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1
Scheub, Harold. "A Collection of Stories and Its Preservation in the Digital Age." History in Africa 34 (2007): 447–51. http://dx.doi.org/10.1353/hia.2007.0017.
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There is never an end to stories.“The art of composing oral narratives,” said Nongenile Masithathu Zenani, a Xhosa storyteller,is something that was undertaken by the first people, long ago, during the time of the ancestors. When those of us in my generation awakened to earliest consciousness, we were born into a tradition that was already flourishing. Narratives were being performed by adults in a tradition that had been established long before we were born. And when we were born, those narratives were constructed for us by old people, who argued that the stories had initially been created in olden times, long ago. That time was ancient even to our fathers; it was ancient to our grandmothers, who said that the tales had been created years before by their grandmothers. We learned the narratives in that way, and every generation that has come into being has been born into the tradition. Members of every generation have grown up under the influence of these narratives.In the late 1960s and in the 1970s, I made a number of research trips to southern Africa for the purpose of studying the oral traditions of the Xhosa, Zulu, Swati, and Ndebele peoples. The Xhosa and Zulu live in South Africa, the Swati in Swaziland, and the Ndebele in the southern part of Zimbabwe. During each of those trips many of the performances and discussions were taped. I witnessed thousands of performances.
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Black, Steven P. "Narrating fragile stories about HIV/AIDS in South Africa." Pragmatics and Society 4, no. 3 (October 28, 2013): 345–68. http://dx.doi.org/10.1075/ps.4.3.04bla.
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This article analyzes narratives about living with HIV/ AIDS amid stigma, using the notion of “fragile stories” to further detail the linguistic practices through which people narrate experiences in danger of not being told. The article is based on fieldwork in 2008 in Durban, South Africa with a Zulu gospel choir in which all group members are living with HIV/AIDS. Close analysis of recorded narratives demonstrates how institutional story frameworks and the normative performance of gender helped storytellers to breach boundaries drawn by stigma. The article consolidates research on narrative tellability and fragile stories, verbal art, and stigma. The article has implications for research amid stigma, advocating linguistic analysis of narrative to emphasize the relationship between stories told and life events involving stigmatization.
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Sonnekus, JC. "Huweliksluiting én aanneming van kinders kragtens kulturele gebruike in stryd met die reg behoort kragteloos te wees – sed, ex Africa semper aliquid novi." Tydskrif vir die Suid-Afrikaanse Reg 2021, no. 2 (2021): 211–39. http://dx.doi.org/10.47348/tsar/2021/i2a1.
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Section 211(3) of the Constitution of the Republic of South Africa, 1996 provides that no recognition of customary norms may be upheld if such norms are in conflict with either the constitution or any other law that deals specifically with customary law: “The courts must apply customary law when that law is applicable, subject to the Constitution and any legislation that specifically deals with customary law.” The current Recognition of Customary Marriages Act 120 of 1998 deals explicitly with the recognition of customary marriages which are concluded in accordance with customary law (s 1). Customary law is defined as the “customs and usages traditionally observed among the indigenous African peoples of South Africa and which form part of the culture of those peoples”. It follows from a further reading of section 1 that a customary marriage is reserved for those indigenous African peoples who observe such customs and usages. It is provided in section 10(4) that “[d]espite subsection (1), no spouse of a marriage entered into under the Marriage Act, 1961, is, during the subsistence of such marriage, competent to enter into any other marriage”. This must be read with the definitions contained in section 1: “‘customary law’ means the customs and usages traditionally observed among the indigenous African peoples of South Africa and which form part of the culture of those peoples; ‘customary marriage’ means a marriage concluded in accordance with customary law”. Without the requisite legal competency, no legal subject can enter into any relationship to which the law may attach any consequences. Nobody can enter into a customary marriage if any of the presumed future spouses is already in a civil marriage according to the Marriage Act 25 of 1961, not even if the two parties are married to each other. According to the custom of various indigenous nations, if a man enters into a valid customary marriage with a woman who had never been married before but who is the mother of children born out of wedlock (spurii), the metaphor applies that he “who takes the cow also acquires the calf”. He will as part and parcel of the lobola ceremony be seen as the adopting stepfather of his wife’s children, with all the accompanying consequences. He will automatically be responsible for the future maintenance of those children as his adoptive children and they will acquire all rights and privileges that are bestowed on a child, including the right to inheritance and the right to his family name. As a consequence of this new relationship, all legal ties with the biological father of the adopted child are severed and the biological father will no longer be responsible for the maintenance of his offspring. In January 2019 an erstwhile law professor from UNISA who still retained his German citizenship, was gravely ill and cared for on life-support at a hospital in the Pretoria district. While in hospital, he tied the marriage knot with Miss Vilakazi, a Zulu woman with whom he had been in a relationship for the past five years. Miss Vilakazi was a spinster, but she had a Zulu daughter who was born out of wedlock more than eight years previously out of a relationship with an erstwhile Zulu lover. This child had been in the care of her maternal grandmother in Natal and, according to Zulu customary norms, was considered part of the house of her maternal grandfather, Vilakazi. She consequently carried the name Vilakazi as her registered surname on her official birth certificate. The marriage, which was conducted on 29 January 2019 in the hospital in Pretoria, was concluded with adherence to all the requirements of Act 25 of 1961. The civil marriage was duly registered as such. The late professor passed away in the hospital barely three weeks later on 19 February 2019. Less than 24 hours before the demise of the professor a purported customary marriage was concluded, apparently on behalf of the professor with the recently married Mrs Schulze by proxy by a friend of his in the Newcastle district in Natal after having paid R60 000 as ilobolo. The ceremony was concluded with the ceremonial slaughtering of the prescribed goat. However, during this ceremony the groom was not present but on life support in a Pretoria hospital and not necessarily compos mentis – the court was told that he was represented by a friend. Zulu customary law, however, does not recognise a marriage concluded by proxy with a substitude bridegroom as was known in Roman-Dutch law as “a wedding with the glove”. Neither the Marriage Act nor the Recognition of Customary Marriages Act, however, recognises a second marriage after the conclusion of a civil marriage by any of the purported newly weds – even if both “spouses” had been present in person. The mother of the late Professor Schulze, after his demise in South Africa, amended her last will in Germany and appointed her lifelong partner as sole beneficiary of her significant estate. She passed away in Germany in October 2019. In November 2019 the recently married Mrs Schulze, on behalf of her minor daughter, successfully approached the high court in Pietermaritzburg, where Zaca AJ issued an order compelling the South African department of home affairs to issue the daughter with a new birth certificate that reflects the late Professor Schulze as her father. Notwithstanding the unease of the officials at home affairs with this court order, the minister of home affairs, Mr Motsoaledi, personally intervened in August 2020 and the new birth certificate was issued as requested. Relying on this newly issued birth certificate, the applicant claims an amount of not less than R8 million in Germany from the estate of the late mother of Professor Schulze. For this purpose, the applicant relies on a principle in German law, the Pflichtteilsanspruch, according to which any descendant of the deceased has a right to a prescribed portion, a so-called legitimate portion of the estate, if not mentioned or sufficiently bestowed in the last will. This raises a number of seriously flawed legal arguments that are analysed in this article. It is submitted that the perceived lobola marriage ceremony conducted on behalf of the late professor on 18 February 2019 in Newcastle, less than 24 hours before his demise, is void because of the explicit constitutional provision and the relevant section 10(4) of the Recognition of Customary Marriages Act 120 of 1998, which excludes any competency to enter into a customary marriage if any of the parties involved is already married. At the date of the perceived lobola ceremony, Mrs Schulze had already been civilly married to Professor Schulze for more than three weeks and thus both spouses lacked the necessary competency to enter into a valid customary marriage. Whether a valid customary marriage could have been concluded at all with a man who did not live according to the customs and usages of the Zulu, is also highly questionable. Because the perceived lobola marriage is a nullity, no legal consequences can flow from this nullity and the so-called customary adoption of the daughter (“the calf with the cow”) is a nullity too. At no stage was any of the requirements for a valid adoption as governed by the Children’s Act 38 of 2005 adhered to. The minister of home affairs should have immediately given notice of appeal after the unconvincing judgment of Zaca AJ was handed down in January 2020. As the responsible minister, he should guard the upholding of the constitution and the applicable legal provisions unambiguously contained in the relevant section 10(4) of Act 120 of 1998. It is a pity that the so-called adherence to the principles of the “rule of law” is not even paid lip service in this case. Bennett, as a renowned expert on customary law, correctly pointed out that the legal orders are not unconnected. It may never be assumed that the people concerned are unaware of how to manipulate the resources offered them by legal pluralism (A Sourcebook of African Customary Law for Southern Africa (1991) 50).
