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The role of the workshop in the creation of African art is the subject of this revelatory book. In the group setting of the workshop, innovation and imitation collide, artists share ideas and techniques, and creative expression flourishes. African Art and Agency from the Workshop examines the variety of workshops, from those which are politically driven or tourist oriented, to those based on historical patronage or allied to current artistic trends. Fifteen lively essays explore the impact of the workshop on the production of artists such as Zimbabwean stone sculptors, master potters from Cameroon, wood carvers from Nigeria, and others from across the continent.
A Ghanaian History
Sidi Ballo and the Art of West African Masquerade
In 1978, Patrick McNaughton witnessed a bird dance masquerade in the small town of Dogoduman. He was so affected by this performance that its dazzling artistic power has never left him. As he revisits that very special evening in A Bird Dance near Saturday City, McNaughton carefully considers the components of the performance, its pace, the performers, and what the entire experience means for understandings of Bamana and West African aesthetics and culture. The performance of virtuoso dancer Sidi Ballo becomes McNaughton's vehicle for understanding the power of individuals in African art and the power of aesthetics as a cultural phenomenon. Topics such as what makes art effective, what makes it "good," how production is wrapped in individual virtuosity, and what individual artistry suggests about society reveal how individuals work together to create the indelible experience of outstanding performance. This exuberant and captivating book will influence views of society, culture, art, history, and their makers in West Africa for years to come.
African fashion is as diverse and dynamic as the continent and the people who live there. While experts have long recognized the importance of clothing as a marker of ethnic identity, life stages, political affiliation, and social class, they have only just begun to discover African fashion. Contemporary African Fashion puts Africa at the intersection of world cultures and globalized identities, displaying the powerful creative force and impact of newly emerging styles. Richly illustrated with color photographs, this book showcases haute couture for the African continent. The visual impact of fashion created and worn today in Africa comes to life here, beautifully and brilliantly.
Performing Early Colonial Hegemony in the Congo
A Dance of Assassins presents the competing histories of how Congolese Chief Lusinga and Belgian Lieutenant Storms engaged in a deadly clash while striving to establish hegemony along the southwestern shores of Lake Tanganyika in the 1880s. While Lusinga participated in the east African slave trade, Storms' secret mandate was to meet Henry Stanley's eastward march and trace "a white line across the Dark Continent" to legitimize King Leopold's audacious claim to the Congo. Confrontation was inevitable, and Lusinga lost his head. His skull became the subject of a sinister evolutionary treatise, while his ancestral figure is now considered a treasure of the Royal Museum for Central Africa. Allen F. Roberts reveals the theatricality of early colonial encounter and how it continues to influence Congolese and Belgian understandings of history today.
Power and the Politics of Dress
Everywhere in the world there is a close connection between the clothes we wear and our political expression. To date, few scholars have explored what clothing means in 20th-century Africa and the diaspora. In Fashioning Africa, an international group of anthropologists, historians, and art historians bring rich and diverse perspectives to this fascinating topic. From clothing as an expression of freedom in early colonial Zanzibar to Somali women's headcovering in inner-city Minneapolis, these essays explore the power of dress in African and pan-African settings. Nationalist and diasporic identities, as well as their histories and politics, are examined at the level of what is put on the body every day. Readers interested in fashion history, material and expressive cultures, understandings of nation-state styles, and expressions of a distinctive African modernity will be engaged by this interdisciplinary and broadly appealing volume.
Contributors are Heather Marie Akou, Jean Allman, A. Boatema Boateng, Judith Byfield, Laura Fair, Karen Tranberg Hansen, Margaret Jean Hay, Andrew M. Ivaska, Phyllis M. Martin, Marissa Moorman, Elisha P. Renne, and Victoria L. Rovine.
Vol. 1 (1994) through current issue
Nka focuses on publishing critical work that examines the newly developing field of contemporary African and African Diaspora art within the modernist and postmodernist experience and therefore contributes significantly to the intellectual dialogue on world art and the discourse on internationalism and multiculturalism in the arts. Nka mainly includes scholarly articles, reviews (exhibits and books), interviews, and roundtable discussions.
Monuments, Deities, and Money
Why has the home of a Yoruba river goddess become a UNESCO World Heritage site and a global attraction? Every year, tens of thousands of people from around the world visit the sacred grove of Osun, Osogbo's guardian deity, to attend her festival. Peter Probst takes readers on a riveting journey to Osogbo. He explores the history of the Osogbo School, which helped introduce one style of African modern art to the West, and investigates its intimate connection with Osun, the role of art and religion in the changing world of Osogbo, and its prominence in the global arena.
Precolonial Senegambia, Sixteenth - Nineteenth Centuries
In this detailed history of domestic architecture in West Africa, Peter Mark shows how building styles are closely associated with social status and ethnic identity. Mark documents the ways in which local architecture was transformed by long-distance trade and complex social and cultural interactions between local Africans, African traders from the interior, and the Portuguese explorers and traders who settled in the Senegambia region. What came to be known as "Portuguese" style symbolized the wealth and power of Luso-Africans, who identified themselves as "Portuguese" so they could be distinguished from their African neighbors. They were traders, spoke Creole, and practiced Christianity. But what did this mean? Drawing from travelers' accounts, maps, engravings, paintings, and photographs, Mark argues that both the style of "Portuguese" houses and the identity of those who lived in them were extremely fluid. "Portuguese" Style and Luso-African Identity sheds light on the dynamic relationship between identity formation, social change, and material culture in West Africa.