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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.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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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Kalichman, Seth C., Lisa Eaton, Moira O. Kalichman e 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, n. 3 (10 luglio 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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Odueme, Edoama Frances. "Orality, Memory and the New African Diaspora Poetry: Examining Tanure Ojaide’s Poetics". Afrika Focus 32, n. 1 (27 febbraio 2019): 149–58. http://dx.doi.org/10.1163/2031356x-03201010.
Testo completoAbstract (sommario):
The influence of traditional oral poetic forms on modern African poetry has been significant. Fascinated by oral forms which their respective communities relied on (to inform, teach, and correct erring members) before the advent of literacy, modern African writers borrow from these oral traditions and blend them with the features of the written Western literary forms. This appropriation of the oral poetic techniques by modern African poets continues today, as is clearly evident in the writings of many contemporary African poets, whose scripted works are seen to have drawn much in terms of content and form from the African oral poetic tradition. Following in this trend, the new African diaspora poets have also maintained the practice of skillfully blending the rich African verbal art and the modern (written) poetic forms to articulate the experiences of their African homeland as well as those of the diaspora, in order to construct and project their identities and visions of a new life in their lived world. In order to explore how through recourse to memory, “new African diasporas” (African-descended people who migrated out of Africa, during the postcolonial era and who live and practice their art outside the African homeland) utilize African oral art techniques in their writings, this essay analyses the poetry of Tanure Ojaide.
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Asante, Molefi Kete. "The Remarkable Curvature of the Mind of Abdias do Nascimento". Journal of Black Studies 52, n. 6 (15 aprile 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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Eseagwu, Oyenike. "Cultural Tourism as an Exponent of Art and Crafts Sector in African Economy". NIU Journal of Humanities 8, n. 4 (31 dicembre 2023): 267–70. http://dx.doi.org/10.58709/niujhu.v8i4.1861.
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The arts and crafts sector in African is a vibrant intersection of numerous cultures, reflecting the diversity and creativity of the African people. Arts and crafts, inclusive of sculptures, painting, poetry, woven works, beadworks and textile among others, are deep-rooted in African heritage and bear a substantial contemporaneous value. They embody, the spirit of African Culture, thus enabling tourist to connect with Africa’s trans-generational ethos and rich cultural heritage. The potential for cultural tourism’s growth and invariably, the unique proliferation of the African economy, therefore stems from the international integration of these arts and crafts into the tourism sector. The key components and elements influences the tourist decision making process in choosing a destination to travel. Keywords: Cultural, Tourism, Crafts, Arts, Economy, Sustainability.
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Matiza, Vimbai. "African Traditional Art Forms, Democratic Governance and Economic Growth in Zimbabwe". Southern African Journal for Folklore Studies 27, n. 2 (8 febbraio 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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Stulov, Yu V. "IDEOLOGY, RACE, AND ART: JAMES BALDWIN’S LEGACY". Bulletin of Udmurt University. Series History and Philology 29, n. 5 (25 ottobre 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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Klein, Melanie. "Creating the Authentic? Art Teaching in South Africa as Transcultural Phenomenon". Culture Unbound 6, n. 7 (15 dicembre 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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Cernasev, Alina, William L. Larson, Cynthia Peden-McAlpine, Todd Rockwood, Paul L. Ranelli, Olihe Okoro e Jon C. Schommer. "The Significance of Taking Antiretroviral Medications for African-Born People Living with HIV and Residing in Minnesota". Pharmacy 8, n. 2 (26 giugno 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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O., Justice, e Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition". Journal of Advanced Research and Multidisciplinary Studies 1, n. 1 (14 maggio 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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Hazzan, Afeez, Luvon Sheppard e Joyce Hazzan. "ENGAGING AFRICAN AMERICAN FAMILY CAREGIVERS THROUGH ART AND CREATIVE ACTIVITIES: A CASE STUDY". Innovation in Aging 6, Supplement_1 (1 novembre 2022): 542–43. http://dx.doi.org/10.1093/geroni/igac059.2058.