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Mekusi, Busuyi. "WHEN INDEMNITY BECOMES DISDAINFUL: REVENGE AS METAPHOR FOR ‘UNFINISHED BUSINESSES’ IN POST-APARTHEID SOUTH AFRICAN DRAMA." Imbizo 7, no. 2 (May 26, 2017): 71–83. http://dx.doi.org/10.25159/2078-9785/1855.
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Revenge, as an instance of oppositionality, typifies past wrongs, evils, violations and disregard for human dignity which have been imputed and for which the offender must be reprimanded. The foregoing sequence is remindful of the dastardly apartheid dispensation in South Africa, which is a strong metaphor for strife and ‘ruptured’ human interactions. While the transition of South Africa to constitutionality was substantially heralded by the negotiating preponderances of the Truth and Reconciliation Commission (TRC), a number of people have adjudged the TRC to be a mere attempt to draw a curtain on the past - in sharp contrast to the spirit and letter of the commission. By so doing, there is a popular opinion that there are still some ‘unfinished business’ that ironically link the present with the past. Therefore, it is considered a ‘must’ that these ‘silences’ be addressed in order for the present and future of South Africa not to be intractably burdened by the past. Bhekizizwe Peterson’s and Ramadan Suleman’s Zulu Love Letter (both film and scripted play) has joined this discourse by artistically amplifying the need for an engagement with these ‘deafening silences’. It is in the light of the aforementioned that this article investigates the process of wrong and attempts by the hegemony to expiate such wrongs, in the context of impervious agents, who disregard the processes for peaceful engagements, but rather scorn and threaten victims of their vicious actions for daring to seek justice. The article sees such a repudiation of one’s evil act and the conciliatory stance of the government as capable of breeding revenge. However, the article concludes that when medicated, using certain cultural and religious beliefs, the bleeding heart that is prone to seeking revenge or retaliation (vengeance) might also be a carrier of forgiveness and collectivism.
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Soro, N’golo Aboudou. "Les Amazoulous d’Abdou Anta Kâ ou la représentation tragique de la fratrie." Voix Plurielles 10, no. 2 (November 28, 2013): 336–46. http://dx.doi.org/10.26522/vp.v10i2.869.
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Dans Les Amazoulous de Abdou Anta Kâ, Chaka est un « bâtard » devenu le guide de la multitude du peuple Zoulou. Au-delà de l’héroïsme mythique de Chaka qu’elle véhicule, la pièce permet de saisir l’accomplissement du destin glorieux d’un enfant renié par son père, pourchassé par ses demi-frères et qui réussit à s’imposer et à imposer la trajectoire qu’il a voulu donner à l’histoire de son peuple. Cependant, une tension gouverne les relations entre Chaka et son demi-frère. Cette rivalité aboutie à l’assassinat de Chaka. Ce fratricide, source de tragédie précipite Latyr dans la boue de l’histoire. Il est maudit pour son acte ignoble. L’œuvre donne l’occasion au dramaturge de mettre sur les planches la rivalité au sein de la fratrie. Kâ semble poser les problématiques de la fratrie et de la gestion de l’héritage dans la famille polygame africaine.
In Abdou Anta Ka’s “Amazoulous”, Chaka is a "bastard" who became the guide of the Zulu multitude people. Beyond Chaka’s mystical heroism carries, the play allows to grasp the glorious destiny fulfillment of a child disowed by his father, chased by his half-brothers and who managed to impose and enforce the path he wanted to his people’s history. However, tension governs the relationship between Shaka and his half-brother. This rivalry resulted in the murder of Shaka. This fratricide, source of tragedy precipitates Latyr in the mud of the history. He is cursed for his ignoble act. The work gives the opportunity to the playwright to put on stage the rivalry among the siblings. Kâ seems to pose the siblings and heritage management in the African polygamous family.
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Haselau, Catherine, Madhubala Kasiram, and Barbara Simpson. "AFRICAN MARRIAGE COUNSELLING AND THE RELEVANCE OF WESTERN MODELS OF COUNSELLING." Southern African Journal of Social Work and Social Development 27, no. 2 (August 1, 2015): 169–86. http://dx.doi.org/10.25159/2415-5829/367.
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This article explores the relevance of Western models of marriage counselling in the African context and specifically with Zulu couples. It argues that because of different worldviews, there are elements of western therapeutic approaches with couples that do not fit with the beliefs and values of many African people. The article examines some of the philosophies that underlie marriage in contemporary Zulu society, as well as the worldview, values and practices of Zulu people with regard to marriage. It then examines a selection of Western marriage counselling approaches in order to establish whether the Western based marriage counselling theories that are taught and practiced by social workers in South Africa today are relevant when used with Zulu couples.
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Jeewa, Sana, and Stephanie Rudwick. "“English is the best way to communicate” - South African Indian students’ blind spot towards the relevance of Zulu." Sociolinguistica 34, no. 1 (November 25, 2020): 155–71. http://dx.doi.org/10.1515/soci-2020-0010.
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AbstractThe South African University of KwaZulu-Natal has developed an ambitious language policy aiming “to achieve for isiZulu the institutional and academic status of English” (UKZN LP 2006/2014). Part of this ambition is a mandatory Zulu language module that all undergraduate students have to pass if they cannot prove knowledge of the language. In this article, we examine attitudes of South African Indian students towards this compulsory module against the strained history and relationship between Zulu and Indian people in the province. Situated within the approach of Language Management Theory (LMT), our focus is on students as micro level actors who are affected by a macro level policy decision. Methodologically combining quantitative and qualitative tools, we attempt to find answers to the following broad question: What attitudes do South African Indian students have towards Zulu more generally and the UKZN module more specifically? The empirical findings show that students’ motivations to learn Zulu are more instrumental than integrative as the primary goal is to ‘pass’ the module. South African Indian students have developed a blind spot for the prevalence and significance of Zulu in the country which impacts negatively on the general attitudes towards the language more general and the module more specifically. Language ideologies that elevate the status of English in the country further hamper the success of Zulu language learning.
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RUDWICK, STEPHANIE. ""Coconuts" and "oreos": English-speaking Zulu people in a South African township." World Englishes 27, no. 1 (February 2008): 101–16. http://dx.doi.org/10.1111/j.1467-971x.2008.00538.x.
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Suzman, Susan M. "Names as pointers: Zulu personal naming practices." Language in Society 23, no. 2 (April 1994): 253–72. http://dx.doi.org/10.1017/s0047404500017851.
