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Artículos de revistas sobre el tema "World Black and African Festival of Arts and Culture"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2025

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1

Olaniyan, O. M., F. B. Egunjobi, and A. Adegoke. "African Traditional Arts and Ornamentation in the Architecture of the Cultural Centre Ibadan." Environmental Technology and Science Journal 14, no. 2 (2024): 9–15. http://dx.doi.org/10.4314/etsj.v14i2.2.

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Art and architecture have been intertwined throughout history. Art in its various forms has played a vital role in the lives of African people as evident in their architecture. The paper reviewed the African visual culture with respect to ornamentation in the built environment as well as the variations of cultural heritage in the anthropogenic sense. The study adopted a qualitative approach using the case study method with the selection of the Cultural Centre Ibadan. The 1977 Second World Black and African Festival of Arts and Culture (FESTAC 77) held in Lagos, Nigeria inspired the architectur
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2

Bardi, Augustine Okola. "7. Universal Studios of Art: Professionalization and Contributions to Art Education in Nigeria." Review of Artistic Education 14, no. 1 (2017): 175–85. http://dx.doi.org/10.1515/rae-2017-0023.

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Abstract During the 2nd Black World and African Festival of Arts and Culture (FESTAC) in 1977, a lot of novel, creative and artistic events took place in Lagos. One of these was the construction of a monument, the National Arts Theatre, which also accommodated the National Gallery of Art. Invariably, the presence of the Gallery made the Arts Theatre management allocate the premises of the Theatre to some notable Nigerian artists for use as Artists in Residence. The premises eventually, by 1980, became an institutional and inspirational workshop for budding Nigerian artists. The activities of t
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3

O’Malley, Hayley. "The 1976 Sojourner Truth Festival of the Arts." Feminist Media Histories 8, no. 3 (2022): 127–54. http://dx.doi.org/10.1525/fmh.2022.8.3.127.

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In 1976, a remarkable group of Black feminist artists organized the first ever Black women’s film festival, the Sojourner Truth Festival of the Arts, at the Women’s Interart Center in New York. Screening films by at least sixteen Black women directors, the festival was simultaneously a celebration of the emerging world of Black women’s filmmaking and a radical call for the kinds of socio-political and institutional changes necessary for a Black women’s film culture to thrive. This essay uses archival materials and personal interviews to reconstruct the festival, arguing that although it has lo
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4

Meyer, John M. "“Nor doth this wood lack worlds of company:” the American Performance of Shakespeare and the White-Washing of Political Geography." Multicultural Shakespeare: Translation, Appropriation and Performance 26, no. 41 (2022): 119–46. http://dx.doi.org/10.18778/2083-8530.26.08.

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The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we te
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5

Bush. "Culture, Race, and the Welfare State: The British Contribution to the 1966 First World Festival of Black and African Culture." Research in African Literatures 50, no. 2 (2019): 19. http://dx.doi.org/10.2979/reseafrilite.50.2.03.

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Taylor, Lauren. "Introduction to Alioune Diop's “Art and Peace” (1966)." ARTMargins 9, no. 3 (2020): 87–96. http://dx.doi.org/10.1162/artm_a_00274.

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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the a
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7

Diop, Alioune. "Art and Peace (1966)." ARTMargins 9, no. 3 (2020): 97–100. http://dx.doi.org/10.1162/artm_a_00275.

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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the a
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8

Adelusi-Adeluyi, Ademide. "Remixing a Cultural Festival - FESTAC ’77: The 2nd World Black and African Festival of Arts and Culture Decomposed, An-Arranged and Reproduced by Chimurenga; Misdirections in Music by Ntone Edjabe Edited by Chimurenga with Ntone Edjabe, Graeme Arendse, Ziphozenkosi Dayile, Duduetsang Lamola, Stacy Hardy, Bongani Kona, Ben Verghese, Moses März, Akin Adesokan, Mamadou Diallo, Dominique Malaquais, Terry Ayugi, Andrea Meeson, and Eva Munyiri. Cape Town: Chimurenga; London: Afterall Books, in association with Asia Art Archive, the Center for Curatorial Studies, Bard College, and RAW Material Company, 2019. Pp. 445. $32.09, paperback (ISBN: 9781846382123)." Journal of African History 64, no. 1 (2023): 131–34. http://dx.doi.org/10.1017/s0021853723000105.