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Abstract Studies have shown that engaging family caregivers of people with dementia in creative activities can provide therapeutic benefits by relieving stress and promoting well-being. However, there is a dearth of studies focusing on the involvement of racial minority family caregivers of people with dementia in research involving art and creative activities. The purpose of this study is to present the results of a case study interview with an artist-educator-community collaborator who acted as a key facilitator for the ACTION ARTS study. The purpose of the ACTION ARTS study was to utilize mobile technology applications for facilitating creative activities to enhance health and well-being of African-American family caregivers and their loved ones in the middle-to-late stages of dementia. The study included activities such as memory stimulation, art viewing, art making, and other forms of creative expressions. The research question for the current case study was: What are the best practices for engaging African-American family caregivers of older adults in the middle-to-late stages of dementia in research involving art and creative activities? Thematic analysis of the qualitative data from the case study interview yielded the following recommendations/results (1) Design the program of art and/or creative activities in an easy way to facilitate interaction among participants; (2) Make the program as accessible and relevant as possible so everyone is able to relate to it; (3) Emphasize areas of commonality that could help in giving both the facilitators and participants food for thought.
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Dapena-Tretter, Antonia, e Eloise Pelton. "African Art at the Kreeger Museum: Validating a Collection and Its Historic Stakeholders". Collections: A Journal for Museum and Archives Professionals 14, n. 1 (marzo 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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Roozen, Geert V. T., Ruchika Meel, Joyce Peper, William D. F. Venter, Roos E. Barth, Diederick E. Grobbee, Kerstin Klipstein-Grobusch e Alinda G. Vos. "Electrocardiographic and echocardiographic abnormalities in urban African people living with HIV in South Africa". PLOS ONE 16, n. 2 (2 febbraio 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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A. P., Opoko, Adeokun C. O. e Oluwatayo A. A. "Art in traditional African domestic architecture: its place in modern housing and implications for the training of architects". New Trends and Issues Proceedings on Humanities and Social Sciences 2, n. 1 (19 febbraio 2016): 675–78. http://dx.doi.org/10.18844/prosoc.v2i1.1010.
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Over the years, art in its various forms has played a vital role in the lives of African people. It served as a major form of communicative expression of religious beliefs and socio-cultural norms of the people. Its form, presentation and significance however, varied from one cultural setting to another. This paper examines art in the context of domestic architecture of indigenous people of South West Nigeria and its relevance in contemporary housing as well as what it portends for architectural education in that cultural zone. The paper notes the disappearance of the rich traditional motifs and symbols from contemporary housing and their replacement with more contemporary art forms influenced by globalisation and industrial mass production. It concludes that the current trend presents an architecture that is devoid of cultural architectural uniqueness and identity. One of the implications identified is for architectural curricula to incorporate indigenous themes that will help architects produce domestic architecture that have contextual relevance. Data for the paper was collected through literature review and the qualitative research method using interviews and observations of houses in the zone. Those interviewed include architects and residents in the zone. Data was content analysed to highlight common themes.Keywords: Art, Domestic architecture, Yorubaland Â
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Alshameri, Faleh, e Abdul Karim Bangura. "Generating metadata to study and teach about African issues". Information Technology & People 27, n. 3 (29 luglio 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 e Melanie Amna Abas. "A Cascade of Interventions to Promote Adherence to Antiretroviral Therapy in African Countries". Current HIV/AIDS Reports 17, n. 5 (10 agosto 2020): 529–46. http://dx.doi.org/10.1007/s11904-020-00511-4.
Testo completoAbstract (sommario):
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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Anderson, Austin. "Blackening the Frame: Kerry James Marshall's Rythm Mastr". Popular Culture Review 34, n. 2 (dicembre 2023): 3–42. http://dx.doi.org/10.1002/j.2831-865x.2023.tb00797.x.
Testo completoAbstract (sommario):
ABSTRACTThis essay argues Marshall is “blackening the frame” with his African‐centric comic series Rythm Mastr. The series is a corrective to the overwhelming whiteness of canonical comics and the silencing and erasure of Black people in American popular culture and fine art. Through the incorporation of Yoruba figures within the superhero genre, Marshall explores Black history and reframes American popular culture towards an African‐oriented future as part of a broader insurgence among Black comic creators.
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Quinn, Katherine, Julia Dickson-Gomez, Michelle Broaddus e 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, n. 2 (aprile 2018): 120–36. http://dx.doi.org/10.1521/aeap.2018.30.2.120.
