African Art Research Articles

Restitution: Paths Toward a Clearing

Restitution: Paths Toward a Clearing

Modernist Art in Ethiopia

Modernist Art in Ethiopia

The View From Here: Contemporary Perspectives from Senegal

The View From Here: Contemporary Perspectives from Senegal

The Financial Commitment of Repository Countries: A Key Element of Reparation

The Financial Commitment of Repository Countries: A Key Element of Reparation

Art? Science? .... Alchemy: The materiality of spiritual expression in artistic creation revealed through the analytical techniques of a heritage conservator

To the uninitiated, it is quite probable that the results that art conservators derive from analytical techniques, may resemble alchemy, but they do not create gold from lead. Instead, they represent the composition of an object as its chemical components. X-ray fluorescence spectroscopy (XRF) has long been used for the compositional determination of minerals and metals in the mining and manufacturing industries, and over the past few years the applications in art and conservation increased rapidly. In addition, technical photography (in which filtering determines which wavelengths of light reach the camera) has the ability to create a new art form – one that, apart from being visually appealing, can provide information on the materials which had been used by the artist. In this manner, a whole new layer of information may be revealed, adding to the aesthetic and spiritual impact of the work. In this article, two objects of African art, namely a century-old prayer scroll from Ethiopia and a twodecades old sculpture by South African artist Lucky Sibiya, are investigated to see if this ‘alchemy’ can reveal that which even the artists were unaware of.

Afro Re-Existence in the School Of Arts

This article adopts an ethnographic approach to describe a learning experience aimed at making visible the works of African and Afro-descendant artists among undergraduate Visual Arts students at Universidad Veracruzana (in Xalapa, Veracruz, Mexico). From a decolonial perspective, an analysis is conducted of how their knowledge has increased in terms of Africa and its diaspora, the contemporary art of African artists, the work of Afro-Mexican artists and the gaps in their education regarding knowledge of the African continent and the history of Afro-descendance in Mexico. Furthermore, an exploration is made of the terms in which they have reflected about how blackness is represented in art, the place occupied by Africa and its diaspora in their education and how they relate to the ethnic category “Afro-descendant” with which, in some cases, singular processes of Afro-Mexican ethnogenesis were triggered.

The changing African art and design curriculum: narratives from teacher education

This is a comparative study of the indigenization of teacher education art and design curricular in Botswana and Zimbabwe. The study methodology involved a critical review of various policies, art curricular, operational documents and focus group discussions with art and design lecturers in associate teachers’ colleges. Results revealed a general gravitation toward African narratives as evidenced in the curricular documents, instructional strategies and examinations. There was, however, a predominance of Western art in the curricular for both countries. The study proposes establishing deliberate equilibrium between Western and African art as well as implementing an eclectic didactical and pedagogical approach which will expose the student to local, regional and the expansive world art.

The Things We Now Call Fake Will in the Future Become Authentic Objects: Global African Art Markets and the Space and Time of the Fake

ABSTRACT “Invented” out of a history of colonial displacement and the modernist art movement, African art has long been valued for its supposedly precolonial and tribal qualities. Objects made within a traditional context are deemed as authentic, whereas others made for sale, often imitating traditional styles, are deemed as fake. While such a distinction continues to be upheld and perpetuated by different actors in the transnational African art trade, I argue that the regenerative vision of time and diversified geography of interactions have begun to challenge the pervasiveness and inconvertibility of authentic and fake in African art. Specifically, I use my study of the African art market in Lomé and a Chinese collection and display of African art in Beijing as starting points to look at the constructedness of authenticity, and the time and space of the fake. The aim of this article is to show the effects of market commoditisation and changing geographies of participation in reinforcing and destabilising the distinction of real and fake in African art.

Realism Relativized: A Cultural-Historical Approach to What Images Capture

It is sometimes assumed that there can be a unified and universal analysis of pictorial realism, but this seem implausible. Realism has been understood differently at different times in Western art history art, and art-making traditions elsewhere often aspire to forms of realism that contrast with forms operative in the West. Such variations are presented here, with examples from European, African, and East Asian art. Contact between cultural traditions is also considered. Within analytic aesthetics, some definitions of realism are designed to accommodate cultural diversity, but they face challenges. Leading definitions are critically examined. For example, there are theories that focus on entrenchment, visual skills, and informativeness. None of these constructs captures what realist systems share in common, and none provides an ideal framework for explicitly describing how such systems differ. An alternative theory of pictorial realism is presented. On that theory, realist systems each aim to capture aspects of reality, but they focus on different aspects and provide different manners by which those aspects may be captured.

