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Letteratura scientifica selezionata sul tema "Art, Sobo (African people)"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Art, Sobo (African people)"

1

Stokes, Deborah. "Shifting Views: People and Politics in Contemporary African Art". African Arts 51, n. 2 (giugno 2018): 83–85. http://dx.doi.org/10.1162/afar_r_00406.

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Smith, Katherine. "African Religions and Art in the Americas". Nova Religio 16, n. 1 (1 agosto 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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FRANCIS, JACQUELINE. "The Being and Becoming of African Diaspora Art". Journal of American Studies 47, n. 2 (17 aprile 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, e Lize Kriel. "John Muafangejo’s How God Loves His People All Over the World as Material Religion". Religion and the Arts 24, n. 4 (26 ottobre 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, n. 1 (1 gennaio 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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MBU, DORA NYUYKIGHAN. "African Art and The Colonial Encounter: Commodification and Restitution of Sacred Objects in Linus Asong’s the Crown of Thorns". International Journal of Language and Literary Studies 5, n. 2 (22 luglio 2023): 400–412. http://dx.doi.org/10.36892/ijlls.v5i2.1293.

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African art though dynamic has changed in form, function, and meaning over time. However, the concept of Indigenous African art has remained static. This paper aims at examining the complex relationship between African art and colonial encounter while interrogating the commodification and restitution of African artifacts which has become a topical issue. This is because pre-colonial sacred objects have an aura of untainted timeless past reflecting the way of life of the African people. The colonial encounter with Africa witnessed a rush for African traditional religious artifacts and antiquities which left indelible marks of hostilities and cultural clashes among the African people. Many African artifacts looted from their countries of origin during colonialism and are now housed in museums and private collections around the world. While most studies on Linus Asong’s the Crown of Thorns focus on feminist analysis, the paper is read from the perspective of New Historicists’ exegesis that interrogates the commodification and restitution of African sacred objects stolen from Africa during colonialism. The findings show that, although the issue of the commodification and restitution of African artifacts is a complex and controversial one, there is a growing recognition of the importance of acknowledging and rectifying the historical injustices associated with their commodification.

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Labode, Oladoyin J., e Olasunmbo O. Braide. "Symbolic Designs of Textile Art in African Fabrics". Polish Journal of the Arts and Culture New Series, n. 16 (2/2022) (30 novembre 2022): 71–86. http://dx.doi.org/10.4467/24506249pj.22.010.16833.

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ABSTRAKT This paper examines the symbolic designs of expressive creativity on African fabrics in textile art. It highlights the variations on the theme, symbolic design, colour, and techniques used for the production of African fabrics. Data for the study rely on primary and secondary sources. The primary data were obtained from in-depth interview, samples of African fabrics drawn from exhibition catalogues as well as unstructured interview schedules with primary artists producing some of the textiles in Africa and users wearing clothes drawn from the African people in Nigeria, Mali, Ghana, Cote d’Ivoire and Tanzania. The illustration of the variations in symbols found in African textile, derived from exhibition catalogues, were used to express the cultural contextual meaning of design patterns on African fabrics. Cultural nationalism and identity dominate the printed geometric forms of flora and fauna as well as other patterns of symbolic designs found on the fabrics. The symbolic designs and variations in theme, colour and patterns on African textile represent rare artistic creativity and expression in the current development of textile art in Africa.

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Yadav, Prabhu Ray. "The Role of a Writer: Reflections of a Novelist". Tribhuvan University Journal 31, n. 1-2 (31 dicembre 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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Chimdi-Oluoha, Frances Uchenna, e John Ikechukwu Obasikene. "The Pulse of Africanness in African Drama: A Study of Selected Plays of Wole Soyinka and Tewfik Al-Hakim". NEWPORT INTERNATIONAL JOURNAL OF CURRENT RESEARCH IN HUMANITIES AND SOCIAL SCIENCES 3, n. 3 (18 febbraio 2024): 35–40. http://dx.doi.org/10.59298/nijcrhss/2023/10.3.1101.

