Gotowe bibliografie tematyczne / East Africa Art Biennale

Gotowa bibliografia na temat „East Africa Art Biennale”

Autor: Grafiati
Data publikacji: 25 lipca 2024
Data aktualizacji: 26 lipca 2024

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Artykuły w czasopismach na temat "East Africa Art Biennale"

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Kristiyono, Jokhanan, i Rachmah Ida. "Identitas digital: Konstruksi identitas pada pameran karya seni Biennale Jawa Timur 8". Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 5, nr 2 (31.10.2021): 187–98. http://dx.doi.org/10.22219/satwika.v5i2.16514.

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Biennale merupakan pameran dan diskusi karya seni yang rutin diadakan setiap dua tahun. Tahun 2019 merupakan kegiatan Biennale Jawa Timur (Jatim) ke-8 dengan tema “GAS TOK! Lebur Sakjeroning Jawa Timur” melibatkan 500 seniman dan 40 kurator, terdiri 65 kegiatan yang tersebar di 16 kota dan kabupaten di Jawa Timur. Berbeda dengan kegiatan Biennale Jatim sebelumnya, tahun ini lokasi pameran tersebar di berbagai daerah Jawa Timur. Seluruh arsip data dan dokumentasi rangkaian Biennale Jatim 8 dikumpulkan dan dipublikasikan melalui akun Instagram @jatimbiennale8 sebagai bentuk identitas gerakan komunitas Biennale Jawa Timur. Gelaran Biennale Jatim 8 merupakan sebuah perayaan dan imajinasi bersama yang bersifat inklusif. Penelitian ini mengangkat permasalahan tentang konstruksi identitas komunitas Biennale Jatim. Metode analisa wacana digital dalam penelitian ini menganalisa kontruksi identitas yang diciptakan oleh Biennale Jatim 8 melalui media komunikasi digital media sosial Instagram. Akun Instagram @jatimbienale8 dan @biennalejatim menjadi obyek penelitan analisa wacana kontruksi identitas, dan praktik seni yang terjadi pada Biennale Jatim. Hasil penelitian ini menunjukkan sebuah wacana perubahan dan perlawanan terhadap kegiatan Biennale Jatim sebelumnnya. Perubahan ditunjukkan dari segi penyelanggara, pendanaan, format acara, lokasi berlangsungnya kegiatan, dan kerja kuratorial. Biennale Jatim 8 mendobrak dan melawan stigma tersebut. Diskursus kontruksi identitas baru tersebut ditunjukkan dengan jelas dan tegas pada proses produksi karya seni, pameran Biennale hingga pasca pameran melalui media sosial Instagram @biennalejatim8 yaitu identitas digital Biennale Jatim. Biennale, an art event (visual) both exhibition and discussion of artworks, comes on regularly every two years. 2019 is the 8th East Java (Jatim) Biennale with the theme “GAS TOK! Lebur Sakjeroning Jawa Timur” involves 500 artists and 40 curators, consisting of 65 activities spread across 16 cities and regencies in East Java. Unlike the previous East Java Biennale, the exhibition locations are spreading across various regions of East Java. All data archives and documentation of the East Java 8 Biennale series are collected and published through the @jatimbiennale8 Instagram account as a form of identity for the East Java Biennale community movement. The 8th East Java Biennale is a celebration and shared inclusive imagination. This research raises the issue of the identity construction of the East Java Biennale community. The digital discourse analysis method in this study analyzes the identity construction created by the East Java 8th Biennale through the digital communication media of Instagram social media. Instagram accounts @jatimbienale8 and @biennalejatim became the object of research on the discourse analysis of identity construction and art practices at the East Java Biennale. The results of this study indicate a discourse of change and resistance to the previous East Java Biennale activities. The changes show organization, funding, event format, location of activities, and curatorial work. The 8th East Java Biennale breaks and fights the stigma. The discourse on constructing a new identity is clearly and unequivocally demonstrated in the art production process, the Biennale exhibition, and post-exhibition through social media Instagram @biennalejatim8, the digital identity of the East Java Biennale.
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Kristiyono, Jokhanan, Rachmah Ida i Musta'in Mashud. "Counter-hegemony of the East Java Biennale art community against the domination of hoax content reproduction". Masyarakat, Kebudayaan dan Politik 33, nr 1 (1.04.2020): 26. http://dx.doi.org/10.20473/mkp.v33i12020.26-35.

