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Kristiyono, Jokhanan, e Rachmah Ida. "Identitas digital: Konstruksi identitas pada pameran karya seni Biennale Jawa Timur 8". Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 5, n.º 2 (31 de outubro de 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 e Musta'in Mashud. "Counter-hegemony of the East Java Biennale art community against the domination of hoax content reproduction". Masyarakat, Kebudayaan dan Politik 33, n.º 1 (1 de abril de 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, n.º 22-23 (1 de março de 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, n.º 5 (20 de dezembro de 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, n.º 1 (11 de outubro de 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, n.º 1 (30 de abril de 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, n.º 1 (março de 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, n.º 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 de agosto de 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, n.º 1 (1 de fevereiro de 2013): 99–118. http://dx.doi.org/10.1177/1468797613476408.
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Photiou, Maria. "Re-claiming the lost home: The politics of nostalgia and belonging in women's art practices in the Middle East". Image & Text, n.º 37 (10 de dezembro de 2023): 1–24. http://dx.doi.org/10.17159/2617-3255/2023/n37a17.
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In recent years, discourses on migration and movement have been featured prominently in contemporary art and curatorial practices. For example, during the past decade, the migration crisis was a central theme for several pavilions at the Venice Biennale. Considering current developments, understanding critical issues regarding the migratory experience is a matter of urgency. This article addresses the issue of how the migratory experience is articulated in the works of women artists who use domestic objects to create uncanny environments that represent their contested homelands. This article also emphasises women's experiences, as women have frequently been marginalised from official histories. Through visual analysis of the works, a new perspective is gained in understanding women artists' strategies when representing their home in exile, and their homeland (both 'lost' and existing). The discussion unpacks projects that use 'un-homely devices' to re-construct the experience of 'home': home as a site of personal and family histories, and home as the place of danger and distress. It will specifically examine the work of Klitsa Antoniou, Lia Lapithi, Raeda Saadeh, and Andrea Shaker, all of whom have challenged in their practice the concepts of 'home', 'exile', and 'belonging'.
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Court, Elsbeth Joyce. "Margaret Trowell and the Development of Art Education in East Africa". Art Education 38, n.º 6 (novembro de 1985): 35. http://dx.doi.org/10.2307/3192877.
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Ndaliko, Chérie Rivers. "Yole!Africa: Negotiating Art and War in the East of Congo". Critical Interventions 8, n.º 2 (4 de maio de 2014): 201–20. http://dx.doi.org/10.1080/19301944.2014.939438.
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Purdy, Janet M. "Design for Mobile Living: Art From East Africa Reinstallation and Renovated Galleries for African Art". African Arts 50, n.º 3 (setembro de 2017): 82–84. http://dx.doi.org/10.1162/afar_r_00359.
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Algheriani, Nuri Mohamed Saad. "BUSINESS STANDARDIZATION IN THE WORLD – STATE OF THE ART". International Journal "Advanced Quality" 44, n.º 1 (21 de fevereiro de 2017): 47. http://dx.doi.org/10.25137/ijaq.n1.v44.y2016.p47-52.
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The purpose of this paper is to conduct an analysis of number of companies with certified standardized management systems (SMS) obtained for standards 9001, 14001, 16949, 13485, 22000, 27000, and ISO50001 across the continents: Central and South America, North America, East Asia and Pacific, Central and South Asia, Europe, and Africa. In 2014 the number of certificates for all SMS amounts1580679 of which 657280 certificates were issued in Europe, 63430 in Central and South America, 74127 in North America, 708091 in East Asia and Pacific, 63002 in central and South Asia, and 14749 in Africa. Since the number of inhabitants and gross domestic product are important growth predicto rs together with number of certificates they are combined for further analysis. The European continent is the leader according to the number of certificates per number of inhabitants , whereas East Asia and Pacific is ranked first in the parameter gross domestic product per number of certificates . Regression analysis is used to calculate the predicted number of certificates including all SMS and it gives forecast for the next decade (2024th year).
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Du Plessis, Hester. "Oriental Africa". Tydskrif vir Letterkunde 45, n.º 1 (16 de fevereiro de 2018): 87–100. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4465.
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Arab culture and the religion of Islam permeated the traditions and customs of the African sub-Sahara for centuries. When the early colonizers from Europe arrived in Africa they encountered these influences and spontaneously perceived the African cultures to be ideologically hybridized and more compatible with Islam than with the ideologies of the west. This difference progressively endorsed a perception of Africa and the east being “exotic” and was as such depicted in early paintings and writings. This depiction contributed to a cultural misunderstanding of Africa and facilitated colonialism. This article briefly explores some of the facets of these early texts and paintings. In the first place the scripts by early Muslim scholars, who critically analyzed early western perceptions, were discussed against the textual interpretation of east-west perceptions such as the construction of “the other”. Secondly, the travel writers and painters between 1860 and 1930, who created a visual embodiment of the exotic, were discussed against the politics behind the French Realist movement that developed in France during that same period. This included the construction of a perception of exoticness as represented by literature descriptions and visual art depictions of the women of the Orient. These perceptions rendered Africa as oriental with African subjects depicted as “exotic others”.
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Gilad, Iris. "Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today". Journal of Middle East Women's Studies 18, n.º 1 (1 de março de 2022): 141–44. http://dx.doi.org/10.1215/15525864-9494220.
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Karami, Sara, Dimitris G. Kaskaoutis, Ioannis Pytharoulis, Rafaella-Eleni P. Sotiropoulou e Efthimios Tagaris. "Dust Transport from North Africa to the Middle East: Synoptic Patterns and Numerical Forecast". Atmosphere 15, n.º 5 (26 de abril de 2024): 531. http://dx.doi.org/10.3390/atmos15050531.