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Most African drama is built on the religion, myths and oral culture of the African people, depicting their traditional ways of life passed down through generations. African drama, like other forms of African art, reflects the unique cultural, social and political identity of the African continent and people. This serves as a vehicle to convey the experiences, struggles and triumphs of the African people. Various playwrights have emerged from the African continent and each of these playwrights highlight the uniqueness of Africa through different perspectives in their plays. This paper explores the striking features that define African consciousness in African drama. Hence, it examines the pulse of Africanness in African drama using textual illustrations from Wole Soyinka and Tewfik AlHakim’s plays as well as highlighting the similarities and differences in their methods of storytelling from the African perspective. Keywords: Africa, Culture, Oral Traditions, Socio-political identity, Drama

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Nwosimiri, Ovett. "How the idea of change has meddled with African cultural practices and the African sense of community". Arụmarụka: Journal of Conversational Thinking 2, n. 1 (3 ottobre 2022): 24–46. http://dx.doi.org/10.4314/ajct.v2i1.2.

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The idea of change seems to be a vital part of human life and culture. With the concept of change, people, communities, and cultural practices have significantly evolved. Change has transformed some communities, traditions, cultural values and practices, communication methods, education, art, and literature. Thus, in this paper, I focus on the idea of change, African cultural practices, and the African sense of community. I aim to show how the concept of change has meddled with African cultural practices and the African sense of community. I intend to achieve this by using the Ifá divination system, the idea of storytelling, and homosexuality or the LGBTIQA+1 people as examples.

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Tesi sul tema "Art, Sobo (African people)"

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Ukpong, Onoyom Godfrey. "Contemporary southern Nigeria art in comparative perspective reassessment and analysis, 1935-2002 /". Diss., Online access via UMI:, 2006.

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FIGUEIREDO, BERNARDO AMADO BAPTISTA DE. "AFRICAN ART: A STUDY ON THE BELIEFS AND PREFERENCES OF INTERESTED PEOPLE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11354@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Trata-se de pesquisa qualitativa, realizada por meio de grupos focais e painéis visuais com interessados em objetos de arte africana no Brasil, com o objetivo de levantar crenças e preferências desses indivíduos. O estudo explorou o conceito de arte africana junto a esse público, imagens e emoções associadas a esse conceito, motivos que orientam a preferência por alguns objetos sobre outros e aspectos importantes do valor simbólico e estético dos objetos de arte africana. A pesquisa também trouxe observações sobre a adequação dos objetos de arte africana às propriedades encontradas em objetos de consumo hedônico e sobre alguns aspectos do consumo e posse de objetos de arte africana.
This qualitative research uses focal groups and visual panels to elicit beliefs and preferences of some Brazilians interested in objects of African art. It hás explored the concept of African art, the images and emotions associated with it, the driving motives underlying the preferences for certain art objects over others. This study also discusses some important simbolic and aesthetic aspects of hedonic consumption related to African art.

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Famule, Olawole Francis. "Art and spirituality : the Ijumu northeastern-Yoruba egúngún /". Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1372%5F1%5Fm.pdf&type=application/pdf.

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

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Hirst, Manton Myatt. "The healer's art : Cape Nguni diviners in the townships of Grahamstown". Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1001601.