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ABSTRACTChildren in many African societies have meaningful names – unlike their Western counterparts, whose names are primarily labels. In Zulu, Xhosa, Sotho, Tswana, and many other cultures, namegivers traditionally chose personal names that pointed to a range of people and circumstances that were relevant at the time of the child's birth. These highly individual or unique names were part of particular social frameworks that have long been evolving with Western acculturation. Like the social frameworks within which they are embedded, naming practices are in the process of change.This article investigates change in Zulu naming practices as a reflection of wider social changes. Taking historical accounts as the source of traditional namegiving, an analysis of rural, farm, and urban names shows quantitative and qualitative differences in naming practices. Contemporary names differ significantly from traditional ones, and provide evidence that the world view within which names are given is in the process of redefinition. (Anthropological linguistics, naming, South Africa, Zulu)
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De Vries, Bouke. "Black Pete, King Balthasar, and the New Orleans Zulus: Can Black Make-Up Traditions Ever Be Justified?" Journal of Controversial Ideas 1, no. 1 (April 25, 2021): 1. http://dx.doi.org/10.35995/jci01010008.
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Wearing black make-up to impersonate black individuals has become highly controversial in many countries, even when it is part of long-standing cultural traditions. Prominent examples of such traditions include Saint Nicolas celebrations in the Netherlands (which feature a black character known as “Black Pete” who hands out candy to children), Epiphany parades in Spain (which feature impersonations of the biblical king Balthasar who is traditionally portrayed as black) and the annual Zulu parade in New Orleans (which features impersonations of South African Zulu warriors). In this article, I challenge the widely held view that black make-up traditions are categorically wrong. Specifically, I argue that these traditions can be morally vindicated if (i) the large majority of individuals who help to maintain them do not believe that they denigrate black people; (ii) the relevant traditions do not depict black people in denigrating ways; and (iii) the relevant traditions are not gratuitously offensive. While the Dutch Saint Nicholas tradition fails to satisfy these conditions, the New Orleans Zulu tradition is found to satisfy them, as is the Spanish Epiphany tradition in certain cases. I end by identifying another set of conditions under which black make-up traditions might be morally justified.
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Stokes, Deborah. "Shifting Views: People and Politics in Contemporary African Art." African Arts 51, no. 2 (June 2018): 83–85. http://dx.doi.org/10.1162/afar_r_00406.
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Woodson, Dorothy C. "Albert Luthuli and the African National Congress: A Bio-Bibliography." History in Africa 13 (1986): 345–62. http://dx.doi.org/10.2307/3171551.
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Seek ye the political kingdom and all shall be yours.No minority tyranny in history ever survived the opposition of the majority. Nor will it survive in South Africa. The end of white tyranny is near.In their Portraits of Nobel Laureates in Peace, Wintterle and Cramer wrote that “the odds against the baby born at the Seventh-Day Adventist Mission near Bulawayo in Rhodesia in 1898 becoming a Nobel Prize winner were so astronomical as to defy calculation. He was the son of a proud people, the descendant of Zulu chieftains and warriors. But pride of birth is no substitute for status rendered inferior by force of circumstance, and in Luthuli's early years, the native African was definitely considered inferior by the white man. If his skin was black, that could be considered conclusive proof that he would never achieve anything; white men would see to that. However, in Luthuli's case they made a profound mistake--they allowed him to have an education.”If there is an extra-royal gentry in Zulu society, then it was into this class that Albert John Luthuli was born. Among the Zulus, chieftainship is hereditary only for the Paramount Chief; all regional chiefs are elected. The Luthuli family though, at least through the 1950s, monopolized the chieftainship of the Abasemakholweni (literally “converts”) tribe for nearly a century. Luthuli's grandfather Ntaba, was the first in the family to head the tribe and around 1900, his uncle Martin Luthuli took over.
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Buis, Johann. "Black American Music and the Civilized-Uncivilized Matrix in South Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 28–30. http://dx.doi.org/10.1017/s0047160700502327.
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In a recent article by Veit Erlmann in the South African journal of musicology (SAMUS vol. 14, 1995) entitled “Africa Civilized, Africa Uncivilized,” Erlmann draws upon the reception history of the South African Zulu Choir’s visit to London in 1892 and the Ladysmith Black Mambazo presence in Paul Simon’s Graceland project to highlight the epithet “Africa civilized, Africa uncivilized.” Though the term was used by the turn of the century British press to publicize the event, the slogan carries far greater impact upon the locus of the identity of urban black people in South Africa for more than a century.
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Thwala, Jabulani Dennis, and Stephen David Edwards. "The Role of the Ancestors in Healing: A Zululand Follow up Study." DIALOGO 7, no. 2 (June 30, 2021): 67–74. http://dx.doi.org/10.51917/dialogo.2021.7.2.6.
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Ancestral consciousness, reverence, beliefs, and practices, forms an essential foundation for religion and healing. African religion and healing are based on the interconnectedness of all life, including ancestral heritage linked to an original creative Source, usually known through dreams via the extended family, community and collective unconscious. People only exist because of their ancestors’ gift of life and nurturance. Zulu people traditionally recognize and honour ancestors as the existential foundation for all humanization and socialization. Motivation for this study arose because of the popularity of a previous Zululand study on the role of the ancestors in healing, as well as the more recent one on coping with COVID-19. A convenience sample of twelve participants was asked to describe their understanding of the role of the ancestors in healing. Respondents indicated that although ancestors are typically not healers, unless they occupied healing roles in life such as Shembe, in their closer connection to the Creator/God, they play various roles in healing. The most important roles were of guidance, protection, direction, advice, warning, presence, communication, mediation, and intervention. The implications of these healing roles are discussed with special reference to Zulu indigenous healers. In addition to common components of healing found throughout the planet, Zulu healing is holistically interconnected with everyday life and death, as facilitated by indigenous healers through ancestors (amadlozi) breath/soul (umphefumulo), spiritual energy (umoya), humanity (ubuntu) and coherent communication (masihambisana).
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Caesar, Tiffany. "PAN-AFRICANISM AND EDUCATION : AN EXPLORATORY STUDY OF AFRICAN CENTERED SCHOOLS IN CAMEROON AND SOUTH AFRICA." Commonwealth Youth and Development 14, no. 2 (March 28, 2017): 92–108. http://dx.doi.org/10.25159/1727-7140/1922.
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“Umuntu Ngumuntu Ngabantu” translates into a person is a person because of people. There is an idea of unity in this frequently used Zulu proverb that is posted boldly next to the Afrocentric logo on the African Union International School (AUIS) website in Midrand South, Africa. All these words are factors within Pan-Africanism, and AUIS is more than an international school in South Africa, but it is one of two schools created by the African Centered Educational Foundation (ACE). The other school is called the African American Academy in Douala, Cameroon. Under the auspice of ACE, both schools share a very special mission implied within its vision that includes an education for the African Renaissance. Through a content analysis, this paper will illustrate how the African Centered Education Foundation represents Pan-Africanism through the institutionalization of African Centered Education illustrated by their technological media (school websites, facebook, online articles), educational tools (brochures, teacher evaluations, lesson plans, teacher’s introduction package), and their African diaspora volunteer teacher program.
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Wylie, Dan. "“Proprietor of Natal:” Henry Francis Fynn and the Mythography of Shaka." History in Africa 22 (January 1995): 409–37. http://dx.doi.org/10.2307/3171924.
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If ever South Africa could boast of a Robinson Crusoe of her own, as affable, shrewd, politically sagacious, courageous and large-hearted as Defoe's, here is one to life… “Mr Fynn”[Fynn is] a greater ass and Don Quixote than one could possibly conceive.The fictional referents in these diametrically opposed judgments of Henry Francis Fynn (1806-61) alert us to the “constructed” nature of the reputation of this most famous of Shakan eyewitnesses. Although Nathaniel Isaacs' Travels and Adventures in Eastern Africa (1836) first introduced Shaka and his Zulu people to the British reading public, and had easily the profoundest influence on popular conceptions, Fynn was the more widely acknowledged “expert” on the Zulu. Having pursued an extraordinarily tortuous, violent, and well-documented career through forty formative years of South African frontier history, he left a body of writings which belatedly attained authoritative status in Shakan historiography. Since 1950, Fynn's so-called “Diary” has become the paramount, and until recently largely unquestioned, source on Shaka's famous reign (ca. 1815-1828). As recent political power struggles centered on the “Shaka Day” celebrations in Zululand have amply demonstrated, there is no more appropriate juncture at which to reassess the sources of this semi-mythologized Zulu leader's reputation.