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This research analyses and describes in detail how the digital biennale activities that are a part of the Indonesian Digital art community has become a form of criticism and silent resistance to the social hegemony. It refers to the ideology, norms, rules, and myths that exist in modern society in Indonesia, especially the reproduction of hoax content. Hoax refers to the logic people who live in a world of cyber media with all of its social implications. This phenomenon is a problem, and it is at the heart of the exploration of the art community in East Java Biennale. The critical social theory perspective of Gramsci’s theory forms the basis of this research analysis. The qualitative research approach used a digital ethnomethodology research method focused on the online and offline social movements in the Biennale Art Community. The data collection techniques used were observation and non-active participation in the process of reproduction-related to the exhibition of Indonesian Biennale digital artworks. It was then analyzed using Gramsci’s hegemony theory. The purpose of this study was to describe the process of social movements in a digital format conducted by the Indonesian Biennale when reproducing works of art to counteract the dominance and hegemony of the Hoax phenomenon in Indonesia. The benefit of this research was that it obtained a preposition of Gramsci’s hegemony theory in the world of digital art as created by contemporary Indonesian Biennale artists. Digital technology has had a tremendous effect on the media industry, government, trade, informal industry sector, human resources, urban planning, services, disaster relief, health, education, religion, artistic and cultural expression, in addition to various other fields. The conclusion obtained from this research is that there is a formation of a new hegemony, a digital hegemony. This new hegemony is of particular concern for the digital artists in East Java Biennale. Through the digital format works, the artists also try to communicate their art as a form of silent resistance, protest, and criticism of the hegemony that occurs in society, referring to the ideology, norms, and myths. It can be called a digital counter-hegemony.s
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Grabski, J. "THE DAK'ART BIENNALE: EXHIBITING CONTEMPORARY ART AND GEOPOLITICS IN AFRICA". Nka Journal of Contemporary African Art 2008, nr 22-23 (1.03.2008): 104–13. http://dx.doi.org/10.1215/10757163-22-23-1-104.

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Machotka, Ewa. "The Geopolitics of Ecological Art: Contemporary Art Projects in Japan and South Korea". Mutual Images Journal, nr 5 (20.12.2018): 105–22. http://dx.doi.org/10.32926/2018.5.mac.geopo.

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The notion of ‘affinity with nature’ functions as a powerful political concept employed in the national identification of different cultural regions of East Asia including Japan and South Korea. Both countries have much in common. They share the myths of a ‘love of nature’ and a comparable history of post-war economic miracles followed by an ecological crisis and the subsequent development of environmentalism. They also host highly recognised contemporary art events guided by an environmentalist agenda: the Echigo-Tsumari Art Triennale (ETAT), established in the depopulated countryside of Niigata Prefecture in 2000 by the Art Front Gallery, a commercial gallery from Tokyo; and the Geumgang Nature Art Biennale, initiated by the Korean Nature Art Association (Yatoo), sponsored by the Ministry of Culture, Sports and Tourism, and first held in 2004 in Gongju, South Chungcheong Province. Guided by ecological thought, both art events aim to induce harmonious interaction between human and non-human realms, while questioning established modes of artistic interaction with ‘nature’ related to modern Western art discourses. Satoyama (lit. village mountain), an agricultural site based on harmonious human-nature interactions, the foundational concept of the ETAT, challenges the notion of gaze that defines the modern Western notion of landscape and its relationships with power. The ‘nature art’ practiced in Gongju, which involves simple interventions in the environment that are spontaneous and impermanent, questions the paradigms of Land Art. While responding to concrete environmental issues pertinent to the operation of social-ecological systems, the Echigo-Tsumari Art Triennale and the Geumgang Nature Art Biennale both attempt to create localised alternatives to dominant epistemologies associated with global (Western) art discourses. But the question is if these practices are capable of challenging the established geopolitics of ecological art and conventional hierarchies of power between the local and the global embodied by the institutional framework of the eco-art biennale.
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Bertelé, Matteo. "Soviet “Severe Romanticism” at the 1962 Venice Biennale". Experiment 23, nr 1 (11.10.2017): 158–72. http://dx.doi.org/10.1163/2211730x-12341308.