Testo completoAbstract (sommario):
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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Ottenberg, Simon. "Religion and ethnicity in the arts of a Limba Chiefdom". Africa 58, n. 4 (ottobre 1988): 437–65. http://dx.doi.org/10.2307/1160351.
Testo completoAbstract (sommario):
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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Davis, Katherine, Louisa Moorhouse, Rufurwokuda Maswera, Phyllis Mandizvidza, Tawanda Dadirai, Tafadzwa Museka, Constance Nyamukapa, Mikaela Smit e Simon Gregson. "Associations between HIV status and self-reported hypertension in a high HIV prevalence sub-Saharan African population: a cross-sectional study". BMJ Open 13, n. 1 (gennaio 2023): e067327. http://dx.doi.org/10.1136/bmjopen-2022-067327.
Testo completoAbstract (sommario):
ObjectivesThis study examined whether HIV status and antiretroviral therapy (ART) exposure were associated with self-reported hypertension in Zimbabwe.DesignStudy data were taken from a cross-sectional, general population survey, which included HIV testing (July 2018–December 2019).SettingThe data were collected in Manicaland Province, Zimbabwe.Participants9780 people aged 15 years and above were included.Outcome measureSelf-reported hypertension was the outcome measure. This was defined as reporting a previous diagnosis of hypertension by a doctor or nurse. After weighting of survey responses by age and sex using household census data, χ2tests and logistic regression were used to explore whether HIV status and ART exposure were associated with self-reported hypertension.ResultsThe weighted prevalence of self-reported hypertension was 13.6% (95% CI 12.9% to 14.2%) and the weighted prevalence of HIV was 11.1% (10.4% to 11.7%). In univariable analyses, there was no evidence of a difference in the weighted prevalence of self-reported hypertension between people living with HIV (PLHIV) and HIV-negative people (14.1%, 11.9% to 16.3% vs 13.3%, 12.6% to 14.0%; p=0.503) or between ART-exposed and ART-naive PLHIV (14.8%, 12.0% to 17.7% vs 12.8%, 9.1% to 16.4%,p=0.388). Adjusting for socio-demographic variables in logistic regression did not alter this finding (ORs:HIV status:0.88, 0.70 to 1.10, p=0.261; ART exposure:0.83, 0.53 to 1.30, p=0.411).ConclusionsApproximately one in seven PLHIV self-reported having hypertension, highlighting an important burden of disease. However, no associations were found between HIV status or ART exposure and self-reported hypertension, suggesting that it will be valuable to focus on managing other risk factors for hypertension in this population. These findings should be fully accounted for as Zimbabwe reorients its health system towards non-communicable disease control and management.
30
Olaniyan, O. M., F. B. Egunjobi e A. Adegoke. "African Traditional Arts and Ornamentation in the Architecture of the Cultural Centre Ibadan". Environmental Technology and Science Journal 14, n. 2 (9 febbraio 2024): 9–15. http://dx.doi.org/10.4314/etsj.v14i2.2.
Testo completoAbstract (sommario):
Art and architecture have been intertwined throughout history. Art in its various forms has played a vital role in the lives of African people as evident in their architecture. The paper reviewed the African visual culture with respect to ornamentation in the built environment as well as the variations of cultural heritage in the anthropogenic sense. The study adopted a qualitative approach using the case study method with the selection of the Cultural Centre Ibadan. The 1977 Second World Black and African Festival of Arts and Culture (FESTAC 77) held in Lagos, Nigeria inspired the architecture of the National Theatre in Lagos, and other cultural centres in other cities in Nigeria including the Cultural Centre, Ibadan which exemplified African arts and ornamentation in its façade and spaces. The Cultural Centre Ibadan is a significant masterpiece adorned with African traditional arts and ornamentation. It embodies a bold fusion of art and architecture evident in the intricate sculptural reliefs that beautify its walls, the wooden and metal ornamentation embellishing its halls and lobbies, the luscious blend of geometrical forms and shapes in its façade, its harmony with the undulating landscape and the concrete anthropomorphic sculptural pieces that welcome guests into the entrance quadrangle. The themes of the arts and ornamentation of the Cultural Centre Ibadan reflect traditional Yoruba cultural festivals, philosophical and religious motifs that has transformed the building into a cultural heritage. Artfully embellished architecture with symbolic meanings like the Cultural Centre Ibadan affords the dividends of cultural emancipation, cultural renaissance and cultural preservation. The interweaving of art and architecture in public buildings should be promoted.
