Academic literature on the topic 'Art, African – Western influences'
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Journal articles on the topic "Art, African – Western influences"
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Chikukwa, Raphael. "Curating contemporary African art: questions of mega-exhibitions and Western influences." African Identities 9, no. 2 (May 2011): 225–29. http://dx.doi.org/10.1080/14725843.2011.556803.
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Slingo, Julia, Hilary Spencer, Brian Hoskins, Paul Berrisford, and Emily Black. "The meteorology of the Western Indian Ocean, and the influence of the East African Highlands." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 363, no. 1826 (January 15, 2005): 25–42. http://dx.doi.org/10.1098/rsta.2004.1473.
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This paper reviews the meteorology of the Western Indian Ocean and uses a state–of–the–art atmospheric general circulation model to investigate the influence of the East African Highlands on the climate of the Indian Ocean and its surrounding regions. The new 44–year re–analysis produced by the European Centre for Medium range Weather Forecasts (ECMWF) has been used to construct a new climatology of the Western Indian Ocean. A brief overview of the seasonal cycle of the Western Indian Ocean is presented which emphasizes the importance of the geography of the Indian Ocean basin for controlling the meteorology of the Western Indian Ocean. The principal modes of inter–annual variability are described, associated with El Niño and the Indian Ocean Dipole or Zonal Mode, and the basic characteristics of the subseasonal weather over the Western Indian Ocean are presented, including new statistics on cyclone tracks derived from the ECMWF re–analyses. Sensitivity experiments, in which the orographic effects of East Africa are removed, have shown that the East African Highlands, although not very high, play a significant role in the climate of Africa, India and Southeast Asia, and in the heat, salinity and momentum forcing of the Western Indian Ocean. The hydrological cycle over Africa is systematically enhanced in all seasons by the presence of the East African Highlands, and during the Asian summer monsoon there is a major redistribution of the rainfall across India and Southeast Asia. The implied impact of the East African Highlands on the ocean is substantial. The East African Highlands systematically freshen the tropical Indian Ocean, and act to focus the monsoon winds along the coast, leading to greater upwelling and cooler sea–surface temperatures.
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Jules-Rosette, Bennetta, and Robert Cancel. "Introductory Remarks on African Humanities." African Studies Review 29, no. 1 (March 1986): 1–2. http://dx.doi.org/10.1017/s0002020600011665.
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This issue of the African Studies Review is devoted to research in the African humanities. The appearance of new approaches to the study of literary texts, oral traditions, and the popular arts has inspired us to assemble this collection. Recently, the African humanities have been neglected as an important area in which new empirical and theoretical advances have been made for the study of oral texts, art, and performance.The articles in this collection by Robert Cancel, David Coplan, Bennetta Jules-Rosette, and V. Y. Mudimbe were presented at the Conference on Popular Arts and the Media in Africa held at the University of California, San Diego from May 17-19, 1982. This conference was sponsored by the Joint Committee on African Studies of the Social Science Research Council and the American Council of Learned Societies. We would like to thank the Joint Committee for their support of this conference and our initial efforts to develop a research synthesis for the African humanities.This collection begins with V. Y. Mudimbe's commentary on the nature of African art and the limitations of research models used to study it. He questions the role and position of African arts, especially visual arts, in the post-colonial world. He suggests that the time has passed where most of these works can be judged simply as self-enclosed cultural referents, isolated from the effects of the last two hundred years of history. The process of “aesthetization” that he describes is one which, in various transformations, informs each of the papers that follow. When Fanon suggested that to take on a language is to “take on a world,” he foreshadowed the ideas that acknowledge the development of Africa's humanities in a context of cultural interchange with other world traditions. This is not to accept the Victorian pronouncements that credited all African achievements to various forms of Western influence. Rather, it is a movement towards the view that African culture, always fluid and dynamic, has been responsive to all manner of influences, both local and foreign.
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Odueme, Edoama Frances. "Orality, Memory and the New African Diaspora Poetry: Examining Tanure Ojaide’s Poetics." Afrika Focus 32, no. 1 (February 27, 2019): 149–58. http://dx.doi.org/10.1163/2031356x-03201010.
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The influence of traditional oral poetic forms on modern African poetry has been significant. Fascinated by oral forms which their respective communities relied on (to inform, teach, and correct erring members) before the advent of literacy, modern African writers borrow from these oral traditions and blend them with the features of the written Western literary forms. This appropriation of the oral poetic techniques by modern African poets continues today, as is clearly evident in the writings of many contemporary African poets, whose scripted works are seen to have drawn much in terms of content and form from the African oral poetic tradition. Following in this trend, the new African diaspora poets have also maintained the practice of skillfully blending the rich African verbal art and the modern (written) poetic forms to articulate the experiences of their African homeland as well as those of the diaspora, in order to construct and project their identities and visions of a new life in their lived world. In order to explore how through recourse to memory, “new African diasporas” (African-descended people who migrated out of Africa, during the postcolonial era and who live and practice their art outside the African homeland) utilize African oral art techniques in their writings, this essay analyses the poetry of Tanure Ojaide.
