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Igbo art is famous for its diversity, inventiveness, and aesthetic quality. This wide-ranging survey of art made by the 15 to 20 million Igbo people of southeastern Nigeria focuses on the 20th century but also takes a look at the extraordinary 9th- and 10th-century bce cast copper alloy and ceramic finds that influenced Igbo artworks created 20 centuries later. Ceremonial contexts and meanings are explained, covering art associated with individuals as well as communal works and ranging from personal decoration to architectural forms, from household objects to cult sculpture, title regalia, and public shrines. Many little-known objects are included alongside a generous sampling of the thousands of masks that are perhaps the quintessential forms of Igbo art.
African artistic expression has helped to construct culture, form social identity, and support spiritual communication. The choice of the World Bank's African collection for a catalogue stems from the recognition by many art experts that the Bank is home to a rich and valuable collection that deserves to be better known by staff, representatives from member countries, and the public at large. The book displays African art from past to present, African art at the World Bank, and African art and society.
Focusing on the theme of warriorhood, Sidney Littlefield Kasfir weaves a complex history of how colonial influence forever changed artistic practice, objects, and their meaning. Looking at two widely diverse cultures, the Idoma in Nigeria and the Samburu in Kenya, Kasfir makes a bold statement about the links between colonialism, the Europeans' image of Africans, Africans' changing self representation, and the impact of global trade on cultural artifacts and the making of art. This intriguing history of the interaction between peoples, aesthetics, morals, artistic objects and practices, and the global trade in African art challenges current ideas about artistic production and representation.
“Compelling case studies demonstrate how African workshops have long mediated collective expression and individual imagination.” —Allen F. Roberts, University of California, Los Angeles 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 in 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. Contributions by Nicolas Argenti, Jessica Gershultz, Norma Wolff, Christine Scherer, Silvia Forni, Elizabeth Morton, Alexander Bortolot, Brenda Schmahmann, Chika Okeke-Agulu, Karen E. Milbourne and Namubiru Rose Kirumira “A closer examination of the workshop provides important insights into art histories and cultural politics. We may think we know what we mean when we use the term ‘workshop,’ but in fact the organization of groups of artists takes on vastly different forms and encourages the production of diverse styles of art within larger social structures and power dynamics.” —Victoria Rovine, University of Florida “Taken as a whole, the case studies provide a wide window into the very diverse structural and functional characteristics of workshops. They also clearly describe how African workshops have served both contemporary political and cultural needs and have responded to patronage, whether it be traditional or stimulated by tourism.” —African Studies Review
The Igbo are one of the most populous ethnic groups in Nigeria and are perhaps best known and celebrated in the work of Chinua Achebe. In this landmark collection on Igbo society and arts, Toyin Falola and Raphael Chijioke Njoku have compiled a detailed and innovative examination of the Igbo experience in Africa and in the diaspora. Focusing on institutions and cultural practices, the volume covers the enslavement, middle passage, and American experience of the Igbo as well as their return to Africa and aspects of Igbo language, society, and cultural arts. By employing a variety of disciplinary perspectives, this volume presents a comprehensive view of how the Igbo were integrated into the Atlantic world through the slave trade and slavery, the transformations of Igbo identities and culture, and the strategies for resistance employed by the Igbo in the New World. Moving beyond descriptions of generic African experiences, this collection includes 21 essays by prominent scholars throughout the world.
“A true classic of world literature . . . A masterpiece that has inspired generations of writers in Nigeria, across Africa, and around the world.” —Barack Obama “African literature is incomplete and unthinkable without the works of Chinua Achebe.” —Toni Morrison Nominated as one of America’s best-loved novels by PBS’s The Great American Read Things Fall Apart is the first of three novels in Chinua Achebe's critically acclaimed African Trilogy. It is a classic narrative about Africa's cataclysmic encounter with Europe as it establishes a colonial presence on the continent. Told through the fictional experiences of Okonkwo, a wealthy and fearless Igbo warrior of Umuofia in the late 1800s, Things Fall Apart explores one man's futile resistance to the devaluing of his Igbo traditions by British political andreligious forces and his despair as his community capitulates to the powerful new order. With more than 20 million copies sold and translated into fifty-seven languages, Things Fall Apart provides one of the most illuminating and permanent monuments to African experience. Achebe does not only capture life in a pre-colonial African village, he conveys the tragedy of the loss of that world while broadening our understanding of our contemporary realities.
There were five. They came together for reasons that no one is even sure of anymore and cut a swath through the universe. Everyone knew their name, and the lined up to follow them. They knew their symbol, the snarling wolf. The warlords formed a following, an almost religion. And then it was over. Years later, and the followings of each of the original warriors have become clans. The clans have grown and trained new warriors over time, creating the driving force in all the universe. Here are four people now, training to follow in the ways of one particular wolf. The wolf that ended it all in the first place, the Blackwolf. This is the start of their journey, the beginning of their training. Gregor Holden, a Prince, who's sense of duty is equaled only by his lust for adventure. Candace Orthon, a legacy who's father is a Blackwolf, who's gradfather was a Blackwolf, and who will be a Blackwolf if it kills her. Ran Grastle, already an accomplished warrior in his own right. He's on the run for a committing a crime to exact justice and cares very little for the clan or anyone else. Xesca, a child of the last planet that the Blackwolf attacked. She has come to learn his ways, his style, so that no one can ever attack her planet again. "These four. If no one else, let these four progress."
Offering a wealth of perspectives on African modern and Modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as exploring broader themes such as discoveries of new technologies and globalization. A pioneering continent-based assessment of modern art and modernity across Africa Includes original and previously unpublished fieldwork-based material Features new and complex theoretical arguments about the nature of modernity and Modernism Addresses a widely acknowledged gap in the literature on African Art