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Every year, large quantities of dust are transported from North Africa to the Americas, Europe, and West Asia. The purpose of this study is to analyze four intense and pervasive dust storms that entered the Middle East from Northern Africa. Satellite products, ground-based remote sensing measurements, reanalysis data, and the outputs of the Aire Limitée Adaptation dynamique Développement InterNational-Dust (ALADIN-Dust) and the ICOsahedral Nonhydrostatic weather and climate model with Aerosols and Reactive Trace gases (ICON-ART) forecasting models were synergized. The dust storms originated from different source regions located in the north, northeastern, and central parts of the Sahara Desert. The transport height of the main dust plumes was about 3–5 km, triggered by the westerly zonal winds. The presence of a closed low over the Eastern Mediterranean and the penetration of a deep trough into North Africa at 500 hPa were the main synoptic circulation patterns favoring long-range dust transport during the four dust events. A comparison of aerosol optical depth (AOD) outputs from the two models with satellite data revealed that although both models forecasted dust transport from Africa to the Middle East, they considerably underestimated the AOD values, especially near the dust sources. The ICON-ART model performed slightly better than ALADIN in forecasting these dust storms, and for longer forecasting leading time, although the performance of both models decreased, the superiority of the ICON-ART model became more apparent.
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Hillary Owino, Omondi, Colomba Kaburi Muriung e Mukasa Antony. "EPOCHAL RELEVANCE OF SELECTED POST MILLENNIAL SHORT STORIES IN EAST AFRICA". International Journal of Language, Linguistics, Literature, and Culture 02, n.º 04 (2023): 52–67. http://dx.doi.org/10.59009/ijlllc.2023.0033.
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Literary writers in Africa have used different genres of art to reflect and critique actions in the society at different points of history. Apart from entertaining and preserving culture, works of art have a role in creating awareness among the audience and proposing action in the society. The pre-colonial, colonial and pre-millennium texts have received significant literary attention with reference to their concerns. Most studies in Africa for example tend to focus on canonical writers and their contributions to the political and economic developments in the society. However, many post millennial short stories have received minimal critical attention. This paper, therefore, examines the socio-cultural and economic resurgence in selected post millennium short stories in East Africa in order to find out the kind of society that upcoming writers are yearning for, thus revealing the major concerns of short stories written in the 21st century. Post-colonial theory guides the analysis done in this paper and helps in demonstrating how the Millennium Development Goals influenced the thematic concerns in the five (5) short stories under discussion, which are all written by emerging post-millennial writers. The paper argues that 21st Century writers are sensitive to issues affecting their society and they, in the process of writing, attempt to propose ways of societal transformation through literature. The paper gives variety and contributes to the existing reservoir of literary analysis in East Africa.
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Nwafor, Nkiruka Jane. "Engaging women’s social concerns through the twenty-first century feminist art projects of three Nigerian women artists". UJAH: Unizik Journal of Arts and Humanities 23, n.º 1 (31 de agosto de 2022): 134–60. http://dx.doi.org/10.4314/ujah.v23i1.5.
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In this paper, I review the histories of feminism and African feminism to highlight their influence on the evolving nature of women’s art practices in the West and Africa respectively. Women Artists in the West had begun deploying feminist rhetoric in their art at the onset of second-wave feminism of the 1960s. On the other hand, women in Africa began using their art to engender intellectual discourses on African feminist concerns as recently as the mid-1990s. Using the works of three Nigerian women artists, Ayobola Kekere-Ekun, Lucy Azubuike, and Fati Abubakar, I, therefore, explore how their themes challenge critical issues that affect women in Nigeria’s twenty-first-century contemporary realities. These artists are also from different geopolitical areas (west, east, and north respectively) in Nigeria. In analyzing their art, I also argue that their art may offer possibilities in affirming the relevance of African feminist art.
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Abu-Lughod, Lila. "Art, Activism, and the Presence of Memory in Palestine". Comparative Studies of South Asia, Africa and the Middle East 41, n.º 1 (1 de maio de 2021): 122–45. http://dx.doi.org/10.1215/1089201x-8916967.
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Abstract In this interview conducted by Lila Abu-Lughod on October 17, 2020, Palestinian artist Rana Bishara discusses the three artworks that appear on the covers of volume 41 of Comparative Studies of South Asia, Africa and the Middle East, as well as numerous other multidisciplinary and multimedia artworks she has made and exhibited from the 1990s to the present, focusing specifically on art as a form of political activism.
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Denys, Christiane. "Origin and evolution of Heterocephalus from East Africa (Rodentia: Heterocephalidae)". Lynx new series 53, n.º 1 (2023): 93–124. http://dx.doi.org/10.37520/lynx.2022.007.
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Known today by a single species only in the Horn of Africa, rodents of the Heterocephalus genus displayed through Neogene times a larger geographical distribution and a higher diversity. Here we present the state of art of the knowledge of the described fossil Heterocephalus species and follow the different described lineages through time and space. We also present some morphological and classical morphometric analyses upon the skulls and teeth of the modern representative of the genus compared with the fossil ones. This allowed to find some cranio-dental criteria allowing to validate the probable presence of two to three modern species in the horn of Africa and define and discuss some dental trends of evolution of the fossil lineages through time and space. Finally, by gathering the paleoclimatic conditions and collecting environmental parameters of each site were Heterocephalus remains were collected we propose a scenario of evolution of the genus.
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Becker, Natasha. "In The Wake of Okwui Enwezor". Nka Journal of Contemporary African Art 2021, n.º 48 (1 de maio de 2021): 14–22. http://dx.doi.org/10.1215/10757163-8971257.