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9

Morgan, Marcyliena, and Dionne Bennett. "Hip-Hop & the Global Imprint of a Black Cultural Form." Daedalus 140, no. 2 (2011): 176–96. http://dx.doi.org/10.1162/daed_a_00086.

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Hip-hop, created by black and Latino youth in the mid-1970s on the East Coast of the United States, is now represented throughout the world. The form's core elements – rapping, deejaying, breaking (dance), and graffiti art – now join an ever-growing and diversifying range of artistic, cultural, intellectual, political, and social practices, products, and performances. The artistic achievements of hip-hop represent a remarkable contribution to world culture; however, the “hip-hop nation” has created not just art and entertainment, but art with the vision and message of changing the world – loca
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10

Kirkland, Teleica. "Reflections of Durbar in the Diaspora." Critical Studies in Men???s Fashion 8, no. 1 (2021): 127–40. http://dx.doi.org/10.1386/csmf_00036_1.

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This article questions if the propensity of Black men in globally dominant western countries to wear black or dark colours is an outcome of internalized subjugation and an adherence to westernized projections of masculinity. It uses the 2018 Akinola Davies Junior film Zazzau as its backdrop, drawing parallels with other examples of colourful clothing in the context of Black masculinity. Zazzau shows the annual festival of Durbar, a vibrant celebration at the end of Ramadan in Kaduna State, Nigeria, where the Emir of the region and his entourage use traditional dress and contemporary fabrics to
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11

Martone, Eric. "Creating a local black identity in a global context: the French writer Alexandre Dumas as an African American lieu de mémoire." Journal of Global History 5, no. 3 (2010): 395–422. http://dx.doi.org/10.1017/s1740022810000203.

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AbstractWestern expansion and domination through colonial systems served as a form of globalization, spreading white hegemony across the globe. While whites retained the monopoly on ‘modernity’ as the exclusive writers of historical progress, ‘backward’ African Americans were perceived as ‘outside’ Western culture and history. As a result, there were no African American individuals perceived as succeeding in Western terms in the arts, humanities, and sciences. In response, African American intellectuals forged a counter-global bloc that challenged globalization conceived as hegemonic Western d
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12

Uchechukwu, Purity. "A Proposal for Afro-Hispanic Peoples and Culture as General Studies Course in African Universities." Humanities 8, no. 1 (2019): 34. http://dx.doi.org/10.3390/h8010034.

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After centuries of denial, suppression and marginalization, the contributions of Afro-Hispanics/Latinos to the arts, culture, and the Spanish spoken in the Americas is gradually gaining recognition as Afro-descendants pursue their quest for visibility and space in Spanish America. Hand in hand with this development is the young generation of Afro-Latinos who, are proud to identify with the black race. Ironically, the young African student has very little knowledge of the presence and actual situation of Afro-descendants in Spanish-speaking America. This is because many African universities sti
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13

Ndi Okalla, Joseph-Marie. "The Arts of Black Africa and the Project of a Cfmstian Art." Mission Studies 12, no. 1 (1995): 277–84. http://dx.doi.org/10.1163/157338395x00312.

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AbstractThis essay is in honour and in memory of the late Prof. Dr. Engelbert MVENG Sf. Born in Cameroon on May 9, 1930, Fr. Mveng has been found murdered in Yaoundé on April 23, 1995 before he would turn 65 years old. In the last thirty years, he was professor at the University of Yaoundé/Cameroon, Department of History. As a historian and theologian, he has enormous contributions to African culture and history, especially in the realm of cultural and religious anthropology as well as in iconology, which have won a wide acclaim. The internationally renowned artistic work of Fr. Mveng which ca
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14

Holmes, Erin Bryce. "Protest Is Mental Health: Afrocentric healing in a dance movement therapy session." IASPM Journal 13, no. 2 (2023): 107–11. http://dx.doi.org/10.5429/2079-3871(2023)v13i2.7en.

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Abstract: Cultural ideals are repeatedly coded into hidden messages through drums, sampling, and signifying, which is all embodied through various dance styles. This transformation brings new meaning to political, social, historical, and cultural issues. The policing of the black moving body has become an international symbol of struggle, pain, oppression and injustice. How strong is a symbol? To be seen is to be remembered. When will we forget what has been learned? When will we receive what our ancestors have earned? The purpose of this research is to deepen an understanding of the sub- grou
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15

Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.