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Abstract With the Soviet Pavilion of the 1962 Venice Art Biennale, the Thaw era made its entrance onto the international art scene. Artists from different generations and Soviet republics were entrusted to illustrate “the deeply human dimension of Soviet art.”1 Among younger painters, one prominent figure was 30-year old artist Viktor Popkov. Along with the drawings and sketches produced during his travels in the virgin lands and building sites of Siberia, he presented the monumental painting The Builders of Bratsk (1960-61), an iconic artwork of the so-called “severe style.” The exhibition took place just a few months before the Moscow Manege Exhibition of December 1962, which prompted Khrushchev’s notoriously negative reaction and the first stop to Soviet cultural détente. The present article explores the genesis of the canvas as the expression of a new “severe romanticism,” against the backdrop of the ongoing debate about romanticism in Soviet culture. It also analyzes the reception of Popkov’s work both in Italy—the country with the largest communist party in the West—and in the international press. On the basis of archival materials and press reviews, the article sheds light onto an artistic encounter between East and West in a divided Europe and discusses missed connections and unmet expectations of Western, mostly Italian, art critics.
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Ball, Di. "Postcards from the edge (of the Arabian Sea). Tales from the ballPark: this liminal life". Journal of Public Space 3, nr 1 (30.04.2018): 109–18. http://dx.doi.org/10.5204/jps.v3i1.322.

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Art brought me to this place, but art and so much more sees my returning and living here 6 months of every year. For 6 years. This PLACE is Fort Cochin in the state of Kerala in South India. The Art that brought me here was my participation in an exhibition enitled Re-Picturing the Feminine: New Hybrid Realities in the Artworld – A Survey of Indian and Australian Contemporary Female Artists at OED Gallery Fort Cochin, running concurrently with the first contemporary art Biennale in India: the Kochi-Muziris Biennale 2012. I had decided to spend 6 weeks in Fort Cochin in order to make new work informed by the place, but I had never been to India so I went on a tour in North India beforehand. I spent 23 days travelling from Mumbai to New Delhi via Mt Abu, Udapair, Jodhpur, Jaipur, Jailsalmer, Agra, Orchha and Varanasi and arrived in the south exhausted and not a fan. I can’t eat spicy food, I don’t like crowds, and the rubbish everywhere was horrible. I may have exclaimed; “I am such a Paris girl!!”. Yet here I am, 6 years later, living a liminal life; on the edge of the Arabian Sea, between East and West, between 2 cultures, navigating my way.
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Moses, Serubiri. "Why Exhibit Trauma?" Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, nr 1 (marzec 2024): 31–66. http://dx.doi.org/10.56159/sen.2024.a924615.

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Abstract: This article takes seriously the artistic, intellectual, literary, and curatorial approaches to curation that frame, display, and make meaning out of what is unrepresentable, such as the empty pedestal on which had sat a colonial and/or Confederate monument. By momentarily stepping away from the traditional role of museums to preserve and protect art objects, the article points out the ways exhibitions can produce and affect moods and emotions. If traditionally, museums can account for ownership and custodianship, can an account, therefore, of exhibitions consider spiritual, emotional, or psychic phenomena? In a post-conflict setting such as South Africa, exhibitions like the 2nd Johannesburg Biennale, which centred works about traumatic events like genocide in Rwanda and violent subjugation under apartheid in South Africa, led inevitably to privatisation and art market expansion. The article points to curator Okwui Enwezor’s interest in Africa and Asia.
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Agthe, Johanna. "Religion in Contemporary East African Art". Journal of Religion in Africa 24, nr 1-4 (1994): 375–88. http://dx.doi.org/10.1163/157006694x00219.