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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, n. 1 (1 gennaio 2020): 266–67. http://dx.doi.org/10.3726/med.2019.01.20.
Testo completoAbstract (sommario):
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, n. 1 (1988): 9–13. http://dx.doi.org/10.1017/s0307472200005484.
Testo completoAbstract (sommario):
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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Greenwood, Jeremy, Philipp Kircher, Cezar Santos e Michèle Tertilt. "An Equilibrium Model of the African HIV/AIDS Epidemic". Econometrica 87, n. 4 (2019): 1081–113. http://dx.doi.org/10.3982/ecta11530.
Testo completoAbstract (sommario):
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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Olaleye-Otunla, Olufemi Joseph, Eyitayo Tolulope Ijisakin, Babasehinde Augustine Ademuleya e Mosobalaje Oyebamiji Adeoye. "Beyond Frank Willett: The Need for Compositional Analysis of Yoruba Art Objects". Mediterranean Journal of Social Sciences 13, n. 2 (5 marzo 2022): 76. http://dx.doi.org/10.36941/mjss-2022-0018.
Testo completoAbstract (sommario):
Since the pioneering efforts of Frank Willett that examine the Yoruba arts, there remains a yearning gap to holistically investigate the material contents and classification of Yoruba art objects. For proper documentation, information and placement of Yoruba arts, the need for a scientific material compositional analysis of Yoruba arts cannot be overemphasised. This discourse employs a qualitative and evaluative mode of research to emphasize the need, importance and prospects of proper scientific material investigation of Yoruba arts. The study provides information on Frank Willett, the Yoruba people, and relevant studies on the Yoruba arts. It further discusses compositional analysis through the lens of literature, art authentication, and makes a case for authenticating Yoruba art collections. Considering the elegance and importance of African arts and antiquities, the findings of this study show that the provenance of Yoruba art objects has not received adequate attention; this has consequently resulted into illegal excavation, manipulations, and trade of Yoruba art collections. The study concludes that there is utmost importance and necessity for scientific material probing of Yoruba art, if it must go beyond the point where Frank Willett stopped. Hence, the need for all African art historical scholars to prospect for scientific probing of the material contents of Yoruba arts objects.
Received: 13 January 2022 / Accepted: 28 February 2022 / Published: 5 March 2022
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Saratovskaya, Larisa. "South African literature in Russia". African Research & Documentation 58 (1992): 11–15. http://dx.doi.org/10.1017/s0305862x00012577.
Testo completoAbstract (sommario):
The African continent and South Africa in particular have always interested Russians. It may be interesting to note that as early as the 18th century the Russian tzar and reformist Peter 1st, ordered the compilation of a description of Africa, which was made in 1710 in Moscow. In the 18th and especially in the 19th centuries there were many Russian sailors and explorers who went as far as the Cape of Good Hope. Among them was a famous Russian writer and sailor Ivan Goncharov who spent two months in South Africa in 1853 and devoted more than 150 pages of his travelling book “Frigate Pallada” to the description of the lives of different racial groups there. This progressive Russian writer paid special attention to the fight of African people against the European colonisers. Another Russian explorer and art-critic A. Visheslavzev was also in South Africa in the 1850s and in his diary expressed his sympathy with the African chiefs, who led the black tribes against the conquerors.
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Botha-Le Roux, Shani, Olof Elvstam, Patrick De Boever, Nandu Goswami, Martin Magnusson, Peter M. Nilsson, Hans Strijdom, Per Björkman e Carla M. T. Fourie. "Cardiovascular Profile of South African Adults with Low-Level Viremia during Antiretroviral Therapy". Journal of Clinical Medicine 11, n. 10 (16 maggio 2022): 2812. http://dx.doi.org/10.3390/jcm11102812.
