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.
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Banner, Terron. "Columbus Africentric Early College: Building the Black identity through art and culture." Visual Inquiry 10, no. 1 (June 1, 2021): 65–88. http://dx.doi.org/10.1386/vi_00026_1.
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This article examines the Columbus Africentric Early College public school from multiple perspectives, including that of the founder, the architect and a graduate of the school, to better understand the school’s cultural impact. A thematic analysis of those viewpoints, coupled with the philosophical framework outlined in the Kaiwada theory, will provide a theoretical and practical context of effective teaching–learning environments. Furthermore, this article will analyse Columbus Africentric Early College as a physical and virtual space where formal and informal learning occurs through responsive education. Responsive education is a term used to describe the type of education that is sensitive, aware and critical of the lived experiences and societal influences that affect students and their respective communities. Columbus Africentric Early College, founded by Charles Tennant, opened its doors in 1996 in downtown Columbus, Ohio, and recently relocated to a 55-acre, $45-million ‘urban campus’ created by Nigerian architect Kay Onwuke. Columbus Africentric Early College is guided by the African spiritual principles and value systems of Maat and Nguzo Saba, which are reinforced through the school’s teaching, art and architecture that is designed for the transmission of culture. Columbus Africentric Early College is the nation’s only public Africentric school and provides a proven curricular model that implements culturally relevant and responsive pedagogy manifested through a non-western and non-Eurocentric perspective.
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Savan, Vasim, and Marina E. Vilchinskaya-Butenko. "REMAKE OF ARABIC CALLIGRAPHY: CALLIGRAFFITI IN THE CITY SPACE." Articult, no. 3 (2021): 74–80. http://dx.doi.org/10.28995/2227-6165-2021-3-74-80.
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The informatization of everyday practices in the form of digital media and social networks has significantly influenced the artistic life of the countries of the Middle East and North Africa. Traditional art and, in particular, Arabic calligraphy faced the problem of memorialization. The logical evolution of Arabic calligraphy was the direction that appeared in the depths of hurufiya – an aesthetic movement of the mid-twentieth century, which had a development in the Middle East and North Africa – and was called calligraffiti. The points of intersection of Arabic calligraphy and Western graffiti are explained from the point of view of the confrontation between traditionalism and postmodern ideas, using the example of theoretical research and the work of Hassan Massoudi, eL Seed, Karim Jabbari and other street artists. It is noted that today, thanks to the postmodern worldview, which has been clearly embodied in the artistic work of Middle Eastern and North African artists, a cultural remake and hybridization is being recorded in relation to Arabic calligraphy.
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Rantsane, Ditaba Petrus. "The Origin of Arbitration Law in South Africa." Potchefstroom Electronic Law Journal 23 (November 3, 2020): 1–27. http://dx.doi.org/10.17159/1727-3781/2020/v23i0a8963.
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This article seeks to trace the historical origin of arbitration as it is currently practised in South Africa. The resort to alternative dispute resolution methods has existed since time immemorial. The practice of arbitration was identified in the Bible when it was practised by King Solomon. South African traditional communities practised arbitration before the arrival of Western nations in South Africa, who brought with them their norms and practices. The community entrusted the responsibility of resolving disputes amicably to the headman, the Chief or the King. The practice of traditional alternative disputes resolution was disrupted by colonialism, which introduced Roman-Dutch law and subsequently English law influences. The aim of the parties under both Roman-Dutch law and English law was to steer their disputes away from courtrooms with their rigid rules and procedures. Hence the resort to arbitration. Through the passage of time, the parties lost respect for arbitration. Judicial intervention became a necessary tool to enforce the agreement to arbitrate or the subsequent award.
A concern was raised in some quarters regarding the South African arbitration legislation that stagnated in 1965 when it was enacted. The sophisticated legal system and the impartial and independent judiciary, provided a strong support to arbitration and its autonomy. The firm judicial support did not detract from the necessity for a complete overhaul of the arbitration prescript, which might position South Africa as the hub of commercial arbitration in Africa and globally. The enactment of the International Arbitration Act, 2017 marked a great milestone towards achieving that goal. Arbitration is embedded in the fabric of South African commercial dispute resolution.
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Haron, Muhammed. "International Symposium on Islamic Civilization in Southern Africa." American Journal of Islam and Society 24, no. 4 (October 1, 2007): 143–45. http://dx.doi.org/10.35632/ajis.v24i4.1527.