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This article takes a critical and intimate look at Okwui Enwezor’s work in South Africa during the 1990s and asserts that the international exhibition he curated in Johannesburg in 1997—the Second Johannesburg Biennale, Trade Routes: History and Geography—is an important lens through which to explore Africa’s entangled histories. Trade Routes mattered as much for the discourse it produced as for the artworks it presented. The exhibition checklist features extraordinary works that were made between 1989 and 1997 by artists whose critical acclaim we take for granted today but who were at that time still underappreciated or emerging. Trade Routes not only challenged the status of the existing canon on African art but also proposed a new counter-canon. Additionally, Trade Routes and Enwezor’s concept of the meeting of worlds might have greater analytical potential as a metaphor for the meeting point of two indecipherable South Africas. Under apartheid, Johannesburg was two “countries,” and people lived in two different realities, depending on one’s history, geography, race, ethnicity, class, gender, culture, education, and opportunities. Enwezor constantly confronted the legacy of racism in small and big ways in South Africa. He was at the center of critical debates about race and representation. While there are all kinds of practical guidelines for how to talk about racism within the larger culture, we still do not have one for talking about racial inequality and racism in institutions, exhibition histories, curatorial practice, and the commercial art world. Instead, we have Okwui Enwezor to accompany us on our quest and to remind us to keep consulting both histories and imaginaries, theories and practices, and to continue to interrogate how cycles are reproduced or radically ruptured.
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Felber-Seligman, Yaari. "Painting in Turbulent Times: House Wall Art, Culture, and Commentary in Colonial East Africa". African Arts 53, n.º 2 (junho de 2020): 54–65. http://dx.doi.org/10.1162/afar_a_00528.
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Cattani, E., A. Merino e V. Levizzani. "Evaluation of Monthly Satellite-Derived Precipitation Products over East Africa". Journal of Hydrometeorology 17, n.º 10 (1 de outubro de 2016): 2555–73. http://dx.doi.org/10.1175/jhm-d-15-0042.1.
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Abstract East Africa experienced in the 2001–11 time period some of the worst drought events to date, culminating in the high-impact drought of 2010/11. Long-term monitoring of precipitation is thus essential, and satellite-based precipitation products can help in coping with the relatively sparse rain gauge ground networks of this area of the world. However, the complex topography and the marked geographic variability of precipitation in the region make precipitation retrieval from satellites problematic and product validation and intercomparison necessary. Six state-of-the-art monthly satellite precipitation products over East Africa during the 2001–09 time frame are evaluated. Eight areas (clusters) are identified by investigating the precipitation seasonality through the Global Precipitation Climatology Centre (GPCC) climatological gauge data. Seasonality was fully reproduced by satellite data in each of the GPCC-identified clusters. Not surprisingly, complex terrain (mountain regions in particular) represents a challenge for satellite precipitation estimates, as demonstrated by the standard deviations of the six-product ensemble. A further confirmation comes from the comparison between satellite estimates and rain gauge measurements as a function of terrain elevation. The 3B42 product performs best, although the satellite–gauge comparative analysis was not completely independent since a few of the products include a rain gauge bias correction.
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Rak, Karolina. "O de-orientalizacji „spojrzenia”. Sztuka wizualna jako przestrzeń debaty nad problematyką płci w regionie Mena". Intercultural Relations 4, n.º 1(9) (17 de maio de 2021): 32–49. http://dx.doi.org/10.12797/rm.01.2021.09.02.
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On the De-Orientation of the „Gaze". Visual Art as a Space for Gender Debate in the Mena Region Contesting the problematic perception of femininity within the Middle East and North Africa through the medium of art is not only a result of questioning the traditions of one’s own culture, but is strongly connected to the issue of the „imagery of the Orient” and the Western gaze, especially visible throughout the colonial era in the region. This text is an invitation to undertake a visual exercise with the artists, leading to a process of de-orientalising the symbolism of the body in art practices.
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Chammartin, Frédérique, Cam Ha Dao Ostinelli, Kathryn Anastos, Antoine Jaquet, Ellen Brazier, Steven Brown, Francois Dabis et al. "International epidemiology databases to evaluate AIDS (IeDEA) in sub-Saharan Africa, 2012–2019". BMJ Open 10, n.º 5 (maio de 2020): e035246. http://dx.doi.org/10.1136/bmjopen-2019-035246.
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PurposeThe objectives of the International epidemiology databases to evaluate AIDS (IeDEA) are to (i) evaluate the delivery of combination antiretroviral therapy (ART) in children, adolescents and adults in sub-Saharan Africa, (ii) to describe ART regimen effectiveness, durability and tolerability, (iii) to examine HIV-related comorbidities and coinfections and (iv) to examine the pregnancy-related and HIV-related outcomes of women on ART and their infants exposed to HIV or ART in utero or via breast milk.ParticipantsIeDEA is organised in four regions (Central, East, Southern and West Africa), with 240 treatment and care sites, six data centres at African, European and US universities, and almost 1.4 million children, adolescents and adult people living with HIV (PLWHIV) enrolled.Findings to dateThe data include socio-demographic characteristics, clinical outcomes, opportunistic events, treatment regimens, clinic visits and laboratory measurements. They have been used to analyse outcomes in PLWHIV-1 or PLWHIV-2 who initiate ART, including determinants of mortality, of switching to second-line and third-line ART, drug resistance, loss to follow-up and the immunological and virological response to different ART regimens. Programme-level estimates of mortality have been corrected for loss to follow-up. We examined the impact of coinfection with hepatitis B and C, and the epidemiology of different cancers and of (multidrug resistant) tuberculosis, renal disease and of mental illness. The adoption of ‘Treat All’, making ART available to all PLWHIV regardless of CD4+ cell count or clinical stage was another important research topic.Future plansIeDEA has formulated several research priorities for the ‘Treat All’ era in sub-Saharan Africa. It recently obtained funding to set up sentinel sites where additional data are prospectively collected on cardiometabolic risks factors as well as mental health and liver diseases, and is planning to create a drug resistance database.
