Cave was contemporaneous with the ancient Kongo Kingdom.
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MacGaffey, Wyatt. "Astonishment and Stickiness in Kongo Art: A Theoretical Advance." Res: Anthropology and aesthetics 39 (March 2001): 137–50. http://dx.doi.org/10.1086/resv39n1ms20167526.

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Souza, Marina de Mello e. "O cristianismo congo e as relações atlânticas." Revista de História, no. 175 (December 20, 2016): 451. http://dx.doi.org/10.11606/issn.2316-9141.rh.2016.115126.

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MacGaffey, Wyatt. "Constructing a Kongo Identity: Scholarship and Mythopoesis." Comparative Studies in Society and History 58, no. 1 (January 2016): 159–80. http://dx.doi.org/10.1017/s0010417515000602.

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AbstractThe past thirty years have seen, particularly in the United States, a transformation in the public image of “Kongo,” an ill-defined entity (a tribe, a kingdom, a culture, a region?) on the Atlantic coast of Central Africa. The efforts of R. F. Thompson, professor of art history at Yale, and A. Fu-kiau, himself Kongolese, have done much to popularize a “Kongo” characterized more by its romantic appeal than by historical or ethnographic verisimilitude. Elsewhere in the Americas, the reputation of “Kongo” has suffered by comparison with “Yoruba,” another historically emergent Atlantic identity, based in West Africa. These identities, and the supposed contrast between them, are products of an increasingly complex trans-Atlantic discourse.
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Fromont, Cécile. "Foreign Cloth, Local Habits: Clothing, Regalia, and the Art of Conversion in the Early Modern Kingdom of Kongo." Anais do Museu Paulista: História e Cultura Material 25, no. 2 (August 2017): 11–31. http://dx.doi.org/10.1590/1982-02672017v25n02d01-2.

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ABSTRACT From their king’s decision to embrace Catholicism at the turn of the sixteenth century to the advent of imperial colonialism in the late eighteen hundreds, the men and women of the central African kingdom of Kongo creatively mixed, merged, and redefined local and foreign visual forms, religious thought, and political concepts into the novel, coherent, but also constantly evolving worldview of Kongo Christianity. Sartorial practices and regalia in particular showcased the artful conversion of the realm under the impetus of its monarchs and aristocrats. In their clothing and insignia, the kingdom’s elite combined and recast foreign and local, old and new, material and emblems into heralds of Kongo Christian power, wealth, and, eventually history. I propose to use the concept of the space of correlation as a key to analyze these elaborate, and constantly evolving religious, political, and material transformations through an attentive focus on cultural objects such as clothing, hats, swords, and saint figures.
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West-Durán, Alan. "Mpambu Nzila: José Bedia at the Crossroads." Religions 12, no. 3 (March 6, 2021): 172. http://dx.doi.org/10.3390/rel12030172.

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The article draws on the Kongo term mpambu nzila of crossroads, that equally signifies altar, to discuss the paintings and drawings of Cuban-born artist José Bedia. He is a practitioner of Palo Briyumba, a syncretic Afro-Cuban religion that combines Kongo religious beliefs, Regla de Ocha, Spiritism, and Catholicism. The article examines six works by the artist from 1984 to 1999 and how Bedia represents Palo in his art. Additionally, the centrality of the nganga (a cauldron that paleros use to work for and protect them) is discussed historically, philosophically, and religiously as a physical and spiritual embodiment of the crossroads. Bedia’s work is also analyzed using the Sankofa bird as metaphor (of flying forward and looking back) and as an example of the West African notion of coolness. The article also examines Palo as a de-colonial way of knowing and ends with the crossroads through the example of Lucero Mundo (Elegguá).
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Dissertations / Theses on the topic "Kongo Art"

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Tshiluila, Shaje'a. "A la mémoire des ancêtres: le grand art funéraire Kongo, son contexte social et historique." Doctoral thesis, Universite Libre de Bruxelles, 1986. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213572.

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McCurnin, Mary. "From the Old to the New World: The Transformation of Kongo Minkisi in African American Art." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/78.

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Minkisi (sing. nkisi) were sacred objects that housed ancestral spirits and were used for divination, healing and social justice by the Kongo people of Central Africa. When the Kongo were brought as slaves to the New World, they contributed significantly to the development of African American artistic and spiritual culture. In the Caribbean, aspects of minkisi have been retained in the creolized spiritual beliefs of Haitian Vodou, Cuban Palo Monte Mayombe and Brazilian Candomble. In North America, evidence of Kongo influence is apparent in examples of folk art and culture, including quilts, mojo hands, Afro-Carolinian face vessels, memory jugs and burial sites. In the twentieth and twenty-first centuries, artists appear to have recontextualized elements of minkisi within their work, among these James “Son Ford” Thomas, James Van Der Zee, Betye and Alison Saar, Willie Cole and Renee Stout, creating a link between the Kongo past and the American present.
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Waite, Renée B. "African Concepts of Energy and Their Manifestations Through Art." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1469715071.

