Nkiru Nzegwu
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Visual Art Appreciation in Nigeria: the Zaria Art Society Experience
Mgbakoigba, Journal of African Studies. Vol.6 No.2. February 2017 VISUAL ART APPRECIATION IN NIGERIA: THE ZARIA ART SOCIETY EXPERIENCE Chinyere Ndubuisi Department of Fine Art, Yaba College of Technology, Yaba, Lagos, Nigeria [email protected] 0802 3434372 Abstract There is no doubt that one of the greatest creative impetuses injected into Nigerian art was made possible by, among other things, the activities of the first art institution in Nigeria to award a Diploma certificate in art, Nigerian College of Arts, Science and Technology (NCAST). NCAST started in 1953/54 at their Ibadan branch but they could not rationalize their art programme ab initio but organized art exhibition to raise the public awareness of the programme. In September 1955 the art programme became a full department and relocated to their permanent site at Zaria, in northern Nigeria, with 16 students. This paper focuses on NCAST impact on modern Nigerian art and the gradual, but steady, growth of other art activities in Nigeria since NCAST. The paper also discusses the emergence of an art society from NCAST, known as Zaria Art Society and the extension of the philosophy of the Art Society into the church by one of its member, Bruce Onobrakpeya, who represented most of his Christian images in traditional Urhobo style as against the popular western style. The paper argues that Nigeria has a rich art and diverse culture which existed long before the colonial reign and thus encouraged the efforts of the Zaria Art Society in re-appropriating local forms and motifs in their modern art by way of an ideology known as 'Natural synthesis.' Introduction The argument may be how one can define 'culture' in the context of the diverse ethnic groups that populate present-day Nigeria. -
I Am Because We Are: Africana Womanism As a Vehicle of Empowerment and Influence”
“I Am Because We Are: Africana Womanism as a Vehicle of Empowerment and Influence” Janiece L. Blackmon Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts In History Committee Chair: Dr. Beverly Bunch‐Lyons Committee Member: Dr. Hayward Farrar Committee Member: Dr. Brett L. Shadle June 16, 2008 Blacksburg, VA Keywords: Gender, Africana womanism, Rastafarianism, Black Panther Party, Nation of Gods and Earths “I Am Because We Are: Africana Womanism as a Vehicle of Empowerment and Influence” Janiece L. Blackmon ABSTRACT The purpose of this research project has been to shed light on the experiences of Black women in Afrocentric groups—Nation of Gods and Earths, the Black Panther Party, and Rastafarians—that operated on the fringes of society during the 1960s through the early 2000s. This work articulates the gender dynamics between the men and women of the groups. In it, I trace the history of Black nationalism and identity in the United States in the late 19th century to the 20th century which set the framework for the formation of the Nation of Gods and Earths (NGE), the Black Panther Party(BPP), and Rastafarianism and its members to see themselves as a part of the Black nation or community and the women of these groups to see their identity tied in with the goals and desires of the group not as one set on individualistic ambitions. The Africana womanist did not see herself as an individual but rather a vital part of the entire Black community. -
Izibongo Issue 60
IZIBONGO Celebrating Art in Africa and the Diaspora Issue 60 - 2018 Saluting Ben Enwonwu including review of Ben Enwonwu: The Making Of An African Modernist by Sylvester Okwunodu Ogbechie Natty Mark Samuels Editorial Every public figure, especially a pioneering one, will have their detractors; so it was with Ben Enwonwu. But what is undeniable, is his massive contribution to Modern Art - and the mastery of the materials he used. I pay homage to this truly trailblazing figure, in Saluting Ben Enwonwu, which is a revised version of a previous work, entitled Song for Ben Enwonwu. Revised, in that a few verses have been added and words and sentences here and there, have been changed. This issue also includes The Necessary Song, my review of Ben Enwonwu: The Making Of An African Modernist, by Professor Ogbechie. Here's what the featured artist says about Anyanwu, one of his great offerings in bronze... “My aim was to symbolise our rising nation. I have tried to combine material, crafts and traditions, to express a conception that is based on womanhood – woman, the mother and nourisher of man. “In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation – a people! “This sculpture is spiritual in conception, rhythmical in movement and three dimensional in its architectural setting – these qualities are characteristic of the sculptures of my ancestors.” From Nigeria, I am happy to present to you, BEN ENWONWU. Editor – Natty Mark Samuels – africanschool.weebly.com – An African School Production Saluting Ben Enwonwu©Natty Mark Samuels, 2018. -
Rethinking, Re-Theorising the Concept of Modernism in Painting and Its After-Effect on African Contemporary Art Discourse