Testo completoAbstract (sommario):
Chronic inflammation is an HIV infection feature, contributing to elevated risk of cardiovascular disease among people with HIV, which can be induced by viral replication. A proportion of antiretroviral therapy (ART) recipients fail to achieve viral suppression, despite not meeting criteria for treatment failure, so-called low-level viremia (LLV). We investigated the relationship between LLV and an array of cardiovascular measures and biomarkers. South Africans with LLV (viral load = 50–999 copies/mL) and virological suppression (viral load <50 copies/mL) were selected from the EndoAfrica study (all receiving efavirenz-based ART) for cross-sectional comparison of vascular structure and function measures, as well as 21 plasma biomarkers related to cardiovascular risk and inflammation. Associations were investigated with univariate, multivariate, and binomial logistic regression analyses (having outcome measures above (cases) or below (controls) the 75th percentile). Among 208 participants, 95 (46%) had LLV, and 113 (54%) had viral suppression. The median age was 44 years, 73% were women, and the median ART duration was 4.5 years. Cardiovascular measures and biomarker levels were similar between these two categories. Cardiovascular function and structure measures were not associated with viremia status and having LLV did not increase the odds of having outcome measures above the 75th percentile. In this study among South African ART recipients, LLV did not associate with cardiovascular risk.
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Glendinning, Elizabeth, Johanna Spiers, Jonathan A. Smith, Jane Anderson, Lucy J. Campbell, Vanessa Cooper e 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, n. 9 (settembre 2019): 2514–21. http://dx.doi.org/10.1007/s10461-019-02670-x.
Testo completoAbstract (sommario):
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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Nnanna, Ndubuisi Nnanna, e Maja Tabea Jerrentrup. "Symbolic Representations: Social Media and Photography in Nigeria". Journal of Communication 3, n. 1 (1 settembre 2022): 20–31. http://dx.doi.org/10.47941/jcomm.1015.
Testo completoAbstract (sommario):
The medium of “photography” has encompassed the world, but depending on the cultural context, it is characterized by different aesthetics that come with different associations and implications. Drawing on cultural anthropology and semiotic image analysis, this article contributes to research on cross-cultural aesthetics with a focus on Nigeria. Based on a sample of 100 Instagram posts with the hashtag #nigerianphotography, it explores how social conventions of art influence popular Nigerian photography and create a unique style: there is a strong focus on the staging of people, who are usually shown in front of simple backgrounds as full body shots. In addition, Nigerian photography places a clear emphasis on colour and heavy retouching. These aspects are seen as consistent with African art in general, which is often more concerned with conveying abstract concepts than authenticity. Thus, it can be stated that Nigerians appropriated photography in their own way, emphasizing the symbolic rather than the indexical function of photography. Nigerian popular photography can be understood as a continuation of classical African art rather than a break with its tradition.
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Lebaka, Morakeng Edward Kenneth. "The Art of Living is Living with the Art; Is it Essential that Bapedi People Are Able to Live with and embrace the past? Yes, Definitely". European Journal of Social Science Education and Research 8, n. 2 (15 agosto 2021): 184. http://dx.doi.org/10.26417/656qjn23h.
Testo completoAbstract (sommario):
For many centuries, music has been used in different indigenous African religious rituals as part of communal and personal religious rites. In the Bapedi society, songs accompany every phase of the divination process and, also any other task which they perform communally, for example, ancestor veneration. The purpose of this study was to investigate how Bapedi traditional healers and their trainees create imprecatory songs, as well as their societal value. The main questions the study addressed are: a) how do Bapedi traditional healers create imprecatory songs; and b) what is the societal value of these songs in the Bapedi culture. The study used a naturalistic approach and the methods of data collection were video recordings of cultural and religious rituals, interviews and observations. The study has revealed that in the Bapedi society like in other African societies, narratives in imprecatory songs can be classified broadly into three, namely: segmental narrative; incremental cycle and multiple recycle forms. The results have also shown that Bapedi imprecation songs serve various functions such as education, upholding and promoting morals and customs through advice, insults and mockery. This paper is submitted for consideration for the ICMS XXV, 25th International Conference entitled “Ideas and Research on Recent Issues”; University of Southern California.
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Insell, Celeste. "Defining an Aesthetic: African Canadian Playwrights in Vancouver". Canadian Theatre Review 83 (giugno 1995): 39–42. http://dx.doi.org/10.3138/ctr.83.010.
