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This unique book is the product of pioneering research carried out by scholars native to the Urhobo culture and language. Unlike many of the other major ethnic cultures in Nigeria, which were studied by Western anthropologist in the nineteenth and twentieth centuries, the Urhobo language and culture remained neglected. Studies in Urhobo Culture represents a comparatively new area of research, approached from an indigenous perspective. The result is a wide-ranging survey of Urhobo culture in Nigeria, offering diverse perspectives on topics such as: naming traditions and practices of the Urhobo; religious beliefs, values and movements; traditions of marriage; artistic productions, food and dress subcultures; and the geography of Urhoboland and agricultural practices. In-depth consideration is given to Urhobo traditional poetry and the intellectual aspects of Urhobo culture and language, within the wider complex of the Edoid languages and cultures. The contributors further situate the language question within the global context of language endangerment, arguing the Urhobo case is an example of how English and Pidgin are imperilling small and medium-sized languages in Africa, and weakening the hold of indigenous cultures on the younger generation.
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 A pioneering continent-based assessment of modern art and modernity across Africa Includes original and previously unpublished fieldwork-based material Features new and complex theoretical arguments about the nature of modernity and Modernism Addresses a widely acknowledged gap in the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
Professor Darah turned seventy on Wednesday November 22, 2017 and to celebrate his very productive career, his colleagues and many of those he has mentored thought it appropriate to mark his official exit from the university in a dignified way by commissioning for publication, in the now acceptable festschrift tradition, the highly compelling and outstanding collection of essays titled: Scholarship and Commitment: Essays in Honour of G.G. Darah. The book is a ground-breaking collection of essays; some are couched as tributes to the ebullient celebrant, there are others on more serious discourses in the areas of literary theories and criticism, language and linguistics, popular literature and politics, the African woman, identity and contemporary realities, oral literature, the news media and cultural studies. The essays, on their own, attest to the vivacity and liveliness as well as the encouraging state of health of publishing in the Nigerian academia, which in this collection alone, parades forty-two essays in different fields or discourses.
A discussion of the art of famed Nigerian artist, Bruce Onobrakpeya by art dealer Dozie Igweze. The book uses a sampling of Onobrakpeya's art to weave a story about his growth, development and role as narrator of Nigeria's evolution.
This book examines the depiction of the Delta region of Nigeria through literature and other cultural art forms. The Niger Delta has been thrust into the global limelight due to resource extraction and conflict, but it is also a region with a rich culture, environment, and heritage. The creative imagination of the area’s artists has been fuelled by the area’s pressing concerns of indigenous peoples, minority discourse, environmental degradation, climate change, multinational corporations' greed, dictatorship, and people’s struggle for control of their resources. Taking a holistic approach to the Niger Delta experience, this book showcases artistic responses from literature, visual arts, and performances (such as masquerades, dances, and festivals). Chapters cover authors, artists, and performers such as Ben Okri, Ken Saro-Wiwa, Isidore Okpewho, J.P. Clark, and Bruce Onobrakpeya, as well as topics like the famous Benin bronze figures and Urhobo Udje dance. Affirming the wealth and diversity of the region which continues to inspire creative artistic productions, The Literature and Arts of the Niger Delta will be of interest to researchers of African literature, arts, and other cultural productions.
Written by one of the foremost scholars of African art and featuring 129 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic traditions and the stylistic sophistication that we have come to associate with twentieth-century modernist practices. He explores how these young Nigerian artists were inspired by the rhetoric and ideologies of decolonization and nationalism in the early- and mid-twentieth century and, later, by advocates of negritude and pan-Africanism. They translated the experiences of decolonization into a distinctive "postcolonial modernism" that has continued to inform the work of major Nigerian artists.
The Creative Industries and International Business Development in Africa takes an unorthodox approach to showcasing the trends and challenges of the contemporary creative economy with a view to positioning the sector for a global audience.
Views of Difference: Different Views of Art is the fifth of six books in the series Art and its Histories, which form the main texts of an Open University course. The course has been designed for students who are new to the discipline but will also appeal to those who have undertaken some study in this area. This fifth volume focuses both on the creation and critique of 'western' viewpoints on art and its histories, and on the idea of cultural difference entailed in the concept of 'non-western' art.
Western Art and the Wider World explores the evolving relationship between the Western canon of art, as it has developed since the Renaissance, and the art and culture of the Islamic world, the Far East, Australasia, Africa and the Americas. Explores the origins, influences, and evolving relationship between the Western canon of art as it has developed since the Renaissance and the art and culture of the Islamic world, the Far East, Australasia, Africa and the Americas Makes the case for ‘world art’ long before the fashion of globalization Charts connections between areas of study in art that long were considered in isolation, such as the Renaissance encounter with the Ottoman Empire, the influence of Japanese art on the 19th-century French avant-garde and of African art on early modernism, as well as debates about the relation of ‘contemporary art’ to the past. Written by a well-known art historian and co-editor of the landmark Art in Theory volumes