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AbstractThis article describes three aspects of religious art in East Africa: firstly it examines the artists' personal attitude to and motivation by the Christian religion; secondly, it looks at Christian and Bible subjects in their paintings; and lastly it considers traditional religion and the newer independent churches as motifs. It draws on interviews with artists, their works in the collection of the Frankfurt Museum für Völkerkunde and a recent unpublished diploma study by Alois Krammer. 1
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Young, Allison K. ""We Never Did Return": Migration, Materiality and Time in Penny Siopis' Post-Apartheid Art". Contemporaneity: Historical Presence in Visual Culture 4 (3.08.2015): 45–70. http://dx.doi.org/10.5195/contemp.2015.131.

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This article explores “migration” as both theme and operation in two works by the South African artist Penny Siopis, each created in the year 1997: the artist’s first film, My Lovely Day, and a related object installation entitled Reconnaissance (1900-1997). In each work, Siopis traces the course of her grandmother’s emigration from Europe to Africa through a variety of found, collected, or inherited components that bore witness to the longue durée of imperialism and Apartheid. Mediating between national, cultural, and familial narratives, these works are inherently archaeological in nature, and allowed viewers at the time to reflect on the multiple entangled histories that comprised the post-Apartheid condition. The late nineties in South Africa were defined by the conclusion of Apartheid, the Truth and Reconciliation Commission, and two major biennale exhibitions of contemporary art. The decade thusly saw a stream of collective efforts to both unearth the past and envision the future, marking a time of great cultural, artistic, political, and discursive transition. Mapping questions of medium-specificity and affect over this larger context, I investigate Siopis’ use and manipulation of historical traces as well as notions of contemporaneity and temporality in her art.
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Regi, T. "The art of the weak: Tourist encounters in East Africa". Tourist Studies 13, nr 1 (1.02.2013): 99–118. http://dx.doi.org/10.1177/1468797613476408.

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Rozprawy doktorskie na temat "East Africa Art Biennale"

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Ajasse, Amarildo Valeriano <1981&gt. "Why and how are we here? : the presence and representation of contemporary Sub-Saharan Africa arts at the Venice Biennale from 1990 to 2017". Doctoral thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18450.

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In recent decades, there has been an increased participation and presence of African contemporary arts in some of the world's most important events related to visual arts, either through the works of individual artists, or in the case of the Venice Art Biennale, through national pavilions. For example, at the 56th edition of the Venice biennale, in 2015, three of the five countries that participated in the show for the first time were from the African continent. However, very little research has been done to try to understand this phenomenon and analyze the curatorial strategies that are adopted in such exhibitions. In this context, by focused on the Venice art biennale, the purpose of the present research is not only to try to understand how African art exhibitions are curated, but also to identify what motivates African countries and artists to attend international art exhibitions outside the African continent. In order to capture the full picture of the phenomenon, the research was conducted by analysing the exhibitions realized from 1990 to 2019, and within the aforementioned time frame the investigation will focus on three types of exhibitions or participations case studies: 1) especial or collective exhibitions; 2) national pavilions; and 3) and Artists participation in the main exhibition. Through the comparison within and across the contexts of the three different types of art show venues represented by these case studies, we intend to identify the essential elements that characterize the exhibition of contemporary African art in the most important visual art event around the globe.
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Kunju, Hleze Welsh. "A critical and intercultural analysis of selected isiXhosa operas in the East Cape Opera Company's repertory". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001861.

