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African Rock Art, 2008.
Looks at African rock art as true art.
1,545 words (approx. 6.2 pages), 9 sources, APA, £ 34.95
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Abstract
This paper argues that African rock art is both art and ethnographic records, created by hunter-gatherers, herders and later farming communities five or six thousand years B.C. The paper relates that rock art includes rock engravings (petroglyphs) and rock paintings (pictographs) depicting comparable themes and images but traditionally present a limited number of details and human figures. The paper describes the techniques used in creating the art and contends that African rock art is art because art is in the perception of an individual. The paper includes color pictures, map and graphs.
Table of Contents:
This is Art?
Ethnographic Records
This is Art
Rock Art Links
The Rock Art Research Institute's Perceptions
This is Art!
Complicated Pictures?
Perceptions
From the Paper
"Ethnographic records or rock art, created by hunter-gatherers, herders, and/or later farming communities, is displayed in the majority of Africa countries. Southern African rock-art, however, traditionally records experiences reflecting the belief systems and rituals of the indigenous people of their particular region. Although a minimum of 14,000 sites are currently on record, more exist, not yet formally recorded and projected to exceed 50,000 sites in the Southern African region."
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African Art, 2003.
A discussion on African art and its Western interpretation.
690 words (approx. 2.8 pages), 4 sources, MLA, £ 16.95
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Abstract
This paper discusses how Western cultures have misinterpreted, misjudged and ignored African traditional artistic production. It examines the relegation of African art to the field of anthropology rather than art.
From the Paper
"Traditional African artistic production has historically been misinterpreted or largely ignored by Western scholarship. Essentially, African art was relegated to the study of anthropology rather than formal art and thus was thought of as primitive, insinuating ..."
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African Art, 2005.
This paper discusses Gelede Masks, a category of African art, from a masquerade cult, mostly located in a region of southwest Yorubaland. .
675 words (approx. 2.7 pages), 5 sources, APA, £ 16.95
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Abstract
This paper discusses the importance of understanding the African culture which underlies art forms from Africa. The author points out that these masks are dedicated to appeasing the potentially powerful and destructive force of women, addressing male anxiety about female power. The paper provides a historic and thematic overview of Efe and the way these masks were used in the spectacle.
From the Paper
"A Yoruba proverb says, "What follows six is more than seven. (Ohun tio wa leyin Offa o ju Oje lo)." The proverb suggests that we must look beyond what is easily observed if we are to understand something. Relating it to the study of African, art we must try to understand an artwork in its cultural depth as the expression of the local thought or belief systems lest we unwittingly remove the African in African art. Abiodun African art has a special sense ..."
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Japanese and African Art, 2005.
An examination of how Japanese and African art have impacted Western art.
1,054 words (approx. 4.2 pages), 3 sources, MLA, £ 25.95
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Abstract
This paper explains that as explorers and empire builders brought back tales of exotic places, they also carried back with them artifacts and works of art from these "newly discovered" cultures and civilizations. The writer notes that as Western artists began to examine the artistic productions of different peoples - in particular the Japanese and the Africans - they discovered that strict realism and classical design were not the only possibilities. The flood of Japanese prints and African carvings and bronzes that reached Europe and America were to herald the beginning of a whole new era in Western art.
From the Paper
"Japanese prints inspired Western artists, such as Gaugin and Monet, to adopt the angular perspective of the Japanese masters. The picture plane became a set of intersecting planes positioned at different heights along the painting. This was a clear rejection of the traditional "scientific" methods of perspective representations that had been in use in Europe for hundreds of years. As well, European artists began to experiment with the bold color palettes of ukiyo-e. In the works of Toulouse-Kautrec, too, the influence of the Japanese woodblock artists can be powerfully scene. Toulouse-Lautrec's colors, perspective, and even subject matter owe a profound debt to these new influences. In fact, it could be said that Toulouse-Lautrec's lithographs represented a European interpretation of long-established Japanese genre. Much as the great ukiyo-e artists portrayed the "demimonde" of Tokugawa Japan, so too were these same actresses, prostitutes, and assorted habitues of the Paris underworld portrayed by Toulouse-Lautrec."
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African Art, 2004.
Takes a look at African art forms, with a focus on art from Benin and Sierra Leone.
908 words (approx. 3.6 pages), 4 sources, MLA, £ 22.95
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Abstract
This paper talks about some of the art produced in Benin and Sierra Leone and why so much of the more ancient art of that region no longer remains. The paper then describes art from Benin that is approximately 500 years old and more recent artwork from Sierra Leone made in the 19th century. The naturalistic heads and bodies of the Ife tribes of Benin and the Nowo masks from Sierra Leone are described, and the materials and techniques used are explained as well. Images of both types of art are included with the paper.