Seeing Blackness through Black Expressive Culture: A Reading of Zanele Muholi’s Somnyama Ngonyama – Hail the Dark Lioness

This article examines visual and textual representation of blackness in contemporary black expressive culture. Its primary objective is to discern what blackness means and looks like when seen from the point of view of contemporary black expressive culture. To assess this, I first, briefly, analyze and interpret blackness. Second, I interrogate how contemporary black practitioners critique European ideas of blackness and mirror the complex multidimensionality of black subjecthood by conducting a formal analysis of two pieces of South African artist Zanele Muholi’s Somnyama Ngonyama – Hail the Dark Lioness series. Third, I explore the relationship between visual and textual imagery and their involvement in discourses on race. My intention is to reveal the role text and images play and have played in shaping the concept, perception, and representation of blackness; the visual effect they have had on the black imagination; and the heavy responsibility placed on black writers and artists not only to correct these images but to create images for the collective more often than for themselves.

Notes on Contributors

Notes on Contributors

Guest Editor’s Introduction

Guest Editor’s Introduction Chris van Rhyn Presenting this collection of articles about new music from Africa requires contextualization and reflection on its composition and contents, and the definition of “new music.” Although the idea was never to be representative (any such attempt on a continent this large and diverse would be futile and misguided), the contributions I received turned out to focus on and come from smaller subsections of the continent than anticipated: Sub-Saharan, English-speaking Africa, and particularly Ghana, Nigeria, and South Africa. (However, not all the authors come from or are based in Africa.) On the one hand, this speaks to where my contacts are situated and context as an academic in the English-speaking world. On the other hand, it speaks to the significant disconnect between African countries where the business of music academia is concerned—some favor looking towards the global North; whereas, others aim their research mostly at local audiences. Also, in some African countries, there is almost no such business of which to speak. The establishment of Conservatories or University Music Departments based on the Western model depended on the priorities of colonial powers or post-independence governments’ colonial-inspired nationalist ideals, and socio-economic circumstances. In South Africa, the Apartheid government facilitated the disproportionately wide establishment of such training facilities. Despite Egypt [End Page 5] having a long history of formal musical training in the Western guise, North Africa is notably absent from this volume. The contributions’ contents may or may not depart from what is usually seen in Perspectives of New Music for various reasons. The extensive, unexplored archive of works by composers from Africa that do not yet form part of broader discourses sometimes requires basic research that would otherwise not have been necessary. In other cases, where composers have had more international exposure or have been the subjects of detailed scrutiny at a national level, authors could engage in more detailed analyses at a higher level of abstraction. Music studies in Africa are known for purposefully disregarding strict divisions between Music Theory, Analysis, Musicology and Ethnomusicology, which is evident in the articles presented here. The definition of “new music” (or “art music” or “contemporary classical music”) is fluid. It includes film music, contemporary choral music with strong roots in Western hymn traditions, and music of pre-colonial origins performed outside their traditional contexts or applied in new musical contexts. The first two contributions both focus on aspects of language in West African choral art music. Joshua Amuah and Hilarius Wuaku consider code-switching—a linguistic-compositional strategy already familiar in popular Ghanaian music—in choral art music by contemporary Ghanaian composers. Their article aims to tease out the reasons for these composers’ implementation of this strategy and how it aids in communicating with audiences. Short biographies of the composers in question serve to inform readers less familiar with the Ghanaian art music composition scene. Aaron Carter-Enyi considers the significance of contour and transformational theory in settings of tone language texts through his analyses of two secular choral works by Nigerian composers. These works, Óbì Dím̀kpà (1980) by Laz Èkwúèmé and Ọmọlúàbí (2018) by Ayọ̀ Olúrántí, are based on local proverbs. Issues concerning musical style and identity are approached in three diverse ways. Wilhelm Delport aims to draw Schoenberg’s notion of Abfallmaterials into conventional harmonic analysis by outlining the critical role quartal compounds play in the South African composer Hendrik Hofmeyr’s compositional language. The author analyzes Hofmeyr’s Sonata per Pianoforte (2011) for this purpose. William Fourie presents a reading of Andile Khumalo’s Bells Die Out (2013), an ensemble work by a young, Black South African composer who received European and American compositional training. Fourie’s reading argues for viewing Khumalo’s music as challenging racially defined expectations, not simply through a wholesale adoption of a European style, but by cautiously resisting the conventionalities of [End Page 6] what appears to be a European style on the surface. Emaeyak Sylvanus explores the interconnectedness between Nollywood film music identity formations and three contexts in which these identities manifest. Following this, he proposes the notion of the “Nollywood persistent...