Testo completoAbstract (sommario):
Concepts of beauty for the African diaspora can be traced back to the aesthetic and spiritual beliefs of various ethnic groups in Africa which were amalgamated over the five hundred years in which the diaspora was scattered. Today, these cultural values remain rooted in the approach that people of African heritage take in the practice of various art forms. The concept of beauty united to the spirit is central to the aesthetics of West Africa – objects of beauty possess a spiritual as well as external beauty, with even the concept of beauty differing greatly from that of the European. The Yoruba, Ibo, Kongo, Mande and Hausa, all West African tribes, were the predominant groups brought to North America during the slave trade. The Yoruba and the Kongo were the most influential cultures and their influence has prevailed throughout the centuries.
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Tella, Abiola Opemipo. "Traditional Rain Control Practice Through Indigenous Knowledge System and Technology Among Ikire People of Osun State, Southwest Nigeria". International Journal of Social Science Research and Review 5, n. 9 (11 settembre 2022): 155–65. http://dx.doi.org/10.47814/ijssrr.v5i9.451.
Testo completoAbstract (sommario):
This paper aims to trace the history of rain prevention, and examine for documentation, the rituals involved. Traditional rain control in this context is considered as a process involving the making and preventing of rain to modify atmospheric condition of a place using Indigenous Knowledge and Technology (IKT). Rain control ritual is an age-long indigenous knowledge and technology aimed at influencing weather condition. As part of a broadened African society, the art of preventing rainfall is a part of the heritage resources practised by the people of Ikire in Osun State. This ritualistic art which is put to use mainly during socio-cultural gatherings such as festivals, feasts, burials, weddings, and naming ceremonies is called òjòwíwó or òjòmímó in local parlance. The help of rain doctors is sought by people who want to carry out any of these activities during rainy seasons to avoid disruption. Ethnographic method was used to elicit information. Research findings traced the art of rain prevention to Orunmila a god in Yoruba mythology. The rituals involved the use of the details of IKT which is significant in the response of the people to the ever-changing climate
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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, n. 2 (10 luglio 2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.
Testo completoAbstract (sommario):
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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Mitchell, Mary M., Tuo-Yen Tseng, Dulce Cruz-Oliver, Zachary Catanzarite, Eric Hansen e Amy R. Knowlton. "Family Conflict Non-negotiation and HIV Disclosure Associated With ART Adherence in a Disadvantaged Population". AIDS Education and Prevention 34, n. 2 (aprile 2022): 158–67. http://dx.doi.org/10.1521/aeap.2022.34.2.158.
Testo completoAbstract (sommario):
Adherence to antiretroviral therapy (ART) is vital for reducing racial and gender disparities in morbidity and mortality among people living with HIV/AIDS (PLWH). Little research attention has been given to aspects of family functioning affecting ART adherence among PLWH vulnerable to disparities. Data were from n = 313 participants (93% African American) in the BEACON study, which recruited injection-drug-using PLWH on ART. Using factor analysis and longitudinal structural equation modeling, we found that current substance use and negative family conflict tactics (i.e., non-negotiation) predicted PLWH's lower probability of ART adherence at 12-month follow-up; and greater HIV disclosure to support network members predicted a higher probability of adherence. These findings suggest the importance of family and other support network members in this vulnerable population's ART adherence. Social network-focused interventions promoting prosocial response to conflict and negotiation skills are important for improving vulnerable PLWH's HIV outcomes and reducing health disparities.
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Girgis, Liza. "Counternarratives of Nationalist Anti-Black Images: Normalizing and Extolling Blackness in Contemporary Art of the Hispanic Caribbean". Caribbean Quilt 6, n. 2 (4 febbraio 2022): 101–17. http://dx.doi.org/10.33137/cq.v6i2.36899.