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Heimlich, Geoffroy. "L'art rupestre du massif de Lovo (République Démocratique du Congo)." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209300.

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À la différence des arts rupestres du Sahara ou d’Afrique australe, richement documentés, ceux d’Afrique centrale restent encore aujourd’hui largement méconnus. L’art rupestre du Bas-Congo s’étend de Kinshasa à la côte atlantique et du nord de l’Angola au sud du Congo-Brazzaville. Bien que signalé dès le XIXe siècle par James Tuckey, lors de sa reconnaissance du fleuve Congo, il n’a jamais fait l’objet d’une recherche de grande ampleur et son âge reste toujours incertain.

Peuplé par les Ndibu, un des sous-groupes kongo, le massif de Lovo se trouve au nord du royaume de Kongo. Bien que ce royaume soit l’un des mieux documentés de toute l’Afrique, tant par les sources historiques à partir de 1500 que par les sources ethnographiques et anthropologiques pour les périodes plus récentes, son archéologie reste méconnue. Avec 102 sites (dont 16 grottes ornées), le massif de Lovo contient la plus importante concentration de sites rupestres de toute la région, ce qui représente plus de 5000 images rupestres. Sur environ 400 km2 se dressent des centaines de massifs calcaires au relief ruiniforme, percés de nombreuses grottes et abris sous roche.

Par mon étude qui tente de croiser les points de vue ethnologique, historique, archéologique et mythologique, j’ai pu montrer que l’art rupestre a bel et bien une part importante dans la culture kongo. Au même titre que les sources historiques ou les traditions orales, il peut apporter aux historiens une documentation de premier plan et contribuer à reconstruire le passé de l’Afrique.

In contrast with the Sahara and Southern Africa, Central Africa is superficially presented and largely overlooked in general publications and compilations regarding rock art research. The rock art of Lower Congo is concentrated in a region that stretches from Kinshasa to the Atlantic coast and from Northern Angola to Southern Congo-Brazzaville. Although already reported in the nineteenth century by James Tuckey during his exploration of the Congo River, it had never been a subject of thorough investigation. As a result, its age has long remained uncertain.

Presently inhabited by the Ndibu, one of the Kongo subgroups, the Lovo Massif is situated north of the ancient Kongo kingdom. Although Kongo has been, since the end of the fifteenth century, one of the best-documented kingdoms of Africa, both through historical records and through ethnographic and anthropological studies in more recent times, in archaeological terms it remains largely unknown. With 102 sites (including 16 decorated caves), the Lovo Massif has the largest concentration of rock art in the entire region. Hundreds of limestone outcrops with carved surfaces, punctuated by numerous caves and rocky overhangs, rise up over an area of about 400 square kilometers. 

Through the research I have undertaken, it has been possible to determine for the first time direct dates for the rock art of Lower Congo. The study of the previously unknown decorated caves of Tovo and Nkamba, in particular, has allowed me to ascertain the chronology and the interpretation of these rock images.


Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Cheung, Wai-ting Stephanie, and 張慧婷. "Public art in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29521749.

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To, Yick-yam Percy, and 杜亦蔭. "A public art crossover: the art asteroid in San Po Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B3198728X.

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To, Yick-yam Percy. "A public art crossover the art asteroid in San Po Kong /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B3198728X.

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Lam, Sai-kit Ed, and 林世傑. "Interweaving between art & city: Hong Kong Academy of Musical Art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986560.

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Lam, Sai-kit Ed. "Interweaving between art & city : Hong Kong Academy of Musical Art /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946717.

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Thesis (M. Arch.)--University of Hong Kong, 2002.
Includes special reports studies entitled :[1] Conservation works on Marine Police Headquater building.--[2] Space in mediation. Includes bibliographical references.
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Cheng, Christina Miu Bing. "Postmodernism art and architecture in Hong Kong /." Click to view the E-thesis via HKUTO, 1991. http://sunzi.lib.hku.hk/hkuto/record/B31949861.

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Books on the topic "Kongo Art"

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Lehuard, Raoul. Art Bakongo. Arnouville [France]: Arts d'Afrique noire, 1989.