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Van Niekerk, Jacomien. "Verstedeliking: Vergelyking tussen Suid-Afrikaanse letterkundes en die kultuurteks." Tydskrif vir Letterkunde 50, no. 3 (May 18, 2018): 39–59. http://dx.doi.org/10.17159/tl.v50i3.5111.
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Despite many efforts to publish comprehensive literary histories of South or Southern Africa in recent years, few studies existin which a thorough comparative study is undertaken between two or more South African literatures. This article wants to provide a practical example of such a study by comparing the urbanisation of Afrikaners in Afrikaans literature with that of black people as seen in English and Zulu literature. The statement made by Ampie Coetzee that comparative studies should take place within the framework of discursive formations is one of the fundamental starting points of this study. Maaike Meijer’s concept of the “cultural text” is further employed as a theoretical instrument. The identification of repeating sets of representation is central to the demarcation of a “cultural text about urbanisation” in Afrikaans, English and Zulu literature respectively. The cultural text forms the basis from which a valid comparative study can be embarked upon, and the results of the research have important implications for further comparative studies but also literary historiography.
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Smith, Katherine. "African Religions and Art in the Americas." Nova Religio 16, no. 1 (August 1, 2012): 5–12. http://dx.doi.org/10.1525/nr.2012.16.1.5.
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This print symposium of Nova Religio is devoted to African religions and arts in the Americas, focusing specifically on devotional arts inspired by the Yoruba people of West Africa. The authors presented here privilege an emic approach to the study of art and religion, basing their work on extensive interviews with artists, religious practitioners, and consumers. These articles contribute an understanding of devotional arts that shows Africa, or the idea of Africa, remains a powerful political and aesthetic force in the religious imagination of the Americas.
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MELO, ALDINA DA SILVA. "TEMPOS DE SEGREGAÇÃO (1948-94): ensino de história, poláticas de memórias e desigualdades sociais no universo do povo Zulu." Outros Tempos: Pesquisa em Foco - História 15, no. 26 (November 24, 2018): 147–73. http://dx.doi.org/10.18817/ot.v15i26.660.
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Este trabalho parte do universo do povo zulu, da região de KwaZulu-Natal (áfrica do Sul), para analisar o ensino de história, as poláticas de memórias e as desigualdades sociais presentes nas terras sul-africanas durante o Apartheid. Nesse sentido, a análise, que toma os anos de 1948 a 1994 como recorte temporal, utiliza como fontes a coleção de livros didáticos History for Today, imagens e jornais levantados no arquivo sul-africano Alan Paton Center e na biblioteca pública de Pietermaritzburg. Tais fontes foram produzidas e utilizadas no peráodo do Apartheid (1948-1994). Procura-se ainda investigar quais eram as poláticas educacionais presentes na áfrica do Sul durante aquele regime. O intuito é identificar nos livros didáticos e nas poláticas educacionais os modos como a/as identidade(s) zulus foram construádas, pensadas e dadas a ler, além de problematizar os modos de ver da sociedade sul-africana no que se refere á população zulu no peráodo em questão.Palavras-chave: Zulu. áfrica do Sul. Ensino de História.SEGREGATION TIMES (1948-94): Teaching history, memory politics and social inequalities in the universe of the Zulu peopleAbstract: This article will examine the assemblage of the Zulu people, from the KwaZulu-Natal region (South Africa), with the intention to analyze the history teaching, memory politics and social inequalities present in the South African lands during the period of Apartheid. The analysis, which pertains to the years 1948 to 1994, uses as its sources, the History for Today collection of textbooks, images and newspapers from the South African archives Alan Paton Center and the Pietermaritzburg public library. These sources were produced and utilized in the Apartheid period (1948-1994). It also seeks to investigate which educational policies were present in South Africa during that regime. The aim is to identify in textbooks and educational policies the ways in which Zulus identity (s) were formulated, conceptualized and construed, as well as problematizing South African society's views on the Zulu population in the period in question.Keywords: Zulu. South Africa. Teaching History. TIEMPOS DE SEGREGACIÓN (1948-94): enseñanza de historia, poláticas de memorias y desigualdades sociales en el universo del pueblo zulúResumen: Este trabajo parte del universo del pueblo zulú, de la región de KwaZulu-Natal (áfrica del Sur), para analizar la enseñanza de la historia, las poláticas de memorias y las desigualdades sociales presentes en las tierras sudafricanas durante el Apartheid. En ese sentido, el análisis, que toma los años de 1948 a 1994 como recorte temporal, utiliza como fuentes la colección de libros didácticos History for Today, imágenes y periódicos levantados en el archivo sudafricano Alan Paton Center y en la biblioteca pública de Pietermaritzburg. Estas fuentes fueron producidas y utilizadas en el peráodo del Apartheid (1948-1994). También busca investigar cuáles eran las poláticas educativas presentes en Sudáfrica durante ese régimen. La intención es identificar en los libros didácticos y en las poláticas educativas los modos como la/las identidad(es) zulús fueron construidas, pensadas y dadas a leer, además de problematizar los modos de ver de la sociedad sudafricana en lo que se refiere a la población zulú en el peráodo en cuestión.Palabras clave: Zulú. áfrica del Sur. Enseñanza de Historia.
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Gunner, Liz. "Resistant Medium: The Voices of Zulu Radio Drama in the 1970s." Theatre Research International 27, no. 3 (October 2002): 259–74. http://dx.doi.org/10.1017/s0307883302000330.
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The making of culture in South Africa through different but linked forms and genres focuses on the medium of radio, and the ‘emergent genre’ of Zulu serial radio drama. Using Benedict Anderson's notion of ‘socioscape’ a link is drawn between the wide sweep of historical events and the production of culture. Beginning with the case of the musical, uMabatha [Macbeth], its performance history, and its links with serial radio drama in Zulu, this article focuses on the ways in which this, in turn was linked to the ‘performance’ of African football commentary on radio, and points to the national resonances that the act, and art, of commentating built up for both announcers and listeners. Finally, three representative radio serial plays from the 1970s are examined in relation to the ways in which they engaged with the social and political realities of the time. Through the multi-accentual nature of language and the polysemic nature of the plays themselves these plays might appear to endorse or, at least, acquiesce in the dominant apartheid ideology of the era, yet at the same time they offered resistant alternatives to it.
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Mathonsi, N. N. "A socially committed literary work: perspectives on Elliot Zondi’s Insumansumane." Literator 26, no. 3 (July 31, 2005): 83–106. http://dx.doi.org/10.4102/lit.v26i3.238.
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In this article Elliot Zondi’s historical drama, “Insumansumane”, is discussed as a committed literary work. The main character, Bhambada, urges his contemporaries to challenge the ideological domination of the apartheid system and to fight for their freedom to the last man, if necessary. According to Elliot Zondi, the 1906 Bhambada Rebellion was caused by a lack of consultation and utter disregard for the feelings of the African majority regarding taxation. The rebellion was also caused by the forceful introduction of Western culture and social values. The play in itself is actually a metaphor for the Zulu people living in the 1980s under the iron rule of President P.W. Botha. In this play the Zulu are urged to live up to the freedom ideals for which their forefathers had been ready to fight and to die. The development of the plot in the play emphasises that the “winds of change” at that time were becoming stronger, causing the undercurrent that was to bring about liberation in 1992 and in 1994.