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AwqafSA (www.awqafSA.org.za), a South African Muslim NGO, has beenin constant contact with IRCICA (the Islamic Research Centre for IslamicHistory, Art and Culture: www3.ircica.org), an affiliate of the Organization ofthe Islamic Conference, for several years regarding possible cooperation. On18 April 2005, this contact culminated in Halit Eren’s (director-general, IRCICA)meeting with a few organizations and their representatives regarding theforthcoming “International Symposium on Islamic Civilization in SouthernAfrica,” scheduled for the following year. AwqafSA and IRCICA, aware ofthe fact that very little research has been done on Islam in southern Africa,have strongly advocated holding a symposium to bring scholars, researchers,and stakeholders together to share their thoughts on their respective countriesand communities. At this meeting, it was agreed that AwqafSA would be thelocal host in partnership with IRCICA and that the University of Johannesburgwould be the third partner in this important historical venture.The symposium took place between 1-3 September 2006 at theUniversity of Johannesburg. A few months earlier, on 28 June 2006 to beexact, Ebrahim Rasool (premier, Western Cape Province) formally launchedthe symposium at Leeuwenhof, his official residence. In his short speech, hestressed the multicultural nature of South African society and the importanceof holding such a symposium in the country, a symposium that will allowparticipants – particularly South Africans – to do some “rainbow gazing”and critically assess their position within South Africa. The premier was alsoone of the keynote speakers at the symposium. Essop Pahad (minister,Office of the President) connected the symposium proceedings to the AfricanRenaissance process as well as to the significant Timbuktu Project(www.timbuktufoundation.org; www.timbuktuheritage.org) spearheaded byShamil Jeppie (the University of Cape Town). He also touched upon newevidence of the influence of Islam in the Limpopo Valley, northern SouthAfrica. In his concluding remarks, he emphatically rejected Huntington’s“clash of civilizations” thesis ...
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Diallo, Souleymane. "THE The Virtuosity of Traditional Africa and the Plasticity of Its Affects: The Cross-Cultural Fertilization of “Yela” in the Western Sahel and Savanah." Journal La Sociale 3, no. 4 (August 7, 2022): 145–54. http://dx.doi.org/10.37899/journal-la-sociale.v3i4.657.
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Throughout the poetic image and imaginative construction of the self, the Yela embodies a protrusive source of vindication within the intellective and creative process of understanding become an object of perception. From an ingenuous beget to a more compound whole of a convention of representation and the association of experience, the Yela inside the Puular language becomes a structural material. Thus, the constituent of conservative imagery and the colonialist dynamic influences frame an innovative eccentric variety that appraises the formation of reality, memory, and symbol. Therefore, the domain of Yela through its cultural and artistic body, and within its existing essentiality of Gaandal and Demngal overtakes the principles of basic linguistics and the colonialist conventional perception of productivity. In effect, the Yela art through the all-encompassing relation of the Puular language with the whole performance of time and space, emphasizes on a cosmopolitan wholesome recombination, settlement and re-appropriation of material imagination and objective reality of intellection. The foundation of intellectual and artistic image, and imaginative expression, the corresponding inventiveness of the Yela art, and the musical nationalism arrange move beyond comatose understanding. Therefore, the commitment of this article underlines the question of the effective temperature of the Yela indigenous value of imagination, and its transformative experience as regard language, sociolinguistic and ecological reflectivity, and then its emphasis on its contemporary stylistic compass of performance.
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Zaborowska, Magdalena J., Nicholas F. Radel, Nigel Hatton, and Ernest L. Gibson. "Rebranding James Baldwin and His Queer Others." James Baldwin Review 6, no. 1 (September 29, 2020): 199–229. http://dx.doi.org/10.7227/jbr.6.13.
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“Rebranding James Baldwin and His Queer Others” was a session held at the annual meeting of the American Studies Association in November 2019 in Honolulu, Hawaii. The papers gathered here show how Baldwin’s writings and life story participate in dialogues with other authors and artists who probe issues of identity and identification, as well as with other types of texts and non-American stories, boldly addressing theoretical and political perspectives different from his own. Nick Radel’s temporal challenge to reading novels on homoerotic male desire asks of us a leap of faith, one that makes it possible to read race as not necessarily a synonym for “Black,” but as a powerful historical and sexual trope that resists “over-easy” binaries of Western masculinity. Ernest L. Gibson’s engagement with Beauford Delaney’s brilliant art and the ways in which it enabled the teenage Baldwin’s “dark rapture” of self-discovery as a writer reminds us that “something [has been missing] in our discussions of male relationships.” Finally, Nigel Hatton suggests “a relationship among Baldwin, Denmark, and Giovanni’s Room that adds another thread to the important scholarship on his groundbreaking work of fiction that has impacted African-American literature, Cold War studies, transnational American studies, feminist thought, and queer theory.” All three essays enlarge our assessment of Baldwin’s contribution to understanding the ways gender and sexuality always inflect racialized Western masculinities. Thus, they help us work to better gauge the extent of Baldwin’s influence right here and right now.