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Lehuard, Raoul. Art Bakongo: Les centres de style. Arnouville: Arts d'Afrique noire, 1989.

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Guo li li shi bo wu guan (China). Gu Gangguo wen wu zhan: Cong gu yi shi zhi xian dai yi shu zhi tan suo = Kongo Kingdom art : from ritual to cutting edge. Taibei Shi: Guo li li shi bo wu guan, 2004.

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Lehuard, Robert. Kongo: Collection de Robert et Raoul Lehuard : Galerie Ratton-Hourdé, Paris, décembre 1999-janvier 2000. Paris]: Ciel bleu mer calme, 2000.

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Charles, Meur, and Niangi Batulukisi, eds. Art & Kongos: Les peuples kongophones et leur sculpture Biteki bia Bakongo. Brussles: Zaïre Basin Art History Research Center, 1995.

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Kongo, Alfred. Alfred Kongo 1906-1990: Näitus Tartu Kunstimuuseumis 29.09.-19.11.2006 : kataloog = exhibition at the Tartu Art Museum, 29.09.-19.11.2006 : catalogue. [Tartu]: Tartu Kunstimuuseum, 2006.

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George, Lipstiz, and University of California, Santa Barbara. University Art Museum., eds. Dear Robert, I'll see you at the crossroads: A project by Renée Stout. Santa Barbara, CA: University Art Museum, University of California, 1995.

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Hinterthür, Petra. Modern art in Hong Kong. Hong Kong: Meyer Publishing, 1985.

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J, Clarke David. Hong Kong art: A bibliographic guide. Hong Kong: Hong Kong Art Archive, 2004.

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Clarke, David J. Hong Kong art: Culture and decolonization. London: Reaktion Books, 2001.

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Book chapters on the topic "Kongo Art"

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Jiang, Shigong. "The Art of Empire." In China’s Hong Kong, 43–56. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4187-7_4.

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WEE, Lian-Hee. "The Hong Kong English Syllable Structure." In Researching Chinese English: the State of the Art, 33–46. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53110-6_3.

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Man, Eva Kit Wah. "The Trinity of “Hong Kong -China- the World”: The Battle of Cultural Identities as a Form of Hegemony in Art in Postcolonial Hong Kong (Since 1990s)." In Chinese Contemporary Art Series, 79–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_11.

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Ding Yu and Ian W. King. "China and Hong Kong." In Palgrave Studies in Business, Arts and Humanities, 69–92. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-98860-3_4.

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Ho, Oscar. "9. Protest Art, Hong Kong Style: A Photo Essay." In Take Back Our Future, edited by Ching Kwan Lee and Ming Sing, 193–214. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501740930-010.

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Man, Eva Kit Wah. "Hong Kong Pavilion at the Venice Biennale as Method: The Case of Lee Kit." In Chinese Contemporary Art Series, 87–94. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_12.

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Man, Eva Kit Wah. "Experimental Painting and Painting Theories in Colonial Hong Kong (1940–1980): Reflections on Cultural Identity." In Chinese Contemporary Art Series, 47–55. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_7.

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Xue, Charlie Qiuli. "From Colonial to Global—Performing Art Space in Hong Kong." In Grand Theater Urbanism, 231–52. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-7868-3_10.

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Leung, Chi Cheung. "Music Composition Education in Hong Kong." In Landscapes: the Arts, Aesthetics, and Education, 97–115. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7729-3_8.

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da Conceição-Heldt, Eugénia. "Hong Kong Ministerial Conference 2005." In Negotiating Trade Liberalization at the WTO, 173–93. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306998_11.

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Conference papers on the topic "Kongo Art"

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Weiss Cohen, Miri. "Generating 3D CAD Art from Human Gestures using Kinect Depth Sensor." In CAD'14 Hong Kong. CAD Solutions LLC, 2014. http://dx.doi.org/10.14733/cadconfp.2014.166-168.

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Yi, Jing, and Guannan E. "Hong Kong Films in the Social Evolution after 1997." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.68.

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Qiu, Hong. "Expounding on Liu Xizai’s Theory of “Zao Kong Luan Dao”." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.049.

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Zuliani, Jao. "Multi-objective Topology Optimization with Ant Colony Optimization and Genetic Algorithms." In CAD'14 Hong Kong. CAD Solutions LLC, 2014. http://dx.doi.org/10.14733/cadconfp.2014.175-177.

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TEDDY, SO, KOON KEUNG. "ARE TEACHERS IN HONG KONG READY FOR E-LEARNING?" In Proceedings of the 4th International Conference. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812701664_0019.