Mgbakoigba, Journal of African Studies. Vol.5 No.2. June 2016 RETHINKING, RE-THEORISING THE CONCEPT OF MODERNISM IN PAINTING AND ITS AFTER-EFFECT ON AFRICAN CONTEMPORARY ART DISCOURSE Ikemefula Emmanuel Irokanulo Department of Fine Arts Yaba College of Technology, Yaba Lagos State Nigeria [email protected] +2348034267433 and Amaka Nwosu Department of Industrial Design Yaba College of Technology Abstract This paper explores both the European and African concepts of Modernism and its modernity in painting. The idea is to re-examine and re-theorise the understanding of this concept with a view to finding out its true import and impact on the contemporary art scene, especially that of Africa. The works of two African artists are reviewed and discussed excluding the painting of Paul Cezanne which has birthed this argument. Finally one of the authors introduces his own paintings to help buttress their position and the theorisation of personal understanding of Modernism in painting culture. The paper concludes by advancing a re-theorisation and understanding of the concept of modernism in Africa, so that a new understanding could be realised in developing new awareness of what Modernism stands for within contemporary African art discourse. Key words: Modernism, Contemporary art Discourse, Paul Cezanne, Re-theorise, Re- thinking Background to the Study According to Irokanulo (2014), the basic characteristic of the European modern period was its emphasis on science and technological advancement because of the industrial revolution sweeping across Europe in the nineteenth century. It was also a period of theoretical assertions. Gardner (2005) advances that most of the developments in the sciences and social sciences have their roots in this period. -
Weathering the Storm: Ben Enwonwu’S Biafrascapes and the Crisis in the Nigerian Postcolony
Weathering the storm: Ben Enwonwu's Biafrascapes and the crisis in the Nigerian postcolony Article (Published Version) Lecznar, Matthew (2018) Weathering the storm: Ben Enwonwu’s Biafrascapes and the crisis in the Nigerian postcolony. Tate Papers, 30. ISSN 1753-9854 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/79781/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk Research Publications Tate Papers Tate Papers no.30 Weathering the Storm: Ben Enwo… TATE PAPERS Weathering the Storm: Ben Enwonwu’s Biafrascapes and the Crisis in the Nigerian Postcolony MATTHEW LECZNAR This article appraises Nigerian artist Ben Enwonwu’s contribution to postcolonial modernism in Nigeria through an analysis of his artistic responses to the Nigeria-Biafra war (1967–70). -
African American Womanism Speaks to Dalit Feminism: Special Reference to Telugu Dalit Women’S Literature
Rupkatha Journal on Interdisciplinary Studies in Humanities, Vol. IX, No. 1, 2017 0975-2935 DOI: https://dx.doi.org/10.21659/rupkatha.v9n1.15 Full Text: http://rupkatha.com/V9/n1/v9n115.pdf African American Womanism Speaks to Dalit Feminism: Special Reference to Telugu Dalit Women’s Literature D. Jyothirmai & K. Sree Ramesh Adikavi Nannaya University in Andhra Pradesh, India. Email: [email protected] Received March 1, 2017; Revised April 6, 2017; Accepted April 27, 2017; Published May 7, 2017. Abstract ‘Mainstream feminism’ in India remained substantially elitist in its concerns carrying the legacy of ‘western feminism’. As such it failed to appreciate, accommodate and represent the specific concerns of Dalit women. Consequently Dalit women are forced to lead a separate movement. It is the premise of this paper that the nascent Dalit Feminism, which could not derive any theoretical and representational sustenance from the Indian Feminism, can draw from the African American womanist/feminist experiences as it shares a similar socio-historical environment. Further, it argues in favor of Dalit feminism as a more inclusive kind of feminism that challenges oppression of any form for women in India or elsewhere. As much of Dalit women’s writing is produced in Indian vernaculars a few short stories from Telugu Dalit writing, translated into English are analyzed to reflect different perspectives of Dalit women’s discourse. Keywords: Feminism, Dalit Feminism, African Feminism, Untouchability, Education of Dalits. 1. Introduction Even though it comes under the category of ‘third world’ feminism, ‘Indian mainstream feminism’ remained elitist in its concerns carrying the legacy of ‘western feminism.’ Indian feminism was/is truncated in appreciating the heterogeneity and the specific needs of women belonging to various oppressed castes, tribes, minorities. -
Mari Bergman AFRICAN SISTERHOOD