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Mosweunyane, Dama. "Panjandrums in African Universities: Inapt Scholars for African Development." English Language Teaching 4, no. 1 (April 14, 2016): 1. http://dx.doi.org/10.18319/72.
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<p>This article is meant to advance the view that the university academics in Africa have not been able to make some meaningful developments of economic, political, social and environmental nature for the continent. The paper argues that this is because they have relied chiefly on exotic western concepts, which undermines efforts to develop the African continent. The paper castigates this dependence because some of the concepts that get imported into the continent are not apt for its conditions, since they were designed for foreign conditions. The unique development of Africa could have been realised if the universities in the continent could have been utilising indigenous concepts or making a thorough assessment and modifying the foreign ideologies and approaches before their utilisation. The teaching approaches that the continent used for passing knowledge from generation to generation are undermined, which results in the rejection of the skills, knowledge and attitudes that the continent cherished before the universities produced panjandrums that view Western concepts as superior to those that are indigenous.</p><p>The paper argues that the African scholars continue to employ methods of research, which have limited the inventiveness and creativeness of the universities in Africa. The reward systems for excellent performance in the universities in Africa are based on the standards set for Western Universities, which emphasise publications by non-African publishers. The use of non-African publishers has lessened the capacity of universities in Africa to develop and strengthen their publishing houses, which is necessary if they are to promulgate ideologies that are unique to the continent.</p><p>The paper attributes this limitation to the colonial experiences that the continent has and lack of indigenous ideologies to escape from the shackles of ideological manipulations. The continent still relies on consultancies that are undertaken by the scholars from the West, instead of those that are brewed locally by the Africans scholars.</p><p>The paper concludes by proposing that the African universities should promote ideological applications based on locally generated decisions with little to no foreign influence, than to continue relying on exotic concepts that have failed the African development agendas.</p>
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Harper, Margaret Mills. "South Atlantic Modern Language Association." PMLA/Publications of the Modern Language Association of America 115, no. 4 (September 2000): 856. http://dx.doi.org/10.1632/s0030812900140325.
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SAMLA's seventieth annual convention will be held in Birmingham at the Sheraton Civic Center from 10 to 12 November. William C. Calin will present the keynote address; George Ella Lyon will give the creative address; and French, German, and Spanish plenary addresses will also be featured. Sonia Sanchez will make a special appearance, and other sessions will focus on Birmingham and Alabama writers, gender and race studies, and human rights in literature and culture. Last year's highly successful reading by contemporary writers, sponsored by the literary magazine Five Points, will be repeated. Graduate students will host a poets' circle, and a special performance of Hemingway stories will take place. Among the twenty special sessions are African Influence on Western Literatures; The Holocaust in Literature and Film; Rhetorics, Rhetoricians, and the Teaching of Rhetoric; Early Modern Women of Spain; and Epics and Literature at the Millennium. During the varied program (over 140 sessions), the convention will feature issues of technology, pedagogy, and professional concerns and will offer a number of opportunities to meet and socialize. Cash bars will be held for faculty members in two-year colleges, Feministas Unidas, and gay and lesbian studies. Side trips are planned to the Birmingham Civil Rights Institute and the Birmingham Museum of Art. A full copy of the program will be available on the SAMLA Web site in July.
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Groff, David H., and Susan Mullin Vogel. "Baule: African Art, Western Eyes." International Journal of African Historical Studies 32, no. 2/3 (1999): 432. http://dx.doi.org/10.2307/220355.
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Lopasic, Alexander, and Susan M. Vogel. "Baule: African Art, Western Eyes." Journal of the Royal Anthropological Institute 5, no. 3 (September 1999): 481. http://dx.doi.org/10.2307/2661302.
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Vogel, Susan Mullin. "Baule: African Art Western Eyes." African Arts 30, no. 4 (1997): 64. http://dx.doi.org/10.2307/3337555.
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Förster, Till, Susan Mullin Vogel, and Till Forster. "Baule African Art/Western Eyes." African Arts 31, no. 3 (1998): 16. http://dx.doi.org/10.2307/3337573.
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Adams, Monni. "Baule African Art/Western Eyes." African Arts 31, no. 3 (1998): 72. http://dx.doi.org/10.2307/3337579.
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Popova, Kseniya. "Trends in European Historiography of African History in the Second Half of the 20th Century." ISTORIYA 13, no. 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020927-8.
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The article is devoted to the main trends in Western historiography of Africa in the second half of the XX century. The author examines how approaches and ideas in the study of African history by European and American scientists were changing during the formation of African studies as a separate science. There is a change in the perception of Africa by Western scientists from the “unhistorical” object of the world history to the region with its own unique history. The article highlights the influence of historical processes on changes of the views and approaches of Africanists. The author has come to the conclusion that Western historiography during the reviewed period has significantly expanded its theoretical and methodological base and it has made significant progress in the study of African history.