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Xu, Rui, Steven Damelin, and Donald C. Wunsch. "Clustering of cancer tissues using diffusion maps and fuzzy ART with gene expression data." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4633787.

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Cheung, Ck. "EDUCATION REFORM AS A CATALYST IN THE IMPLEMENTATION OF MEDIA LITERACY EDUCATION IN HONG KONG SCHOOLS." In 5th Arts & Humanities Conference, Copenhagen. International Institute of Social and Economic Sciences, 2019. http://dx.doi.org/10.20472/ahc.2019.005.006.

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WONG, S. K., Y. YAU, A. K. C. CHEUNG, K. W. CHAU, and D. C. W. HO. "ARE RE-ENTRANTS GOOD OR BAD? AN EMPIRICAL TEST IN HONG KONG." In Tall Buildings from Engineering to Sustainability - Sixth International Conference on Tall Buildings, Mini Symposium on Sustainable Cities, Mini Symposium on Planning, Design and Socio-Economic Aspects of Tall Residential Living Environment. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812701480_0148.

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Wu, Wing Li. "Sentence-final particles in hong kong Cantonese: are they tonal or intonational?" In Interspeech 2009. ISCA: ISCA, 2009. http://dx.doi.org/10.21437/interspeech.2009-649.

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Yang, Ziyu. "Analysis on Lu Xun’s Attitudes Towards the Imperial Examination System—Take Kong Yiji as an Example." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.389.

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Reports on the topic "Kongo Art"

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Maeno, Yoshiharu. Epidemiological geographic profiling for a meta-population network. Web of Open Science, December 2020. http://dx.doi.org/10.37686/ser.v1i2.78.

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Epidemiological geographic profiling is a statistical method for making inferences about likely areas of a source from the geographical distribution of patients. Epidemiological geographic profiling algorithms are developed to locate a source from the dataset on the number of new cases for a meta-population network model. It is found from the WHO dataset on the SARS outbreak that Hong Kong remains the most likely source throughout the period of observation. This reasoning is pertinent under the restricted circumstance that the number of reported probable cases in China was missing, unreliable, and incomprehensive. It may also imply that globally connected Hong Kong was more influential as a spreader than China. Singapore, Taiwan, Canada, and the United States follow Hong Kong in the likeliness ranking list
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TANG, Denise Tse-Shang, Stefanie TENG, Celine TAN, Bonnie LAM, and Christina YUAN. Building inclusive workplaces for lesbians and bisexual women in Hong Kong’s financial services industry. Centre for Cultural Research and Development, Lingnan University, April 2021. http://dx.doi.org/10.14793/ccrd2021001.

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Workplace inclusion is a core component of corporate social responsibility (CSR) in Hong Kong. Workplace inclusion points to the need for employers to recognize diversity among employees, to acknowledge their contributions to the work environment and to raise professional standards for the work force. Diversity within a workplace indicates inclusion of persons with different backgrounds as in racial, ethnic, sex, health status, sexual orientation and gender identity. Women are already less represented at senior levels across various business sectors in Hong Kong. Lesbians and bisexual women face a double glass ceiling in the workplace as a result of both their gender and sexual orientation. Funded by Lingnan University’s Innovation and Impact Fund, and in partnership with Interbank Forum and Lesbians in Finance, Prof. Denise Tse-Shang Tang conducted an online survey and two focus groups targeting lesbians and bisexual women working in Hong Kong’s financial and banking industry. The aim of the study is to examine the specific challenges and barriers faced by lesbians and bisexual women in Hong Kong’s financial services industry. We found that only 37% of survey respondents were out at work, with 23% partially out to close colleagues. In other words, there are still key concerns with being out at work. On the issue of a glass ceiling for LGBT+ corporate employees, 18% of the survey respondents agreed and 47% somewhat agreed that such a ceiling exists. When asked whether it is harder for lesbians and bisexual women to come out in the workplace than it is for gay men, 32% agreed and 46% somewhat agreed. 27% agreed and 39% somewhat agreed with the statement that it is difficult for lesbians and bisexual women to climb up the corporate ladder. Other findings pointed to the low visibility of lesbians and bisexual women in corporate settings, lack of mentorship, increased levels of stress and anxiety, and the fear of being judged as both a woman and a lesbian. Masculine-presenting employees face significantly more scrutiny than cisgender female employees. Therefore, even though discussion on diversity and inclusion has been on the agenda for better corporate work environment in Hong Kong, there still remain gaps in raising awareness of lesbian and bisexual women’s issues.
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