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Du Plessis, Hester. "Oriental Africa." Tydskrif vir Letterkunde 45, no. 1 (February 16, 2018): 87–100. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4465.
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Arab culture and the religion of Islam permeated the traditions and customs of the African sub-Sahara for centuries. When the early colonizers from Europe arrived in Africa they encountered these influences and spontaneously perceived the African cultures to be ideologically hybridized and more compatible with Islam than with the ideologies of the west. This difference progressively endorsed a perception of Africa and the east being “exotic” and was as such depicted in early paintings and writings. This depiction contributed to a cultural misunderstanding of Africa and facilitated colonialism. This article briefly explores some of the facets of these early texts and paintings. In the first place the scripts by early Muslim scholars, who critically analyzed early western perceptions, were discussed against the textual interpretation of east-west perceptions such as the construction of “the other”. Secondly, the travel writers and painters between 1860 and 1930, who created a visual embodiment of the exotic, were discussed against the politics behind the French Realist movement that developed in France during that same period. This included the construction of a perception of exoticness as represented by literature descriptions and visual art depictions of the women of the Orient. These perceptions rendered Africa as oriental with African subjects depicted as “exotic others”.
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Eshun, Ekow. "A Liquid Africa." liquid blackness 5, no. 1 (April 1, 2021): 75–88. http://dx.doi.org/10.1215/26923874-8932595.
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Abstract This essay coins the term liquid Africa to describe the continent as protean and fluid, a convergence point of diverse ideas and influences, shaped by the tidal wash of local, regional, and international cultural influences. The notion of a liquid Africa opposes long-standing representations of the continent in the Western imaginary as a homogenous landmass sunk in a perpetual past, suspended outside progress, and the antithesis of modernity. Through study of Samuel Bazawule's short film Diasporadical Trilogía (2017) and a number of other recent films primarily by creative practitioners of African origin, liquidity is addressed here as a curatorial category, denoting a shared versatility of practice, and in aesthetic, geographic, and temporal terms. Aesthetic strategies such as the use of water as a thematic device and of music to weave a tapestry of auditory affinities across place and time act as means of conjuring narratives of collective memory, of multiple pasts always within reach of the present, across the African diaspora. Finally, the essay considers how Diasporadical Trilogía in particular embraces fantasy as a liberatory form, a means of resistance to notions of Enlightenment progress, and a route toward an epistemic decentering based on Africa's vast cosmology of myths and beliefs.
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Ragen, Sarah, Kyle C. Armour, LuAnne Thompson, Andrew Shao, and David Darr. "The Role of Atlantic Basin Geometry in Meridional Overturning Circulation." Journal of Physical Oceanography 52, no. 3 (March 2022): 475–92. http://dx.doi.org/10.1175/jpo-d-21-0036.1.
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Abstract We present idealized simulations to explore how the shape of eastern and western continental boundaries along the Atlantic Ocean influences the Atlantic meridional overturning circulation (AMOC). We use a state-of-the art ocean–sea ice model (MOM6 and SIS2) with idealized, zonally symmetric surface forcing and a range of idealized continental configurations with a large, Pacific-like basin and a small, Atlantic-like basin. We perform simulations with five coastline geometries along the Atlantic-like basin that range from coastlines that are straight to coastlines that are shaped like the coasts of the American and African continents. Changing the Atlantic basin coastline shape influences AMOC strength in a manner distinct from simply increasing basin width: widening the basin while maintaining straight coastlines leads to a 10-Sv (1 Sv ≡ 106 m3 s−1) increase in AMOC strength, whereas widening the basin with the geometry of the American and African continents leads to a 6-Sv increase in AMOC strength, despite both cases representing the same average basin-width increase relative to a control case. The structure of AMOC changes are different between these two cases as well: a more realistic basin geometry results in a shoaled AMOC while widening the basin with straight boundaries deepens AMOC. We test the influence of the shape of the both boundaries independently and find that AMOC is more sensitive to the American coastline while the African coastline impacts the abyssal circulation. We also find that AMOC strength and depth scales well with basin-scale meridional density difference, even with different Atlantic basin geometries, illuminating a robust physical link between AMOC and the North Atlantic western boundary density gradient.
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Stöger-Eising, Viktoria. "Ujamaa Revisited: Indigenous and European Influences in Nyerere's Social and Political Thought." Africa 70, no. 1 (February 2000): 118–43. http://dx.doi.org/10.3366/afr.2000.70.1.118.
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AbstractThe debate over the indigenous versus the European roots of ‘African democracy’ has regained importance recently. Using the critical tools of cultural anthropology, the social and political thought of Julius K. Nyerere from Tanzania is examined for its African and European sources. The most recurrent themes in his writings are ‘traditional African values’ and the centrality of ‘the traditional African family’. They constitute the core element of Ujamaa. The aim of this article is to show that Nyerere’s statements on African socialism and on African democracy are not merely rhetorical devices employed by an aspiring politician. Nor are they the romantic appeal of a Westernised university graduate to a mythological or even ‘invented’ African past. Nyerere presented his own specific version of ‘traditional’ African values because he was socialised in a non-hierarchical ‘tribal’ society. He sought to synthesise these ‘traditional’ values with Western elements in order to create a Tanzanian identity that would cut across ethnic lines. In those cases when African and European value systems collided, however, Nyerere’s politics became problematic.