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Ayieko, James, Laura B. Balzer, Colette Inviolata, Elijah Kakande, Fred Opel, Erick M. Wafula, Jane Kabami et al. "Randomized Trial of a “Dynamic Choice” Patient-Centered Care Intervention for Mobile Persons With HIV in East Africa". JAIDS Journal of Acquired Immune Deficiency Syndromes 95, n.º 1 (1 de dezembro de 2023): 74–81. http://dx.doi.org/10.1097/qai.0000000000003311.
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Background: Persons with HIV (PWH) with high mobility face obstacles to HIV care engagement and viral suppression. We sought to understand whether a patient-centered intervention for mobile PWH would improve viral suppression and retention in care, and if so, which subgroups would benefit most. Methods: In a randomized trial, we evaluated the effect of an intervention designed to address barriers to care among mobile (≥2 weeks out of community in previous year) PWH with viral nonsuppression or recent missed visits in Kenya and Uganda (NCT04810650). The intervention included dynamic choice of a “travel pack” (emergency antiretroviral therapy [ART] supply, discrete ART packaging, and travel checklist), multimonth and offsite refills, facilitated transfer to out-of-community clinics, and hotline access to a mobility coordinator. The primary outcome was viral suppression (<400 copies/mL) at 48 weeks. Secondary outcomes included retention in care and ART possession. Results: From April 2021 to July 2022, 201 participants were enrolled and randomized (102 intervention, 99 control): 109 (54%) were female participants and 101 (50%) from Kenya; median age was 37 years (interquartile range: 29–43). At 48 weeks, there was no significant difference in viral suppression in intervention (85%) vs. control (86%). The intervention improved retention in care (risk ratio: 1.06[1.02–1.1]; P < 0.001) and ART possession (risk ratio: 1.07[1.03–1.11]; P < 0.001), with larger effect sizes among persons with baseline nonsuppression and high mobility (≥2 weeks out of community in previous 3 months). Conclusions: Mobile PWH-centered care should be considered for high-risk mobile populations, including nonsuppressed and highly mobile PWH, to improve retention in care and sustain viral suppression over time. Trial registration: NCT04810650.
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Kalmanowitz, Debra. "Polarities and Dualities: East West Perspectives in Art Therapy with a Refugee Woman from Central Africa". Creative Arts in Education and Therapy 3, n.º 1 (1 de dezembro de 2017): 44–56. http://dx.doi.org/10.15212/caet/2017/17/5.
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Nienhuis, James. "Domestication of Vegetables as Illustrated in Renaissance Art". HortScience 41, n.º 4 (julho de 2006): 967A—967. http://dx.doi.org/10.21273/hortsci.41.4.967a.
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An enigma in the process of domestication of many of our common vegetables is what they looked like and the speed of the process at which they were transformed from the wild progenitors to the modern cultivars. Many vegetables were either domesticated in antiquity or introduced into Europe, often by trade with Africa, the Middle East, or the Americas. Based on genetic information, we often know or can deduce center of origin and the progenitor species of our common vegetables, but we do not have a record of their early history once introduced into Europe. One window to the process of domestication of vegetables is still life art from the Renaissance period. The emphasis of the art form “natura morta” emphasized realism, which allows us to, in some cases, identify species and market classes based on accurate morphological details.
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Yusof, Abdullah, Aizan Hj Ali @. Mat Zin e Ahmad Faisal Abdul Hamid. "Islamic Nuance in Decorative-Ornament Architecture Art in Nusantara". International Journal of Nusantara Islam 2, n.º 1 (9 de junho de 2014): 95–104. http://dx.doi.org/10.15575/ijni.v2i1.51.
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The advent of Islam in Nusantara sparked new phenomena or changing not only in structure of building construction of religious places, residency and houses but also ornaments and decoration expressing value of beauty of that building. The result of this research tries to reveal how far Islamic influence is working without undermining local aspects of architecture and how Islamic architecture was influenced by other characters in ornament and decorative-ornament artwith various design and sense. Islamic nuances are substantially showed in traditional and contemporary mosque architecture, graveyard, residencies, palaces, historical building and soon and so forth. Although local elementsare clear, and so with Hinduism and Buddhism, animism, colonial influence and other foreign influences including Middle East, Africa, India and China, Islam shows its prominence in interior and exterior ornament as well as its tools.
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Savan, Vasim, e Marina E. Vilchinskaya-Butenko. "REMAKE OF ARABIC CALLIGRAPHY: CALLIGRAFFITI IN THE CITY SPACE". Articult, n.º 3 (2021): 74–80. http://dx.doi.org/10.28995/2227-6165-2021-3-74-80.
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The informatization of everyday practices in the form of digital media and social networks has significantly influenced the artistic life of the countries of the Middle East and North Africa. Traditional art and, in particular, Arabic calligraphy faced the problem of memorialization. The logical evolution of Arabic calligraphy was the direction that appeared in the depths of hurufiya – an aesthetic movement of the mid-twentieth century, which had a development in the Middle East and North Africa – and was called calligraffiti. The points of intersection of Arabic calligraphy and Western graffiti are explained from the point of view of the confrontation between traditionalism and postmodern ideas, using the example of theoretical research and the work of Hassan Massoudi, eL Seed, Karim Jabbari and other street artists. It is noted that today, thanks to the postmodern worldview, which has been clearly embodied in the artistic work of Middle Eastern and North African artists, a cultural remake and hybridization is being recorded in relation to Arabic calligraphy.