Catching Ghosts and Consecrating the Forgotten: The Seen and Unseen in the Work of Diane Victor

Since pre-history, humankind has relied on archetypes and myths to describe the ineffable and has made use of fictional and mythological narratives to understand the meaning of life and death. Dying and death are topics reluctantly discussed in open society. Yet, the global COVID-19 pandemic has drawn attention to the process of dying and death, and hence the survival of humankind. By embracing their finitude, humans attempt to create meaningful experiences in life and, therefore, attain “freedom towards death” (Heidegger, 1962: 311). This paper investigates how South African artist Diane Victor uses universally known myths and symbols of Christian iconography within a South African context to create meaning, as well as how she uses medium and exhibition sites to evoke intense emotions within viewers urging them to consider their finitude. By recognising how fragile and vulnerable life is, the artist captures the ephemeral in a poignant way. In this paper, I argue that Victor embraces the challenge of consecrating the forgotten or lost. Through incorporating religious icons, signs, and symbols in her work, Victor ‘catches ghosts’ of the ‘seen’ and ‘unseen’ in, about, of and from South Africa. Her works are understood through a contemporary reading of religious (Christian) iconography and interpreted in the symbolic and fragile mediums of smoke, stain, ash, charcoal, light and shadow, emphasising the ephemerality and impermanence of the human condition.

Impoliteness in hip-hop music

AbstractThe aim of this paper is to examine the functionality of impoliteness strategies as rhetorical devices employed by acclaimed African American and White hip-hop artists. It focuses on the social and artistic function of the key discursive element of hip-hop, namely aggressive language. The data for this paper comprise songs of US African American and White performers retrieved from the November 2017 ‘TOP100 Chart’ for international releases on Spotify.com. A cursory look at the sub-corpora (Black male/ Black female/ White male/ White female artists’ sub-corpus) revealed the prominence of the ‘use taboo words’ impoliteness strategy. The analysis of impoliteness instantiations by considering race and gender as determining factors in the lyrics selection process unveiled that both male groups use impoliteness strategies more frequently than female groups. It is also suggested that Black male and White female singers employ impoliteness to resist oppression, offer a counter-narrative about their own experience and self (re)presentation and reinforce in group solidarity.

Beyond Single Collections

May 03 2021 Beyond Single Collections Juliana Ribeiro da Silva Bevilacqua Juliana Ribeiro da Silva Bevilacqua Juliana Ribeiro da Silva Bevilacqua, Assistant Professor and Queen's National Scholar in the Arts and Visual Culture of Africa and the African Diaspora, Queen's University, Ontario Search for other works by this author on: This Site Google Scholar Author and Article Information Juliana Ribeiro da Silva Bevilacqua Juliana Ribeiro da Silva Bevilacqua, Assistant Professor and Queen's National Scholar in the Arts and Visual Culture of Africa and the African Diaspora, Queen's University, Ontario Online Issn: 1937-2108 Print Issn: 0001-9933 © 2021 by the Regents of the University of California2021Regents of the University of California African Arts (2021) 54 (2): 6. https://doi.org/10.1162/afar_a_00576 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Juliana Ribeiro da Silva Bevilacqua; Beyond Single Collections. African Arts 2021; 54 (2): 6. doi: https://doi.org/10.1162/afar_a_00576 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsAfrican Arts Search Advanced Search In “Beyond Single Stories: Addressing Dynamism, Specificity, and Agency in Arts of Africa,” Susan Elizabeth Gagliardi and Yaëlle Biro (2019) raise a much-needed discussion. It is based on an urgent need to review the perpetuation of single stories that have been written about in regards to historical African arts. Although problems involved in labeling African arts in museums and publications seem to be unanimously recognized, proposed solutions often simply shift terms or words without necessarily resulting in a deeper revision of colonial practices. Maybe this response is due to the fact that although we recognize Africa as a plural continent, we are not yet open to recognition of many different kinds of objects and collections. A brief visit to the main museums with African art collections in the United States and European... © 2021 by the Regents of the University of California2021Regents of the University of California You do not currently have access to this content.