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Challis, Sam, and Andrew Skinner. "Art and Influence, Presence and Navigation in Southern African Forager Landscapes." Religions 12, no. 12 (December 13, 2021): 1099. http://dx.doi.org/10.3390/rel12121099.
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With earlier origins and a rebirth in the late 1990s, the New Animisms and the precipitate ‘ontological turn’ have now been in full swing since the mid-2000s. They make a valuable contribution to the interpretation of the rock arts of numerous societies, particularly in their finding that in animist societies, there is little distinction between nature and culture, religious belief and practicality, the sacred and the profane. In the process, a problem of perspective arises: the perspectives of such societies, and the analogical sources that illuminate them, diverge in more foundational terms from Western perspectives than is often accounted for. This is why archaeologists of religion need to be anthropologists of the wider world, to recognise where animistic and shamanistic ontologies are represented, and perhaps where there is reason to look closely at how religious systems are used to imply Cartesian separations of nature and culture, religious and mundane, human/person and animal/non-person, and where these dichotomies may obscure other forms of being-in-the-world. Inspired by Bird-David, Descola, Hallowell, Ingold, Vieiros de Castro, and Willerslev, and acting through the lens of navigation in a populated, enculturated, and multinatural world, this contribution locates southern African shamanic expressions of rock art within broader contexts of shamanisms that are animist.
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Oladugbagbe, Francis Ebunola Allan, and Moses Akintunde Akintonde. "Contextual Change in Nigerian Sculpture." Asian Journal of Humanity, Art and Literature 3, no. 2 (December 31, 2016): 83–92. http://dx.doi.org/10.18034/ajhal.v3i2.309.
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In the past fifty years Nigeria has witnessed an almost unparalleled upsurge in three-dimensional art production significantly, sculpture in the round. The emergence of the latter can be traced to pioneer African sculptures whose pieces have been adjudged contribution to world artistic heritage. This paper, therefore, examines the continuity and change in sculpture practice as a result of contact with Western cultures and the artistic influence in form, style, theme and material of contemporary sculpture in Nigeria. Significantly, this paper hopefully serves as reference point for future scholarship on sculpture in Africa, while at the same time assist in formulating critical theories on sculpture practice in contemporary Africa, and Nigeria in particular.
Dissertations / Theses on the topic "Art, African – Western influences"
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Petty, Nancy. "African Art in Western Museums: Issues and Perspectives." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/992.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Art History
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Hockley, Allen F. "Harunobu : an Ukiyo-e artist who experimented with Western- style art." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/28070.
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From the beginning of serious art historical study of Japanese woodblock prints or Ukiyo-e, the artist Suzuki Harunobu (1725-1770) has been accorded a prominent position in the development of that art form primarily because of his role in the creation of the first full colour prints. This, and his particular conception of feminine beauty which he chose to illustrate most often as the main subject of his art, made him the dominant artist of his generation. The popularity he achieved during his lifetime was monumental, but he met with a premature and untimely death. Shortly after his death Shiba Kōkan (1747-1818), a young artist just beginning his career, made forgeries of Harunobu's prints and later admitted to doing so in his autobiography. Based on Kōkan's confession, there developed among art historians and connoisseurs, a long running, at times heated and, as yet, unresolved debate focussed upon determining which of Harunobu's prints are in fact forgeries.
Because Kōkan eventually acquired fame as an artist who experimented with styles and techniques newly imported to Japan from Europe, Harunobu's prints that contain linear perspective, one such Western technique, have traditionally and without question been designated as forgeries. To this author, making such an attribution based on this criterion seems somewhat illogical. Why would Kōkan introduce something foreign to Harunobu's style into prints he intended to pass off as Harunobu's originals? The simplest resolution to this quandary is to assume that Harunobu must have also been experimenting with imported European styles.
Based on this premise, this thesis introduces literary and visual evidence linking Harunobu to a number of sources of European-style art. Much of this evidence was uncovered through a re-examination of Harunobu's prints and literary accounts of his life in accordance with the social and artistic context in which he worked. The prints and the documents which this thesis discusses have long been known to art historians. They simply needed to be reworked to support this premise.
This thesis does, however, introduce one print from the collection of the Oregon Art Institute which seems to have been overlooked by other scholars. It provides a clear example of Harunobu's Western-style art and through visual analysis of it, its sources can be identified among the Western-style megane-e of Maruyama ōkyo ( 1733-1795).
The concluding section of this thesis examines the consequences
of this evidence. Two of the so-called forgeries are reattributed to Harunobu and his prints as a whole are recast within the tradition of Western-style art in Japan.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Mannering, Hildegard Kirsten. "European stylistic influence on early twentieth century South African painters." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002207.