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Lauda Mari Bergman AFRICAN SISTERHOOD –CONCEPTUALIZING AFRICAN FEMINIST IDENTITY Pro Gradu – tutkielma Valtio-oppi 2016 Lapin yliopisto, yhteiskuntatieteiden tiedekunta Työn nimi: African sisterhood – Conseptualizing african feminist identity Tekijä: Mari Bergman Koulutusohjelma/oppiaine: Valtio-oppi Työn laji: Pro gradu –työ _x_ Sivulaudaturtyö__ Lisensiaatintyö__ Sivumäärä: 68 Vuosi: 2016 Tiivistelmä: This study focuses on the political identity of African feminism. The purpose is to understand the meaning and the origins of African sisterhood as a identity political project. The analyzing method is content analysis guided by theory. The theoretical framework consists of identity political theories from Harriet Bradley and Manuel Castells. As a supporting theoretical framework the concept of culture relativism and the concept of freedom has been used. The research material consists of publications from an organization called African Feminist Forum. Aim of research is to study how African feminist forum builds and expresses its political identity in relation to traditional western feminist identity. The meaning of African feminism is to tell it apart from traditional western feminism and make theories and ways of activism that are more valid in the African context. In its rhetoric African feminist forum is trying to state what are the threads and ordeals in its near future and at African women’s living surroundings. This is how the group makes itself distinctive and executes identity political project. Cultural relativism plays an important role in this because the cultural relativist though highlights the importance of respecting your own cultural heritage. -
Exploring the Transformative Essence of Intellectual Feminism in Africa
Open Political Science, 2021; 4: 126–135 Research Article Al Chukwuma Okoli* Exploring the Transformative Essence of Intellectual Feminism in Africa: Some Contributions of Amina Mama https://doi.org/10.1515/openps-2021-0013 received October 21, 2020; accepted January 14, 2021. Abstract: The paper seeks to explore the transformative essence of intellectual feminism in Africa, with particular reference to the contributions of Amina Mama. Following textual and contextual exegeses of works by or on the focal scholar-activist, as well as insights drawn on extant literature on aspects of her gender/feminist engagements/ scholarship, the paper posits that Amina Mama has made significant transformative contributions in various sites of intellectual feminism, especially in the areas of intellectual resourcing, academic leadership and mentoring, as well as strategic scholarly activism/advocacy. Among other things, the study intends to set an agenda on how to effectively link feminist scholarship to practice in an effort to mainstreaming social transformation in Africa. Keywords: Amina Mama, feminism, intellectual feminism, social transformation, transformational feminism 1 Introduction Feminism is a social belief system or movement dedicated to the emancipation of women from cultural and structural and allied inhibitions of the patriarchal world. It refers to “a complex set of political ideologies used by the women’s movement to advance the cause of women’s equality and put to an end to sexist theory and practice of social oppression” (Ngwainmbi, 2004: 95). As conceived by Mama (cited in Encyclopedia.com, 2018) “Feminism is broadly defined as the struggle for the liberation of women, and encompasses epistemologies, methodologies, theories, and modes of activism that seek to bring an end to the oppression and subordination of women by men”. -
African Feminisms: Paradigms, Problems and Prospects
Feminismo/s 37, January 2021, 289-305 ISSN: 1989-9998 AFRICAN FEMINISMS: PARADIGMS, PROBLEMS AND PROSPECTS FEMINISMOS AFRICANOS: PARADIGMAS, PROBLEMAS Y PERSPECTIVAS Rowland Chukwuemeka AMAEFULA Author / Autor: Abstract Rowland Chukwuemeka Amaefula Alex Ekwueme Federal University African feminisms comprise the differing Ndufu-Alike, Nigeria [email protected] brands of equalist theories and efforts geared https://orcid.org/0000-0001-7012-2239 towards enhancing the condition of woman. However, the meaning and application of the Submitted / Recibido: 03/11/2020 Accepted / Aceptado: 17/08/2020 word ‘feminism’ poses several problems for primera African women writers and critics many of To cite this article / Para citar este artículo: whom distance themselves from the move- Amaefula, Rowland Chukwuemeka. «African Feminisms: Paradigms, Problems and ment. Their indifference stems from the Prospects». In Feminismo/s, 37 (January anti-men/anti-religion status accorded fem- 2021): 289-305. https://doi.org/10.14198/ fem.2021.37.12 inism in recent times. Thus, several women writers have sought to re-theorize feminism Licence / Licencia: in a manner that fittingly captures their This work is licensed under a Creative Commons Attribution 4.0 International. socio-cultural beliefs, leading to multiple feminisms in African literature. This study critically analyzes the mainstream theories of © Rowland Chukwuemeka Amaefula feminisms in Africa with a view to unravelling the contradictions inherent in the ongoing efforts at conceptualizing African feminisms. The paper further argues for workable ways of practicing African feminisms to serve prac- tical benefits for African man and woman, and to also function as an appropriate tool for assessing works by literary writers in Nigeria in particular and Africa in general. -
African Feminism: How Should We Change?