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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negri
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16

Degand, Darnel. "Comics, emceeing and graffiti: A graphic narrative about the relationship between hip-hop culture and comics culture." Studies in Comics 12, no. 2 (2022): 239–48. http://dx.doi.org/10.1386/stic_00064_3.

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Hip-hop culture will officially turn 50 years old on 11 August 2023. This cultural movement began in a recreational room in The Bronx, New York City, and is now enjoyed throughout the world. In recognition of its upcoming half-century celebration, this article reviews the origins of hip-hop culture (e.g. hip-hop pioneers such as DJ Kool Herc, Keef Cowboy and Lovebug Starski) and the relationship its emceeing and graffiti elements have with comics culture. I begin with a brief review that demonstrates how graffiti predates hip-hop culture. This is illustrated through depictions of cave painting
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17

Peterson, Dale E. "Justifying the Margin: The Construction of “Soul” in Russian and African-American Texts." Slavic Review 51, no. 4 (1992): 749–57. http://dx.doi.org/10.2307/2500135.

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The scholarly world has little noted nor long remembered the interesting fact that the emancipation proclamation of a culturally separate African-American literature was accompanied by a generous acknowledgment of Russian precedent. In 1925 Alain Locke issued the first manifesto of the modern Black Arts movement, The New Negro. There could not have been a clearer call for the free expression of a suppressed native voice: “we have lately had an art that was stiltedly selfconscious, and racially rhetorical rather than racially expressive. Our poets have now stopped speaking for the Negro—they sp
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18

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 81, no. 3-4 (2007): 271–341. http://dx.doi.org/10.1163/22134360-90002485.

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Sally Price & Richard Price; Romare Bearden: The Caribbean Dimension (J. Michael Dash)J. Lorand Matory; Black Atlantic Religion: Tradition, Transnationalism, and Matriarchy in the Afro-Brazilian Candomblé (Stephan Palmié)Dianne M. Stewart; Three Eyes for the Journey: African Dimensions of the Jamaican Religious Experience (Betty Wood)Toyin Falola & Matt D. Childs (eds.); The Yoruba Diaspora in the Atlantic World (Kim D. Butler)Silvio Torres-Saillant; An Intellectual History of the Caribbean (Anthony P. Maingot)J.H. Elliott; Empires of the Atlantic World: Britain and Spain in America 14
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19

KITLV, Redactie. "Book reviews." New West Indian Guide / Nieuwe West-Indische Gids 86, no. 1-2 (2012): 109–96. http://dx.doi.org/10.1163/13822373-90002427.

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The African Diaspora: A History Through Culture, by Patrick Manning (reviewed by Joseph C. Miller) Atlas of the Transatlantic Slave Trade, by David Eltis & David Richardson (reviewed by Ted Maris-Wolf) Abolition: A History of Slavery and Antislavery, by Seymour Drescher (reviewed by Gregory E. O’Malley) Paths to Freedom: Manumission in the Atlantic World, edited by Rosemary Brana-Shute & Randy J. Sparks (reviewed by Matthew Mason) You Are All Free: The Haitian Revolution and the Abolition of Slavery, by Jeremy D. Popkin (reviewed by Philippe R. Girard) Fighting for Honor: The History o
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20

Akani, Eze Chris. "The Role of the Church in Iwhuruoha Development." JOURNAL OF POLITICAL SCIENCE AND LEADERSHIP RESEARCH 9, no. 1 (2023): 60–74. http://dx.doi.org/10.56201/jpslr.v9.no1.2023.pg60.74.

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Nigeria like other post-colonial states in Africa greatly suffered and suffocated from the pacification spree of colonialism. It was a most dreadful brutality which distorted and greatly disorganized the cultural bond of the people. All these were systematically orchestrated to achieve an economic objective. In fact, those who set out for colonialist imperialism in Africa and indeed Nigeria, were not engaged in an act of civilization nor the spread of enlightenment spirit. One of the lasting legacies of colonialism in Nigeria is the church. It was the handmaiden of colonialism that softened th
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21

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 3-4 (2006): 253–323. http://dx.doi.org/10.1163/22134360-90002497.