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South African artists, d i ssatisfied with the staid environment in local circles, felt the need to travel abroad for fresh stimulation. This need allowed for a historical investigation into the results, beneficial or otherwise, of the influence of European modernism on early twentieth century South African painters. Because of the numerous practising artists in South Africa at the time, it was found necessary to give cohesion to the artists discussed and, therefore the most pertinent were grouped into artistic movements. Thus, H.Naude, R . G. Goodman and H.S. Caldecott are discussed in conjunction with Impressionism. B. Everard, R. Everard-Haden and J.H. Pierneef are compared to the post-Impressionists and finally, I.Stern and M. Laubser are equated with the Fauves and Expressionists. To ascertain the true effect of European stylistic influence, a comparative analysis of work executed before European visits and upon the artists' return was imperative. Simultaneously, as part of the analysis, reference was also made to any work executed by these artists while in Europe. European movements of the period are also reviewed, enabling precise grouping and better understanding of t he styles adopted by the chosen group of early twentieth century South African artists. Some attention is given to the impact these artists had on South African art upon their return, as this confirms the degree of European influence and facilitates the classification of styles adopted by the selected group. In conclusion, to establish the extent to which European art was influential, a brief synopsis shows the changes in local groups, once these artists had re-established themselves in South Africa.
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Ely, Bonita. "Change and continuity the influences of Taoist philosophy and cultural practices on contemporary art practice /." View thesis (Appendix 3 available at UWS Library for private study and research purposes only), 2009. http://handle.uws.edu.au:8081/1959.7/40805.
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Thesis (Ph.D.)--University of Western Sydney, 2009.A thesis presented to the University of Western Sydney, College of Arts, School of Communications Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies. Thesis front, chapters, appendices 1, 2 also available online at: http://handle.uws.edu.au:8081/1959.7/40805.
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Malan, Petronel. "Alexander Johnson's Ni' Concerto (1994) - Concerto no. 1 for Piano and Orchestra: a Discussion of Influences from Africa, Eastern and Western Europe." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2839/.
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In the new generation of artists emerging in South Africa, Alexander Johnson is considered the most prolific young composer of his day. In a recent review in the Pretoria News, Johnson has been praised by eminent critic Paul Boekkooi as a composer who has “an ear for the exotic and knows exactly how to bring it off....” He continued by noting that his music is “mentally engrossing, pleasurable to the senses and seems refreshingly free from dogmatic formulas." Johnson writes for musicians and the general public to equal satisfaction. His accessible compositions and catching use of melodic
materials have made his writings very popular both in South Africa and abroad. During his residency in Belgrade in 1993-94, Johnson met Croatian pianist Dorian Leljak. Impressed with Johnson's compositional ideas and output, Leljak commissioned a work from Johnson for piano and orchestra. The result was the Ni Concerto, which Johnson completed in April 1994. The world premiere took place on June 23, 1994 with the Ni Philharmonic Orchestra conducted by Anatoli Nowiestski with Dorian Leljak as soloist. The Ni Concerto received its South African premiere in 1995 during a
simultaneous celebration for “Europe Day” and the new democracy of the Republic of South Africa. The Delegation of the European Commission of South Africa sponsored the celebration, which took place in the Aula Auditorium on the campus of the University of Pretoria. The performers included the Artium Symphony Orchestra, conducted by Dutch-born Prof. Henk Temmingh and Johnson himself as piano soloist.
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Ka, Zenzile Mawande. "Decolonizing visualities: changing cultural paradigms, freeing ourselves from Western-centric epistemes." Master's thesis, Faculty of Humanities, 2017. http://hdl.handle.net/11427/30909.
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In this study, I hope to challenge the absolute belief in academia, which assumes that the perception of reality or visualities; in terms of culture, nature, truth and so on, by definition should be understood according to the Western philosophical character and genealogy as developed from a positivist paradigm. It seems to me, that the dominant methodological frameworks as I know them now, tacitly follow this scientific, quantitative, material, mechanical, positivist paradigm that draws from Western philosophical development and positions, pervasively held as the only basis for knowledge production. In turn, this philosophical position delegitimises any other epistemologies or methodological frameworks from elsewhere. In many cases, the methods of teaching and assessing subscribe, impose and perpetuate these same protocols as the only recognised epistemological and methodological approaches for critical inquiry inside tertiary educational institutions. By far, fine art as a discipline has inherited this epistemological position. To define this field in the context of decolonisation (meaning the undoing of colonisation), it requires us to look beyond disciplinary knowledge. This research is primarily an epistemological critique; and does not simply seek to “Africanise” the study of art, but to condemn the pervasive institutionalised cultural dominance. To frame my discourse, I have adopted an anti-colonial perspective, and a qualitative method to help define this phenomenon through a wide range of techniques. These include grounded theory; propositional logic; case study, narrative inquiry and auto-ethnography as possible tool for collecting, coding and analysing of data.
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Ely, Bonita. "Change and continuity : the influences of Taoist philosophy and cultural practices on contemporary art practice." Thesis, View thesis (Appendix 3 available at UWS Library for private study and research purposes only), 2009. http://handle.uws.edu.au:8081/1959.7/40805.
