Methodology Ideology And Pedagogy Of African Art

This edited volume, including contributions from scholars with different areas of specialization, investigates a broad range of methodologies, ideologies and pedagogies focusing on the study of the art of Africa, using theoretical reflections and applications from primitivism to metamodernism. Chapters break the externally imposed boundaries of Africa-related works beyond the conventional fragments of traditional, contemporary and diaspora. The contributions are significantly broad in their methodologies, ideologies and pedagogical coverage; yet, they all address various aspects of African artistic creativity, demonstrating the possibilities for analytical experiments that art history presents to scholars of the discipline today. The Ìwà (character) of each approach is unique; nevertheless, each is useful toward a fuller understanding of African art studies as an independent aspect of art historical research that is a branch or bud of the larger family of art history. The volume respects, highlights and celebrates the distinctiveness of each methodical approach, recognizing its contribution to the overall character or Ìwà of African art studies. The book will be of interest to students in undergraduate or graduate, intermediate or advanced courses as well as scholars in art history and African studies.

This edited volume, including contributions from scholars with different areas of specialization, investigates a broad range of methodologies, ideologies and pedagogies focusing on the study of the art of Africa, using theoretical reflections and applications from primitivism to metamodernism. Chapters break the externally imposed boundaries of Africa-related works beyond the conventional fragments of traditional, contemporary and diaspora. The contributions are significantly broad in their methodologies, ideologies and pedagogical coverage; yet, they all address various aspects of African artistic creativity, demonstrating the possibilities for analytical experiments that art history presents to scholars of the discipline today. The Ìwà (character) of each approach is unique; nevertheless, each is useful toward a fuller understanding of African art studies as an independent aspect of art historical research that is a branch or bud of the larger family of art history. The volume respects, highlights and celebrates the distinctiveness of each methodical approach, recognizing its contribution to the overall character or Ìwà of African art studies. The book will be of interest to students in undergraduate or graduate, intermediate or advanced courses as well as scholars in art history and African studies.

This edited volume, including contributions from scholars with different areas of specialization, investigates a broad range of methodologies, ideologies and pedagogies focusing on the study of the art of Africa, using theoretical reflections and applications from primitivism to metamodernism. Chapters break the externally imposed boundaries of Africa-related works beyond the conventional fragments of traditional, contemporary and diaspora. The contributions are significantly broad in their methodologies, ideologies and pedagogical coverage; yet, they all address various aspects of African artistic creativity, demonstrating the possibilities for analytical experiments that art history presents to scholars of the discipline today. The Ìwà (character) of each approach is unique; nevertheless, each is useful toward a fuller understanding of African art studies as an independent aspect of art historical research that is a branch or bud of the larger family of art history. The volume respects, highlights and celebrates the distinctiveness of each methodical approach, recognizing its contribution to the overall character or Ìwà of African art studies. The book will be of interest to students in undergraduate or graduate, intermediate or advanced courses as well as scholars in art history and African studies.

This book investigates pedagogical change across curricula and political transitions in the South African context, from 1994 to today. Tracing pedagogical transitions from post-apartheid to the demands of the 21st century, the book seeks to develop a novel approach to pedagogy that can meet the needs of students today. Adopting a cultural-historical lens, Hardman analyses the contradictions that arise due to transitions in the curriculum and describes the current state of teaching in primary schools in South Africa by focusing on how teachers teach scientific concepts. She goes on to examine the transitions from children's indigenous science/maths understanding to school science/maths understanding, developing a pedagogy that can transform the learning of mathematics and science in developing contexts. Building on theories from Vygotsky, Davydov, Feuerstein, Freire, Bruner and Hedegaard, Hardman develops a new and inclusive, decolonial pedagogical approach that can meet the needs of a multicultural and multilingual contexts around the world.

Since the 1990s, sub-Saharan Africa has experienced unprecedented attempts at reforming teacher and student classroom practices, with a learner-centred pedagogy regarded as an effective antidote to the prevalence of teacher-centred didactic classroom practices. Attempts at reform have been going on all over the continent. In fact, learner-centred pedagogy has been described as one of the most pervasive educational ideas in contemporary sub-Saharan Africa and elsewhere. Research has revealed that the major attempts have largely failed mainly because teachers have not been able to adopt instructional innovations to technical problems. This failure is also related to lack of resources, and poor teacher training programmes which lead to poor teacher quality, among others. This book attempts to explain why pedagogical change has not occurred in spite of the much energy and resources that have been committed to such reforms.The book also takes us inside what the author calls 'the socio-cultural world of African classrooms' to help us understand the reasons teachers dominate classroom life and rely disproportionately on didactic methods of teaching. Its conceptual analyses capture the best of both the sociology and the anthropology of education in contexts of poverty, as well as the politics of education.The book concludes that a socio-cultural approach should be the basis for developing culturally responsive indigenous pedagogies, though these may or may not turn out to be in any way akin to constructivist learner-centred pedagogies.

Cultural Awareness in Teaching Art and Design addresses an emerging area of development in contemporary pedagogy, the fostering of cultural awareness and sensitivity in the designers of tomorrow. By offering new and unique examples of how to better educate students around issues of cultural awareness, this book presents teaching methodologies that ultimately facilitate students in becoming better, and more inclusive, art and design professionals. Today, the role of education in the addressing of social and cultural issues is increasingly seen as central to pedagogical methodologies. Through engaged teaching, experiential learning, socially orientated pedagogy or any other definition, the idea that students can and should be exposed to, and deal with, issues of importance to various stakeholders is increasingly seen as central to the teaching and learning experience – whether it be in relation to local communities, national economies, regional cultural identities or more. This is explored in a series of innovative, cross-disciplinary case studies in art and design teaching, with authors approaching questions of cultural awareness and engagement through the lenses of art history, product design, communication design, film, architecture and interior design. In presenting their pedagogical methodologies and case studies, the authors in this text offer a unique cross-disciplinary design perspective that captures the cultural and social concerns of several regions of the world: Europe, North America, Asia and Africa and the Middle East. This book will be essential reading for art and design educators and students interested in developing and applying models of cultural awareness and engagement in the classroom and studio.

This book argues for a radical new approach to thinking about art and creativity in Africa, challenging outdated normative discourses about Africa's creative heritage. Africanism, which is driven by a traumatic response to colonialism in Africa, has an almost unshakable stranglehold on the content, stylistics, and meaning of art in Africa. Post-African aesthetics insists on the need to move beyond this counter-colonial self-consciousness and considerably change, re-work and enlarge the ground, principles and mission of artistic imagination and creativity in Africa. This book critiques and dismantles the tropes of Africanism and Afrocentrism, providing the criteria and methodology for a Post-African art theory or Post-African aesthetics. Grounded initially in essays by Denis Ekpo, the father of Post-Africanism, the book then explores a range of applications and interpretations of Post-African theory to the art forms and creative practices in Africa. With particular reference to South Africa, this book will be of interest to researchers across the disciplines of Art, Literature, Media Studies, Cultural Anthropology, and African Studies.