African Forms

"Traditional African forms were noticed, described, and brought back to Europe as early as the statues and masks, but none of the books on the subject covers the broad geographic and stylistic range adequately or presents these beautiful objects appropriately." "This volume reaches into practically all of Africa and thus covers an area perhaps 50% greater than that of most books. Similarly, it is unique in treating a broad variety of articles: household objects and weapons, jewelry and textiles, musical instruments and devotional items. The coverage is extensive, but the purpose is not to be encyclopedic; rather it is to present a wide assortment of top-quality utilitarian objects, beautifully photographed, and to give sufficient background information, carefully researched but in a lively, readable format, to enhance the enjoyment of this material as art."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Examines how six writers reconfigure African American subjectivity in ways that recall postmodernist theory. This book explores how African American social and political movements, African American studies, independent scholars, and traditional cultural forms revisit and challenge the representation of the African American as deviant other. After surveying African American history and cultural politics, W. Lawrence Hogue provides original and insightful readings of six experimental/postmodern African American texts: John Edgar Wideman’s Philadelphia Fire; Percival Everett’s Erasure; Toni Morrison’s Jazz; Bonnie Greer’s Hanging by Her Teeth; Clarence Major’s Reflex and Bone Structure; and Xam Wilson Cartiér’s Muse-Echo Blues. Using traditional cultural and western forms, including the blues, jazz, voodoo, virtuality, radical democracy, Jungian/African American Collective Unconscious, Yoruba gods, black folk culture, and black working class culture, Hogue reveals that these authors uncover spaces with different definitions of life that still retain a wildness and have not been completely mapped out and trademarked by normative American culture. Redefining the African American novel and the African American outside the logic, rules, and values of western binary reason, these writers leave open the possibility of psychic liberation of African Americans in the West.

South African Perspectives on Notions and Forms of Ecumenicity is the second in a series of publications on the interface between ecumenical theology and social transformation in the (South) African context. It explores the underlying tensions in the ecumenical movement from within the South African context by analysing various notions of what ecumenicity entails. It includes a leading essay by Ernst Conradie and 13 responses to the theme by experts in the field.

Based on the exhibition Africa: 100 Stm̃me, 100 Meisterwerke, sponsored by the Congress for Cultural Freedom at the Berlin Festival, 1964./ Includes bibliography.

Illuminates an aspect of African art that has largely been neglected by other books. African sculptures and art can be difficult to decipher because they are more than tokens of "art for art's sake." African art is often based on religious and philosophical values. It is created not just for the patron but for the entire community, using a language of form to help the society to understand what cannot otherwise be put into words. Through an enlightening analysis of some continent's most emblematic artifacts, this book decodes African art by putting it in the context of the broader culture. It is thematically organized around key motifs to help you fully understand African art. 150 colour illustrations

This book addresses the conceptual difficulties and political contestations surrounding the applicability of the term "African-Canadian". In the midst of this contested terrain, the volume focuses on first generation, Black Continental Africans who have immigrated to Canada in the last four decades, and have traceable genealogical links to the continent.

African Renaissance: New Forms, Old Images in Yoruba Art describes, analyzes, and interprets the historical and cultural contexts of an African art renaissance using the twentieth- and twenty-first-century transformation of ancient Yoruba artistic heritage. Juxtaposing ancient and contemporary Yoruba art, Moyo Okediji defines this art history through the lens of colonialism, an experience that served to both destroy ancient art traditions and revive Yoruba art in the twentieth century. With vivid reproductions of paintings, prints, and drawings, Okediji describes how Yoruba art has replenished and redefined itself. Okediji groups the text into several broadly overlapping periods that intricately detail the journey of Yoruba art and artists: first through oppression by European colonialism, then the attainment of Nigeria’s independence and the new nation’s subsequent military coup, and ending with present-day native Yoruban artists fleeing their homeland.