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The aim of this thesis is to identify in contemporary art practices the inflections that have either direct, or indirect origins in Taoism, the conceptual source of China’s principle indigenous, cultural practices. The thesis argues that the increasingly cross cultural qualities of contemporary art practice owe much to the West’s exposure to Taoism’s non-absolutist, non-humanist tropes, a cultural borrowing that has received slight attention despite its increasingly pervasive presence. This critical analysis is structured by Deleuze and Guattari’s theory of the rhizome as a metaphor for cultural influences that are pluralist permeations, rather than a linear hierachy. The thesis tracks discourse between the West and China from early contact to the present, tracing manifold aspects of Taoism’s modes of visual representation in Western art. Chinese gardens, Chinoiserie, calligraphy, and their coalescence in Chinese painting, are analysed to locate Taoist precepts familiar to the West, principally citing the Tao Te Ching by Lao Tzu, Taoism’s founder. Here Taoist philosophy, as synthesised in Western thought, is proven to be a source of identifiable innovations in contemporary art practice. For example, spatial articulation as a dominant element of expression in installation art is traced to Western artists’ exposure to the conceptualised spatiality of Sinocised artefacts. Taoist precepts are analysed in the Chinese tradition of improvising upon calligraphic characters as a key factor.This model is deployed using the skills set of studio-based research, to identify the experimental nature and degree of improvisation in Western artists’ adaptations of Taoist methods in innovative painting, then sculpture. Investigations of artworks are structured upon correlations between Deleuze’s theories of representation and Taoist theories of creativity. A thematic connection with Taoism located in contemporary art, namely, notions of continuity and change, assists this detailed unravelling of creative processes, aesthetics, metonymy and meaning derived from Taoism in global, contemporary art.
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Schoeman, Ben. "The piano works of Stefans Grové (1922-2014) : a study of stylistic influences, technical elements and canon formation in South African art music." Thesis, City, University of London, 2016. http://openaccess.city.ac.uk/16579/.
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Stefans Grové (1922-2014) is widely regarded as one of South Africa’s most distinguished composers of art music. He was one of the most prolific contributors to the country’s piano literature, having written large-scale cycles as well as several miniatures for the instrument. This thesis engages with his more widely-performed oeuvre, as well as earlier works that are forgotten or not currently in the public domain. A number of his piano works composed towards the end of his life are discussed here for the first time in an academic context. The two main premises explored in this thesis are the composer’s stylistic development and his approach to elements of piano technique and performance. His pianistic oeuvre is divided into style periods, and the seminal structural tools that recur throughout his creative career are evaluated. A study of the composer’s engagement with indigenous Southern African musical and cultural elements forms a substantial part of the second and fourth chapters of this thesis. The realisation of technical elements in Grové’s piano music for concert performers as well as less advanced players is discussed in the third chapter, with reference to the formulations on the didactics of piano playing by pedagogues such as Heinrich Neuhaus, Béla Bartók, József Gát and Geőrgy Sándor. Aspects of finger technique, articulation and pedalling are the main points of investigation. In the outer chapters, Grové is placed within the historical context of piano tuition in South Africa and his position within the national canon of art music is considered and contextualised.
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Chuang, Yu-Cheng. "Cross-currents in the work of Yu-Cheng Chuang : an examination of the Chinese principle of Jingjie and Western idea of the picturesque as parallel influences on site-specificity in land art." Thesis, Goldsmiths College (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408342.
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This combined studio practice/text thesis analyses links among the Chinese concept of jingjie, the archetypal patterns of sacred places, the picturesque movement in European aesthetics, and site-specificity in 1960s Land Art. In addition to examining site-specificity and the theoretical aspects of my studio practice, I explore the relationship between my ethnicity and my work in the context of contemporary Chinese and Taiwanese art environments. Guided by the principle that "practice and theory inform each other," I restate the significance of jingjie in contemporary art, especially its connection with the physical and psychological patterns found in archetypal "sacred places." Jingjie was fundamental to the spatial fluidity found in Chinese landscape arts, especially garden design. After demonstrating how Chinese gardens influenced English landscape garden principles and the 18th-century European picturesque movement, I argue that similar East-West connections served as direct and indirect influences on the site-specific work of middle and late 20th-century Land Art artists. I then describe how picturesque depictions of the relationship between man and nature influenced 19th-century landscape architecture in North America and 20th-century Land Art throughout the West. Finally, jingjie and Chinese gardens are used to explore archetypal sacred place patterns and their influences on the Western tradition of the picturesque. These parallel East-West connections served as the foundation for later interest in site-specificity, and were essential in establishing a historical context for understanding cross-cultural currents and their influences on Land Art artists. Using jingjie as my focus, I examine aspects of contemporary art that are not usually addressed by art critics, and reconsider the relevance of the Western picturesque tradition through a reciprocal model of cultural influences.
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Hughes, Camryn E. "Postmodern Blackness: Writing Melanin Against a White Backdrop." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619188755992646.
Full textBooks on the topic "Art, African – Western influences"
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Western frontiers of African art. Rochester: University of Rochester Press, 2011.
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Flam, Jack D. Western artists/African art. New York: Museum for African Art, 1994.
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Ajayi, Jare. Arts and the underdevelopment of Africa. Ibadan, Nigeria: Creative Books, 1998.
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L'art africain entre silence et promesse. [Belval]: Circé, 2009.
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Armorer, Harry. Africa! you are the light. Bronx, N.Y. (P.O. Box 846, Bronx 10466): H. Armorer, 1985.