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Ileana Rodríguez; Transatlantic Topographies: Islands, Highlands, Jungles (Stuart McLean)Eliga H. Gould, Peter S. Onuf (eds.); Empire and Nation: The American Revolution in the Atlantic World (Peter A. Coclanis)Michael A. Gomez; Reversing Sail: A History of the African Diaspora (James H. Sweet)Brian L. Moore, Michele A. Johnson; Neither Led Nor Driven: Contesting British Cultural Imperialism in Jamaica, 1865-1920 (Gad Heuman)Erna Brodber; The Second Generation of Freemen in Jamaica, 1907-1944 (Michaeline A. Crichlow)Steeve O. Buckridge; The Language of Dress: Resistance and Accommodation in Ja
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Author, Placeholder. "Komi Mythology; A Short History of the World; Black American Students in an Affluent Suburb; Gramsci, Culture and Anthropology; Black Magic: Religion and the African American Conjuring Tradition; In Search of Ancient Ireland: The Origins of the Irish from Neolithic Times to the Coming of the English; The Battle that Stopped Rome: Emperor Augustus, Arminius, and the Slaughter of the Legions in the Teutoburger Forest." Mankind Quarterly 44, no. 2 (2003): 0. http://dx.doi.org/10.46469/mq.2003.44.2.6.

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Hanson, Joyce A. "Book ReviewsAll Bound Up Together: The Woman Question in African American Public Culture, 1830–1900. By Martha S. Jones. Chapel Hill: University of North Carolina Press, 2007.Private Politics and Public Voices: Black Women’s Activism from World War I to the New Deal. By Nikki Brown. Bloomington: Indiana University Press, 2006." Signs: Journal of Women in Culture and Society 34, no. 1 (2008): 197–200. http://dx.doi.org/10.1086/588438.

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Adair Radney, El-Ra. "African American Redemption in the Pan-African Metropolis: Africanized Identities, Pan-African Lives and the African World Festival in Detroit." Journal of Black Studies, December 21, 2023. http://dx.doi.org/10.1177/00219347231214827.

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The article is situated within the conceptual lineage of St. Clair Drake and Horace Cayton’s groundbreaking Black Metropolis model. However, it provides a new way of considering this intellectual heritage. The analysis suggests that African American traditions of Pan-Africanism have not been expansively addressed in their magnitude on Black urban sociology. Drake and Cayton’s theorization is reconfigured as it exists within a Pan-African value system for the contemporary Black (Diasporic) city. The research presents “unsung” Pan-African tropes that are central to the maintenance of the Black c
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25

Thomas, Oliver. "The Intersection of Brazil's Racial Ideology and African Foreign Policy: The Geisel Administration at the Second World Black and African Festival of Arts and Culture (FESTAC’77)." Journal of Latin American Studies, January 28, 2025, 1–25. https://doi.org/10.1017/s0022216x24000555.

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Abstract This article examines the ways in which Brazil's African foreign policy during the Ernesto Geisel administration (1974–9) utilised notions of ‘racial democracy’ and the nation's Africanity in framing itself as an intrinsic partner to the continent across the Atlantic. It does this through an analysis of Brazil's involvement at the Second World Black and African Festival of Arts and Culture (FESTAC’77, 15 January–12 February 1977), hosted in Lagos, Nigeria. The international event celebrated past and present contributions of Black and African cultures to global civilisation. An assessm
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26

Silva, Ana Teles. "O catálogo A África na vida e na cultura do Brasil: confluências entre os estudos de folclore e os estudos étnico-raciais." Antropolítica - Revista Contemporânea de Antropologia, May 1, 2024. http://dx.doi.org/10.22409/antropolitica2024.v56.i2.a56858.

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Em 1977, o antropólogo e estudioso de folclore Manuel Diégues Júnior produziu para o 2nd World Black and African Festival of Arts and Culture, em Nigéria, Lagos, Kaduna, o catálogo denominado A África na vida e na cultura do Brasil. Essa publicação, encomendada a Diégues pelo Departamento Cultural do Ministério das Relações Exteriores, buscou produzir um panorama sobre a influência africana em várias esferas da cultura brasileira. Para escrever esse catálogo, Diégues lançou mão de uma rede de especialistas, estudiosos de folclore, historiadores e antropólogos de diversos estados brasileiros qu
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Lock, Etienne. "The intellectual dimension of the Second World Black and African Festival of Arts and Culture (FESTAC 1977) and its relevance today." Canadian Journal of African Studies / Revue canadienne des études africaines, January 1, 2021, 1–19. http://dx.doi.org/10.1080/00083968.2020.1835682.