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Viljoen, Lario, Dillon Wademan, Graeme Hoddinott, Virginia Bond, Janet Seeley, Peter Bock, Sarah Fidler, and Lindsey Reynolds. "The act of telling: South African women’s narratives of HIV status disclosure to intimate partners in the HPTN 071 (PopART) HIV prevention trial." Women's Health 17 (January 2021): 174550652199820. http://dx.doi.org/10.1177/1745506521998204.
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Background: Public health programming often frames HIV status disclosure as a means to negotiate condom- and abstinence-based prevention or to involve intimate partners in HIV care to garner treatment adherence support. HIV treatment can be used to ensure viral suppression and prevent onward transmission, which provides strong evidence to encourage disclosure. The ideological shift towards HIV treatment as prevention is expected to facilitate disclosure. Purpose: There is a lack of research on how the scale-up of universal HIV testing and treatment influences disclosure practices in high burden settings. In this manuscript, we aim to address this gap. Methods: To this end, we conducted a two-phased narrative performative analysis of the disclosure scripts of 15 women living with HIV in three communities of Western Cape, South Africa where the HPTN 071 (PopART) HIV prevention trial implemented a universal HIV testing and treatment model as part of the intervention. The women were part of a larger cohort nested in the trial. We use Goffman’s dramaturgical metaphor, which understands social interactions as ‘performances’ by ‘actors’ (people) guided by ‘scripts’ (anticipated dialogues/interactions), to explore how women living with HIV manage their status disclosure. Conclusion: We describe how these women perform HIV status disclosure (or deliberate non-disclosure) to retain, reaffirm or redefine existing social scripts with partners. Their performances reveal priorities other than those imagined by public health programmes driving HIV disclosure (or non-disclosure): establishing trust, resenting betrayal and ensuring self-preservation while simultaneously (re)constructing self-identity. None of the women engaged with the concept of treatment as prevention in their disclosure narratives, either to facilitate disclosure or to ‘justify’ non-disclosure. HIV prevention, in general, and treatment adherence support were rarely mentioned as a reason for disclosure. To date, there has been a missed opportunity to ease and support disclosure in health programmes by tapping into existing social scripts, impeding potential patient and public health benefits of universal HIV testing and treatment.
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Perdoux, Martin. "Art beyond Humanism: Non-Western influences on an Art Therapist's Practice." Art Therapy 13, no. 4 (October 1996): 286–88. http://dx.doi.org/10.1080/07421656.1996.10759239.
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Soppelsa, Robert T. "Western Art-Historical Methodology and African Art: Panofsky's Paradigm and Ivoirian Mma." Art Journal 47, no. 2 (1988): 147. http://dx.doi.org/10.2307/777068.
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Soppelsa, Robert T. "Western Art-Historical Methodology and African Art: Panofsky's Paradigm and Ivoirian Mma." Art Journal 47, no. 2 (June 1988): 147–53. http://dx.doi.org/10.1080/00043249.1988.10792830.
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Oppong, Nana Yaw. "Still the Dark Continent? Towards contextual methodological approaches to management development research in foreign multinational firms in Africa." International Journal of Cross Cultural Management 17, no. 2 (May 22, 2017): 237–56. http://dx.doi.org/10.1177/1470595817706384.
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Following the widespread implementation of liberalization policies across the continent and resultant ‘subsidiarity’ of the industrial sectors by mostly Western multinational firms, management development in Africa has been dominated by Western approaches. The alternative is contextualization of research approaches that take into account the cultural and societal values of the people being researched. The article therefore proposes two methodologies believed to be contextual to management development research in multinational firms in Africa. These include indigenous methodology and postcolonial methodology. The two methodologies are complemented by appropriate data collection and analytical approaches, which have also been suggested. Data for this conceptual paper were mainly from review of extant popular and academic literature. The article concludes that applying the proposed methodologies could help tackle the neocolonial influence in African industries to decolonize indigenous people from Western hegemony and management development approaches that do not tackle the development problems of indigenous managers. Theoretically, the article contributes to literature on postcolonial management and organizational studies and, practically, contributes to alternative and appropriate approach to research into managerial skills development problems in Africa.
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Hassan, Salah M. "Contemporary African Art as a Paradox." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 8–26. http://dx.doi.org/10.1215/10757163-8308138.