From the Paper
"Art from Benin, located in the rainforests of Nigeria on the coastal plain west of the Niger River, first came to the Western world in 1897, when members of a British expedition took out thousands of objects as war plunder after the English conquest. Through government and private sales, Benin sculptures were soon found on the shelves and displays of museums and personal collections in England, Europe and America (Ben-Amos, 9). The art of Benin is unique in Africa, due to its unusual makeup of cast brass and carved ivory. Much of artwork from this country acts as a heritage to the Royal Kingdom of Benin, one of the greatest times in the continent?s history (Ezra, 2)."
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Gender Roles in African Royal Art, 2004.
This paper discusses the feminist interpretation of art from the Yoruban African society.
1,585 words (approx. 6.3 pages), 11 sources, MLA, £ 35.95
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Abstract
This paper explains the use of iconography, the study of images in search of the thoughts and meanings imbued by the artist and transmitted to the viewer, as applied to African royal art. The author points out that, in the Yoruba society, women have a distinct and celebrated role within the community, unlike Western societies. The paper stresses that the crown of the King of Yoruba may be interpreted as representing male power and dominance, but it may also be interpreted as a representation of the cooperative nature of ruling by both male and female within the Yoruba culture.
From the Paper
"The feminist slogan of ?the personal is political? became a banner under which Western women determined to change the social fabric - attacking the norms and mores that had excluded women from participation in all areas of living. The feminist definition of social roles was grounded in an affirmation of women's attributes and contributions, not just of social relations. The Yoruba form of social interaction was not based on individualism, as is the Western concept. ?The Yoruba Iyalode (also called Eiyelobinrin or ?mother of all women,?) was often the head of a lineage as well as, ?the woman designated as their political leader and spokesman in government?. Her title as ?chief? gave her jurisdiction over all women within her sphere of influence. She established courts and heard cases, creating a chain of authority that oversaw women's affairs, including the administration of the all-important markets."
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Arts and Consumer Culture of African-Americans, 2004.
Study of the culture of African-Americans during the Progressive Era.
762 words (approx. 3.0 pages), 2 sources, APA, £ 18.95
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Abstract
This paper looks at the development of the African-American culture during the coming of the 20th century. More specifically, the paper discusses and analyzes the culture of consumerism and literature of the African-American sector during the Progressive Era.
From the Paper
"The consumerism of African Americans is illustrated by the increased consumption of manufactured goods and services offered in the commercial market. By buying these manufactured goods and services, African Americans perceive themselves as one with the white American society. By subsisting to materialism and hedonism, the black American sector sought to achieve an equal status, establish an egalitarian society in the country, where both white and black Americans co-exist peacefully. Unfortunately, this is just an ?idealistic? view of the consumer culture of African Americans, where material goods represent their ideals for a free and equal society."
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"Black Art", 2002.
A comparison and contrast analysis of the work of Jean-Michel Basquiat and African art.
1,650 words (approx. 6.6 pages), 5 sources, £ 42.95
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Abstract
This paper will argue that Basquiat's work may be best seen as operating within the parameters of a "Black aesthetic". This still-controversial concept, it will be seen, accurately reflects Basquiat's embracement of postmodernity and the complex engagement of artists of the African diaspora with the traditions of the past in the context of the present.
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African Americans and Native Africans, 2002.
A comparison of the different sub-cultures of the African American minority group in the United States.
2,370 words (approx. 9.5 pages), 6 sources, MLA, £ 50.95
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Abstract
This paper discusses the history and culture of the recent immigrants to the United States from Africa and the Caribbean. It details how these immigrants are labeled as "African Americans" and lumped into the same sub-culture as the veteran African American population of the United States since the slave-trade. These two population groups are compared for their manners, cultures and social norms. A history of African immigration to America is provided.
From the Paper
"The African Americans, or Black Americans as they are called, are the largest minority group in the United States, after the Hispanic Americans. This is a racial group whose ancestry is believed to be from the sub-Saharan Africa. However, there are some African Americans who claim to have their roots from the European immigrants, Native American or the Asians. In general the African American populations is usually referred to as Negroes, blacks and Afro-Americans. "
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African Poverty and the Bankruptcy of African Leadership, 2005.
Examines poverty in Sub-Saharan Africa and the failure of African leaders to enact strong economic and agricultural policies geared towards change in the region.