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Scantlebury, Alethea. "Black Fellas and Rainbow Fellas: Convergence of Cultures at the Aquarius Arts and Lifestyle Festival, Nimbin, 1973." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.923.

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All history of this area and the general talk and all of that is that 1973 was a turning point and the Aquarius Festival is credited with having turned this region around in so many ways, but I think that is a myth ... and I have to honour the truth; and the truth is that old Dicke Donelly came and did a Welcome to Country the night before the festival. (Joseph in Joseph and Hanley)In 1973 the Australian Union of Students (AUS) held the Aquarius Arts and Lifestyle Festival in a small, rural New South Wales town called Nimbin. The festival was seen as the peak expression of Australian countercu
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"Resolution of Commendation and Appreciation to the Federal Republic of Nigeria for Hosting the Second World Black and African Festival of Arts and Culture." Black Camera 13, no. 1 (2021): 75. http://dx.doi.org/10.2979/blackcamera.13.1.0075.

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Kruger, Martinette, Lara Engelbrecht, and Melville Saayman. "The role of culture with festival entrepreneurs." Acta Commercii 11, no. 1 (2011). http://dx.doi.org/10.4102/ac.v11i1.164.

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Purpose: The goal of the study was to determine the influence of cultural differences on entrepreneurship at the Grahamstown National Arts Festival. Problem investigated: The Grahamstown National Arts Festival is one of the most important arts festivals on the South African cultural calendar. Diverse entrepreneurs make use of the opportunities created by the festival. However, these entrepreneurs are heavily influenced by their cultural traits. This is because culture has an effect on the general decision making, standards, the behavioural patterns and ways of behaviour in SMMEs (small, medium
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Arndt, Lotte. "Festac '77: The 2nd World Festival of Black Arts and Culture." Critique d’art, July 20, 2020. http://dx.doi.org/10.4000/critiquedart.62732.

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Viljoen, Martina. "Mzansi Magic." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2989.

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Introduction Jerusalema, a song from Mzansi — an informal isiZulu name for South Africa — became a global hit during the Covid-19 pandemic. Set to a repetitive, slow four-to-a-bar beat characteristic of South African house music, the gospel-influenced song was released through Open Mic Productions in 2019 by the DJ and record producer Kgaogelo Moagi, popularly known as ‘Master KG’. The production resulted from a collaboration between Master KG, the music producer Charmza The DJ, who composed the music, and the vocalist Nomcebo Zikode, who wrote the lyrics and performed the song for the master
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Pierre, Alix. "Decoding Black Iconography." Journal of Global Postcolonial Studies 8, no. 1 (2020). http://dx.doi.org/10.5744/jgps.2020.1005.

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The paper examines how the Spelman College Museum of Fine Art, the only one in the country dedicated to the work of African descended women artists, is used as a pedagogical tool in the interdisciplinary African Diaspora and the World course to help students further explore the depiction and visualization of diasporan aesthetics during their matriculation. From a visual culture perspective, this is a critical examination of the process of looking among non-art major college goers. The emphasis of the analysis is on the perceiver or the “educand” as Paulo Freire puts it, and ways she is trained
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McClellan, Ann. "A Black Sherlock Holmes (1918): A Case Study in Racebending." Adaptation, April 18, 2020. http://dx.doi.org/10.1093/adaptation/apaa007.

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Abstract With hundreds of Sherlock Holmes screen adaptations, the silent all-Black-cast A Black Sherlock Holmes (1918) remains an under-researched anomaly. The essay provides an overview of colourblind and colour conscious casting practices, ultimately advocating for adopting fan studies approaches to ‘racebending’. Racebending involves alternately ‘racing’ canonical characters from white to Black Minority Ethnic. After briefly reviewing representations of African Americans in blackface minstrelsy and early twentieth-century race films, the essay argues that A Black Sherlock Holmes highlights
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Maureen Kihika. "Contradictory Mobilities and Cultural Projects of Afropolitanism African Immigrant Nurses in Vancouver, Canada." Anthropologica 65, no. 2 (2024). http://dx.doi.org/10.18357/anthropologica65220232624.