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1936-, Frank Barbara, and Forkl Hermann, eds. Die andere Moderne Afrikas: Kunst aus den Sammmlungen des Linden-Museums Stuttgart : zum Gedächtnis an Barbara Frank (1936-2004). Stuttgart: Linden-Museum, 2004.
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Kasfir, Sidney Littlefield. African art and the colonial encounter: Inventing a global commodity. Bloomington: Indiana University Press, 2007.
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Kasfir, Sidney Littlefield. African art and the colonial encounter: Inventing a global commodity. Bloomington: Indiana University Press, 2007.
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Payot, Daniel. L'art africain entre silence et promesse. [Belval]: Circé, 2009.
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Kaat, Debo, and Modemuseum Provincie Antwerpen, eds. Beyond desire: [catalogus = catalogue. Antwerpen: Ludion/MoMu, 2005.
Find full textBook chapters on the topic "Art, African – Western influences"
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Kimmerle, Heinz. "Living (with) Art: The African Aesthetic Worldview as an Inspiration for the Western Philosophy of Art." In Intercultural Aesthetics, 43–53. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-5780-9_4.
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Theimann, Nadine Mendelek, and Kurt April. "Cave Canem! The Art (or Science?) of Western Management in an African Context." In Diversity in Africa, 10–34. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230627536_3.
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Meddi, Mohamed, and Saeid Eslamian. "Uncertainties in Rainfall and Water Resources in Maghreb Countries Under Climate Change." In African Handbook of Climate Change Adaptation, 1–37. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42091-8_114-1.
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AbstractThe vulnerability of the climate change in the South of the Mediterranean’s south regions varies depending on the part of their climate which is sensitive to the economy. In Tunisia, agriculture represents 16% of the workforce and 12% of GDP in 2006. In Algeria, agriculture represents 20% of the workforce and 8% of GDP in 2009. In Morocco, agriculture accounts for 40% of the workforce and 17.7% of GDP in 2006. The agriculture is directly related to the availability of water which in turn is directly related to rainfall. The drought has affected all countries of the Maghreb. It is considered the most severe in the history of these countries. The drought has forced the agricultural sector in Morocco to the limitation of annual crops which are not needed, the prohibition of any new tree planting and the ban on vegetable crops in dry years. During the years 1987, 1988, and 1989, Tunisia has experienced the most critical drought. It led to a water deficit of around 30%. For Morocco the rainfall shows a negative trend at national and regional scales, and spring rainfall has declined by over 40% since the 1960s. For Algeria, the western region has recorded a considerable reduction in rainfall. The winter rains have decreased between 40% and 70%. Contributions to dams have decreased between 30% and 50%. These changes had a negative influence on the water resource and crop yield. Many programs have been initiated since then to meet the growing demand.
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Meddi, Mohamed, and Saeid Eslamian. "Uncertainties in Rainfall and Water Resources in Maghreb Countries Under Climate Change." In African Handbook of Climate Change Adaptation, 1967–2003. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-45106-6_114.
Full textAbstract:
AbstractThe vulnerability of the climate change in the South of the Mediterranean’s south regions varies depending on the part of their climate which is sensitive to the economy. In Tunisia, agriculture represents 16% of the workforce and 12% of GDP in 2006. In Algeria, agriculture represents 20% of the workforce and 8% of GDP in 2009. In Morocco, agriculture accounts for 40% of the workforce and 17.7% of GDP in 2006. The agriculture is directly related to the availability of water which in turn is directly related to rainfall. The drought has affected all countries of the Maghreb. It is considered the most severe in the history of these countries. The drought has forced the agricultural sector in Morocco to the limitation of annual crops which are not needed, the prohibition of any new tree planting and the ban on vegetable crops in dry years. During the years 1987, 1988, and 1989, Tunisia has experienced the most critical drought. It led to a water deficit of around 30%. For Morocco the rainfall shows a negative trend at national and regional scales, and spring rainfall has declined by over 40% since the 1960s. For Algeria, the western region has recorded a considerable reduction in rainfall. The winter rains have decreased between 40% and 70%. Contributions to dams have decreased between 30% and 50%. These changes had a negative influence on the water resource and crop yield. Many programs have been initiated since then to meet the growing demand.
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Williams, Kamil. "Liberian Gangs." In Comparative Criminology Across Western and African Perspectives, 57–72. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-2856-3.ch004.
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While research in the United States still grapples to understand the formation and persistence of gangs, American gangs' impact and influence on other populations across the globe are astonishing. One of these places of influence, Africa, has a long collective history of social, political, and economic turmoil, creating a space for social inequalities that some would consider the foundational grounds for criminal deviance and social chaos. When providing a comparative criminological lens, gangs tend to emerge from historical trauma, rooted in poverty and fueled in growth by national and international media and cultural influences.
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Appiah-Marfo, Samuel Yaw. "Cultural Responses to Collective Trauma in Different Societies Explains Aspects of Their Identity." In Comparative Criminology Across Western and African Perspectives, 137–58. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-2856-3.ch008.