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The field of contemporary African and African diaspora art and culture is currently riddled by two paradoxes. First, in Africa and its diaspora, we are witnessing a burgeoning of creative energy and an increasing visibility of artists in the international arts arena. Yet, this energy and visibility has not been matched by a parallel regime of art criticism that lives up to the levels of their work. Second, we find a rising interest in exhibiting and collecting works by contemporary African and diaspora artists among Western museums as well as private and public collections. This growing interest, however, has been taking place within an extremely xenophobic environment of anti-immigration legislation, the closing of borders to the West, and a callous disregard for African and non-Western people’s lives. Hence, this essay addresses the need for an innovative framework that is capable of critically unpacking these paradoxes and that offers a critical analysis of contemporary African and African diaspora artistic and cultural production. In doing so, the author asserts the importance of movement, mobility, and transiency in addressing issues of contemporary African artistic and cultural production. This article focuses on the use of the term Afropolitan, which has made its way into African artistic and literary criticism as a crossover from the fashion and popular culture arenas. In thinking about the usefulness of “Afropolitanism,” the author revisits the notion of cosmopolitanism in relationship to the entanglement of Africa and the West and its reconfiguration at the intersection of modernity and postcoloniality.
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Singleton, Judith L. "The South African Sexual Offences Act and Local Meanings of Coercion and Consent in KwaZulu Natal: Universal Human Rights?" African Studies Review 55, no. 2 (September 2012): 59–75. http://dx.doi.org/10.1353/arw.2012.0028.
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Abstract:In 2007 South Africa's Parliament passed the Sexual Offences Act, which had been debated since 1999. The law includes a statutory provision with new legal definitions of rape and consent. Influenced by Western human rights ideology and vocabulary, the Sexual Offences Act represents one form of discourse in South Africa about sexual coercion and consent. By using ethnographic methods, this article examines the wide disparity between some of the state discourses about coercion and consent and local beliefs and practices about the meanings of these terms in the Zulu township of Mpophomeni. Proponents of South Africa's new democracy often ignore poor young women's and men's local understandings of rape and of the violence they encounter on a daily basis. Against this background, the article offers recommendations to improve the current law and its effectiveness.
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Ogbechie, Sylvester Okwunodu. "Momentum Builds for the Restitution of African Art." Current History 118, no. 808 (May 1, 2019): 194–96. http://dx.doi.org/10.1525/curh.2019.118.808.194.
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Walker, Drew. "Lukasa! (The Devil’s Toy) African Inspirations and Western Objects." Afrika Focus 12, no. 4 (February 11, 1996): 143–60. http://dx.doi.org/10.1163/2031356x-01204002.
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This paper shows the encounter between an object found among the Luba of Zaire and the art historical treatment of it by western scholars. In this encounter certain tendencies are pointed out which on one hand point to a greatly unackowledged bias of western scholars in their regarding of foreign objects as art, and on the other hand may work to refigure those ways of seeing to form a richer understanding of memory, beauty and history in western scholarly practice.
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Abiodun, Rowland. "Vogel’s Baule: African Art, Western Eyes wins 1998 Herskovits Award." ASA News 32, no. 1 (March 1999): 6–7. http://dx.doi.org/10.1017/s0002021400016212.
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Sara Amber and Dr Shahid Rasool. "WESTERN POETIC INFLUENCES ON MAJEED AMJAD'S POETRY." Tasdiqتصدیق۔ 4, no. 2 (January 10, 2023): 245–65. http://dx.doi.org/10.56276/tasdiq.v4i2.129.
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Majeed Amjad is a great poet of the 20th century who primarily loved his fellow humans, and who expressed this love through his account of deep affection for nature. His poetic grandeur has long been denied, and his artistic status has not been acknowledged the way he deserved it, yet he continued working his own way. Despite facing serious financial hardships, he utilized his artistic abilities aptly and stamped an unerasable shadow of his artistic self on Urdu Literature that will remain with it till the point time this literature will exist. Majeed Amjad, who had been ignored through the efforts of belittling, receives strong impressions of what is all around him and also he gets influenced by the poets and literary artists of the West. As a result of it, he produced such works of art that were apparently seen as derived from the western art canon. Despite western influence, his work stands alone as of independent stature without any blame for plagiarism or even for flat production of copying foreign content.
The present work will investigate the western influence and its imprints upon the poetry of Majeed Amjad, and we will try to understand those nooks and corners of his poetry which are not much known to a systematic critical investigation to date. This research, hence, will open up new pathways for fresh researchers who would invest their critical insight into Amjad’s such poetic interpretations that have remained under surface. Through the present research, we will try to introduce a renewed Majeed Amjad who, despite having been influenced by the western artistic tradition, remained successful in establishing his own independent artistic identity. In our present investigative attempt, we will also explore his artistic independence by looking at whether he succeeded not in establishing his own voice even after absorbing western influence. This research will primarily engage such questions for the consequent debate in the analytical chapters. Hence, after critically looking at western poetic influence on Amjad’s work, this research will introduce the reader to a new Majeed Amjad who had a unique identifying accent that had been unknown till now.