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Wilk, Bernadeta. "Antoniego Wagi „Dzienniki podróży” do Egiptu". Rocznik Biblioteki Naukowej PAU i PAN 68 (fevereiro de 2024): 121–38. http://dx.doi.org/10.4467/25440500rbn.23.008.19334.
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Antoni Waga’s “Travel Journals” from Egypt Antoni Waga (1799–1890), zoologist, pioneer in the applied entomology, teacher in secondary schools is Warsaw, bibliophile, erudite, a member of the Cracow Scientific Society (hereinafter: CSS) and the CSS Physiography Commission (since 1873 the Academy of Art and Science), participant of numerous scientific expeditions to Mediterranean countries as well as to Africa and Middle East. Antoni Waga’s journeys stemmed not only from his willingness to learn about the most distant corners of the world and their culture but most of all from his interest in nature and a passion for collecting insects. Pieces of Journals presented below refer to Antoni Waga’s memories from his journey to North-East Africa and include the researcher’s reports from his visit to Egypt in 1864 and 1879. The Journals come from Antoni Waga’s collection kept by the PAAS and the PAS Archive of Science file no. K III–141.
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Slingo, Julia, Hilary Spencer, Brian Hoskins, Paul Berrisford e Emily Black. "The meteorology of the Western Indian Ocean, and the influence of the East African Highlands". Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 363, n.º 1826 (15 de janeiro de 2005): 25–42. http://dx.doi.org/10.1098/rsta.2004.1473.
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This paper reviews the meteorology of the Western Indian Ocean and uses a state–of–the–art atmospheric general circulation model to investigate the influence of the East African Highlands on the climate of the Indian Ocean and its surrounding regions. The new 44–year re–analysis produced by the European Centre for Medium range Weather Forecasts (ECMWF) has been used to construct a new climatology of the Western Indian Ocean. A brief overview of the seasonal cycle of the Western Indian Ocean is presented which emphasizes the importance of the geography of the Indian Ocean basin for controlling the meteorology of the Western Indian Ocean. The principal modes of inter–annual variability are described, associated with El Niño and the Indian Ocean Dipole or Zonal Mode, and the basic characteristics of the subseasonal weather over the Western Indian Ocean are presented, including new statistics on cyclone tracks derived from the ECMWF re–analyses. Sensitivity experiments, in which the orographic effects of East Africa are removed, have shown that the East African Highlands, although not very high, play a significant role in the climate of Africa, India and Southeast Asia, and in the heat, salinity and momentum forcing of the Western Indian Ocean. The hydrological cycle over Africa is systematically enhanced in all seasons by the presence of the East African Highlands, and during the Asian summer monsoon there is a major redistribution of the rainfall across India and Southeast Asia. The implied impact of the East African Highlands on the ocean is substantial. The East African Highlands systematically freshen the tropical Indian Ocean, and act to focus the monsoon winds along the coast, leading to greater upwelling and cooler sea–surface temperatures.
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Akhtar, S., G. Akoglu, S. Simon e H. Rushmeier. "PROJECT ANQA: DIGITIZING AND DOCUMENTING CULTURAL HERITAGE IN THE MIDDLE EAST". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (18 de agosto de 2017): 1–5. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-1-2017.
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The practice of digitizing cultural heritage sites is gaining ground among conservation scientists and scholars in architecture, art history, computer science, and related fields. Recently, the location of such sites in areas of intense conflict has highlighted the urgent need for documenting cultural heritage for the purposes of preservation and posterity. The complex histories of such sites requires more than just their digitization, and should also include the meaningful interpretation of buildings and their surroundings with respect to context and intangible values. Project Anqa is an interdisciplinary and multi-partner effort that goes beyond simple digitization to record at-risk heritage sites throughout the Middle East and Saharan Africa, most notably in Syria and Iraq, before they are altered or destroyed. Through a collaborative process, Anqa assembles documentation, historically contextualizes it, and makes data accessible and useful for scholars, peers, and the wider public through state-of-the-art tools. The aim of the project is to engage in capacity-building on the ground in Syria and Iraq, as well as to create an educational web platform that informs viewers about cultural heritage in the region through research, digital storytelling, and the experience of virtual environments.
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Nsubuga, Gideon, David Patrick Kateete, Sharley Melissa Aloyo, Lwanga Newton Kigingi, Nasinghe Emmanuel, Kezimbira Dafala, Moses Levi Ntayi, Moses L. Joloba e Kamulegeya Rogers. "Biobanking in East and Central Africa: A case of the Integrated Biorepository of H3Africa Uganda". Open Research Africa 5 (30 de setembro de 2022): 33. http://dx.doi.org/10.12688/openresafrica.13495.1.
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Biorepositories are essential because they guarantee the proper storage and distribution of biospecimens and their associated data for current and future research. In Eastern and Central Africa, the Integrated Biorepository of H3Africa Uganda (IBRH3AU) at Makerere University in Uganda was the first of its kind. It is strategically located at Makerere University College of Health Sciences, which is home to some of Uganda's most relevant and impactful infectious and non-infectious disease research. Since its inception as a pilot project in 2012, the IBRH3AU biorepository has grown into a state-of-the-art facility serving the H3Africa consortium and the rest of the scientific community. IBRH3AU has built a solid infrastructure over the past ten years with cutting-edge methods and technologies for the collection, processing, quality control, handling, management, storage and shipment of biospecimens. H3Africa researchers, local researchers, postgraduate and postdoctoral students, and the greater scientific community in Eastern and Central Africa and beyond have benefited from IBRH3AU's exceptional biobanking services.