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Different societies have different ways through which traumatic experiences are handled. This shapes their identity. This chapter will use Eric Berne's psychotherapist transactional analysis theory to emphasize how people relate to one another and establish the extent communications influences human behaviours. The author indicates how the theory underscores societies' and individuals' representations of violent conduct by examining the traumatic experiences of some societies like the Yukpa people and the Jews during and after the Holocaust. Thematic areas will include identity and violence, trauma of war, and group construction of violence, among others. All of these themes are interconnected. Finally, the relevance of this work is to minimize interpersonal and organizational conflicts as well as promote tolerance of divergent views.
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Okorie, Nelson. "Global Media, Television, and the Americanization of Young Africans." In Emerging Trends in Indigenous Language Media, Communication, Gender, and Health, 210–25. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2091-8.ch011.
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This chapter examined the perception of young Africans on American values as portrayed in popular entertainment programs. This chapter examined use DSTV as a study example because it is the most popular digital-pay TV with the highest subscription in Africa. Furthermore, the objectives are: (1) To ascertain the major type of western programmes preferred on DSTV among young Africans, (2) To examine the perception of young Africans on whether these TV channels influence the adoption of western values. This research adopted the use of the survey method to achieve the objectives of the study. A value contribution of this chapter is that global television has created multiple media products that have unique elements of American culture, which will distort African values. Also, the influence of American values will have a snowball effect on African youths in different spheres of life.
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Shava, Soul, and Nkopodi Nkopodi. "Indigenising the University Curriculum in Southern Africa." In Handbook of Research on Social, Cultural, and Educational Considerations of Indigenous Knowledge in Developing Countries, 80–91. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0838-0.ch005.
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The academic landscape in higher education institutions (universities) in southern Africa (countries in SADC)) remains highly influenced by western epistemologies. This is despite the fact that these academic institutions are situated in independent states. The research and teaching activities in universities are entrenched within western theories and knowledge disciplines that are presented as neutral, universal and singular. The implication is that while we celebrate political independence we are still entrapped in continuing coloniality. This points to a need for reframing the curriculum to prioritise the interests of Africans. This chapter explores possible factors that contribute to the continued alienation of indigenous knowledges in southern African universities. It argues that in order to achieve the indigenisation of universities in Africa there is a need for a decolonial process to subvert and decentre western epistemologies by offering African Indigenous epistemologies and African-centred standpoints as alternatives in research and teaching processes in the academy.
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Shava, Soul, and Nkopodi Nkopodi. "Indigenising the University Curriculum in Southern Africa." In Indigenous Studies, 243–54. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0423-9.ch013.
Full textAbstract:
The academic landscape in higher education institutions (universities) in southern Africa (countries in SADC)) remains highly influenced by western epistemologies. This is despite the fact that these academic institutions are situated in independent states. The research and teaching activities in universities are entrenched within western theories and knowledge disciplines that are presented as neutral, universal and singular. The implication is that while we celebrate political independence we are still entrapped in continuing coloniality. This points to a need for reframing the curriculum to prioritise the interests of Africans. This chapter explores possible factors that contribute to the continued alienation of indigenous knowledges in southern African universities. It argues that in order to achieve the indigenisation of universities in Africa there is a need for a decolonial process to subvert and decentre western epistemologies by offering African Indigenous epistemologies and African-centred standpoints as alternatives in research and teaching processes in the academy.
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"3. Art and the Baule." In Baule: African Art, Western Eyes. Yale University Art Gallery, 1997. http://dx.doi.org/10.37862/aaeportal.00287.5.
Full textConference papers on the topic "Art, African – Western influences"
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Adonis, Tracey-Ann, and Shaheed Hartley. "Enhancing learning environments through partnerships in an attempt to facilitate school effectiveness." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9132.
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South Africa (SA) is a developing country struggling to address educational transformation inherited from a previous apartheid regime and created by the current democratic government. Education is an area which is struggling within a SA context. Many schools in disadvantaged communities are faced with inadequate infrastructure and lack of resources yet the expectation is for schools to show evidence of effectiveness irrespective of these challenges. This context prompted an investigation into the development of the school learning environment utilising a participatory action research design at a disadvantaged primary school in the Western Cape, SA. The major findings included that the school learning environment was influenced by the unique challenges and pressures in the school context; that collaborative efforts between stakeholders contribute to school effectiveness irrespective of context through acknowledging the school as an organisational system which requires the principal, educators, parents and community to effectively collaborate through open channels of communication in order to facilitate optimal teaching and learning environments which contribute to school effectiveness. The community component in the school learning environment needed to be acknowledged as the validation of the experiences of educators, learners, parents, principal and community is important in the South African context.
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Sun, Ziming. "Structural Inversion, Reactivation and Extensional Detachment and Their Influence on the Formation and Preservation of Hydrocarbon Accumulations in Northern Western Desert of Egypt." In SPE/AAPG Africa Energy and Technology Conference. SPE, 2016. http://dx.doi.org/10.2118/afrc-2567052-ms.