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Khuzwayo-Magwaza, Lindiwe P. "The “Closet” and “Out of the Closet” versus “Private Space” and “Public Space”: Indigenous Knowledge System as the Key to Understanding Same-Sex Sexualities in Rural Communities." Religions 12, no. 9 (September 2, 2021): 711. http://dx.doi.org/10.3390/rel12090711.
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This paper is produced from the author’s Ph.D. project on indigenous same-sex sexualities. It interrogates the way same-sex sexualities or homosexuality is understood in the West and how the Western interpretations of sexualities and genders are imposed on African rural communities. The paper argues that such Western impositions impede our understanding of same-sex relationships, and it threatens any attempt made to bring sexual orientation awareness programmes to rural areas. The study is framed on African indigenous knowledge systems to accommodate African indigenous perspectives on same-sex sexualities. This approach introduces indigenised same-sex discourse into contemporary discourses. The study was conducted in rural communities of Kwa Zulu Natal (KZN), where families of same-sex individuals (SSI) reside. The research employed a qualitative methodology that involved SSI, families, traditional and Church leaders. Triangulation methods involve individual interviews, focus groups, and workshops, this method is meant to validate research findings. The results reveal that, before Western debates on African same-sex sexualities, the idea of the “closet or out of the closet” did not exist, instead people lived a private life. Meaning, approaching sexual discourse by respecting this choice gives people of different sexualities the privacy they want, and this is regarded as a “safe place” for them.
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FRANCIS, JACQUELINE. "The Being and Becoming of African Diaspora Art." Journal of American Studies 47, no. 2 (April 17, 2013): 405–16. http://dx.doi.org/10.1017/s0021875813000091.
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By and large, “African diaspora art” is a generic label, presently applied with the purpose of broadly situating modern and contemporary artwork by people of African descent in discussions of African art, most often in connection with “traditional” West African ritual sculpture, installation, and performance. I focus on the work that this term has done or has been summoned to do in the US since the late twentieth century. This essay considers several artistic projects and critical and institutional missions linked to African diaspora art and culture: (1) a 1960s essay by art historian Robert Farris Thompson that organizes nineteenth-century material culture under this heading, (2) the black body as icon of the African diaspora in in the work of US artist David Hammons from the 1970s, and (3) the founding of the Museum of the African Diaspora (MoAD) in San Francisco in 2002. We are in the process of institutionalizing African diaspora art, situating it as a cultural consciousness that supersedes other identifications and narratives of association. We value and celebrate this epistemological construct, and, in doing so, reveal that it is also a social formation driven by doubts about racial and national belonging and the desire for a transformative signification and new, organizing logics of being.Cultural identity … is a matter of “becoming” as well as of “being.”Stuart Hall1By and large, “African diaspora art” is a generic label, often summoned to broadly situate modern and contemporary artwork by people of African descent and to connect it to “traditional” West African ritual sculpture, installation, and performance.2 It is a valued and celebrated epistemological construct; it is also a social formation driven by doubts about racial and national belonging and the desire for a transformative signification and organizing logics of difference. We are in the process of institutionalizing African diaspora art, situating it as a cultural consciousness that is meant to supersede other powerful identifications and narratives of political association.
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Beyers, Jaco, and Lize Kriel. "John Muafangejo’s How God Loves His People All Over the World as Material Religion." Religion and the Arts 24, no. 4 (October 26, 2020): 379–98. http://dx.doi.org/10.1163/15685292-02404002.
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Abstract The artworks produced at the Evangelical Lutheran Church Art and Craft Centre at Rorke’s Drift, KwaZulu-Natal, have been highly appraised and appreciated in South African art-historical circles, not in the least so as African expressions of postcolonial and anti-apartheid resistance. The work of Namibian artist John Muafangejo (1943–1987) is prominent amongst these. In this article, while borrowing generously from the methods of art historical research, our interest is primarily in works of art as objects of material religion. Erwin Panofsky introduced iconology as a way of determining the meaning of art. Iconology wants to enable the seeing of the unseen; seeing the transcendence—making it most applicable to the study of religion as a cultural practice. This article investigates in a critical way how iconology can assist in the study of material religion, especially as applied to the study of religious art. Because meaning is contextual, the conditions under which religious objects are made and interpreted are as important as the work itself. A discussion of a specific work by John Muafangejo originating from the Rorke’s Drift Centre will be conducted by testing the potential of iconology as an analytical tool in this African Christian environment.
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Quinlan, Catherine L. "An Interdisciplinary Investigation of African Rock Art Images to Learn about Science & Culture: Blending Biology, Geology, History & Ethics." American Biology Teacher 81, no. 1 (January 1, 2019): 40–46. http://dx.doi.org/10.1525/abt.2019.81.1.40.
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Image analysis of African rock art creates a unique opportunity to engage in authentic explorations of science and culture using rock art images as data. African rock art and its context provide insights into the intersection of science, scientific research, research ethics, intellectual property, law, government, economy, indigenous people, and crime. This article specifically considers the rock art and other cultural contributions of the San people of Southern Africa, which offer a rich interdisciplinary exploration of biology—including the climate and weather of biomes, plant biology, human physiology, and more. An understanding of the nature of science, crosscutting concepts, and disciplinary core ideas in the Next Generation Science Standards (NGSS) is implicated.
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Matiza, Vimbai. "African Traditional Art Forms, Democratic Governance and Economic Growth in Zimbabwe." Southern African Journal for Folklore Studies 27, no. 2 (February 8, 2018): 55–66. http://dx.doi.org/10.25159/1016-8427/3184.
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The article seeks to explore the role of African oral traditional art forms and governance in Zimbabwe for economic development. African philosophies, embedded in oral literature were part and parcel of the people’s life. Everybody participated in the activities that affected them in society. Thus African peoples used oral literature, which is dependent on the performer who formulates it on a specific occasion—this forms part of issues of governance. Some problems, which people, and Zimbabweans in particular are facing, emanate from colonialism, and have led them to believe that they had no culture or anything to shape their way of thinking. These problems have always been there, and people had a way of circumventing them through the philosophies that were embedded in their oral art forms. It is against this backdrop that the researcher seeks to explore the place of oral art forms; which include proverbs, riddles, folktales among others; and governance as vehicles to drive economic growth in Zimbabwe. The article is based on a conceptual method of study, where examples of oral art forms used have been taken from various speech communities in Africa. The researcher’s arguments are guided by the Afrocentricapproach and the discussion establishes that issues of democracy and governance were part and parcel of indigenous people’s way of doing things, in a bid to achieve economic growth in their societies.
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Yadav, Prabhu Ray. "The Role of a Writer: Reflections of a Novelist." Tribhuvan University Journal 31, no. 1-2 (December 31, 2017): 153–58. http://dx.doi.org/10.3126/tuj.v31i1-2.25349.
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Chinua Achebe is an iconic name in Africa as well as world literature. He is a writer committed to the social uplift of marginalized and downtrodden people. He believes that serious writer should have a sense of responsibility to enhance the quality of humanity by way of exposing all manmade suppression and oppression in society. Achebe is a crusader against colonialism that enslaved the African countries and their people. He is opposed to the injustice and atrocities perpetrated by colonial rulers, and he wants to awaken the African people to rise up against the onslaught of colonialism in future. The present work serves as an inspiring guide to the African people and writers to pursue the spirit of struggle to gain self dignity and recognition. He writes with a missionary zeal and exhorts the writers to use their art as a weapon to assert their confidence and past glory. For him, art is a means to bring about change in society. His works have served as a teacher for his readers. So, Achebe has become a novelist cum teacher, especially for African people, and in general for his readers all over the world.
