Esta dissertação constitui-se da pesquisa e do estudo bibliográfico sobre cultura material e arte africana tradicional, aqui entendida como a arte de origem anterior ao período da colonização européia, antes do século XIX, mas também a produzida durante este período, especificamente a arte da África central. Nossa pesquisa reflete o fato de haver no Brasil uma omissão considerável de fontes bibliográficas e de informações específicas sobre arte e cultura material africana em língua portuguesa, sobretudo de natureza didático-pedagógica. Visamos também a Lei 10639/2003, que torna obrigatório o ensino de História da África e Cultura Afro-brasileira no âmbito da Educação Básica, e em especial nas áreas de Educação Artística, Literatura e História do Brasil / The main subject of this work is equally the research and the bibliographical study about material culture and traditional African art, here understood as the art previous to the period of the European colonization, before the 19th century, but also that produced during this period, specifically the art of Central Africa. Our research reflects the fact that in Brazil there is a considerable lack of bibliographical sources and specific information on art and African material culture in Portuguese language, mainly of didactic and pedagogic nature. We also aim at the governmental resolution that assures the teaching of African History and Afro- Brazilian Culture in the sphere of basic education, especially in the areas of Art Education, Literature and Brazilian History

M.Tech. / In this research, I examine whether cultural meanings embedded in original sixteenth to eighteenth century Dutch lace and Shweshwe fabric, as examples of colonial forms, are transformed through selected processes. With reference to Dutch lace from Holland, I analyse how the form changes within colonial and post-colonial contexts, but propose that the cultural meanings of the lace remain similar in both contexts. With reference to Shweshwe fabric, I argue that the form stays the same within both colonial and post-colonial contexts, but that its cultural meaning changes as a result of how patterns printed on it are named and identified in a post-colonial context. In this research, I use the term ‘cultural meaning’ to refer to certain signifiers of culture. I propose that factors such as value, class, aspiration, desire and consumption are embedded in or make cultural meaning. My central argument proposes that crocheted doilies, and plastic tablecloths and placemats might be seen as post-colonial versions of Dutch lace. These post-colonial versions of Dutch lace are adopted and adapted by female homemakers in Naledi Ext. 2 to suit certain decorative tastes, values, aspirations and act as markers of class. This adoption and adaptation of the original colonial form, shifts the cultural meanings imbued within it, but not necessarily the associated consumptive meanings. Whilst the primary focus of the theoretical research is Dutch lace and its proposed post-colonial counterparts, I also examine examples of original Shweshwe fabric and how meanings of motifs found on this fabric have been transformed by the modern Mosotho to reflect notions of value and aspiration, whilst the actual motifs appear to be unchanged. In my practical work, I use Dutch lace, crocheted doilies, and plastic tablecloths and placemats, as well as Shweshwe fabric as visual references in the production of large to small scale paintings. In these, I explore how, through painterly alteration and transformation, shifts can occur in the meanings of patterns derived from these culturally-loaded sources.

The Pretoria Art Museum opened its doors to the public on May 20, 1964. At that time the Johannesburg Art Gallery had already been established in 1910 and the South African National Gallery in Cape Town in 1895. The realization of the Pretoria Art Museum was an accomplishment of the City’s clerk’s push for the city to have a museum of its own that would enable it to showcase works that the city owned which until then had been confined to its administrative offices and the City Hall. This nucleus collection which had been inaccessible to the general public, consisted of South African Old Masters and 17 Century Dutch art. On 15 April 1964, about a month before the museum opened officially to the public, the Selection Committee of the Board of Trustees of the Art Museum instituted by the City Council of Pretoria met to deliberate on how the collection of the museum was to be built in order to expand this nucleus collection further.The result was a series of eight resolutions that favoured the acquisition of South African Old Masters and The Hague School (19thcentury Netherlandish art). In the minutes of that meeting no mention was made of the acquisition of 20thcentury South African black artists. By 1994 about 2 404 units of artworks by white artists had been acquired in contrast to about 86 units of artworks by black artists. The eight resolutions tabulated by the board, can be taken as an informal policy thatthe museum adopted during the thirty-year period of its existence from 1964 to 1994 to acquire artworks. No formal acquisition policy existed as a part of the museum’s acquisition strategy during that three decade period. Fortunately, as the collection grew, there were deviations in the ‘acquisition strategy’ because works by black artists, though collected at a far lesser frequency than those by white artists, found their place in the collection. This research paper is a homage to the contributions of 20thcentury South African black artists’ contributions to the history of South African art. / Dissertation (MSocSci)--University of Pretoria, 2020. / Historical and Heritage Studies / MSocSci / Unrestricted

This research focuses on how many African cultural objects found their way to Western museums or private collections. Therefore the author examines to what extent African states have succeeded in their quest for the return of their cultural objects and what the inadequacies in the current international legal regime for the return of cultural objects are. Can the return of African cultural objects properly be identified as a human right issue and will such identification present better chances for their return? Also look at how existing international human rights mechanisms are applied in the quest for the return of African cultural objects. Focuses on the specific African countries of Nigeria and Ethiopia in respect of their efforts towards the return of their tangible and moveable cultural heritage. / Thesis (LLM (Human Rights and Democratisation in Africa)) -- University of Pretoria, 2007. / A Dissertation submitted to the Faculty of Law University of Pretoria, in partial fulfilment of the requirements for the degree Masters of Law (LLM in Human Rights and Democratisation in Africa). Prepared under the supervision of Prof. Andreas Eshete of the Faculty of Law, University of Addis Ababa, Ethiopia. / http://www.chr.up.ac.za/ / Centre for Human Rights / LLM