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I explore the relationship between social class and race, through an examination of how Black nurses enact Afropolitan cultural practices to negotiate contradictory class mobilities in Vancouver. While this paper reflexively draws from my family’s lived experiences to begin thinking through the nuances of Afropolitanism, I hone the discussion in contextual reference to the class-making practices of African-born nurses. The nurses channel Afropolitan class-making projects, through which they develop a flexibility and openness of mind that enables them to reject taking on the role of victim in t
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MOYNIHAN, SINÉAD. "“Lying about a Lie”: Racial Passing in US History, Literature and Popular Culture." Journal of American Studies 50, no. 2 (2016). http://dx.doi.org/10.1017/s0021875816000219.

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In June 2015, the parents of Rachel Dolezal, president of the Spokane, Washington chapter of the NAACP, claimed that their daughter was passing as black. While she professed to be of mixed (white, African American) racial heritage, her parents asserted that she was of white European descent, with some remote Native American ancestry. The revelations precipitated Dolezal's resignation from her role at the NAACP and a flurry of articles about the story that were disseminated around the world on Twitter under the “Rachel Dolezal” hashtag. Much of the media coverage attempted to account for the fa
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Verma, Rabindra Kumar. "Book Review." East European Journal of Psycholinguistics 7, no. 1 (2020). http://dx.doi.org/10.29038/eejpl.2020.7.1.kum.

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Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152.
 Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snaps
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Fulwood, Ethan L. "Quantitative similarities between the banjo and a diverse collection of West African lutes." Humanities and Social Sciences Communications 9, no. 1 (2022). http://dx.doi.org/10.1057/s41599-022-01401-3.

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AbstractThe banjo entered world musical culture through the ingenuity of communities of enslaved Africans in the Caribbean. The banjo is rooted within the lute-playing traditions of West Africa, where several remarkably banjo-like instruments and playing styles exist today. The banjo is a creation of the Black diaspora, however, and has no obvious single ancestor among extant West African lutes. Understanding the relative similarities between extant West African lutes and the gourd banjo may shed light on the cultural context of banjo origins. This study examines structural similarities betwee
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Celeste-Marie Bernier and Nicole Willson. "“Workers + Warriors”." Kalfou 7, no. 1 (2020). http://dx.doi.org/10.15367/kf.v7i1.294.

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For this special issue, we bring together an array of interdisciplinary international scholars who are working across the fields of Black studies, African diasporic studies, slavery studies, American studies, and memory studies. They debate, destabilize, interrogate, and reshape widely known and accepted methodologies within literary studies, art history, visual culture, history, intellectual history, politics, sociology, and material and print cultures in order to do justice to the hidden histories, untold narratives, and buried memories of African diasporic freedom struggles over the centuri
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Petzke, Ingo. "Alternative Entrances: Phillip Noyce and Sydney’s Counterculture." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.863.

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Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you sim
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Jamshed, Mohammad. "Cross-Cultural Encounters, Self-Estrangement and Mutual Understanding in Tayeb Salih’s Season of Migration to the North." Rupkatha Journal on Interdisciplinary Studies in Humanities 12, no. 4 (2020). http://dx.doi.org/10.21659/rupkatha.v12n4.16.

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Cross-cultural encounters and confrontations constitute major areas of postcolonial studies. These depictions are built upon a few stereotypes, colonial constructs and ‘exotic’ images of people. Even in this globalized world of today, these problematic and false assumptions continue directing our ways of thinking and understanding. We are deeply either ill-informed or misinformed about people who are like us with an insignificant difference in culture and language. As a result, the increasing cultural divide, tensions, conflicts, and misconceptions plague collective human existence. The postco
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Mason, Myles. "Considering Meme-Based Non-Fungible Tokens’ Racial Implications." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2885.

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Staples of early United States Internet meme culture were sold via digital auctions for cryptocurrency (except one, which was sold for cash) throughout 2021. Through these transactions, Internet memes, or “the linguistic, image, audio, and video texts created, circulated, and transformed by countless cultural participants across vast networks and collectives” (Milner 1), were “minted” as non-fungible tokens—a marker within cryptocurrency economy that denotes the level of originality or irreplaceability of an (often digital) artifact (Wired). Early 2021 saw Internet memes (memes, hereafter) and
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Charles, Sally, and Hilary Nicoll. "Aberdeen, City of Culture?" M/C Journal 25, no. 3 (2022). http://dx.doi.org/10.5204/mcj.2903.

