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Bantu Art and Culture is a book about how the East, Central, and South African cultures have merged from the precolonial period until the late twentieth century. Fled from the north of Africa after the great kingdom of Egypt fell apart, these civilizations settled themselves around the Nile to create new nations known as the Kongo, Bamoun, Kuba, Lunda, Bamileke, Monomotapa, Ngola-Dongo-Matamba, and Zulu kingdoms. In this book, the reader will explore the settings of each empire through its politics, art, music, customs, as well as the role of each individual living in the African society.
From 1952 to 1981, South Africa’s apartheid government ran an art school for the training of African art teachers at Indaleni, in what is today KwaZulu-Natal. The Art of Life in South Africa is the story of the students, teachers, art, and politics that circulated through a small school, housed in a remote former mission station. It is the story of a community that made its way through the travails of white supremacist South Africa and demonstrates how the art students and teachers made together became the art of their lives. Daniel Magaziner radically reframes apartheid-era South African history. Against the dominant narrative of apartheid oppression and black resistance, as well as recent scholarship that explores violence, criminality, and the hopeless entanglements of the apartheid state, this book focuses instead on a small group’s efforts to fashion more fulfilling lives for its members and their community through the ironic medium of the apartheid-era school. There is no book like this in South African historiography. Lushly illustrated and poetically written, it gives us fully formed lives that offer remarkable insights into the now clichéd experience of black life under segregation and apartheid.
Dive into Olivier Zinsou's turbulent journey, where love, betrayal, and destiny redefine his life as a nature fisherman. Invasions and murders unfurl, propelling him from serene waters to the tumultuous sea of his own fate. Guided by nobles and kings, Olivier transforms into a war leader, forging an empire to challenge a common enemy. In this epic tale, witness the evolution of a man of the sea into a force determined to secure his people's survival and etch his name into history. Alliances form, battles escalate, and Olivier Zinsou crafts his own chapter, where the waves of his fate converge with the annals of history.
Combines a survey of world art with maps showing the associations and dissemination of culture across the globe.
Reading African art’s impact on modernism as an international phenomenon, The “Black Art” Renaissance tracks a series of twentieth-century engagements with canonical African sculpture by European, African American, and sub-Saharan African artists and theorists. Notwithstanding its occurrence during the benighted colonial period, the Paris avant-garde “discovery” of African sculpture—known then as art nègre, or “black art”—eventually came to affect nascent Afro-modernisms, whose artists and critics commandeered visual and rhetorical uses of the same sculptural canon and the same term. Within this trajectory, “black art” evolved as a framework for asserting control over appropriative practices introduced by Europeans, and it helped forge alliances by redefining concepts of humanism, race, and civilization. From the Fauves and Picasso to the Harlem Renaissance, and from the work of South African artist Ernest Mancoba to the imagery of Negritude and the École de Dakar, African sculpture’s influence proved transcontinental in scope and significance. Through this extensively researched study, Joshua I. Cohen argues that art history’s alleged centers and margins must be conceived as interconnected and mutually informing. The “Black Art” Renaissance reveals just how much modern art has owed to African art on a global scale.
A revised and expanded edition of a groundbreaking text.
The post-millennium world has been experiencing several recognisable historical milestones with regard to arts, culture and heritage. One of these has been the resuscitation and revival of creative elements of the arts, culture and heritage of previously marginalised or disadvantaged communities around the world. Until recently, there had been scant regard and skewed allocation of resources for these, but lately attempts have been made to promote and sustain them in order to enable the socio-economic aspirations of a multicultural society. The contributions brought together here are the product of papers that were presented during a conference on “Strategic Repositioning of Arts, Culture and Heritage in the 21st Century”. They cover a broad spectrum of subjects such as indigeneity, music, song and identity, politics, national reconciliation, education, product development, and national development.
Kenya is a country located in East Africa and bordered by Tanzania, Uganda, South Sudan, Ethiopia, and Somalia. It has a population of approximately 53 million people, with the economy largely based on agriculture, tourism, and manufacturing. The capital city is Nairobi, which is also a major commercial hub in the region. Kenya has a rich cultural heritage, with over 40 distinct ethnic groups, each with their own traditions and languages. The country is also known for its diverse wildlife and scenic landscapes, including the world-famous Maasai Mara National Reserve, home to the Great Wildebeest Migration. Despite its many challenges, including poverty, corruption, and political instability, Kenya has made significant strides in recent years, including the creation of a new constitution in 2010 and a growing economy.