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Vanderkelen, Inne, Nicole P. M. van Lipzig e Wim Thiery. "Modelling the water balance of Lake Victoria (East Africa) – Part 1: Observational analysis". Hydrology and Earth System Sciences 22, n.º 10 (25 de outubro de 2018): 5509–25. http://dx.doi.org/10.5194/hess-22-5509-2018.
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Abstract. Lake Victoria is the largest lake in Africa and one of the two major sources of the Nile river. The water level of Lake Victoria is determined by its water balance, consisting of precipitation on the lake, evaporation from the lake, inflow from tributary rivers and lake outflow, controlled by two hydropower dams. Due to a scarcity of in situ observations, previous estimates of individual water balance terms are characterized by substantial uncertainties, which means that the water balance is often not closed independently. In this first part of a two-paper series, we present a water balance model for Lake Victoria, using state-of-the-art remote sensing observations, high-resolution reanalysis downscaling and outflow values recorded at the dam. The uncalibrated computation of the individual water balance terms yields lake level fluctuations that closely match the levels retrieved from satellite altimetry. Precipitation is the main cause of seasonal and interannual lake level fluctuations, and on average causes the lake level to rise from May to July and to fall from August to December. Finally, our results indicate that the 2004–2005 drop in lake level can be about half attributed to a drought in the Lake Victoria Basin and about half to an enhanced outflow, highlighting the sensitivity of the lake level to human operations at the outflow dam.
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Mokni, Ridha El, e Duilio Iamonico. "The family Bignoniaceae in Tunisia, first survey including new floristic records to North Africa with nomenclatural notes". Hacquetia 23, n.º 2 (10 de julho de 2024): 221–37. http://dx.doi.org/10.2478/hacq-2024-0001.
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Abstract Botanical surveys carried out during the last 13 years throughout central and northern Tunisia (North Africa) allow to find first national and continental N-African records of non-native taxa belonging to Bignoniaceae. The genera Catalpa, Podranea, and Tecomaria are new for N-Africa (Catalpa is new for the whole Africa). Tecomaria capensis is here considered as a naturalized alien species, whereas Campsis radicans, Catalpa bignonioides, Jacaranda mimosifolia, Podranea brycei, P. ricasoliana, and Tecoma stans are casuals. Distribution in Tunisia, phenology, and original photographs are provided for each species. A diagnostic key for Tunisian Bignoniaceae is also given. Moreover, the name Tecoma ricasoliana (basionym of Podranea ricasoliana) is lectotypified on a specimen preserved at K (isolectotypes at FI), whereas the holotype indication of the name Bignonia capensis (basionym of Tecomaria capensis), made in Flora of Tropical East Africa, is here corrected according to the Art. 9.10 of Shenzhen Code (lectotype at UPS; isolectotype, here reported for the first time, at LD).
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Sheikh-Miller, Nasira. "Muslim Cultures beyond the Aperture: An East African Photo-Story Illuminated by First-Hand Accounts". Journal of Material Cultures in the Muslim World 1, n.º 1-2 (9 de fevereiro de 2021): 150–90. http://dx.doi.org/10.1163/26666286-12340006.
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Abstract This paper is an exploration of Indian Muslim culture in East Africa through pre- and post-independence eras via the medium of photography. It examines the art and craft of photographic practice, the training of photographers, their social networks and those of their patrons, as well as the personal context of photographs. It also discusses the dispersal of archives and personal collections. It is based upon first-hand accounts from professional photographers, their family members as well as patrons, whose ancestors travelled from India via Indian Ocean trade routes. Fareh te chareh is a Gujarati proverb meaning ‘A person who roams advances.’
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Stites Mor, Jessica. "Rendering Armed Struggle: OSPAAAL, Cuban Poster Art, and South-South Solidarity at the United Nations". Anuario de Historia de América Latina 56 (6 de dezembro de 2019): 42–65. http://dx.doi.org/10.15460/jbla.56.132.
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This article considers the role of the Organization of Solidarity with the Peoples of Africa, Asia, and Latin America (OSPAAAL) in championing a Latin American, tricontinentalist vision of Third World solidarity between these regions. It argues that Cuba used visual and media arts to frame and reframe historical evets, utilizing OSPAAAL as a conduit of pro-Cuba revolutionary ideas, as it circulated updates on national liberation struggles and calls to action for internationalist solidarity. OSPAAAL produced visual art in solidarity campaigns that allowed Cuba to promote a particular interpretation of the Cold War as ongoing colonialism to generate transnational support for national liberation struggles in the Middle East and Africa, as well as to promote the Cuban revolution itself. In particular, it examines the way that the visual approach used by the artists working with OSPAAAL intersected with other modes of transnational solidarity activism to promote revolutionary ideals and commonalities between distant participants and specifically in order to influence international cooperation at the United Nations and in advancing Castro’s profile within the Non-Aligned Movement.
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Wang, Xinyue, e Jingdong Zhong. "Short Study on Conrad’s “Youth” and Heart of Darkness". Frontiers in Humanities and Social Sciences 3, n.º 7 (22 de julho de 2023): 81–85. http://dx.doi.org/10.54691/fhss.v3i7.5303.
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Both “Youth” (1898) and Heart of Darkness (1899) are frequently anthologized marvelous masterpieces by the Polish-British writer Joseph Conrad (1857-1924), and both of them contain the autobiographical elements. To enhance the comprehension of Conrad’s life and his art, this article does a further study concerning two journeys of same protagonist Marlowe-his first journey to the East and his perceptions of youth at different stages of his life in “Youth;” his experiences in Africa with a profound exposure to the colonialists’ abhorrent practices in Heart of Darkness.
