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Is Yearly Rainfall Amount a Good Predictor for Agriculture Viability In
Is yearly rainfall amount a good predictor for agriculture viability in drylands? Modelling traditional cultivation practices of drought-resistant crops: an ethnographic approach for the study of long-term resilience and sustainability Abel Ruiz-Giralt1,2, Stefano Biagetti1,2,3, Marco Madella1,2,3,4, Carla Lancelotti1,2* 1 CaSEs Research Group, Department of Humanities, Universitat Popmeu Fabra, Barcelona, Spain 2 Institución Milá y Fontanals, CSIC, Barcelona, Spain 3 School of Geography, Archaeology and Environmental Studies (GAES), University of the Witwatersrand, Johannesburg, South Africa 4 ICREA, Barcelona, Spain * corresponding author: [email protected] Abstract FAO guidelines on water requirements for plant growth in the absence of irrigation, stipulate that cultivation is not viable in areas with less than 450mm of annual rainfall. Indeed, in all maps of agricultural land use, most hyper-arid, arid, and semi-arid drylands are considered unproductive. Yet, modern societies in arid and semi-arid drylands still practice rainfed cultivation under regimes of much lower annual rainfall. This paper presents the results of ethnographic and cross-cultural investigations in the cultivation of Pearl millet, Finger millet and Sorghum, with a global perspective. We use published ethnographic material and novel data collected on the field to build and test models that display the interaction of ecological and geographic variables in explaining agricultural practices. The aim of this research is to show how rainfed agriculture is practised much more often, and in much more suitable areas, than normally reported. This holds the potential for the understanding of how these practices can play a pivotal role for long-term resilience and future sustainability of agricultural systems in drylands. -
Analysis on Symbolism of Malang Mask Dance in Javanese Culture
ANALYSIS ON SYMBOLISM OF MALANG MASK DANCE IN JAVANESE CULTURE Dwi Malinda (Corresponing Author) Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 365 182 51 E-mail: [email protected] Sujito Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 817 965 77 89 E-mail: [email protected] Maria Cholifa English Educational Department, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 345 040 04 E-mail: [email protected] ABSTRACT Malang Mask dance is an example of traditions in Java specially in Malang. It is interesting even to participate. This study has two significances for readers and students of language and literature faculty. Theoretically, the result of the study will give description about the meaning of symbols used in Malang Mask dance and useful information about cultural understanding, especially in Javanese culture. Key Terms: Study, Symbol, Term, Javanese, Malang Mask 82 In our every day life, we make a contact with culture. According to Soekanto (1990:188), culture is complex which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society. Culture are formed based on the local society and become a custom and tradition in the future. Culture is always related to language. This research is conducted in order to answer the following questions: What are the symbols of Malang Mask dance? What are meannings of those symbolism of Malang Mask dance? What causes of those symbolism used? What functions of those symbolism? REVIEW OF RELATED LITERATURE Language Language is defined as a means of communication in social life. -
Cultural Masks Project
Cultural Masks Project Working with plaster: a soft mixture of lime with sand or cement and water for spreading on walls, ceilings, or other structures to form a smooth hard surface when dried. Learning Goal Discuss how artworks reflect ideas, images and symbols from the culture within which they were made. Students will be able to develop plans for his or her own artwork (sketch). Students will be able to use the elements and principles of art in their own artwork (texture). Students will be able to explain the use of symbols and themes in their own artwork. How will we achieve these goals? PowerPoint (take notes) Complete mask research, artist statement Complete preliminary drawing of mask Complete mask project Reflection History of Masks Masks are a functional art form (artwork that serves a purpose) All masks incorporate some of the elements and principles of design History of masks Masks have been made for centuries. The oldest known mask is thought to be about 9,000 years old. Many ancient masks have not survived due to the materials from which they were made. This stone mask dates to 7000 BC and Every culture has some form is probably the oldest mask in the of mask. world (Musée Bible et Terre Sainte). History of masks Masks are made and worn for different reasons including: Ceremonial Ritual Protection Ornamental Theatrical History of masks Masks were/are made using local materials readily available in the environment. Materials include: Shells Beads Fibers (grasses, etc.) Human/animal hair and teeth History of masks Masks can be zoomorphic (having animal characteristics), anthropomorphic (having human characteristics), or a combination of the two. -