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This is a study of Cape Nguni diviners practising in the townships of Grahamstown where, during the 1970s, there was a large and active concentration of diviners treating clients from the locality, the rural areas and even the large urban centres further afield. The study situates local diviners in the socio-economic, cultural and religious context of contemporary township Iife during the 1970s (see chapter 1 and section 2.1). The personalities and socio-economic circumstances of diviners (and herbalists) are described as well as their case-loads, the various problems they treat, the relations between them and their clients, the economics of healing and the ethics pertaining to the profession (see chapter 2) . Chapter three focuses on the various problems and afflictions - which are largely of an interpersonal nature - suffered by those who are eventually inducted as diviners and the ritual therapy this necessarily entails. Here we see how the diviner, what Lewis (1971) terms a 'wounded healer', becomes an expert in interpersonal and social relations as a result of suffering problems - largely connected to the family but not necessarily limited to it - in interpersonal relations and that require a ritual, and thus social, prophylaxis. The main theoretical argument is that the diviner, qua healer, functions as a hybrid of Levi-Strauss' s bricoleur and Castaneda's 'man of knowledge' artfully combining the ability of the former to invert, mirror or utilise analogies from linguistics to make everything meaningful and the ability of the latter to creatively bend reality . The diviner's cosmology is described in terms of a 'handy', limited but extensive cultural code/repertoire of signs, symbols and metaphors that is utilised in getting the message across to others and in which animals bear the main symbolic load (see chapter 4). This leads logically to a reappraisal of Hammond-Tooke's (1975b) well-known model of Cape Nguni symbolic structure particularly in so far as it pertains to the way in which diviners classify animals, both wild and domestic (see section 4.6). A striking evocation and confirmation of the view argued here, namely of the diviner as bricoleur/'man of knowledge', is contained in chapter five dealing with an analysis of the diviner's 'river' myth and the context, form and content of the divinatory consultation itself. Finally, the conclusions, arising out of this study of contemporary Cape Nguni diviners in town, are evaluated in the ligrht of Lewis's (1966, 1971, 1986) deprivation hypothesis of spirit possession (see chapter 6)

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Baholo, Keresemose Richard. "A pictorial response to certain witchcraft beliefs within Northern Sotho communities". Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/21197.

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Bibliography: pages 58-62.
This study focuses on stories of witchcraft within the Batlokwa - a sub-group of the Northern Sotho community living in the northern Transvaal. Having grown up in this society where witchcraft beliefs are predominant, my fears, as a child, of witches were very real. In later life I have attempted to ignore these fears. However, I do not think they will ever disappear entirely, as I will never be able to extricate myself from my origins. This experience of the dangerous witch is one of the reasons that compelled me to respond pictorially to some of these perceptions for the purpose of highlighting the concerns of ordinary people and the extent to which they have been affected by belief in witchcraft. My paintings are a translation of real and unreal incidents fused together producing a visual narrative.

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Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /". Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.

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Clark-Brown, Peter Gabriel. "A graphic interpretation of some social constructions of disability". Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/17494.

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Bibliography: pages 37-38.
The work undertaken for my Masters degree seeks to address some of the prejudice experienced by disabled people. Society's concept of a normal body prescribes unattainable standards for people with disabilities, thereby isolating and marginalising them. Instead of accommodating these physical differences, society encourages disabled people to withdraw from society or to try to conform to able-bodied ideals and to appear 'as normal as possible'. The very physical presence of disabled people challenges these assumptions of normality. Therefore, attempts are made to cosmetically hide the offending part or exclude the person from society (e.g. a hollow shirt sleeve or 'special' school). When individuals fail to conform to the prescribed standards of normality, they face the stigma of being viewed as pitifully inferior and dependent upon their able-bodied counterparts. In this way disabled people do not 'suffer' so much from their condition, as from the oppression of able-bodied biases. Through different eyes, society could be seen as handicapped as a result of its inability to adapt to, or deal with difference. In reality, however, disabilities are experienced by many people and can range from those which are physically visible and easily identified to those less obvious, but often more debilitating such as abrasive, socially aggressive personalities or learning disabilities. It is possible, therefore, to extend the understanding of the term disability to any physical or emotional impairment that limits a person's functioning within a so-called normal society. Although many people and organisations have searched for less pejorative or negative terms to describe an impairment such as 'Very Special', 'people with abilities' or 'physically challenged', these attempts have failed to reverse prejudice. Instead, these descriptions have only re-described the emphasis on 'otherness' and 'difference'. In addition, these replaced descriptions are again associated with the same stigmas that they were intentionally designed to avoid. In the following discussion I have consciously used the word disabled or disability to refer to individuals with various disabilities which I have nevertheless defined as socially constructed. In doing so I am suggesting no pejorative associations. Through this project I wanted to explore notions of disability within various debates associated with disability and society. I have done this in the context of my own experience of disability, and my own attempts to come to terms with disability. In this sense this project represents a personal journey.