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ABSTRACT The northern Western Desert Basins of Egypt experienced a complex evolutionary history and several transformation of tectonic stress field properties. An integrated analysis of geological and geophysical data reveals that structural inversion, reactivation and extensional detachment develop in the area, and have a significant effect on formation and preservation of hydrocarbon accumulations. Such an analysis is paramount for prospect evaluation, risk mitigation, and therefore improving the exploration success rate. The rifting in Jurassic and early Cretaceous formed several faulted-depression basins with boundary normal faults in the area. A few boundary normal faults were reactivated in late Cretaceous to Eocene period as reverse faults with dextral compressive features, giving birth to a series of inverted anticlines over them. Compressive wrenching movement on the boundary faults greatly weakened their lateral sealing capacity and accordingly enhanced the vertical conduit capacity of hydrocarbon migration from the Jurassic source kitchen to Cretaceous inverted anticlines along the boundary faults. This is why Cretaceous inverted anticlines show a high concentration of hydrocarbon accumulations whereas there are few oil discoveries in the lower Alam El Bueib (AEB) formation and Jurassic along the boundary faults. Reactivation of basin boundary normal faults in late Tertiary to present abounds in the area. Most of them are surface penetrating, which are vital to the existing hydrocarbon accumulations because the reactivation could not only make poor the preservation of the existing hydrocarbon accumulations and cause the redistribution of hydrocarbons, but also it would destroy the existing hydrocarbon accumulations. Some unsuccessful wells can be attributed to the reactivation of basin boundary normal faults in late Tertiary to present. Some prospects associated with the reactivation of basin boundary normal faults have the same or similar hydrocarbon preservation risks as the unsuccessful wells. By integrating seismic interpretation and lithologic assemblage and thickness variation of the AEB formation, an extensional detachment fault was recognized in Alamein Basin. The detachment, located in the mudstone-dominated AEB 5-6 intervals, makes hydrocarbon migration difficult from Jurassic source kitchen to Cretaceous traps because the vertical migration pathways have been cut off by it, and are unfavorable for the formation of hydrocarbon accumulation above it.
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Xue, Xutian, and Nian-Zhong Chen. "Fracture Mechanics Based Mooring Chain Fatigue Analysis for a Semi-Submersible Subjected to Tension and Torque." In ASME 2018 37th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/omae2018-77409.
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Mechanism of torque induced by chain twist and its effects on the predicting fatigue lives of mooring chains of a semi-submersible operated in OWA (Offshore Western Africa) are investigated in this paper. The fatigue lives of mooring chains are estimated based on a fracture mechanics analysis. Stress ranges on the mooring chains induced by tension ranges acting on the twisted chains are achieved by a finite element analysis. The low frequency (LF) and wave frequency (WF) tension processes induced by the motions of LF and WF are regarded as two random loading processes and the combined tension process of LF and WF is predicted by a dual narrow-band method. The mooring chains are treated as round bars and initial surface cracks are assumed to propagate at the surface of mooring chains. The influence of the chain twist on the fatigue lives of mooring chains is investigated and the results show that when the twist angle is less than 20 degree, fatigue lives of mooring chains are increased with the increase of the twist angle. However, when the twist angle approaches lock-up angle of 30 degree, fatigue lives of mooring chains are significantly decreased due to the torque effects induced by the chain twist.
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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.
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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
Reports on the topic "Art, African – Western influences"
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Paving the Path: Preparing for Microbicide Introduction—Report of a Qualitative Study in South Africa. Population Council, 2004. http://dx.doi.org/10.31899/hiv15.1011.
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With recently accelerated support for the development of microbicides to prevent HIV transmission and the urgency of the global AIDS epidemic, it is important to begin to identify strategies for introducing a microbicide once it is proven safe and effective and is approved for use. This report presents results from a qualitative study that explored a range of issues likely to influence microbicide introduction—positively or negatively—at three levels: community, health service, and policy. The study, which identified critical issues to be addressed in building support for microbicides and facilitating a smooth introduction, was conducted between September 2002 and September 2003 in Langa, a peri-urban site in the Western Cape Province of South Africa, and at national and provincial levels. Through in-depth interviews and focus group discussions, this study explored and identified issues that could facilitate or undermine access to and use of microbicides. Respondents included community members, health care providers and managers, provincial- and national-level government officials, and representatives from national and provincial nongovernmental organizations and health professional bodies that influence policy.
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Paving the Path: Preparing for Microbicide Introduction—Report of a Qualitative Study in South Africa [Executive Summary]. Population Council, 2004. http://dx.doi.org/10.31899/hiv15.1010.
Full textAbstract:
With recently accelerated support for the development of microbicides to prevent HIV transmission and the urgency of the global AIDS epidemic, it is important to begin to identify strategies for introducing a microbicide once it is proven safe and effective and is approved for use. This executive summary presents results from a qualitative study that explored a range of issues likely to influence microbicide introduction at the community, health service, and policy levels. The study, which identified critical issues to be addressed in building support for microbicides and facilitating a smooth introduction, was conducted between September 2002 and September 2003 in Langa, a peri-urban site in the Western Cape Province of South Africa, and at national and provincial levels. Through in-depth interviews and focus group discussions, this study explored and identified issues that could facilitate or undermine access to and use of microbicides. Respondents included community members, health care providers and managers, provincial- and national-level government officials, and representatives from national and provincial nongovernmental organizations and health professional bodies that influence policy.