A BRIEF HISTORY of MASKS Mask Is the Essence of Drama
BLM3 Teacher/Student Resource A BRIEF HISTORY OF MASKS Mask is the essence of drama. The act of putting on a false face and becoming someone (or something) else for a moment has not been changed by time. The history of masks predates the history of drama and dance. Face decoration is at least as old as music and has been a part of storytelling since language development began on earth. Masks are used by people to communicate with others. Primal humans don animal masks or ghost masks and express their world. The 16th-century nobleman revels in the commedia dell’arte with its masked characters mocking his lifestyle. A clown strolls down the street in a parade able to delight young and old, who accept him as a jovial friend because of his clown face. Mask triggers what Coleridge called “willing suspension of disbelief” in theatre better than any other device. Chinese audiences recognize immediately the characters of lords and warriors whose elaborate, painted-on masks convey a long history of cultural tradition. NON-REALISTIC THEATRE There are a number of cultural and psychological factors converging in the experience of the mask. When someone covers up their own identity with a mask they become an abstract animation. If the mask conveys a symbolic meaning that we can read, we may be instantly aware of complex layers of meaning, or we may respond emotionally to the signals in the mask even beyond our conscious reasoning. The mask makes the actor into someone else, and we immediately accept them in their new role. -
Mask Use in the Context of COVID-19 Interim Guidance 1 December 2020
Mask use in the context of COVID-19 Interim guidance 1 December 2020 This document, which is an update of the guidance published patients wear the following types of mask/respirator in on 5 June 2020, includes new scientific evidence relevant to addition to other personal protective equipment that are the use of masks for reducing the spread of SARS-CoV-2, the part of standard, droplet and contact precautions: virus that causes COVID-19, and practical considerations. It medical mask in the absence of aerosol contains updated evidence and guidance on the following: generating procedures (AGPs) • mask management; respirator, N95 or FFP2 or FFP3 standards, or • SARS-CoV-2 transmission; equivalent in care settings for COVID-19 • masking in health facilities in areas with community, patients where AGPs are performed; these may cluster and sporadic transmission; be used by health workers when providing care • mask use by the public in areas with community and to COVID-19 patients in other settings if they cluster transmission; are widely available and if costs is not an issue. • alternatives to non-medical masks for the public; • In areas of known or suspected community or cluster • exhalation valves on respirators and non-medical masks; SARS-CoV-2 transmission WHO advises the following: • mask use during vigorous intensity physical activity; universal masking for all persons (staff, patients, visitors, service providers and others) within the • essential parameters to be considered when health facility (including primary, secondary manufacturing non-medical masks (Annex). and tertiary care levels; outpatient care; and Key points long-term care facilities) wearing of masks by inpatients when physical • The World Health Organization (WHO) advises the use distancing of at least 1 metre cannot be of masks as part of a comprehensive package of maintained or when patients are outside of their prevention and control measures to limit the spread of care areas. -
Lesson Title: Exploring the Arts of African Masks by Sui Huang
Ed P&L 834 Prof. Gordon Final Project Sui Huang May, 2011 Lesson Title: Exploring the Arts of African Masks Grade level: 9th grade Subject: Social studies/Arts/History/Multicultural Duration: Three 45 Minute~1 hour class periods Resource needed: Computers with internet access Description In this class, students will research on one important form of African art, which also exerted greatly influence on arts all around the world. By knowing the background, social origin and functionality of African masks. Students will be able to identify characteristics of African masks, identify materials used to create an African mask and become aware of symbolic meanings of African Mask arts. Students will be asked to work as a group and to conduct research on one specific African tribal mask of interest and present their findings and interpretations of this mask in front of class. Understanding that African mask bears strong cultural meanings, at the end of the class, students will be asked to create their own ‘personal mask’ using self justified colors and patterns. Objectives The student(s) will: - View multiple examples of African Masks featuring different themes - Discuss the symbolism in African Masks and the patterns and shapes within this art form. - Examine the colors used in African Art that represent African cultural heritage: For Example: Red- Life & blood; Gold- Fortune; Blue- Innocence; Green- The earth and Africa as the mother country; Black- The Unity of the people of Africa -show their understandings of one selected African mask - Brainstorm ideas for creating their own personal masks. - Create their own African inspired art mask. -