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Williams, Sandy IV. "Nigga Is Historical: This Is Not An Invitation For White People To Say Nigga". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5926.

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Over the past several years I have been on a quest to locate a world beyond the one I’ve been presented. I am interested in the history of atomic particles - like everything that radiates off of a monument (both literally and those things that are metaphorically reified) - invisible things, and the ways in which these things insect beyond our knowledge systems. This inquiry takes many forms. Mine is a conceptually based practice linked to record keeping and time, and the ways in which these concepts find plurality within our culture; or more pointedly, the importance that we attach to “time” and “the record”, as they relate to our “legacies”, “cultures”, or “the canon”; our histories and the ahistorical, the prehistorical, fantasies, the things that never happened but could’ve, imagined futures and parallel universes.

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Nhlangwini, Andrew Pandheni. "The ibali of Nongqawuse: translating the oral tradition into visual expression". Thesis, Port Elizabeth Technikon, 2003. http://hdl.handle.net/10948/237.

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The tribal life and the oral traditions of black South Africans have been marginalized. The consequence of the western civilization and the apartheid regime forced people to do away from their traditional heritage and culture; they adopted the western way of life. They buried their oral tradition and only a little has survived. To save the dying culture of the art of the oral tradition we need to go out and record and document the surviving oral tradition as soon as possible. Since the art of the oral tradition is an art form conducted by an artist, it may be possible to tell the ibali likaNongqawuse by means of visual imagery. Visual images can be read and be understood easily by the public because visual forms, sings, images can make up a language for both the literate as well as the illiterate.

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Libri sul tema "Art, Sobo (African people)"

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MacGarry, Michael. When enough people start saying the same thing: A solo exhibition. Johannesburg [South Africa]: Art Extra, 2008.

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2

Erivwo, Samuel U. Traditional religion and Christianity in Nigeria: The Urhobo people. Bensu, Nigeria: Published by Department of Religious Studies & Philosophy, 1991.

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Irivwieri, Godwin Ogheneruemu. Ovwuvwe festival among the Abraka-Urhobos. Benin City, Nigeria: Unioncrest Publishers, 1998.

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Riamela, Daniel Odafetite. The concept of life after death: African tradition and Christianity in dialogue (with special emphasis on the Urhobo culture). [Ibadan: Claverianum Press, 1990.

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Turle, Gillies. The art of the Maasai: 300 discovered objects and works of art. New York: Knopf, 1992.

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1938-, Beard Peter H., e Greenberg Mark, a cura di. The art of the Maasai: 300 newly discovered objects and works of art. New York: Knopf, 1992.

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Babalola, Daniel Olaniyan. Igbomina art & culture: An introduction. Zaria, Nigeria: D.O. Babalola, 1998.

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Egbe, Ifie, a cura di. Marriage with gods and goddesses: In classical and African myths. Ibadan: End-Time, 1999.

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A, Keim Curtis, e American Museum of Natural History., a cura di. African reflections: Art from northeastern Zaire. Seattle: University of Washington Press, 1990.

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Mestach, Jean Willy. Etudes songye: Formes etsymbolique : essai d'analyse = Songye Studien, Formen und Symbolik, ein analytischer Essay = Songye studies, form and symbolism, an analytical essay. München: Galerie Jahn, 1985.

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Capitoli di libri sul tema "Art, Sobo (African people)"

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Okediji, Moyo, Wura-Natasha Ogunji, Olu Oguibe, Olabisi Silva, Suzanne Blier, Moyo Okediji, Wura-Natasha Ogunji, Olu Oguibe, Olabisi Silva e Suzanne Blier. "Performing Justice for Everyday People". In Methodology, Ideology and Pedagogy of African Art, 263–67. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003389088-21.

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Bernier, Celeste-Marie. "“Feeling for my People”". In The Routledge Companion to African American Art History, 350–58. Routledge, 2019. http://dx.doi.org/10.4324/9781351045193-31.

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Lewis-Williams, J. David. "Rock Art and Cognitive Archaeology". In The Oxford Handbook of Cognitive Archaeology, C59P1—C59S9. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780192895950.013.59.