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Stulov, Yu V. "IDEOLOGY, RACE, AND ART: JAMES BALDWIN’S LEGACY." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (October 25, 2019): 853–58. http://dx.doi.org/10.35634/2412-9534-2019-29-5-853-858.
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In the 1950s-60s the outstanding African American writer James Baldwin took an active part in the events of the so-called Black Revolution in the USA, which had a tremendous effect on the country’s social and political life for the following years. African American people of art got strongly divided into two camps on the ideological issues. Baldwin belonged to the integrationists who did not separate their fate from the fate of America and insisted on the decisive measures to be taken by the US administration to change the attitude towards the black population. His position as well as his works written at that period aroused severe criticism on the part of the Black radicals. Time took care of it, but Baldwin’s lesson is important for understanding the problems of the connection between ideology and art.
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Roozen, Geert V. T., Ruchika Meel, Joyce Peper, William D. F. Venter, Roos E. Barth, Diederick E. Grobbee, Kerstin Klipstein-Grobusch, and Alinda G. Vos. "Electrocardiographic and echocardiographic abnormalities in urban African people living with HIV in South Africa." PLOS ONE 16, no. 2 (February 2, 2021): e0244742. http://dx.doi.org/10.1371/journal.pone.0244742.
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Background Studies from high income countries report that HIV-positive people have an impaired systolic and diastolic cardiac function compared to HIV-negative people. It is unclear if results can be translated directly to the Sub-Saharan Africa context. This study assesses electro- and echocardiographic characteristics in an urban African population, comparing HIV-positive people (treated and not yet treated) with HIV-negative controls. Methods We conducted a cross-sectional study in Johannesburg, South Africa. We enrolled HIV-positive participants from three randomized controlled trials that had recruited participants from routine HIV testing programs. HIV-negative controls were recruited from the community. Data were collected on demographics, cardiovascular risk factors, medical history and electrocardiographic and echocardiographic characteristics. Results In total, 394 HIV-positive participants and 153 controls were enrolled. The mean age of HIV-positive participants was 40±9 years (controls: 35±10 years), and 34% were male (controls: 50%). Of HIV-positive participants 36% were overweight or obese (controls: 44%), 23% had hypertension (controls: 28%) and 12% were current smoker (controls: 37%). Median time since HIV diagnosis was 6.0 years (IQR 2.3–10.0) and median treatment duration was 4.0 years (IQR 0.0–8.0), 50% had undetectable viral load. The frequency of anatomical cardiac abnormalities was low and did not differ between people with and without HIV. We observed no relation between HIV or anti-retroviral therapy (ART) and systolic or diastolic heart function. There was an association between ART use and corrected QT interval: +11.8 ms compared to HIV-negative controls (p<0.01) and +18.9 ms compared to ART-naïve participants (p = 0.01). We also observed a higher left ventricular mass index in participants on ART (+7.8 g/m2, p<0.01), but this association disappeared after adjusting for CD4 cell count, viral load and HIV-duration. Conclusion The low number of major cardiac abnormalities in this relatively young, well managed urban African HIV-positive population is reassuring. The increase in corrected QT interval and left ventricular mass may contribute to higher cardiac mortality and morbidity in people living with HIV in the long term.
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O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.
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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.
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Asante, Molefi Kete. "The Remarkable Curvature of the Mind of Abdias do Nascimento." Journal of Black Studies 52, no. 6 (April 15, 2021): 577–87. http://dx.doi.org/10.1177/00219347211008918.
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Nascimento transcended the country of his birth and established himself in the minds and hearts of Africans everywhere as a combatant against racism and classism. Abdias do Nascimento was to Brazil what Langston Hughes and Katherine Dunham were to African Americans, a phenomenon of cultural energy that lifted his people to the highest dimensions of art in defiance of a designed degradation of blackness. Abdias grew up as a rebel spirit, as he would often say, in the tradition of his mother, who had called out abusive behavior toward blacks, in a brazenly racist country that had exploited the indigenous and African people for centuries. Thus, he was to become a Malcolm X, Du Bois, and Paul Robeson in the Brazilian context. Combining artistic skill, militant resistance, world knowledge, historical understanding, and an adventurous nature, his active mind did not rest in one field but in several art forms and research areas. He found his first love in the practice of African art and spirituality while creating the Black Experimental Theatre in Rio de Janeiro in the l940s.
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Kalichman, Seth C., Lisa Eaton, Moira O. Kalichman, and Chauncey Cherry. "Medication beliefs mediate the association between medical mistrust and antiretroviral adherence among African Americans living with HIV/AIDS." Journal of Health Psychology 22, no. 3 (July 10, 2016): 269–79. http://dx.doi.org/10.1177/1359105315600239.
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Medical mistrust is a significant barrier to medication adherence among African Americans living with HIV. In this study 380 African American people receiving antiretroviral therapy (ART) in a southern US city completed computerized measures at a community-based research site. Multiple mediation modeling showed that medical provider mistrust was associated with medication beliefs and ART adherence. Also, medication beliefs predicted adherence. The indirect effects of medical mistrust on adherence via medication beliefs was significant; the indirect effect was significant for medication concerns beliefs, but not medication necessity beliefs. Medication concerns beliefs therefore mediate the association between medical mistrust and ART adherence.
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Dapena-Tretter, Antonia, and Eloise Pelton. "African Art at the Kreeger Museum: Validating a Collection and Its Historic Stakeholders." Collections: A Journal for Museum and Archives Professionals 14, no. 1 (March 2018): 63–93. http://dx.doi.org/10.1177/155019061801400104.
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Written by The Kreeger Museum's former head of education and its founding archivist, this article looks closely at provenance and makes use of primary source documents and photographs to relive the rich story of how The Kreeger Museum's African art collection came to be. A detailed account of the negotiations, communications, transactions, and circulations of people, objects, and ideas—the following narrative offers an interesting case study into the early European and American art collectors' circuit.
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Cernasev, Alina, William L. Larson, Cynthia Peden-McAlpine, Todd Rockwood, Paul L. Ranelli, Olihe Okoro, and Jon C. Schommer. "The Significance of Taking Antiretroviral Medications for African-Born People Living with HIV and Residing in Minnesota." Pharmacy 8, no. 2 (June 26, 2020): 108. http://dx.doi.org/10.3390/pharmacy8020108.
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Thanks to the development of antiretroviral (ART) medications, HIV is now a chronic and manageable disease. This study aimed to (1) capture the experiences of African-born persons living with HIV and taking antiretroviral treatment, and (2) explore the impact of social and cultural factors on their decisions to follow the prescribed treatment. For this study, a qualitative approach was used. The participants were recruited via fliers, then screened for inclusion and exclusion criteria. Recruitment of the participants continued until data saturation occurred. The interview guide was developed based on the extensive literature and recommendations from the clinical team. In-person narrative interviews were conducted with 14 participants—African-born persons living with HIV and residing in Minnesota. Thematic Analysis revealed three emergent themes: “To exist I have to take the medicine”; barriers and facilitators in taking ART medications; and the power of spirituality and prayers. The findings of this study paint a picture of African-born persons living with HIV, and their experiences with ART medications. This study not only presents the participants’ medication experiences and their significance, but also tells their stories of how God and prayers play a significant role in helping them to get through the difficult moments of their lives.
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Klopper, E. M. M. "Die gebruik van die mite in Die werfbobbejaan van Alexander Strachan." Literator 17, no. 3 (May 2, 1996): 15–28. http://dx.doi.org/10.4102/lit.v17i3.619.