Testo completoAbstract (sommario):
This article examines contemporary art of the Hispanic Caribbean as a counternarrative to the antiblack aesthetic ideals in the region. By exploring beauty standards on these islands through quotidian language and images that portray beauty, the prolif- eration of whiteness as the epitome of the aesthetic is exhibited in modern day Dominican Republic, Puerto Rico and Cuba. This article follows the work of scholars who have theorized and evidenced that the post-independence narrative has dominated the islands’ perceived racial identities, marginalizing blackness and praising whiteness. We add that this discourse has also impacted its peoples’ daily beauty rituals, as most of them facilitate the ‘whitening’ of one’s appearance. Present-day art that extolls blackness and questions the exclusion of people of African descent on the islands thus serves as a powerful truth reveal; contrarily to the official history, negritude is not rebellion, rather it is the region’s nature and beauty. In other words, this research seeks to explore how this art portrays negritude as the face of the Hispanic Caribbean, normalizing and celebrating the appearance of the majority of its people.
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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.
Testo completoAbstract (sommario):
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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Boateng, Ernest, e Dr Emmanuel Kumah. "ASSESSING THE RATE OF ANTIRETRO VIRAL THERAPY ADHERENCE AMONG PEOPLE LIVING WITH HIV/AIDS IN THE ATWIMA NWABIAGYA MUNICIPAL - ASHANTI REGION". International Journal of Multidisciplinary Studies and Innovative Research 7, n. 7 (10 ottobre 2021): 428–39. http://dx.doi.org/10.53075/ijmsirq3356760.
Testo completoAbstract (sommario):
At the end of 2018, HIV remains a significant worldwide medical problem and has claimed over 32 million lives. Around 37.9 million individuals were living with the condition at the end of 2018. The pervasiveness of HIV among African adults (15–49 years) was 3–multiple times higher in 2018. When properly followed, ART has been shown to slow the progression of HIV and enable HIV-positive people to live longer, more productive lives. A treatment regimen of at least three antiretroviral (ARV) medications is typically used. Adherence to antiretroviral therapy (ART) is insufficient. Therefore, the study aimed to assess the ART adherence among PLHIV in the Atwima Nwabiagya Municipality to suggest efficient and effective strategies to maximize adherence. A cross-sectional study was employed using quantitative methods to assess the associations between ART adherence and socio-demographic and socioeconomic factors. The site for this study was the ART Clinic at Nkawie Government Hospital, with a study population of all AIDS patients at the ART Clinic. The 450 PLHIV sample included females (n = 323, or 71.8%), while the males were 127 (28.2). Of the 450 participants, 215 (47.8%) reported adherence of 95%. The mean adherence index was 91.3%. Again, the study showed that those who took a single (137; 30.4%) ART dose was more comfortable than those who took multiple doses (313; 69.6%). Discomfort with the ART regimen, financial restrictions, forgetting to take medicine, lack of family support, social stigma, and antiretroviral therapy side effects were all major barriers to adherence in this study. Adherence, as stated by the participants, appeared to be below. Non-adherence is linked to both medical and behavioural factors, such as pausing ART or feeling ART discomfort. Atwima Nwabiagya Municipality, adherence to antiretroviral therapy is low. Before starting antiretroviral treatment, all patients can receive intensive adherence counselling.
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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, n. 02 (15 dicembre 2020): 134–40. http://dx.doi.org/10.24052/bmr/v11nu02/art-16.
Testo completoAbstract (sommario):
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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Hamada, Yohhei, Haileyesus Getahun, Birkneh Tilahun Tadesse e Nathan Ford. "HIV-associated tuberculosis". International Journal of STD & AIDS 32, n. 9 (20 febbraio 2021): 780–90. http://dx.doi.org/10.1177/0956462421992257.
Testo completoAbstract (sommario):
Tuberculosis (TB) remains a leading cause of morbidity and mortality among people living with HIV. HIV-associated TB disproportionally affects African countries, particularly vulnerable groups at risk for both TB and HIV. Currently available TB diagnostics perform poorly in people living with HIV; however, new diagnostics such as Xpert Ultra and lateral flow urine lipoarabinomannan assays can greatly facilitate diagnosis of TB in people living with HIV. TB preventive treatment has been underutilized despite its proven benefits independent of antiretroviral therapy (ART). Shorter regimens using rifapentine can support increased availability and scale-up. Mortality is high in people with HIV-associated TB, and timely initiation of ART is critical. Programs should provide decentralized and integrated TB and HIV care in settings with high burden of both diseases to improve access to services that diagnose TB and HIV as early as possible. The new prevention and diagnosis tools recently recommended by WHO offer an immense opportunity to advance our fight against HIV-associated TB. They should be made widely available and scaled up rapidly supported by adequate funding with robust monitoring of the uptake to advance global TB elimination.