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The East Cape Opera Company was founded by Gwyneth Lloyd in 1995 and has performed in various Eastern Cape venues and festivals as well as conducting a tour of the Netherlands. The Company has performed well known operas and operettas such as Mozart's The Magic Flute, Gilbert and Sullivan's The Mikado as well as their own original isiXhosa operas such as Temba and Seliba, The Moon Prince - Inkosana Yenyanga and The Clay Flute. This thesis is situated within the context of apartheid and post-apartheid, and an emerging post-1994 South African’s operatic culture that embraces multiculturalism. The aim of this research is to explore and raise awareness regarding intercultural communication in relation to isiXhosa operas and examine the linguistic and dramatic characteristics of the construction of these operas. This involves an analysis of the integration of African cultural practices (dramatic and musical) within an essentially western art form. The thesis makes use of intercultural and literary theory as a point of departure to analyse not only the literary qualities of the isiXhosa operas performed by the East Cape Opera Company, but it also seeks to show how these operas reflect an emerging intercultural reality within the South African context. The thesis explores the mixing of genres, including African genres such as the folktale and oral poetry as part of Opera, which has previously been seen as a Western domain. It is argued that this mixing of genres and languages allows for the success of African Opera
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Hosseinioun, Mishana. "The globalisation of universal human rights and the Middle East". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:8f6bdf79-2512-4f32-840a-3565a096ae8d.

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The goal of this study is to generate a more holistic picture of the diffusion and assimilation of universal human rights norms in diverse cultural and political settings such as the Middle East and North Africa (MENA). The overarching question to be investigated in this thesis is the relationship between the evolving international human rights regime and the emerging human rights normative and legal culture in the Middle East. This question will be investigated in detail with reference to regional human rights schemes such as the Arab Charter of Human Rights, as well as local human rights developments in three Middle Eastern states, Egypt, the United Arab Emirates, and the Islamic Republic of Iran. Having gauged the take-up of human rights norms on the ground at the local and regional levels, the thesis examines in full the extent of socialisation and internalisation of human rights norms across the Middle East region at large.
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Fayers-Kerr, Kate Nialla. "Beyond the social skin : healing arts and sacred clays among the Mun (Mursi) of Southwest Ethiopia". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:f0831040-95b1-4548-a1f6-ebe2dda62d87.

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Kaplan, Susan Laurie. "The value of art making as a mechanism towards support among caregivers on the East Rand in South Africa - a model of dialogical and relational aesthetics". Thesis, 2009. http://hdl.handle.net/10539/7180.

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In this research project I examine art making as a supportive intervention towards creating a safe environment for the caregivers in order for them to identify with the social worlds in which they inhabit. I have focused on the role of art making within a community of volunteer caregivers on the East Rand in Johannesburg. The dual tenets of dialogical and relational aesthetics are acknowledged in the elaboration of concepts to establish wider contexts. Whilst art therapy modalities and literature have been used, this research project does not embrace the scope of art therapy as a discipline. At times I have used lexis from art therapy to draw on certain terms. My subject position as an artist and facilitator in this project has given me the agency for the discourse of dialogue to take place. The inquiry for this research dissertation is concerned with whether the participants in the project were able to achieve some amelioration from their circumstances through the relational exchange so that art as the mediator for conversational exchange is seen to facilitate constructive models for engagement. My contention is that these conditions have allowed the caregivers to achieve this outcome.
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Pires, Andreia Helena Nascimento. "Female presence in the Middle Eastern and North African art market". Master's thesis, 2019. http://hdl.handle.net/10071/19877.