Development, 2006, 49(1), (38–41) r 2006 Society for International Development 1011-6370/06 www.sidint.org/development Thematic Section African Feminism: How should we change? 1 SYLVIA TAMALE ABSTRACT Sylvia Tamale gives a critical, self-reflexive analysis of the African women’s movement, with her proposals for the changes she would like to see. She asks that African feminists transform themselves and societies into a more equitable, democratic and tolerant one. KEYWORDS Africa; professionalizing; fundamentalism; activism; transformation One should always be drunk. That’s all there is to it; it’s the only way. Not to feel the horrible burden of Time That breaks your back and bends you to the earth, You should be continually drunk. Drunk with what? With passion, with anger, with outrage or with justice, as you please. But get drunk. And if sometimes you should happen to awake, On the stairs of a palace, on the green grass of a ditch, in the dreary solitude of your own room, and find that your drunkenness is ebbingor has vanished, Ask the wind and the wave, ask star, bird, or clock, ask everythingthat flies, everythingthat moans, everythingthat flows, everythingthat sings, everythingthat speaks, Ask them the time; and the wind, the wave, the star, the bird and the clock will all reply: ‘It is Time to get drunk! If you are not to be the martyred slaves of Time, be perpetually drunk! With passion, with anger, with outrage or with justice, as you please.’ Speaking the F word This is a slightly modified version of the poem entitled,‘Be Drunk’ by the 19th century French Poet, Charles Baudelaire. -
Pan-Africanism and Feminism
FEMINIST AFRICAFEMINIST 19 A publication of the Websites Issue 19 | 2014 African Gender Institute www.agi.ac.za/journals University of Cape Town www.agi.ac.za PAN-AFRICANISM AND FEMINISM Harry Oppenheimer Institute Building Engineering Mall University of Cape Town Private Bag, Rondebosch 7701 South Africa Tel: +27 21 650 2970 Fax: +27 21 650 4840 E-mail: [email protected] Pan-Africanism and Feminism Cover photograph: Women Demanding the Release of Angela Feminist Africa is a continental gender studies journal Davis from Prison in Somali capital Xamar (Mogadishu), 1972. produced by the community of feminist scholars. Photographer unknown. It provides a platform for intellectual and activist Source: http://sinbarras.org/2013/03/12/88/ research, dialogue and strategy. Feminist Africa attends to the complex and diverse dynamics of creativity and resistance that have emerged in postcolonial Africa, and the manner in which these are shaped by the shifting global geopolitical configurations of power. It is currently based at the African Gender Institute in Cape Town. A full text version of this journal is available on the Feminist Africa website: http://www.feministafrica.org This publication has been printed on Cocoon Offset, which is a 100% recycled product and is one of the most environmentally friendly papers available. Feminist Africa 19 Pan-Africanism and Feminism Issue 19: September 2014 First published in 2014 by the African Gender Institute All Africa House University of Cape Town Private Bag Rondebosch 7701 © in published edition: African Gender Institute, University of Cape Town, South Africa, 2013 ISSN: 1726-4596 All rights reserved. -
Positioning Nigerian Modernism
POSITIONING NIGERIAN MODERNISM On the occasion of Ben Enwonwu’s Centenary (1917–1994) 28–29 September 2017 1 FOREWORD We are delighted to be able to present this major international conference at Tate Modern, which will reconsider the origins and socio-political underpinnings of modernism in Nigeria and West Africa more broadly and the legacy of some of its key proponents. One hundred years after the birth of pioneering Nigerian artist Ben Enwonwu, a resolute defender of the value of African culture internationally, it is timely to emphasise the contributions of artists active in the years before and after decolonisation and reconsider the context in which they were working. This conference seeks to address issues around the formation of post-colonial identity, the preservation of history and the impact of transnationalism and decolonisation in art criticism and museum collections today. We were overwhelmed by the response we received to our open call for papers. The breadth and depth of research being undertaken by colleagues around the world is exciting and encouraging. Art histories are being written and re-written and we are honoured to be able to bring together scholars from major museums and academic institutions in Nigeria, Germany, Austria, the United States and the United Kingdom who are at the forefront of rethinking modernism. We hope that this conference will provide a platform for ideas to be shared and for the discourse to be developed further. We are extremely grateful for their collaboration. We would also like to acknowledge the contributions of Oliver Enwonwu, Sylvester Ogbechie and Neil Coventry whose tireless work over many years has informed our own.