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Abstract This chapter reviews South African rock art from a cognitive perspective, and from the personal and historical perspective of the author. The author notes that recently there has been a vigorous attempt to bring natural science approaches to southern African rock art archaeology research, such that it transitioned from its earlier perceived position as the amateur’s hobby into a professional’s domain. The author also argues that if Upper Palaeolithic people were fully modern, they must have had the potential to experience altered states of consciousness, intentionally or unintentionally, that would be manifested by their iconography. In the southern African instance, despite widely emphasized egalitarianism, trance experiences set the San shamans apart as people to be respected—even feared—and the same was probably true in the Upper Palaeolithic.

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Longhi, Vittorio. "The African Descendant, an ‘Invisible Man’ to the Media". In Postcolonial Publics: Art and Citizen Media in Europe. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-677-0/013.

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In the European public sphere African descendants are seldom featured as narrators of their own background and complex identity. According to European institutions and independent researchers there is a serious lack of debate about Europe’s colonial past and about the impact that it still has on the racist and discriminatory way people of African descent are portrayed and perceived. The media, in particular, could play a significant role to help cultural diversity and to oppose racism, allowing non-white Europeans to be more visible and vocal within their own organisations.

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Glynn, Martin. "Strange Fruit: Black Music (Re)presenting the Race and Crime". In Reimagining Black Art and Criminology, 81–96. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529213928.003.0006.

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Black music is a loose term that locates music created, produced, or inspired by people of African descent. This music genre reveals key messages, insights, understandings, and perspectives that illuminates the connection to, and relationship with, the structural elements that have disproportionately criminalized, incarcerated, and executed many black people. It is therefore important to examine the role of black music in the study of the racialization of crime and criminal justice systems.

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van Klinken, Adriaan, e Ezra Chitando. "The Art of Words". In Reimagining Christianity and Sexual Diversity in Africa, 147–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197619995.003.0009.

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In addition to storytelling, poetry has also been adopted by African LGBTQ communities as a creative method to give voice to deeply personal struggles and experiences of trauma, but also to express glimpses of faith, hope and love, and expectations of the future. This chapter focuses on a collection of LGBTQ poetry from across Africa, titled Walking the Tightrope (2016). The chapter examines how selected poems represent and reflect the ambivalent experiences of LGBTQ people with religion, specifically Christianity. These poems engage with religion critically, but also creatively, as through the arts of language LGBTQ writers give sacred meaning to their struggles, signify their lives with religious idiom, reclaim biblical and theological concepts, and give voice to their life experiences. Thus, the chapter foregrounds poetry as a creative method of queer African religious critique as well as reimagination.

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"An Art for Both My Peoples". In Third Worlds Within, 61–87. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059158-003.

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This chapter traces how the circulation of intercultural images spoke to the changing demographics of Los Angeles between 1992 and 2008, producing new relationships and voicing new ideas about the seemingly discrete and separate categories of Mexican and Black. During this time, visual artists created alternatives to the idea of an inevitable antagonism between Black and Brown. Via murals and photographs, in both museum and street settings, artists developed allegorical imagery to demonstrate historic commonalities, interpersonal collaborations, and political possibilities. Attempts to find a visual commonality between ethnic Mexican and Black North Americans during the 1990s and early 2000s took place amid an upsurge of activity by people of African descent in Mexico. Photography became a key element of a new political subjectivity and became part of the broader depiction of connections between ethnic Mexican and Black people.

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West, E. James. "A Meeting Place for All the People". In A House for the Struggle, 115–46. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044328.003.0005.

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This chapter explores how, following their respective moves to South Michigan Avenue, the offices of the Chicago Defender and Johnson Publishing Company became key sites in the urban geography of Black America. As community centers, art galleries, meeting spaces, and tourist hotspots, these buildings welcomed all manner of people, ranging from local schoolchildren to African heads of state. In doing so, they expanded the goal of Defender founder Robert Abbott for his publication’s offices to become “the meeting place of all the people.”

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"The Freedom to Marry for All". In The Art of Remembering, 62–72. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059165-005.