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The present dissertation aims to show the strong presence of modern and contemporary female artists, and art businesswomen from the Middle East and North Africa, as well as providing possible explanations for the success of women in the art market of this region. It begins with a historical framework of the region’s art, focusing on the influence and work of modern and contemporary female artists. Afterwards, it highlights women’s activities in art patronage in ancient times, followed by the study of art businesswomen at the forefront of the region’s art scene, ending this section with the analysis of female artists’ best auction results. Finally, to give a better perspective, there is a comparison between women of the Middle East and North Africa and women of the West in the art field, ending with the presentation of hypotheses to explain women’s success in the art market of the region. Our research was based on articles and interviews with important agents of the region’s art market: Dr. Salwa Mikdadi, Amirali Ghasemi, Hala Khayat and Myrna Ayad. It shows that women in the region have a successful career in the arts due to a combination of factors. On the one hand, the underestimation of careers in this field, considered as an undervalued profession. On the other hand, the prevalence outdated stereotypes and misconceptions about the women’s status and about a particular sensibility and interest from women in the arts.
A presente dissertação visa demonstrar a forte presença de artistas modernas e contemporâneas, e de mulheres no negócio da arte na região do Médio Oriente e Norte de África, bem como fornecer possíveis explicações para o sucesso das mulheres no mercado de arte desta região. O presente estudo começa com um enquadramento histórico sobre a arte da região, com maior foco na influência e no trabalho de artistas femininas modernas e contemporâneas. Posteriormente, são demonstradas as atividades das mulheres no mecenato nos tempos antigos, seguido de um estudo de mulheres de negócios na vanguarda da cena artística da região, terminando esta seção com uma análise dos melhores resultados em leilão de artistas femininas. Finalmente, para fornecer uma melhor perspetiva, encontra-se uma comparação entre as mulheres do Médio Oriente e do Norte de África e do Ocidente no meio artístico, terminando com a apresentação de hipóteses para explicar o sucesso das mulheres no mercado de arte da região. Esta análise foi realizada com o apoio de artigos e entrevistas com agentes importantes do mercado de arte da região: Dr. Salwa Mikdadi, Amirali Ghasemi, Hala Khayat e Myrna Ayad. Foi demonstrado que as mulheres desta região têm uma carreira bem-sucedida nas artes devido à combinação de uma subvalorização de uma carreira neste campo no século XX, tendo sido considerada como uma profissão subvalorizada; e também devido à prevalência de estereótipos desatualizados e conceitos errados no que concerne o estatuto da mulher e uma particular sensibilidade e interesse das mulheres na arte.
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Bohle, Leah F. "The Social Impact of HIV-Seropositivity and Antiretroviral Treatment on Women in Tanga, Tanzania. A Qualitative Study". Doctoral thesis, 2017. http://hdl.handle.net/11858/00-1735-0000-0023-3F62-9.

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Książki na temat "East Africa Art Biennale"

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East Africa Art Biennale (2009 Daressalam). EASTAFAB 2009. Dar es Salaam: La Petite Galerie, 2009.

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Campbell, Alec C. Rock art in East Africa. Nairobi, Kenya: Trust for African Rock Art, 2005.

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Levi, Fondazione, i Biennale di Venezia (46th : 1995 : Venice, Italy), red. Transculture: La Biennale di Venezia, 1995. Tōkyō: Kokusai Kōryū Kikin, 1995.

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Buckman, David. From bow to biennale: Artists of the East London Group. London: Francis Boutle Publishers, 2012.

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PACA Biennale (3rd 2000 Enugu, Nigeria). Crossroads : Africa in the twilight: Afrika heritage 2000, the 3d Biennale of the Pan-African Circle of Artists. Redaktorzy Aniakor Chike Cyril, Ikwuemesi C. Krydz, National Museum (Enugu Nigeria) i Didi Museum. Enugu: Pan-African Circle of Artists, 2000.

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Senegal) Dak'art (Exhibition) (7th 2006 Dakar. Afrique: Entendus, sous-entendus et malentendus : 7ème biennale de l'art Africain contemporain = Africa : agreements, allusions and misunderstandings : 7th biennal of African contemporary art. Dakar: Secrétariat général de la biennale des arts, 2002.

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Stevenson, Michael. Both curious and valuable: African art from late 19th-century south-east Africa. Cape Town, South Africa: Michael Stevenson, 2005.

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Agthe, Johanna. Wegzeichen: Kunst aus Ostafrika 1974-89 = Signs : art from East Africa 1974-89. Frankfurt am Main: Das Museum, 1990.

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Maggia, Filippo, Claudia Fini i Francesca Lazzarini. Contemporary photography from the Middle East and Africa: Breaking news. Milano: Skira, 2010.

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Roode, Sigrid van. Desert silver: Nomadic and traditional silver jewellery from the Middle East and North Africa. Amsterdam: KIT Publishers, 2010.

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Części książek na temat "East Africa Art Biennale"

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Pelše, Stella. "Local/Global Latvian Art at the Venice Biennale". W State Construction and Art in East Central Europe, 1918–2018, 209–17. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003265818-22.

