Zimbabwe mobilizes: ICAC's shift from Coup de Grăce to Cultural Coup
- Simbao, Ruth K, Chikukwa, Raphael, Ogonga. Jimmy, Bickle, Berry, Pereira, Marie H, Altass, Dulcie A, Chikowero, Mhoze, Fall, N'Goné
- Authors: Simbao, Ruth K , Chikukwa, Raphael , Ogonga. Jimmy , Bickle, Berry , Pereira, Marie H , Altass, Dulcie A , Chikowero, Mhoze , Fall, N'Goné
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145665 , vital:38456 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00399
- Description: The International Conference on African Cultures (ICAC) was held at the National Gallery of Zimbabwe in Harare from September 11–13, 2017. Eight delegates write their reflections on the importance of this Africa-based event.
- Full Text:
- Date Issued: 2018
- Authors: Simbao, Ruth K , Chikukwa, Raphael , Ogonga. Jimmy , Bickle, Berry , Pereira, Marie H , Altass, Dulcie A , Chikowero, Mhoze , Fall, N'Goné
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145665 , vital:38456 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00399
- Description: The International Conference on African Cultures (ICAC) was held at the National Gallery of Zimbabwe in Harare from September 11–13, 2017. Eight delegates write their reflections on the importance of this Africa-based event.
- Full Text:
- Date Issued: 2018
“The Bag Is My Home”: recycling “China Bags” in contemporary African art
- Authors: Cheng, Yeng
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145676 , vital:38457 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00400
- Description: Frequently used as mobile storage containers or baggage by migrants and traders moving across borders, the mesh bag made of red, blue, and white polypropylene fibers has become a prominent element of African visual culture. This light, strong, and affordable woven bag, often referred to as “China bag” or “Chinese tote,”1 features prominently in recent artistic practices by African artists such as Nobukho Nqaba, Dan Halter, and Gerald Machona. In this essay I examine how these artistic interventions using photography, installation, video, and performance, circulating in galleries, museums, and the streets, contribute to sociological discussions about the ways in which emerging trajectories, relationships, and identities are perceived and debated in the context of the global South.
- Full Text:
- Date Issued: 2018
- Authors: Cheng, Yeng
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145676 , vital:38457 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00400
- Description: Frequently used as mobile storage containers or baggage by migrants and traders moving across borders, the mesh bag made of red, blue, and white polypropylene fibers has become a prominent element of African visual culture. This light, strong, and affordable woven bag, often referred to as “China bag” or “Chinese tote,”1 features prominently in recent artistic practices by African artists such as Nobukho Nqaba, Dan Halter, and Gerald Machona. In this essay I examine how these artistic interventions using photography, installation, video, and performance, circulating in galleries, museums, and the streets, contribute to sociological discussions about the ways in which emerging trajectories, relationships, and identities are perceived and debated in the context of the global South.
- Full Text:
- Date Issued: 2018
This is our story: iconography of carved doors and panels in Òyó Palace
- Authors: Fọlárànmí, Stephen
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145698 , vital:38459 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00402
- Description: This saying or prayer is one of the numerous expressions among the Yorùbá about the door and its significance, not only as a physical and important aspect of their architecture, but also in their language and culture. It also alludes to its pride of place as perhaps the most decorated element of Yorùbá architecture. From private homes, to the homes of the rich, shrines, and palaces, Yorùbá doors are usually imbued with a considerable array of images and icons that proclaims the owner's identity, religion, occupation. The Yorùbá are not unique in this respect. For example, among the Dogon, the door is as important as the house on which it is affixed. The granary, according to Willett (2002: 176), protects the the food stored inside it, while the door is seen or referred to as an element not only for physical protection, but also as a spiritual means of warding off unwanted spirits. It is reasonable, therefore, to expect the door to receive aesthetic attention by embellishment with an array of images.
- Full Text:
- Date Issued: 2018
- Authors: Fọlárànmí, Stephen
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145698 , vital:38459 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00402
- Description: This saying or prayer is one of the numerous expressions among the Yorùbá about the door and its significance, not only as a physical and important aspect of their architecture, but also in their language and culture. It also alludes to its pride of place as perhaps the most decorated element of Yorùbá architecture. From private homes, to the homes of the rich, shrines, and palaces, Yorùbá doors are usually imbued with a considerable array of images and icons that proclaims the owner's identity, religion, occupation. The Yorùbá are not unique in this respect. For example, among the Dogon, the door is as important as the house on which it is affixed. The granary, according to Willett (2002: 176), protects the the food stored inside it, while the door is seen or referred to as an element not only for physical protection, but also as a spiritual means of warding off unwanted spirits. It is reasonable, therefore, to expect the door to receive aesthetic attention by embellishment with an array of images.
- Full Text:
- Date Issued: 2018
- «
- ‹
- 1
- ›
- »