1,734 words (approx. 6.9 pages), 4 sources, MLA, £ 39.95
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Abstract
This paper demonstrates that African leaders have contributed significantly to the growing problems of poverty in the Sub-Saharan African region by failing to address endemic problems of embezzlement, bribery, corruption, and nepotism. The paper also shows that many of these leaders are unable to institute effective economic and agricultural development policies geared towards uplifting the African people from their current state of poverty to that of self-reliance.
From the Paper
"From time to time, some parts of Africa are prone to drought, but this paper takes the position that drought constitutes a very negligible aspect of the problem of poverty in Africa. Technological innovation could be adopted to deal with the issue of drought as has been demonstrated in Israel. The core problem in Africa is bad government and poor management of the peoples' resources. Africa holds the majority of the world's natural resources, but the continent is suffering from a leadership crisis that is basically symptomatic of all the African states."
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African-American Artist Faith Ringgold, 2002.
This paper introduces and discusses the art of African-American artist Faith Ringgold and her influence as a black woman on folk art.
1,155 words (approx. 4.6 pages), 5 sources, MLA, £ 27.95
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Abstract
This paper discusses Ringgold?s background and her work. In addition to other media, she uses quilting as an art form to tell stories that show the difficulties of being black and a woman. Through her canvas and quilts, she has made lasting changes in the worlds of black women artists and folk art. Her work is shown in galleries and exhibitions all over the world.
From the Paper
"Ringgold was born in New York City on October 8, 1930. She grew up in Harlem. Her mother, Willi Posey Jones, was a fashion designer, and when Ringgold was young, she spent a lot of time at home, watching her mother work. She learned how to sew from her mother, and learned about working with different kinds of fabrics, and about drawing. The family was poor, but they were very interested in art and culture, and often took her to local museums. She grew up with people in her neighborhood like Duke Ellington and Ella Fitzgerald, who influenced her in black culture and what blacks could accomplish."
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Primitivism in Modern Art, 2004.
Explores the influence that primitive art has had on modern art.
923 words (approx. 3.7 pages), 10 sources, MLA, £ 22.95
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Abstract
This paper describes how modern art appropriated images from so called "primitive" cultures and describes the social changes that prompted this attraction to primitive art forms. The paper also discusses some of Picasso's works and notes how these works were influenced by African culture and art.
From the Paper
"A central facet of modernist art was the questioning of and dissatisfaction with the traditional views of life and art, and the concomitant rejection of established standards in the search for the new and different. Social factors such as the First World War also lent impetus to this search for alternative views of reality that was expressed in modernist art. In their search for alternative styles and means of expression, artists were attracted to the unusual and exotic. African art was one of the areas that supplied images and artistic energy that inspired many artists of the time. Artists like Picasso and Gauguin found formal ideas and images in the so-called primitive societies that resonated with energy and a new artistic rhythm."
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African Masks, 2003.
An analysis of the African Sowei mask as an object of art.
690 words (approx. 2.8 pages), 4 sources, MLA, £ 16.95
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Abstract
This paper analyzes the African Sowei mask. It discusses the object as art and as a reflection of the spiritual and cultural values of the community. The author also mentions the connection to African aesthetics and reproduction.
From the Paper
"African art combines the visual image with spiritual beliefs and social purpose. As an art object the mask is a piece of sculpture that represents the cultural attitudes embodied in the meaning or content of the object. The image of the Sowei mask carved in ..."
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African Cultural Retention, 2008.
This paper explores the question: Are African Americans destroying African culture?
765 words (approx. 3.1 pages), 4 sources, APA, £ 18.95
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Abstract
This paper explains that African culture retention is noticeable in many aspects of the American lifestyle. The author points out that the African heritage for U.S. blacks survived the vicious system of slavery, despite attempts to remove remnants of African culture from the slaves and to instill a European/white culture so that they could be more accepting of their situation. The paper relates that some distorted cultural practices such as violence, sometimes labeled as "African", are not even remotely related to any kind of link with the cultural diversity of the African continent. The author concludes that the issue of African cultural retention and the destruction of the African-American society is so intertwined that it is sometimes hard to examine them separately.
Table of Contents
Introduction
Tenets of African Culture In the United States
Conclusion
From the Paper
"The retention component has also been used to damage the influence of African culture; for example acts of violence or family structure, and or social interactions have sometimes been linked to the African culture, or the travesty of slavery, or even more so, the cultural practices in Africa concerning relationships, marriage, and relationships. Liberating African American cultural identity will show that the African influence or content of this identity, although not in a pure form, offers a significant amount of positive influences."
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