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Naylor, Stephen. "East meets West through the Ishibashi Foundation". W The Venice Biennale and the Asia-Pacific in the Global Art World, 67–85. New York: Routledge, 2020. | Series: [Routledge research in art museums and exhibitions]: Routledge, 2020. http://dx.doi.org/10.4324/9781351062107-5.

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Margetts, Edward Lambert. "The Medicine Man — and Woman — East Africa". W Psychiatry The State of the Art, 697–701. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_111.

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El Nossery, Nevine. "Revolutionary Art in Nomadic Spaces". W Communication, Culture, and Gender in the Middle East and North Africa, 191–221. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-21724-1_7.

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Ali, Atteqa. "Charting Sociopolitical Art in the Middle East, North Africa, and South Asia". W Collaborative Praxis and Contemporary Art Experiments in the MENASA Region, 29–60. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47925-1_2.

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Salha, Soheil, i Saida Affouneh. "The State of Art of Educational Leadership in Palestine". W Demystifying Educational Leadership and Administration in the Middle East and North Africa, 154–65. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003334835-9.

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Lotze, Nathaniel. "Arabic-Speaking Students of EFL, Vocabulary, and the Art of Structured Review". W English Language Teaching Research in the Middle East and North Africa, 335–48. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98533-6_16.

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Hjort, Mette. "Art and Networks: The National Film School of Denmark’s “Middle East Project”". W The Education of the Filmmaker in Africa, the Middle East, and the Americas, 125–50. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137032690_7.

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Züfle, Simon. "State of the Art—The Rise of China and the BRI". W The Political Economy of China’s Belt and Road Initiative in East Africa, 13–25. Wiesbaden: Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-41161-9_2.

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Hidri, Sahbi. "State-of-the-Art of Assessment in Tunisia: The Case of Testing Listening Comprehension". W English Language Teaching Research in the Middle East and North Africa, 29–60. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98533-6_2.

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Streszczenia konferencji na temat "East Africa Art Biennale"

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Martocchia, Francesco, Damien Deffieux, Nelson Obanor, Francesco Battaglia, Daniele Palumbo, Alessandro Rusconi, Giovanni Ricci i in. "Lessons Learned and Achievements from a Successful Sand Control Campaign in Ultra-Deepwater Gas Wells, East Africa". W ADIPEC. SPE, 2022. http://dx.doi.org/10.2118/211568-ms.

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Abstract Success in deploying sand control systems is critical to guarantee the integrity of wells during their productive life. This is even more crucial when dealing with ultra-deepwater high-rate gas wells. This paper will describe the challenges and the lessons learned from the successful 2021 completion campaign of X field in East Africa in which six gas producer wells were completed with openhole gravel pack using shunt tubes technology in water depths ranging from 1840 m to 2149 m. The overall completion design philosophy was to rely on field-proven technologies and industry-accepted "best practices" to maximize safety and reliability. This objective was pursued in all phases of the project for timely completion of the wells while minimizing the chance of failure. Extensive testing on formation rock cores and completion fluids was performed before the start of drilling to identify the best sand control strategy and to avoid all potential issues such as formation damage or fluid incompatibility. State-of-the-art completion equipment was selected considering all potential contingencies associated with operations in an ultra-deepwater environment in a remote location. This document will describe the activities carried on during the different phases of the project: design, preparation, execution, and post-job interpretation. The goal of preventing solid production without impairing the well productivity was achieved successfully. This was confirmed from well testing interpretation where neglectable skin was detected. At the same time, it was possible to carry on the completion activities on time and on cost despite the remote location and the challenges related to the ultra-deepwater environment.
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Lukyanova, Galina O., Nadezhda N. Morozova i Elena A. Paymakova. "The Language and Cultural Policy of the Middle East and Northern Africa Countries Within the Framework of Educational Development and Multiculturalism: The Case of Jordan and Morocco". W Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.156.

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Sharma, P., P. N. N. Khanapurkar i A. Thakar. "Leveraging the Power of Historical Data and Already Emerged Technologies to Unlock the Unconventional Resources Potential in MENA Region". W SPE Middle East Unconventional Resources Conference and Exhibition. SPE, 2015. http://dx.doi.org/10.2118/spe-172932-ms.