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Almeida, Manuel, e Tomás Faria. "Railway bridges in Malawi – rehabilitation and reinforcement". Metálica, n.º 24 (1 de março de 2022): 14–16. http://dx.doi.org/10.30779/cmm_metalica_mi24_02.
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Betar Group has in the last 10 years, by providing engineering services, intensified its activity in East Africa, particularly in Malawi. It is in this context that we present the main aspects related to the projects developed for the rehabilitation and reinforcemnet of the railway line between Sandama, in the southern part of Malawi, and Michinji to the west on the border with Zambia in an extension of about 520 km. This is a century-old line with about 110 works of art, mostly steel, and whose load capacity was not known.
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Busolo Namunaba, Ibrahim. "Swahili Cultural Heritage: Origins, Development and Influences". Roczniki Kulturoznawcze 14, n.º 3 (27 de outubro de 2023): 35–51. http://dx.doi.org/10.18290/rkult23143.3.
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This paper examines the cultural heritage of the Swahili of East Africa based on an analysis of archaeological, historical and anthropological literature. The intricate history of Swahili interaction with the maritime environment, their immediate neighbours and the outside world since the last quarter of the first millennium BC produced a distinct cultural heritage. Coupled with internal dynamics, these interactions led to the rise and fall of a civilization characterized by a unique socio-cultural, economic and political pattern on the East African coast. Swahili cultural heritage reflects this interaction. This examination analyses a selection of tangible and intangible aspects, including ruined buildings, wooden crafts, and Swahili modes of dress, literary art and communication, music and dance. The paper concludes by examining the influence of Swahili cultural heritage on world culture.
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Katchka, Kinsey. "52nd Venice Biennale: Think with the Senses–Feel with the Mind: Art in the Present Tense. Africa Pavilion: Check List Luanda Pop, Venice, Italy, June 10–November 21, 2007". African Arts 41, n.º 3 (setembro de 2008): 84–87. http://dx.doi.org/10.1162/afar.2008.41.3.84.
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Prozhogina, Svetlana V. "Duality of East and West: Interdependence and Complementarity in the Mirror of Literature". Oriental Courier, n.º 1 (2023): 36. http://dx.doi.org/10.18254/s268684310025307-5.
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Literature as the art of the word reflects the surrounding world in all manifestations associated with the historical, social, and general cultural context that affects the psychology of both the author and the characters of his works. The era of colonial conquests, the growing interest of the West in the East gave rise to a special type of art associated with the concept of Orientalism, which served as a kind of “ornamentalism” for the romantic moods of the authors and their intention to present their East to the West. Along the way, Oriental studies as a science of the East related to real phenomena in the diversity of Eastern cultures and traditions of the world order in the East. France and the countries of the western tip of North Africa that it has captured allow us to adjust the concepts of Orientalism and Occidentalism. The literature, formed in the era of colonialism in the Maghreb, became not only a product of national history, but also a nationally colored response to French literary Orientalism in an “occidental” form, facilitated by francophones, which also exists in the field of modern French culture. Occidentalized emigrants and immigrants settled in the West — ethnic Maghrebians, influencing the world order of France (demography, economy, politics, culture), retain their own identity, manifested both in the assessment of the surrounding reality and in the desire to preserve originality in the context of globalization. The noted phenomena of the evolution of modern cultures and literatures of the East and West make it possible to differentiate such concepts as Orientalism, Africanism, and Occidentalism in goal-setting manifestations in correlation with national traditions and innovations, which makes it possible to objectively study both the East and the West in a variety of mutual influences, interaction, mutual repulsion, and complementarity.
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Boettiger, David C., Matthew G. Law, Annette H. Sohn, Mary-Ann Davies, Kara Wools-Kaloustian, Valeriane Leroy, Marcel Yotebieng et al. "Temporal Trends in Co-trimoxazole Use Among Children on Antiretroviral Therapy and the Impact of Co-trimoxazole on Mortality Rates in Children Without Severe Immunodeficiency". Journal of the Pediatric Infectious Diseases Society 8, n.º 5 (11 de setembro de 2018): 450–60. http://dx.doi.org/10.1093/jpids/piy087.
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Abstract Background Co-trimoxazole is recommended for all children with human immunodeficiency virus. In this analysis, we evaluate trends in pediatric co-trimoxazole use and survival on co-trimoxazole in children using antiretroviral therapy (ART). Methods We used data collected between January 1, 2006, and March 31, 2016, from the International Epidemiology Databases to Evaluate AIDS. Logistic regression was used to evaluate factors associated with using co-trimoxazole at ART initiation. Competing risk regression was used to assess factors associated with death. Results A total of 54113 children were included in this study. The prevalence of co-trimoxazole use at ART initiation increased from 66.5% in 2006 to a peak of 85.6% in 2010 and then declined to 48.5% in 2015–2016. A similar trend was observed among children who started ART with severe immunodeficiency. After adjusting for year of ART initiation, younger age (odds ratio [OR], 1.18 for <1 vs 1 to <5 years of age [95% confidence interval (CI), 1.09–1.28]), lower height-for-age z score (OR, 1.15 for less than −3 vs greater than −2 [95% CI, 1.08–1.22]), anemia (OR, 1.08 [95% CI, 1.02–1.15]), severe immunodeficiency (OR, 1.25 [95% CI, 1.18–1.32]), and receiving care in East Africa (OR, 8.97 vs Southern Africa [95% CI, 8.17–9.85]) were associated with a high prevalence of co-trimoxazole use. Survival did not differ according to co-trimoxazole use in children without severe immunodeficiency (hazard ratio, 1.01 for nonusers versus users [95% CI, 0.77–1.34]). Conclusions Recent declines in co-trimoxazole use may not be linked to the current shift toward early ART initiation. Randomized trial data might be needed to establish the survival benefit of co-trimoxazole in children without severe immunodeficiency.