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The use of myths in Die werfbobbejaan by Alexander Strachan This article focuses on the rote of Zulu myths in Alexander Strachan’s novel Die werfbobbejaan. It lakes as point of departure sources on mythology like Cuddon (1991), Baldick (1990), Grimal (1969), Levi-Strauss (1979) and Jung (1969). Die werfbobbejaan essentially recounts the story of a man (the adventurer, the academic, the writer, the hunter) who also is the central character in Strachan's two preceding novels. Die werfbobbejaan focuses on the completion of an individuation process in the life of the central character, a process already begun in the preceding two novels and which in this novel finally culminates in the confrontation between hunter and baboon. The completion of this process is facilitated by the African milieu of Zululand where people give meaning to their existence by means of myths, and where no distinction is made between the mythic and rational modes of experiencing reality.
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Klein, Melanie. "Creating the Authentic? Art Teaching in South Africa as Transcultural Phenomenon." Culture Unbound 6, no. 7 (December 15, 2014): 1347–65. http://dx.doi.org/10.3384/cu.2000.1525.1461347.
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The question about what art and craft from Black individuals in South Africa should look like as well as how and for what purposes it could be created was of prominent importance within the contact zone of educational institutions from the 1930s onwards. Art teachers of mostly European origin established provisional art educational venues for African students first, within the curricula of mission schools and then as workshops and art schools in their own right. They transferred modernistic concepts from Europe into the South African context, yet were also confronted with divergent expectations of their students and the overarching policy of Bantu Education that was launched in 1953.
A closer look at selected case studies reveals complex and ambivalent theoretical approaches that were negotiated and discussed in the seemingly autonomous context of art schools and workshops. The teachers’ attitudes seemed to oscillate between the search for an ‘authentic’ African idiom and the claim to partake in global archives or in the making of an art history that was imagined as universally applicable. Art educational institutions perceived as transcultural contact zones exemplify a genesis of modern art from South Africa that was formed by mutually influencing perspectives apart from the restrictions for and the re-tribalisation of Black people imposed by the apartheid regime.
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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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Jopling, Rebecca, Primrose Nyamayaro, Lena S. Andersen, Ashraf Kagee, Jessica E. Haberer, and Melanie Amna Abas. "A Cascade of Interventions to Promote Adherence to Antiretroviral Therapy in African Countries." Current HIV/AIDS Reports 17, no. 5 (August 10, 2020): 529–46. http://dx.doi.org/10.1007/s11904-020-00511-4.
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Abstract Purpose of Review We reviewed interventions to improve uptake and adherence to antiretroviral therapy (ART) in African countries in the Treat All era. Recent Findings ART initiation can be improved by facilitated rapid receipt of first prescription, including community-based linkage and point-of-care strategies, integration of HIV care into antenatal care and peer support for adolescents. For people living with HIV (PLHIV) on ART, scheduled SMS reminders, ongoing intensive counselling for those with viral non-suppression and economic incentives for the most deprived show promise. Adherence clubs should be promoted, being no less effective than facility-based care for stable patients. Tracing those lost to follow-up should be targeted to those who can be seen face-to-face by a peer worker. Summary Investment is needed to promote linkage to initiating ART and for differentiated approaches to counselling for youth and for those with identified suboptimal adherence. More evidence from within Africa is needed on cost-effective strategies to identify and support PLHIV at an increased risk of non-adherence across the treatment cascade.
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Greenwood, Jeremy, Philipp Kircher, Cezar Santos, and Michèle Tertilt. "An Equilibrium Model of the African HIV/AIDS Epidemic." Econometrica 87, no. 4 (2019): 1081–113. http://dx.doi.org/10.3982/ecta11530.
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Twelve percent of the Malawian population is HIV infected. Eighteen percent of sexual encounters are casual. A condom is used a third of the time. To analyze the Malawian epidemic, a choice‐theoretic general equilibrium search model is constructed. In the developed framework, people select between different sexual practices while knowing the inherent risk. The calibrated model is used to study several policy interventions, namely, ART, circumcision, better condoms, and the treatment of other STDs. The efficacy of public policy depends upon the induced behavioral changes and equilibrium effects. The framework complements the insights from epidemiological studies and small‐scale field experiments.
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Glendinning, Elizabeth, Johanna Spiers, Jonathan A. Smith, Jane Anderson, Lucy J. Campbell, Vanessa Cooper, and Rob Horne. "A Qualitative Study to Identify Perceptual Barriers to Antiretroviral Therapy (ART) Uptake and Adherence in HIV Positive People from UK Black African and Caribbean Communities." AIDS and Behavior 23, no. 9 (September 2019): 2514–21. http://dx.doi.org/10.1007/s10461-019-02670-x.
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Abstract To inform the development of interventions to increase uptake and adherence to antiretroviral therapy (ART), we explored perceptions of ART in semi-structured interviews with 52 men and women from UK black African and black Caribbean communities. Verbatim transcripts were analyzed using framework analysis. Perceptions of ART could be grouped into two categories: doubts about the personal necessity for ART and concerns about potential adverse effects. Doubts about necessity stemmed from feeling well, doubts about the efficacy of ART, religious beliefs and the belief that treatment was futile because it could not cure HIV. Concerns about adverse effects included the fear that attending HIV services and taking treatment would lead to disclosure of HIV, feeling overwhelmed at the prospect of starting treatment soon after diagnosis, fears about side effects and potential long-term effects, and physical repulsion. The findings will facilitate the development of interventions to increase uptake and adherence to ART.
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Ottenberg, Simon. "Religion and ethnicity in the arts of a Limba Chiefdom." Africa 58, no. 4 (October 1988): 437–65. http://dx.doi.org/10.2307/1160351.
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Opening ParagraphThis article examines the major visual and performing arts of one society and explores what changes have occurred to them over roughly one hundred years as a consequence of external religious and ethnic forces. This is a holistic, processual view of a people's arts in a particular region, providing a model to balance the excellently detailed studies of specific art forms which now exist for Africa. Using a holistic view we will raise certain issues concerning changes in African art. One of the most significant is the interrelationship of ethnicity and religion. Scholars (Bravmann, 1974, 1983; Prussin, 1986) have written extensively on the influence of Islam on African art, but have not seriously raised the question of the ethnic factor associated with Islam, which is equally important. In the case of Islam and its carriers there is a delicate intermixing of religion and ethnicity which is at issue and needs exploration. Further, the holistic approach employed here brings to the fore the reasons behind the wide range of responses to change of the various art forms of a people. Why do some syncretise, some disappear and others remain unchanged? Again, the holistic view allows us to ask to what extent the arts of a people merely reflect forces of change, or do they play roles in leading and directing it? The approach requires considerable background history, which is presented below.
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Quinn, Katherine, Julia Dickson-Gomez, Michelle Broaddus, and Jeffrey A. Kelly. "“It's Almost Like a Crab-in-a-Barrel Situation”: Stigma, Social Support, and Engagement in Care Among Black Men Living With HIV." AIDS Education and Prevention 30, no. 2 (April 2018): 120–36. http://dx.doi.org/10.1521/aeap.2018.30.2.120.
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Social support is associated with improved health outcomes for people living with HIV (PLWH), including initiation and engagement in HIV care and antiretroviral therapy (ART) adherence. Yet, stigma may negatively affect the availability and utilization of social support networks, especially among African American PLWH, subsequently impacting HIV care and health out-comes. This qualitative study examines the relationship between stigma and social support relationships among African American PLWH. We conducted 23 interviews with Black men living with HIV who reported being out of care or non-adherent to ART. Thematic content analysis revealed three primary themes including variation in social support, experiences of stigma and discrimination, and coping mechanisms used to deal with stigma. Findings reveal that although social support may be protective for some men, many African American PLWH face challenges in harnessing and sustaining needed social support, partly due to stigma surrounding HIV and homo-sexuality.