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Abstract With worldwide increases in the demand for hydrocarbons, finding and developing unconventional resources has become a global necessity. Outside North America, shale gas discoveries have been made in recent years; however, significant commercial production has been limited to North America. Finding and developing unconventional resources outside North America is the next big challenge for the oil and gas industry. Although the reported potential of unconventional gas resource volumes in the Middle East and North Africa (MENA) region is almost similar in size to that in the US, exploration and development of such resources is currently limited. Unconventional reservoirs have very different and distinct requirements from conventional reservoirs. The more “unconventional” a targeted resource, the more difficult it is to develop. Furthermore, for these difficult resources, highly specialized technologies have to be applied because of the unique requirements. Key challenges specific to the MENA region include the following: Limited exposure to unconventional sources leads to lack of infrastructure and high cost.Reservoir characteristics (rock and fluid properties) and geomechanics.Implementation of directional/horizontal drilling and completion technologies suited for the region. The most challenging aspect is using hydraulic fracturing (fluid availability and management, fracturing fluid and proppant selection, fracturing design, equipment) as it incurs the highest cost and deploys the maximum technological efforts. This paper highlights these associated challenges in developing unconventional resources and offers a potential approach to evaluate unconventional resources. Additionally, public data are reviewed and emerged technologies are used to unlock the potential of unconventional resources in MENA. A major service company has exhaustive and varied data from different geographies and resource types captured in its MENA state-of-the-art data center. A potential approach is included that extrapolates historically available data relevant to directional drilling, fracture treatment design and analysis, and fluid management to MENA conditions to facilitate understanding and overcome challenges associated with unconventional resources.
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Guedes, Pedro. "Healing Modern Architecture’s Break with the Past: Musings around Brazilian Fenestration". W The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3990prwvx.

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This paper focuses on the role of Brazilian architects in emancipating Modern Architecture from overly limiting orthodoxies. In particular, this study follows direct, if weak influences across the Pacific to Australia and stronger ones across the South Atlantic to Southern Africa, where Brazilian ideas found fertile ground without being filtered through Northern Hemisphere mediations. Official delegations of architects from Australia and South Africa went to Brazil seeking inspiration and transferable ideas achieved mixed success. Central to the theme of this essay is a recently discovered and unpublished manuscript. It is the work of Barrie Biermann who, upon graduation from the University of Cape Town sailed across to Brazil in 1946 to gain first-hand knowledge of the architecture that had achieved worldwide renown through the 1943 Brazil Builds exhibition at the Museum of Modern Art in New York (MoMA). Biermann’s close observations and discussions with several of Brazil’s leading architects helped him develop a fresh narrative that placed recent developments in a continuum linked to Portuguese colonial architecture that had taken lessons from the ‘East’. Published in a very abridged form in a professional journal in 1950, it lost much of the charm of the original, which, in addition to imaginative theoretical speculation, is enriched by evocative, atmospheric sketches, water colours and photographs. This study shows that South-South connections were quite independent and predated the influence of ‘scientific’ manuals of ‘how-to build in the tropics’ that proliferated from metropolitan centres in the mid-1950s, preparing for decolonization but perhaps also motivated by ambitions of engendering other forms of dependence. Brazilian ideas and examples of built work played an important role in bringing vitality to some of the architectures of Africa. They also engaged with crucial issues of identity and the production of buildings celebrating values beyond the utilitarian.
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Raporty organizacyjne na temat "East Africa Art Biennale"

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Niang, Aminata, Lansine Sountoura, Kaderi Bukari, Imogen Bellwood-Howard i Peter Taylor. Collaborative Art-Making for Deliberation in Africa. Institute of Development Studies, sierpień 2023. http://dx.doi.org/10.19088/ids.2023.036.

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Across West Africa and East Africa, policy actors and citizens have tended to discuss socio-environmental issues in ways that recognise emotional, subjective viewpoints, but can be antagonistic. Although deliberation literature suggests that collaborative arts-based activities can encourage consideration of affective dimensions, their major value in these emotive, hierarchical and antagonistic contexts is to promote more convivial working relationships.
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