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When the United States Supreme Court struck down the Defense of Marriage Act in the spring of 2013, it had been 145 years since the ratification of the Fourteenth Amendment ensured equal protection under the law to all who were born in the United States, and 45 years since the court in 1968, in Loving v. Virginia, declared unconstitutional all laws prohibiting Americans from marrying across the color line. The visual and social importance of a legal right that has long been in flux but saw one of its major milestones erected at the end of the Civil War, when large numbers of newly freed, formerly enslaved people were granted the right to marry each other, deserves closer consideration. This essay examines the ways that African American families used portraiture to assert the value and importance of their marital unions and the children that they bore.

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Hamkins, SuEllen. "Finding One’s Voice: Recovering from Trauma". In The Art of Narrative Psychiatry. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199982042.003.0014.

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Vivian Owusu, a stunning twenty-one-year-old African woman who grew up in Ghana, was about to walk out of the university counseling center when I went to the waiting room to get her for our initial appointment. Her first psychiatric provider had retired a year after meeting her and her next one took a different job six months later, so I was her third psychiatrist in less than a year. Vivian had not shown for her first two appointments with me and now, due to a double-booking error that was my fault, I was thirty minutes late. I apologized and asked if she had time to stay and meet with me. I could see her anger and agitation. “I suppose.” Irritated but still poised, Vivian followed me down the hall to my office. What an unfortunate beginning, I thought, feeling harried. We had been short-staff ed for months and I had been squeezing patients in as best I could, feeling like I wasn’t doing my best work. Vivian settled herself upright on my couch and looked at me coolly. She had big dark eyes, flawless brown skin, beautifully braided hair, a button nose, and a hostile expression. In response to my questions, she told me she was a junior, pre-law. She hadn’t slept for three or four days. Depression had been plaguing her and she had been having thoughts of killing herself. Her expression of hostility briefly showed a trace of sadness. “I don’t trust people,” she said. “I take things personally and I get annoyed.” She often felt emotionally volatile and easily got upset with people if she felt they were rejecting her. I had skimmed her medical record prior to the appointment and saw that she had had multiple emergency contacts with our clinicians and two psychiatric hospitalizations, the second five months earlier. She said she wasn’t having suicidal thoughts currently and would call us if she did. What she wanted from me was a refill of medicines she was taking to help with the depression and anxiety.

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Atti di convegni sul tema "Art, Sobo (African people)"

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Geçimli, Meryem, e Mehmet Nuhoğlu. "CULTURE – HOUSE RELATIONS IN THE CONTEXT OF CULTURAL SUSTAINABILITY: EVALUATION ON EXAMPLES". In GEOLINKS International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/geolinks2020/b2/v2/29.

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There are close relationships between the cultural structures of societies and residential areas. The place where the society chooses to live and the ways it is organized is an expression of the cultural structure. Traditional houses are accepted as the most obvious indicator of this situation. One of the ways of preserving cultural sustainability today is to read the design principles of these houses correctly. Culture is about what kind of environment people live in and how they live. Human behaviors are based on cultural references. Religion, view of life and perceptions of the environment are both dialectically shaped culture and shaped by culture. Culture is about where and how human meets his needs throughout his life. It can be said that culture is one of the basic factors that direct human behavior and life. Therefore, the cultural embedding of sustainability thought is important in shaping the world in which future generations will live. Regarding various cultures in the literature; the structure of the society, their way of life and how they shape their places of residence, etc. there are many studies. The riches that each culture possesses are considered to be indisputable. These important studies are mostly based on an in-depth analysis of that culture, concentrating on a single specific culture. In this study, it is aimed to make a more holistic analysis by examining more than one culture. Thanks to this holistic perspective, it is thought that it will be possible to make inferences that can be considered as common to all societies. This study, which especially focuses on Asian and African societies, is the tendency of these societies to maintain their cultural structure compared to other societies. The reflections of cultural practices on residential spaces are examined through various examples. The dialectical structure of Berber houses, integration of Chinese houses with natural environmental references, Toroja houses associated with the genealogy in Indonesia, etc. examples will be examined in the context of cultural sustainability in this study. With this holistic approach, where the basic philosophy of cultural sustainability can be obtained, important references can be obtained in the design of today's residences. This paper was produced from an incomplete PhD dissertation named Evaluation of Cultural Sustainability in the Application of House Design at Yildiz Technical University, Social Sciences Institution, Art and Design Program

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Rapporti di organizzazioni sul tema "Art, Sobo (African people)"

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Yatsymirska, Mariya. Мова війни і «контрнаступальна» лексика у стислих медійних текстах. Ivan Franko National University of Lviv, marzo 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11742.