The Slow Death of Slavery in Nineteenth Century Senegal and the Gold Coast
That Most Perfidious Institution: The slow death of slavery in nineteenth century Senegal and the Gold Coast Trevor Russell Getz Submitted for the degree of PhD University of London, School or Oriental and African Studies ProQuest Number: 10673252 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10673252 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract That Most Perfidious Institution is a study of Africans - slaves and slave owners - and their central roles in both the expansion of slavery in the early nineteenth century and attempts to reform servile relationships in the late nineteenth century. The pivotal place of Africans can be seen in the interaction between indigenous slave-owning elites (aristocrats and urban Euro-African merchants), local European administrators, and slaves themselves. My approach to this problematic is both chronologically and geographically comparative. The central comparison between Senegal and the Gold Coast contrasts the varying impact of colonial policies, integration into the trans-Atlantic economy; and, more importantly, the continuity of indigenous institutions and the transformative agency of indigenous actors. -
Contemporary Approaches to Sustainable Development: Exploring Critical Innovations in Traditional Leadership in Ghana
African Journal of Political Science and International Relations Vol. 5(5), pp. 245-253, May 2011 Available online at http://www.academicjournals.org/ajpsir ISSN 1996-0832 ©2011 Academic Journals Full Length Research Paper Contemporary approaches to sustainable development: Exploring critical innovations in traditional leadership in Ghana Jones Lewis Arthur1* and Michael Kofi Nsiah2 1Lecturer/Executive Director (BAREC), Sunyani Polytechnic, P. O. Box 206, Sunyani, Ghana. 2Planning Officer, Sunyani Polytechnic, P. O. Box 206, Sunyani, Ghana. Accepted 10 March, 2011 The paper examines the complexities between traditional and political leadership, science and technology and sustainable development in the context of developing countries. Particular resource information was drawn from Ghana’s experience. Available literature was also reviewed. The participatory methodology was used for data collection. This included Literature review or review of existing research data, Community forum, Focus group discussions, Interview of key informants and Community cafes. Key informants including chiefs, researchers, and community opinion leaders were interviewed on their perception on how science, technology and tradition can co-exist to demystify the issues of sustainable development in the rich cultural Ghanaian societies. Descriptive sampling design was used and covered various communities of Ghana. A sample size of 500, making up 100 households of about 5 people, were sampled for their views, comments and perceptions on indigenous knowledge, traditional leadership, environmental best practices. The sampling procedures employed included incidental, purposive, snowballing and cluster to identify floating respondents, groups and key informants through identification by friends, colleagues and neighbours. It was identified that both traditional and national politics have critical roles to play in ensuring sustainable development, as they stand a greater chance to demystify the misconceptions about science within the rich cultural environments of the Ghanaian society. -
Mask Work and Improvisations: a Classroom Adaptation Based on the French Tradition Marcia Berry Azusa Pacific Nu Iversity, [email protected]
Communication and Theater Association of Minnesota Journal Volume 36 Article 9 January 2009 Mask Work and Improvisations: A Classroom Adaptation Based on the French Tradition Marcia Berry Azusa Pacific nU iversity, [email protected] Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Acting Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Berry, M. (2009). Mask Work and Improvisations: A Classroom Adaptation Based on the French Tradition. Communication and Theater Association of Minnesota Journal, 36, 124-129. This Teacher's Workbook is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Berry: Mask Work and Improvisations: A Classroom Adaptation Based on the 124 CTAMJ Summer 2009 Mask Work and Improvisations: A Classroom Adaptation Based on the French Tradition Marcia Berry Assistant Professor [email protected] Department of Communication Studies Azusa Pacific University Azusa, CA ABSTRACT Both historically and currently, mask work provides excellent body training for actors and mimes. This article offers a brief history of French mask work as well as step-by-step instructions for a mask workshop that moves students from simple to abstract mask improvisations. The mask workshop also functions as an icebreaker and builds class camaraderie. Mask work, long utilized for theatrical body training, in fact, has a rich tradition in French acting and mime. -