A Quiet Revolution in Arts Education: The Rise of blaxTARLINES Kumasi

May 03 2021 A Quiet Revolution in Arts Education: The Rise of blaxTARLINES Kumasi Kwaku Boafo Kissiedu, Kwaku Boafo Kissiedu kwaku boafo kissiedu (castro) is a cofounder and the administrative director of blaxTARLINES, Kumasi. He is a senior lecturer at the famed Fine Art Department of the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana where, together with other colleagues, he has pioneered revolutionary changes in fine art pedagogy, turning out emerging artists who are making waves worldwide. kwakukiss@yahoo.com Search for other works by this author on: This Site Google Scholar Ruth Simbao Ruth Simbao ruth simbao is the DSI/NRF Research Chair in Geopolitics and the Arts of Africa and a professor in Art History and Visual Culture at Rhodes University. She founded the Arts of Africa and Global Souths postgraduate research program at Rhodes, and is a researcher with the international Africa Multiple Cluster of Excellence (Rhodes University, Moi University, University of Lagos, Université Joseph Ki-Zerbo and Bayreuth University). r.simbao@ru.ac.za Search for other works by this author on: This Site Google Scholar Author and Article Information Kwaku Boafo Kissiedu kwaku boafo kissiedu (castro) is a cofounder and the administrative director of blaxTARLINES, Kumasi. He is a senior lecturer at the famed Fine Art Department of the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana where, together with other colleagues, he has pioneered revolutionary changes in fine art pedagogy, turning out emerging artists who are making waves worldwide. kwakukiss@yahoo.com Ruth Simbao ruth simbao is the DSI/NRF Research Chair in Geopolitics and the Arts of Africa and a professor in Art History and Visual Culture at Rhodes University. She founded the Arts of Africa and Global Souths postgraduate research program at Rhodes, and is a researcher with the international Africa Multiple Cluster of Excellence (Rhodes University, Moi University, University of Lagos, Université Joseph Ki-Zerbo and Bayreuth University). r.simbao@ru.ac.za Online Issn: 1937-2108 Print Issn: 0001-9933 © 2021 by the Regents of the University of California2021Regents of the University of California African Arts (2021) 54 (2): 1–5. https://doi.org/10.1162/afar_a_00575 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Kwaku Boafo Kissiedu, Ruth Simbao; A Quiet Revolution in Arts Education: The Rise of blaxTARLINES Kumasi. African Arts 2021; 54 (2): 1–5. doi: https://doi.org/10.1162/afar_a_00575 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsAfrican Arts Search Advanced Search A quiet revolution has steadily been rising in Kumasi, Ghana. The fluid, experimental network known as blaxTARLINES is a mutable and transgenerational community of artists, curators and writers that is based in, but extends beyond, the Department of Painting and Sculpture at Kwame Nkrumah University of Science and Technology (KNUST).1 This special issue on blaxTARLINES, edited by Ruth Simbao and Kwaku Boafo Kissiedu (Castro), brings together five articles authored by twenty blaxTARLINES affiliates who, in their own words, trace the rise of the creative and intellectual network that was sparked by the work of kąrî’kạchä seid'ou, affectionately known as the godfather of this revolution. Kissiedu and Simbao first met at the African Tertiary Arts Education (ATAE) meeting organized by the African Arts Institute (AFAI) and the Goethe-Institut South Africa in 2015.2... © 2021 by the Regents of the University of California2021Regents of the University of California You do not currently have access to this content.