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Pejovic, Roksanda. "Musical instruments depicted in medieval Serbian art under oriental and western influences." Muzikologija, no. 5 (2005): 15–26. http://dx.doi.org/10.2298/muz0505015p.
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Researching musical instruments on frescoes, miniatures, icons and sculptural decorations of mediaeval Serbian art, painted and sculptured in the manner of Byzantine art, we discover Oriental and Western influences. Musical instruments arriving from the Orient were unchanged for centuries and those from West Europe were mainly used in the Middle Ages or the Renaissance. Oriental and Western influences can be observed on instruments of all families-idiophones, membranophones, bowed and string instruments, as well as on aero phones. The same form of some crotales and cymbals can be found both in Oriental and Western art, the majority of membranophones are of Oriental origin, but the tambourine on Bodani frescoes originated in West Europe. Lyres and angular harps are close to Antique tradition. Some bowed instruments, psalteries, lutes, harps, short horns, business and shawms have Oriental patterns and other instruments of these families accepted Western shapes. There are, as well, same kinds of bowed instruments and S-trumpets peculiar for both continents.
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Alshameri, Faleh, and Abdul Karim Bangura. "Generating metadata to study and teach about African issues." Information Technology & People 27, no. 3 (July 29, 2014): 341–65. http://dx.doi.org/10.1108/itp-06-2013-0112.
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Purpose – After almost three centuries of employing western educational approaches, many African societies are still characterized by low western literacy rates, civil conflicts, and underdevelopment. It is obvious that these western educational paradigms, which are not indigenous to Africans, have done relatively little good for Africans. Thus, the purpose of this paper is to argue that the salvation for Africans hinges upon employing indigenous African educational paradigms which can be subsumed under the rubric of ubuntugogy, which the authors define as the art and science of teaching and learning undergirded by humanity toward others. Design/methodology/approach – Therefore, ubuntugogy transcends pedagogy (the art and science of teaching), andragogy (the art and science of helping adults learn), ergonagy (the art and science of helping people learn to work), and heutagogy (the study of self-determined learning). That many great African minds, realizing the debilitating effects of the western educational systems that have been forced upon Africans, have called for different approaches. Findings – One of the biggest challenges for studying and teaching about Africa in Africa at the higher education level, however, is the paucity of published material. Automated generation of metadata is one way of mining massive data sets to compensate for this shortcoming. Originality/value – Thus, the authors address the following major research question in this paper: What is automated generation of metadata and how can the technique be employed from an African-centered perspective? After addressing this question, conclusions and recommendations are offered.
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V.L. Parvathy et al.,, V. L. Parvathy et al ,. "Mask as an Epiphany, An Analysis-Western, Eastern, African Art Forms." International Journal of Mechanical and Production Engineering Research and Development 10, no. 3 (2020): 10831–38. http://dx.doi.org/10.24247/ijmperdjun20201038.
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Haibo, Chen, Emmanuel Kwaku Manu, and Mary Somuah. "Examining Finance-Growth Nexus: Empirical Evidence From the Sub-Regional Economies of Africa." SAGE Open 13, no. 1 (January 2023): 215824402311531. http://dx.doi.org/10.1177/21582440231153117.
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This paper examined finance-growth nexus in the finance industry and the influencing factors of economic indicators which deliberate on the performance of the Solow Growth model to prove the actuality of financial development (FD) inside the economic growth (EG) model, based on the regional data from 1980 to 2017 in Africa. We applied the econometric method of GMM style panel vector autoregressive (PVAR) and panel quantile regression (PQR). With the optimal finance-growth outcome, the review shows that the economic indicators influence the finance-growth nexus. The quantile results show that high economic indicators help to strengthen the finance-growth nexus, whereas low economic indicators hinder it. The GMM style PVAR results present a mixed effect in terms of the connection and marginal significance, indicating that FD has a varied impact on economic growth. Last, the granger causality results show a two-way causal association amid finance-growth in Western, Central, Eastern, and Southern African economies and a unidirectional causal link of finance-growth in Northern Africa. The policy conclusion is that to gain the long-term economic benefits of FD, African countries should strive for low and steady economic stability. To attain the required economic stability, it may be important to use suitable fiscal and monetary policies.
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Kleiber, Katarzyna. "Problem wpływu – jak badać podobieństwa wizualne między sztuką Zachodu i Wschodu? ." Art of the Orient 1, no. 1 (2012): 11–18. http://dx.doi.org/10.15804/aoto201201.