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Introduction This article explores the phenomenon of the Creative City in the context of Aberdeen, Scotland’s third-largest city. The common perception of Aberdeen is likely to revolve around its status, for the last 50 years, as Europe’s Oil & Gas Capital. However, for more than a decade Aberdeen’s city planners have sought to incorporate creativity and culture in their placemaking. The most visible expression of this was the unsuccessful 2013 bid to become the UK City of Culture 2017 (CoC), which was referred to as a “reality check” by Marie Boulton (BBC), the councillor charged with the
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Kulshreshtha, Sharad Kumar, and Ashok Kumar. "Culture de consommation des boissons indigènes : Une étude exploratoire des vins de fruits de Meghalaya (Inde)." Territoires du vin, no. 13 (December 15, 2021). http://dx.doi.org/10.58335/territoiresduvin.2270.

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Every destination has its own ethnic values and cultural diversity which reflects through its languages, costumes, custom and traditions, mythologies, beliefs, rituals, cultural events and finally local food and beverages. All these ethnicities are quite alluring to attract anyone towards culture and special interest tourism. Nowadays tourists and visitors are experiencing local culture, arts and handicraft, traditional dance and music, relishing local ethnic delicacies, delicious cuisines, as well as tasting local beverages etc. In respect of beverages especially, wines play an important role
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Fredericks, Bronwyn, and Pamela CroftWarcon. "Always “Tasty”, Regardless: Art, Chocolate and Indigenous Australians." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.751.

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Black women are treated as though we are a box of chocolates presented to individual white women for their eating pleasure, so they can decide for themselves and others which pieces are most tasty (hooks 80). Introduction bell hooks equates African-American women with chocolates, which are picked out and selected for someone else’s pleasure. In her writing about white women who have historically dominated the feminist movement, hooks challenges the ways that people conceptualise the “self” and “other”. She uses a feminist lens to question widespread assumptions about the place of Black women i
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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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 Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi
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Woodward, Kath. "Tuning In: Diasporas at the BBC World Service." M/C Journal 14, no. 2 (2010). http://dx.doi.org/10.5204/mcj.320.

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Diaspora This article looks at diaspora through the transformations of an established public service broadcaster, the BBC World Service, by considering some of the findings of the AHRC-funded Tuning In: Contact Zones at the BBC World Service, which is part of the Diasporas, Migration and Identities program. Tuning In has six themes, each of which focuses upon the role of the BBC WS: The Politics of Translation, Diasporic Nationhood, Religious Transnationalism, Sport across Diasporas, Migrating Music and Drama for Development. The World Service, which was until 2011 funded by the Foreign Office
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Wiltse, Lynne. "The Deakin Review Is Grateful to Lynne Wiltse for Her Guest Editorial." Deakin Review of Children's Literature 8, no. 4 (2019). http://dx.doi.org/10.20361/dr29457.

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***Access the interview with author Shelly Becker by clicking here.***
 Dear Readers,
 It is my pleasure to be contributing the editorial for this special issue of The Deakin Review of Children’s Literature.
 My name is Lynne Wiltse and I am an Associate Professor in the Department of Elementary Education at the University of Alberta in Edmonton, Alberta. I teach courses in language and literacy and children’s literature. This is the third time that the graduate students in my Children's Literature in the Elementary School (EDEL 510) course have participated in writing book revi
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Lawrence, Robert. "Locate, Combine, Contradict, Iterate: Serial Strategies for PostInternet Art." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1374.

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We (I, Robert Lawrence and, in a rare display of unity, all my online avatars and agents)hereby render and proclaim thisMANIFESTO OF PIECES AND BITS IN SERVICE OF CONTRADICTIONAL AESTHETICSWe start with the simple premise that art has the job of telling us who we are, and that through the modern age doing this job while KEEPING UP with accelerating cultural change has necessitated the invention of something we might call the avant-garde. Along the way there has been an on-again-off-again affair between said avant-garde and technology. We are now in a new phase of the new and the technology und
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Luckhurst, Mary, and Jen Rae. "Diversity Agendas in Australian Stand-Up Comedy." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1149.

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Stand-up is a global phenomenon. It is Australia’s most significant form of advocatorial theatre and a major platform for challenging stigma and prejudice. In the twenty-first century, Australian stand-up is transforming into a more culturally diverse form and extending the spectrum of material addressing human rights. Since the 1980s Australian stand-up routines have moved beyond the old colonial targets of England and America, and Indigenous comics such as Kevin Kopinyeri, Andy Saunders, and Shiralee Hood have gained an established following. Additionally, the turn to Asia is evident not jus
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