Face and Mask
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. For us the most entertaining surface in the world Is that of the human face. Georg Christoph Lichtenberg, Sudelbücher, F. 88 introDUction: Defining tHe sUbject 1 A history of the face? It is an audacious undertaking to tackle a subject that defies all categories and leads to the quintessential image with which all humans live. For what, actually, is “the face”? While it is the face that each of us has, it is also just one face among many. But it does not truly become a face until it interacts with other faces, seeing or being seen by them. This is evident in the expression “face to face,” which designates the immediate, perhaps inescapable, interaction of a reciprocal glance in a moment of truth between two human beings. But a face comes to life in the most literal sense only through gaze and voice, and so it is with the play of human facial expressions. To exaggerate a facial expression is to “make a face” in order to convey a feeling or address someone without using words. To put it differ- ently, it is to portray oneself using one’s own face while observing conventions that help us understand each other. Language provides many ready examples of figures of speech that derive from facial animation. The metaphors we all automatically use about facial expressions are particularly revealing. “To save face” or “to lose face” are typical of these. -
Diversity and Tolerance in the Islam of West Africa
Interview with Chief Fanyinama III, head of the Wangara community in Ghana Kintampo, March 21, 2006 Interview by Emmanuel Akyeampong with Dr. Sey and Rebecca Tandoh Today is March 21 st , 2006. We are at Kintampo at the palace of Chief Fanyinama III. This area of Kintampo is Fanyinama electoral area or Fanyinama line. We have come here today to talk generally about -- no structure -- Islam, your institution in the larger context, understanding how it has changed within the chieftaincy institution. Fanyinama: Thank you very much for coming. We start in the name of God, in the name of Allah, the most merciful. First of all, about Islam, if you look at West Africa, and the Trans Atlantic slave trade, it was the collapse of the Mali and Songhai empires which separated everybody including our ancestors, this is during the C16, they were Muslims. After the collapse of the Mali and Songhai empires some left Mali to Guinea, some to Gambia, Senegal etc. But our ancestors came down through the Ivory Coast and during the C16 they entered this country. They dealt with the Dutch, the Portuguese and finally the British and as they are moving, you know, our ancestors even from the beginning when you took history, history talks about Batuta, Askia Mohammed, Sandiata, Mansa Musa etc. Even Mansa Musa, it is Masa Musa, It is Wangara, it is chief. In Ghana it is Dyula. In Ghana we are Wangara, in Mali it is Bambara, in Guinea it is Mandingo and when you reach Ivory Coast it is Dyula. -
African Masks Introduction Slide 1: Map of Africa
Art Appreciation, Spring 2013 African Masks Introduction Many of the ancient cultures have survived through a tradition of storytelling, or “oral history.” People keep their cultures and religions alive by passing down myths and folk tales from one generation to the next, over thousands of years. People bring these myths and folk tales to life through masquerades – masked performances of special customs and stories that bring together dance, music, singing and art. At the center of these rituals is the African mask. The African mask is not only a work of sculpture, but because of its function, it is also considered a performance art form. Despite development of big cities and access to TV and movies, the African mask continues to be a cultural tradition among many people. Today we are going to be discussing African masks from Western Africa, mainly the Ivory Coast and Burkina Faso. Slide 1: Map of Africa What do you know about Africa? (weather, animals, etc.) When you think about Africa, what comes to mind? Has anybody here ever been to Africa? What did you see? Africa is the world's second-largest and second-most-populous continent. Approximately 1 billion people live in Africa. There are approximately 2000 languages spoken in Africa and there are 55 countries. It is a very diverse continent in a variety of ways. Today many people in Africa live in modern houses and work in offices, while others live a more traditional way of life. In traditional cultures, many people work on small farms or produce goods for trade in the village marketplace.