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Each year the set of texts dealing with Western influences on Eastern art becomes bigger and bigger, owing to the contributions of both European and Asian scholars. Unfortunately, the considerable outgrowth of these writings is rarely accompanied by methodological considerations of how to research into the visual similarities between Western and non-Western artworks. In an attempt to fill this gap, this paper examines the main theoretical aspects and challenges of studying Asian art which seem to be based on European architecture, sculpture and painting. The first part of this paper examines how contemporary art historians determine the very existence of ‘influences’ between artworks. Later on, it is explained how intertextual and post-colonial studies have changed the way art history views the impact of one artwork on another. Having discussed these revisions to our discipline, I ask the question how to pinpoint references of Asian artworks to Western ones, if there is no data about their authors (their education, travels, personal contacts with foreign artists etc.) or the reproductions and replicas of European pictures. Additionally, I raise the issue of the artist’s intention (i.e. if quotations from, and allusions to Western artworks are always conscious and intended). Another issue, which recurs throughout the whole paper, is whether conceptual schemata from Western academia allow art historians to understand and explain Asian art better or whether they just lead to interpretive abuse. The final paragraphs offer some concluding remarks.
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Marschall, Sabine. "South African mural art in the 1980s and 1990s: impulses and influences." de arte 35, no. 62 (September 2000): 46–61. http://dx.doi.org/10.1080/00043389.2000.11761315.
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Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (October 1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.
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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.
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A. M. Lutfi, Dina. "Challenging Perceptions of Modern Arab Art." Contemporary Review of the Middle East 7, no. 3 (May 11, 2020): 286–300. http://dx.doi.org/10.1177/2347798920921708.
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The understanding of modern Arab art is, more often than not, based on individual and collective perceptions that relate to beliefs, culture, and social constructs. Defining qualities or characteristics that make a work of art “Arab” is not a clear-cut endeavor. Many Arab artists appropriated Western techniques, while they strived to combine their newly acquired artistic processes with content inherent in their respective cultures. Some audiences appreciated the new direction the Arab art was taking; however, many artists were harshly criticized of advocating cultural colonialism. A struggle in the field of art, and in other aspects of life took place, due to the increasing fear of losing one’s own tradition and Arab identity in the face of Western culture. This article explores the nature of modern Arab art and Arab identity, its place within a global modernism, and the ways in which Western influences have shaped its development, in addition to understanding the different particularities that have shaped Arab modernism in art specifically.
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Ukala, Sam. "Impersonation in Some African Ritual and Festival Performances." New Theatre Quarterly 16, no. 1 (February 2000): 76–87. http://dx.doi.org/10.1017/s0266464x00013476.
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Few studies of African ritual and festival performance have been written from a theatrical perspective, and Sam Ukala believes that the richness of such events has yet to be fully explored by African dramatists – while most of the western paratheatrical experiments derived from them have been influenced more by anthroplogical models than aesthetic principles. In pursuit of a dramaturgical approach to the study of African rituals and festivals, he focuses on the role and nature of impersonation in these events, and examines the relationship between the forms, objectives, and contexts of the performances and the kinds of impersonation to be found in them. Distinguishing between the western actor and the African role-player, and between ‘intense impersonation’ and possession, he suggests also some generic parallels between western theatre and African performance. Sam Ukala is a Professor of Drama and Theatre Arts at Edo State University, Ekpoma, Nigeria. A theatre director and playwright, his published plays include The Slave Wife, The Log in Your Eye, Akpakaland, The Trails of Obiamaka Elema, Break a Boil, and Two Plays: The Placenta of Death and The Last Heroes. In 1998–99 he was resident writer and director at Horse and Bamboo Theatre in the United Kingdom, where, with Bob Frith, he wrote and directed Harvest of Ghosts, a first experiment with wordless visual theatre, an extension of his preoccupation with ‘folkism’, a dramaturgy based on folk compositional and performance aesthetics formulated in his article in NTQ47 (August 1996).
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Abiodun, Rowland. "Vogel’s Baule: African Art, Western Eyes wins 1998 Herskovits Award." ASA News 32, no. 1 (March 1999): 6–7. http://dx.doi.org/10.1017/s027822190060322x.
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Espinosa Dice, Ana Lucia, Angela M. Bengtson, Kevin M. Mwenda, Christopher J. Colvin, and Mark N. Lurie. "Quantifying clinic transfers among people living with HIV in the Western Cape, South Africa: a retrospective spatial analysis." BMJ Open 11, no. 12 (December 2021): e055712. http://dx.doi.org/10.1136/bmjopen-2021-055712.