This dissertation offers the first in-depth, socio-political history of the National Institute of Fine Arts in Tetouan. Organized into four chronological chapters, this study illustrates how generations of artists laid the groundwork for the development of modern and contemporary art in Morocco. My first chapter examines how the pedagogy of the Preparatory School of Fine Arts, founded in 1946 by Spanish painter Mariano Bertuchi Nieto, informed the Pictorial School of Tetouan, articulating myths of Andalusian nationalism, Hispano-Arab culture, and Hispano-Moroccan brotherhood. The role of arts and culture in Spain’s imperialist project is a lens for understanding how the colonial encounter and its afterlife affected Moroccan artists of the mid-twentieth century. My second chapter examines the post-independence period, between 1957, when the Preparatory School was re-inaugurated as the National School of Fine Arts by King Mohammed V, and the 1970s. Decades of Spanish colonialism resulted in the region’s socio-political, cultural, and economic marginalization and a disregard by scholars for seminal figures such as Ahmed Amrani, Saâd Ben Cheffaj, Meriam Maziane, Mekki Megara, and Mohamed Sarghini. I assert that rather than replicate colonial artistic styles, they were engaged in identity exploration and formal experimentations. The 1970s and 1980s in Morocco were recognized as the Years of Lead, a period of state-sponsored violence and oppression under King Hassan II, thus, in my third chapter, I delve into the work of artists responding to these tumultuous decades, such as Aziz Abou Ali, Mohamed Drissi, and Ahmed Amrani. Other artists openly reacted against the school’s marginalization and conservative pedagogy via the Spring Exhibitions, a series of five ephemeral outdoor exhibitions in al-Faddān square. Rebranded once more in 1994 as the National Institute of Fine Arts, the school has produced a generation of contemporary artists such as Mohamed Larbi Rahhali, Younès Rahmoun, and Safaa Erruas, who work primarily with Installation art and are socially and politically engaged. To that end, my fourth chapter highlights the decolonial artistic practices and pedagogical shifts introduced by innovators such as Abdelkrim Ouazzani, Mohammed Chabâa, and Faouzi Laatiris, who cultivated a more liberal artistic environment at the school. / 2029-03-31T00:00:00Z

From African rock paintings created 50-70,000 years ago during African migrations to the art of the Nile Valley and the Benin bronzes, much of African art has been claimed and controlled by European institutions governing the capitalization and exploitation of African art and artists. The Western art world has had a vested interest in African art since the European conquest of Africa when much of it was stolen. Incorporating evidence from books, essays, magazines, reports, interviews, and documentaries, this study shows that an operational Afrocentric approach to African art administration dismantles the exploitative agency of the Western art industry to initiate a liberation process from its artistic confines. It enhances how African artists, the community, and cultural representatives on the continent and throughout the diaspora view African artistry from a cultural perspective and free themselves from the control of an industry profiting from their works by defining them from a Eurocentric racist perspective. Cultivating a creative ecosystem that functions as an organizing method by executing Afrocentric infrastructure to demonstrate creative, economic, and social values establishes a culturally sensitive platform to develop the administration, accumulation, and pedagogies of African art. It will have an educational purpose that requires becoming conscious of African cultural history and the function of art. From this perspective, it is possible to develop a cultural identity and grounded analysis of the creativity of the African world and its value from the past to the future. / Africology and African American Studies

No description available.

No description available.

Thesis (M.A.)--University of the Witwatersrand, Faculty of Humanities, History of Arts, 2013 / This report examines the collecting practices of the private collector of South African art, situated in South Africa, and considers the way in which the act of collecting influences both the contemporary market and the construction of the art historical canon. The report questions the contribution made to the South African art world by collecting practices and considers what is involved in the collecting of fine art. I discuss the collector in relation to Sylvester Ogbechie’s (2010) notion of cultural brokerage; I examine notions of both public and private through the writings of Michael Warner (2002); and I consider what makes into one a collector, with reference to Thomas G. Tanselle’s (1998) text A Rationale of Collecting, while engaging several other sources. The report continues with a comparison between international collectors, with a focus on the ways in which they contribute to what becomes and remains relevant, as well as discussing some local collectors. I conclude with an examination of the way in which auction houses have played a seminal role in the establishment of the canon in South Africa, and the role of the collector in relation to this system. In summary, this paper examines the ways in which the private collector of South African art has a great influence on what is perceived as relevant to the canon, to culture and to art history.

Made available in DSpace on 2016-04-27T19:30:17Z (GMT). No. of bitstreams: 1 Monica Carolina Savieto.pdf: 3586222 bytes, checksum: b46c0555319daf44f42dc2baaeba262f (MD5) Previous issue date: 2011-05-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Catholicism, in the region of the Vale do Paraíba, throughout the century XIX, got by profound changes. This originality, resulting from the african presence, is remarkable in religious feast of the region even today. This research approach this originality through statuary catholic saints called nó de pinho. The central african presence in the Valley was grimpsed through images of saint nó de pinho, religious festivals, local newspapers, historical demographic data and historic photos. To undestand how groups of enslaved africans taking itself cultural elements which have been imposed the catholicism - translating and creating Áfricas in Brazil, means to focus new subjects historical, new communities and new social dynamics / O catolicismo, na região do Vale do Paraíba, ao longo do século XIX, passou por profundas mudanças. Esta originalidade, resultante da presença africana, é notável ainda hoje em festas religiosas da região. A presente pesquisa procura abordar esta originalidade através da estatuária de santos católicos denominados nó de pinho. A presença centro africana no Vale foi vislumbrada através de imagens nó de pinho, de festas religiosas, de jornais locais, de dados de demografia história e fotografias históricas. Compreender como grupos de africanos escravizados tomaram para si elementos culturais que lhes foram impostos - o catolicismo traduzindo e criando Áfricas no Brasil, significa enfocar novos sujeitos históricos, novas comunidades e novas dinâmicas sociais