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The article examines the language of the russian-ukrainian war of the 21st century based on the materials of compressed media texts; the role of political narratives and psychological-emotional markers in the creation of new lexemes is clarified; the verbal expression of forecasts of ukrainian and foreign analysts regarding the course of hostilities on the territory of Ukraine is shown. Compressed media texts reflect the main meanings of the language of the russian-ukrainian war in relation to the surrounding world. First of all, the media vocabulary was supplemented with neologisms – aggressive and sad: “rashism”, “denazification”, “katsapstan”, “orks”, “rusnia”, “kremlins”, “parebrik”, “in the swamps”, “nuclear dictator”, “putinism”, “two hundred” and others. Numerals acquired new expressive and evaluative meanings: “200s” (dead), “300s” (wounded), “400s” (russian military personnel who filed reports for termination of the contract), “500s” (hopelessly drunk russian soldiers, alcoholics who are unable to perform combat tasks). The language of war intensified the slogans of the struggle for state independence and people’s freedom. The scope of the greeting “Glory to Ukraine! – Glory to Heroes!”. New official holidays have appeared in the history of Ukraine since 2014: “Heroes of the Heavenly Hundred” Day (February 20), “Ukrainian Volunteer Day” (March 14), “Defenders and Defenders of Ukraine Day” (October 14), “Volunteer Day” (5 December). As you know, the professional holiday of the military is the Day of the Armed Forces of Ukraine” (December 6). A special style is characteristic of media texts on military topics: “Iron Force of Ukraine” (Iron Force of Ukraine), “digitize the Army” (for effective simulation of military operations); “grain corridor” (export of Ukrainian grain to African and European countries); “don’t let Ukraine lose” (the position of the Allies at the first stage of the war), “Ukraine must win!” (the position of the Allies in the second stage of the war); “in the Russian-Ukrainian war, the thinking of the 19th century collided with the thinking of the 21st century”, “a politician is a person who understands time” (Grigori Yavlinskyy, Russian oppositionist); “aggressive neutrality” (about Turkey’s position); “in Russia”, “there, in the swamps” (in Russia), “weak, inadequate evil” (about Russia), “behind the fence”; “a great reset of the world order”; “technology of military creativity”; “they are not Russian and not Ukrainian, they are Soviet”, “people without mentality”, “in Ukraine and without Ukraine” (Vitaly Portnikov about a separate category of Russian-speaking citizens in Ukraine); “information bed of Ukraine” (about combat operations on the front line; “when a descendant asks me what I did in those terrifying moments, I will know what to answer. At the very least, I did not stand aside” (opinion of a Ukrainian fighter). Compressed in media texts is implemented in the headline, note, infographic, chronicle, digest, help, caption for photos, blitz poll, interview, short articles, caricature, visual text, commercial, etc. Researchers add “nominative-representative text (business card text, titles of sections, pages, names of presenters, etc.) to concise media texts for a functional and pragmatic purpose.” accent text (quote, key idea); text-navigator (content, news feed, indication of movement or time); chronotope”. A specific linguistic phenomenon known as “language compression” is widespread in media texts. Language compression is the art of minimization; attention is focused on the main, the most essential, everything secondary is filtered out. Compression uses words succinctly and sparingly to convey the meaning as much as possible. For example, the headline “Racism. What is the essence of the new ideology of the Russian occupiers?”. The note briefly explains the meaning of this concept and explains the difference from “nazism” and “fascism”. Key words: compressed media text, language compression, language of war, emotional markers, expressive neologisms, political journalism.

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