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ObjectivesFor persons living with HIV (PLWH) in long-term care, clinic transfers are common and influence sustained engagement in HIV care, as they are associated with significant time out-of-care, low CD4 count, and unsuppressed viral load on re-entry. Despite the geospatial nature of clinic transfers, there exist limited data on the geospatial trends of clinic transfers to guide intervention development. In this study, we investigate the geospatial characteristics and trends of clinic transfers among PLWH on antiretroviral therapy (ART) in the Western Cape Province of South Africa.DesignRetrospective spatial analysis.SettingPLWH who initiated ART treatment between 2012 and 2016 in South Africa’s Western Cape Province were followed from ART initiation to their last visit prior to 2017. Deidentified electronic medical records from all public clinical, pharmacy, and laboratory visits in the Western Cape were linked across space and time using a unique patient identifier number.Participants4176 ART initiators in South Africa (68% women).MethodsWe defined a clinic transfer as any switch between health facilities that occurred on different days and measured the distance between facilities using geodesic distance. We constructed network flow maps to evaluate geospatial trends in clinic transfers over time, both for individuals’ first transfer and overall.ResultsTwo-thirds of ART initiators transferred health facilities at least once during follow-up. Median distance between all clinic transfer origins and destinations among participants was 8.6 km. Participant transfers were heavily clustered around Cape Town. There was a positive association between time on ART and clinic transfer distance, both among participants’ first transfers and overall.ConclusionThis study is among the first to examine geospatial trends in clinic transfers over time among PLWH. Our results make clear that clinic transfers are common and can cluster in urban areas, necessitating better integrated health information systems and HIV care.
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Bolewski, Christin. "Man, Nature and Technology—Eastern Philosophy, Global Issues and Western Digital Visualization Practice." Leonardo 51, no. 3 (June 2018): 291. http://dx.doi.org/10.1162/leon_a_01519.
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This practice-based research project explores cross-cultural influences between the West and the East. It reinvestigates relationships of man and nature in Eastern traditional art and philosophy and transposes the content to contemporary global environmental issues. The outcomes are two ambient digital video art animations presented as video painting on high-resolution wall-mounted flat screen displays.
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Schapera, I. "Early European Influences on Tswana Law." Journal of African Law 31, no. 1-2 (1987): 151–60. http://dx.doi.org/10.1017/s002185530000930x.
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In the closing paragraph of his inaugural lecture Law and Language, Professor Allott referred to what he termed “a daunting obstacle” to the intensive study of African legal systems.That obstacle is the rapid disappearance, before our very eyes, of the traditional systems that we have proposed to study. A generation ago there would not have been that difficulty; but today the traditional tribunals have vanished in many African countries where their place has been taken by statutory local courts. Even where the traditional courts appear to have survived, at least in name, they are usually affected by the impact of western law and institutions and of central government control.Those words were written in 1965. How true and necessary they were is shown by the fact that more than fifty years previously—even more than “a generation ago”—the impact of “western” influences upon the Tswana peoples of the Bechuanaland Protectorate (now the Republic of Botswana) had already led to many changes in the indigenous legal system, although, at that time, the “traditional courts” still survived virtually intact and not merely “in name”.The nature and extent of those changes can be readily ascertained by the fortunate chance that, there are still available the records of approximately 470 cases tried, over a period of six and a half years, in the highest traditional court of the Ngwaketse, a major Tswana chiefdom.
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Keser, Sezer Cihaner, and Hanife Neris Yuksel. "Western influence in the creation of sculpture education and monuments." Cypriot Journal of Educational Sciences 17, no. 5 (May 30, 2022): 1508–16. http://dx.doi.org/10.18844/cjes.v17i5.7255.
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Many powers use art as a mean to transform social and political culture. The aim of this study is to examine approach and relationship between the ideological and social conditions of arts, culture and education policy with regard the power in the example of Sculpture Art Education in a eurasia state. This research has been done in accordance with document analysis, which is one of the qualitative research methods. In this direction, the document analysis covers the years 1923-1956. In the study, art education policies were set out based on the political and cultural influences of the period. In addition, the spread of revolution was examined from the point of how the art of sculpture come true and its interaction with western. The relationship between sculpture education and applied sculptures has been handled with the defined ideological dynamics.
Key Words: Art; Education; Ideology, Sculpture Education; Westernization,
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Baumann, Steven L., Dhaneesha Bahadur, and Kathleen Begonia. "The Art of Dying: A Global Nursing Perspective." Nursing Science Quarterly 32, no. 2 (March 19, 2019): 148–52. http://dx.doi.org/10.1177/0894318419826248.
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The purpose of this paper is to explore how people from diverse backgrounds and places, who are severely ill, disabled, or facing death, use art to help themselves and others not only make sense of such experiences but live fully with loss and the limited time remaining. The humanbecoming paradigm is used to provide a language to talk about Western and non-Western experiences of life-threatening illness, disability and death, and art. The persons discussed in the paper suggest that age and place, although influences, are not particularly relevant, nor is severe illness, even those associated with significant failing capacities, because they cannot contain the human spirit or relationships.