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Spiff Eleazar, Emeka, Clara Idara Eleazar, Daniel Chukwu Nwachukwu e Uchenna Ifeanyi Nwagha. "ECG abnormalities among HIV infected children placed on ART at Enugu, South East of Nigeria". African Health Sciences 20, n.º 4 (16 de dezembro de 2020): 1742–8. http://dx.doi.org/10.4314/ahs.v20i4.26.
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Background: Cardiovascular abnormalities are not much reported among human immunodeficiency virus (HIV) infected children especially in Africa where there is high HIV disease. In addition, the use of highly active antiretroviral therapy (HAART) in such children may have a protective effect on the cardiovascular system.
Methods: Cross-sectional study of randomly selected eighty HIV infected and 80 aged matched non- HIV-infected chil- dren were used. HIV-infected children were on HAART for more than 5years and had steadily received the treatment for 6 months prior to the time of the tests. Heights and weights were measured and body mass index calculated. Cardiac indi- ces evaluated were heart rate (HR), PR interval, QRS duration, QT/QTC Interval, P/QRS/T Axis, RV5/SV1 voltage and RV5+SV1 voltage.
Results: The average heart rate was significantly higher among HIV infected children on HAART than their non-infected counterparts (P= 0.019). At 0.05 significance level, their PR interval was significantly higher than those in the control group (P=0.050). The average QRS duration result also showed a significant difference between that of test and control subjects (P = 0.022)
Conclusion: The HAART usage possibly improved the cardiovascular functioning in the infected children but the protective effects diminish with increase age and longer exposure.
Keywords: HIV; cardiovascular; children; HAART.
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Pujol-Hodge, Emma, Jesus Salazar-Gonzalez, Deogratius Ssemwanga, Edwin Charlebois, James Ayieko, Heather Grant, Teri Liegler et al. "Detection of HIV-1 Transmission Clusters from Dried Blood Spots within a Universal Test-and-Treat Trial in East Africa". Viruses 14, n.º 8 (29 de julho de 2022): 1673. http://dx.doi.org/10.3390/v14081673.
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The Sustainable East Africa Research in Community Health (SEARCH) trial was a universal test-and-treat (UTT) trial in rural Uganda and Kenya, aiming to lower regional HIV-1 incidence. Here, we quantify breakthrough HIV-1 transmissions occurring during the trial from population-based, dried blood spot samples. Between 2013 and 2017, we obtained 549 gag and 488 pol HIV-1 consensus sequences from 745 participants: 469 participants infected prior to trial commencement and 276 SEARCH-incident infections. Putative transmission clusters, with a 1.5% pairwise genetic distance threshold, were inferred from maximum likelihood phylogenies; clusters arising after the start of SEARCH were identified with Bayesian time-calibrated phylogenies. Our phylodynamic approach identified nine clusters arising after the SEARCH start date: eight pairs and one triplet, representing mostly opposite-gender linked (6/9), within-community transmissions (7/9). Two clusters contained individuals with non-nucleoside reverse transcriptase inhibitor (NNRTI) resistance, both linked to intervention communities. The identification of SEARCH-incident, within-community transmissions reveals the role of unsuppressed individuals in sustaining the epidemic in both arms of a UTT trial setting. The presence of transmitted NNRTI resistance, implying treatment failure to the efavirenz-based antiretroviral therapy (ART) used during SEARCH, highlights the need to improve delivery and adherence to up-to-date ART recommendations, to halt HIV-1 transmission.
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Keshmirshekan, Hamid. "Modern Art in the Arab World, Primary Documents: A Review Essay". Review of Middle East Studies 54, n.º 2 (dezembro de 2020): 342–51. http://dx.doi.org/10.1017/rms.2021.4.
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The study of modern and contemporary art from Islamic lands, and particularly the Arab world, is a developing field. Over the past few decades, a variety of publications on modern and contemporary art from the Arab world and its diasporas has appeared in art magazines, journals, and exhibition and auction catalogues. There is, however, still a lack of scholarly literature and reliable resources on the subject. Many such existing sources have focused on productions that are largely in line with certain interests or agendas pursued by the particular magazine/journal, exhibition, or art market in question. Therefore, although recent scholarly output has played a crucial role in introducing modern art in the Arab countries in the Middle East and North Africa, these publications have not sufficiently filled the gap of discussion regarding certain aspects of the subject. Modern Art in the Arab World, a collection of critical writings by Arab intellectuals and artists, offers an unparalleled source for the study of modernism in the Arab world. Mapping the primary documents with additional entries written by the editors and other scholars, this book addresses the major historical, conceptual, theoretical, and aesthetic issues that inform the modern art paradigm in the Arab world. Arranged largely in a chronological order, it explores the art of the Arab world by tracing the main discourses that have shaped artistic practices and transformations in the region from the mid-nineteenth century until the late 1980s.
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Herrera, Linda, e Peter Mayo. "The Arab Spring, Digital Youth and the Challenges of Education and Work". Holy Land Studies 11, n.º 1 (maio de 2012): 71–78. http://dx.doi.org/10.3366/hls.2012.0030.
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Aided by new media and digital communication tools, youths have helped foster a democratic ethos throughout North Africa and the Middle East regions. The internet generation has a very firm grip on rights, civic liberties and democratic accountability and has well honed the art of single issue campaigns using new media. This paper argues that, for the most part, youth movements using new media platforms exhibit great adeptness at articulating a way forward for civic and political rights, and are on more shaky footing when it comes to economic rights, fair labour practices, and distributive justice. It explores possibilities for economic and democratic renewal in this context.