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Classen, Albrecht. "Caravans of Gold, Fragments in Time: Art, Culture, and Exchange Across Medieval Saharan Africa, ed. Kathleen Bickford Berzock. Evanston, IL: Block Museum of Art, Northwestern University; Princeton, NJ, and Oxford: Princeton University Press, 2019, 312 pp., many colored ill. and maps." Mediaevistik 32, no. 1 (January 1, 2020): 266–67. http://dx.doi.org/10.3726/med.2019.01.20.
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This catalog accompanies a fascinating and innovative exhibition documenting the art in medieval Saharan Africa, first shown at the Block Museum of Art, Northwestern University, Evanston, IL, from Jan. 26 to July 21, 2019, then at The Aga Khan Museum, Toronto, from Sept. 21 2019 to Feb. 23, 2020, and finally at the National Museum of African Art, Smithsonian Institution, Washington, DC, April 8 to Nov. 29, 2020. To bring all those very valuable objects together and to organize this exhibit, represents a major task involving many people. Here I want to concentrate only on the catalog itself, magisterially edited by Kathleen Bickford Berzock, Associate Director of Curatorial Affairs, Block Museum of Art.
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Martinez, Katharine. "The Art Libraries and Research Resources of the Smithsonian Institution." Art Libraries Journal 13, no. 1 (1988): 9–13. http://dx.doi.org/10.1017/s0307472200005484.
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The Smithsonian Institution, a public organisation established in 1846 “for the increase and diffusion of knowledge”, includes ten museums and several research bureaux. Most but not all of the associated libraries are linked through the Smithsonian Institution Libraries; they include several art libraries which contribute significantly to the overall provision of art library service to the American people but do not of themselves constitute a “national art library”. Most of the Smithsonian’s libraries enter their records in a database (SIBIS) which is accessible online via OCLC. Co-ordinated collection development has been pursued since 1984. In two areas in particular, American and African art, Smithsonian libraries aim to provide a national service.
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Kruzh Morzhadinu, Da Fonseka Vera. "HISTORICAL RESEARCH OF MODERNISM IN AFRICAN ARCHITECTURE OF LOW-RISE SOCIAL HOUSING." Construction Materials and Products 3, no. 2 (July 10, 2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.
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the purpose of this study is to examine the emergence of modernism as a cultural response to the conditions of modernity to change the way people live, work and react to the world around them. In this regard, the following tasks were formulated: 1) study the development of modernism on the world stage, 2) identify its universal features, and 3) analyze how the independence of Central and sub-Saharan Africa in the 1950s and 1960s coincided with a particularly bright period of modernist architecture in the region, when many young countries studied and asserted their identity in art. The article analyzes several objects of modernist architecture in Africa: urban development projects in Casablanca (Morocco), Asmara (Eritrea), Ngambo (Tanzania). The main features and characteristics of modernism which were manifested in the African architecture of the XX century are also formulated. It is concluded that African modernism is developed in line with the international modernist trend. It is also summarized that modernism which differs from previous artistic styles and turned out to be a radical revolution in art is their natural successor.
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Frishkopf, Michael. "West African Polyrhythm: culture, theory, and representation." SHS Web of Conferences 102 (2021): 05001. http://dx.doi.org/10.1051/shsconf/202110205001.
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In this paper I explicate polyrhythm in the context of traditional West African music, framing it within a more general theory of polyrhythm and polymeter, then compare three approaches for the visual representation of both. In contrast to their analytical separation in Western theory and practice, traditional West African music features integral connections among all the expressive arts (music, poetry, dance, and drama), and the unity of rhythm and melody (what Nzewi calls “melo-rhythm”). Focusing on the Ewe people of south-eastern Ghana, I introduce the multi-art performance type called Agbekor, highlighting its poly-melo-rhythms, and representing them in three notational systems: the well-known but culturally biased Western notation; a more neutral tabular notation, widely used in ethnomusicology but more limited in its representation of structure; and a context-free recursive grammar of my own devising, which concisely summarizes structure, at the possible cost of readability. Examples are presented, and the strengths and drawbacks of each system are assessed. While undoubtedly useful, visual representations cannot replace audio-visual recordings, much less the experience of participation in a live performance.
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Graham, James. "The Quiet Editor: Ivan Vladislavić and South African cultural production." Journal of Commonwealth Literature 52, no. 1 (October 26, 2016): 56–69. http://dx.doi.org/10.1177/0021989416675017.
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This article examines the literary and sociological significance of Ivan Vladislavić’s “double life” as both editor and writer. With reference to a number of his editorial roles as well as the joint projects he has worked on with writers and visual artists, the article considers how Vladislavić’s work with others spreads symbolic value. Described by one of his clients as the “quiet editor”, Vladislavić can be read as a new kind of author; what he terms “creative editing” as a new kind of writing, through which more traditional models of authorship and literary production are thrown into question — less Bourdieu’s “field of literary production” or Casanova’s “world literary space”, red in tooth and claw, and more Howard Becker’s “art world”: a convivial “network of cooperating people, all of whose work is essential to the final outcome”.
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Mamokhere, John. "China’s engagements on the african continent: interrogating its true mission and objectives on the continent." Business and Management Review 11, no. 02 (December 15, 2020): 134–40. http://dx.doi.org/10.24052/bmr/v11nu02/art-16.
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China’s engagement(s) throughout the African continent has met with mixed reactions from academics, politicians, civil society, and interest groups. In that regards, this paper questions the link between China-Africa, if this is a new form of colonialism or is China kind to the continent. Thus, this paper examines whether the debates regarding the nature of the China-Africa relations can be qualified or categorized as a new form of colonialism approach or not. Also, the paper analyzes the perception of academics, politicians, civil society and interested groups about the implications towards the China-Africa economic cooperation and explains whether China is taking advantage of the weak African states in the name of South-South cooperation or playing the role of a contemporary substitute of the old colonial system. The paper has adopted an Afrocentricity theory as a lens sometimes referred as a theory of social change that is initiated and better clarified by Asante Molefi Kete (1980 and 2003). Afrocentricity is an approach to the study of world history that focuses on the history of people of recent African descent. To achieve the aims of this paper, the author(s) benefited from Critical Discourse Analysis (CDA) of secondary data covering China’s economic engagements in Africa. Conceptually, it is found that China has a large influence in Zambia over the mining industry. It is affirmed that China’s investments in the mining sector control over 88%. Therefore, it is concluded in this paper that China’s presence on the African continent presents equal opportunities (economic development, e.g., employment creation) and threats (loss of Sovereignty, employment exploitation). Thereafter, this paper recommends that African governments should be pro-active in order to exploit the potential opportunities. The paper also recommends that there should be an economic win-win cooperation as per China’s African Policy (2006), which implies that there should be a mutual benefit.
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Park, Marlene. "Lynching and Antilynching: Art and Politics in the 1930s." Prospects 18 (October 1993): 311–65. http://dx.doi.org/10.1017/s0361233300004944.
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Lynching became a fact of American life after the Civil War, but it only became an important subject for writers of the Harlem Renaissance in the 1920s and a subject for visual artists in the 1930s. During the Depression, antilynching works were first a reaction to the widespread outrage over the Scottsboro case and then part of the political and legislative efforts to make lynching a federal offense. In early 1935, both the National Association for the Advancement of Colored People and the Communist Party's John Reed Club held competing art exhibitions that not only condemned lynching but also supported their legislative objectives. After World War II, when Civil Rights legislation became the main priority, images of lynching continued primarily in the works of African-American artists. But in these later works, lynching became the prime symbol of American racism, springing from a black perspective rather than from particular political campaigns or from contemporary experience.
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Russell, Thembi. "‘People will no longer be people but will have markings and be animals’: investigating connections between diet, myth, ritual and rock art in southern African archaeology." Azania: Archaeological Research in Africa 52, no. 2 (January 31, 2017): 192–208. http://dx.doi.org/10.1080/0067270x.2017.1283097.
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