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Bushaku, Marcus, Caleb Nyamwange, Arthur Kwena, Marc Twagirumukiza, Jean Nepo Utumatwishima, Regine Mugeni, Victor Davila-Roman et al. "Detection of Undiagnosed Elevated Cardiovascular Risk Biomarkers among HIV-Positive Patients on Antiretroviral Therapy (ART) in Kigali-City, Rwanda". Journal of AIDS and HIV Treatment 5, n. 1 (23 maggio 2023): 13–21. http://dx.doi.org/10.33696/aids.5.042.
Testo completoAbstract (sommario):
Background: Similar to other African countries, life expectancy of people living with HIV infection has improved due to access to antiretroviral therapy (ART) in Rwanda. However, both HIV infection and use of ART are associated with cardiovascular disease (CVD) risks, due to adverse changes in some biomarkers, causing dyslipidemia and other metabolic imbalances. Biomarkers for CVD risk in HIV-infected individuals taking ART, has not been well characterized in Rwanda. We evaluated the association between the use and duration of ART and biomarkers of CVD risk among HIV infected adults in Rwanda. Methods: A total of 150 participants (18-45 years) from HIV clinics in public Health Center in Kigali included n=30 HIV-uninfected (HIV-) and n=120 HIV-infected (HIV+) adults. Among the HIV+ adults, n=40 participants were ART-naïve. Cross-sectional data were collected on healthrelated behaviors and biochemical markers of CVD risk. We compared CVD-related biomarkers between HIV-, HIV+ ART-naïve, and HIV+ on ART groups. Results: The majority of participants were women (60%) and HIV- were younger (35 ± 6 vs. 31 ± 6 years). Total cholesterol and triglycerides concentrations were associated with ART usage. Serum triglycerides concentrations were lower in HIV+ ART-naïve compared to HIV+ on ART (76.6 ± 38.9 mg/dl vs. 85.0 ± 38.3 mg/dl; p< 0.01). While total cholesterol concentrations were higher in HIV+ on ART than HIV+ ART-naïve (136.0 ± 45.1 mg/dl vs. 130.0 ± 36.5 mg/dl; p<0.04), HDL-C was higher in those taking ART (68.7 ± 30.0 mg/dl vs. 55.0 ± 25.7 mg/dl; p=0.02) among HIV+ on ART for 0-6 months and 7-12 months respectively. Conclusion: Elevated levels of cardiovascular risk biomarker profiles (serum total cholesterol and triglycerides) were associated with use of ART in young adults with HIV in the present study. Although these values were within the upper limits of normal, our findings suggest early alterations in biomarkers of cardiovascular risk. These findings underscore the need for early evaluation of lipid profiles as biomarkers of CVD risk, to effectively monitor how ART may contribute to cardiovascular disease and deter treatment programs in Rwanda and other African countries.
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Aminu, Segun. "Sociopolitical Reconstruction in Niyi Osundare’s The State Visit and Ahmed Yerima’s Hard Ground". Kampala International University Journal of Education Two, Two (31 dicembre 2022): 53–63. http://dx.doi.org/10.59568/kjed-2022-2-2-06.
Testo completoAbstract (sommario):
Socio-political reconstruction is a motif in African literature and it is for this reason, among others, African literature is regarded as literature of commitment since creative writers in the continent embed socio-political and economic problems plaguing the continent in their writings. Thus, African literature dwells more on the functional role of literature than the entertaining role, and that is why African literature is often described as functional literature. African writers see literature as a tool for societal re-education and liberation. They consider themselves as the conscience of the nation and terror on corrupt political leaders. Therefore, they take advantage of the opportunity literature affords and affect the lives of the people. They do so by portraying the everyday socio-political and economic challenges thereby making their literary art a commitment geared toward a reconstruction of the socio-political and economic systems of the society. This paper is therefore an attempt to highlight how Niyi Osundare in State Visit and Ahmed Yerima in Hard Ground depict and attempt to reconstruct the society.