Facing Toward the Future: How New Categories May Emerge

May 03 2021 Facing Toward the Future: How New Categories May Emerge Mbongiseni Buthelezi Mbongiseni Buthelezi Mbongiseni Buthelezi, Executive Director, Public Affairs Research Institute, Johannesburg Search for other works by this author on: This Site Google Scholar Author and Article Information Mbongiseni Buthelezi Mbongiseni Buthelezi, Executive Director, Public Affairs Research Institute, Johannesburg Online Issn: 1937-2108 Print Issn: 0001-9933 © 2021 by the Regents of the University of California2021Regents of the University of California African Arts (2021) 54 (2): 7–8. https://doi.org/10.1162/afar_a_00578 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Mbongiseni Buthelezi; Facing Toward the Future: How New Categories May Emerge. African Arts 2021; 54 (2): 7–8. doi: https://doi.org/10.1162/afar_a_00578 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsAfrican Arts Search Advanced Search Gagliardi and Biro accurately recognize language as an important site of change in the presentation and discussion of African arts with a historical bent. Toward the end of the essay, they make the point that, “Once we recognize that our determinations of style reflect our evaluations of form, then we must also revise our language to signal to our audiences that the style of a particular object may or may not reflect anything about who made it, for whom, or why” (2019: 4). This is an important point to emphasize, i.e., that the work of signaling, or even addressing more strongly than merely signaling, to audiences that the naming conventions used by art markets and museum displays carry with them histories of epistemic violence. The work of questioning and undoing these... © 2021 by the Regents of the University of California2021Regents of the University of California You do not currently have access to this content.

Talking, Stuttering, Speaking Whilst Listening Intently for a Promise of Egalitarian Regeneration: A Five-Way Conversation

May 03 2021 Talking, Stuttering, Speaking Whilst Listening Intently for a Promise of Egalitarian Regeneration: A Five-Way Conversation Bernard Akoi-Jackson, Bernard Akoi-Jackson Search for other works by this author on: This Site Google Scholar Ibrahim Mahama, Ibrahim Mahama Search for other works by this author on: This Site Google Scholar Kwasi Ohene-Ayeh, Kwasi Ohene-Ayeh Search for other works by this author on: This Site Google Scholar Tracy Naa Koshie Thompson, Tracy Naa Koshie Thompson Search for other works by this author on: This Site Google Scholar kąrî’kạchä seid'ou kąrî’kạchä seid'ou Search for other works by this author on: This Site Google Scholar Author and Article Information Bernard Akoi-Jackson Ibrahim Mahama Kwasi Ohene-Ayeh Tracy Naa Koshie Thompson kąrî’kạchä seid'ou Online Issn: 1937-2108 Print Issn: 0001-9933 © 2021 by the Regents of the University of California2021Regents of the University of California African Arts (2021) 54 (2): 12–21. https://doi.org/10.1162/afar_a_00580 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Bernard Akoi-Jackson, Ibrahim Mahama, Kwasi Ohene-Ayeh, Tracy Naa Koshie Thompson, kąrî’kạchä seid'ou; Talking, Stuttering, Speaking Whilst Listening Intently for a Promise of Egalitarian Regeneration: A Five-Way Conversation. African Arts 2021; 54 (2): 12–21. doi: https://doi.org/10.1162/afar_a_00580 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsAfrican Arts Search Advanced Search This has been a conversation long in the making. We have been talking. We have sometimes been stuttering and we've been speaking too. And whilst doing these and many more, we've been listening and very intently as well—because, what is a conversation if individuals only speak at each other? Listening is a necessity. As the actual words begin to gather and somehow crystalize into something more coherent, we have been at it, even in those nebulous moments when concepts may have been stronger than form or when form, seeking realization, would have danced with ideas until something not so palpable, begins to emerge. First, it will look like smoke, or even haze, in the long distance, then slowly but surely something appears … this is the route that this conversation has taken to... © 2021 by the Regents of the University of California2021Regents of the University of California You do not currently have access to this content.

Transforming Art from Commodity to Gift: kąrî’kạchä seid'ou's Silent Revolution in the Kumasi College of Art

May 03 2021 Transforming Art from Commodity to Gift: kąrî’kạchä seid'ou's Silent Revolution in the Kumasi College of Art Edwin Bodjawah, Edwin Bodjawah Search for other works by this author on: This Site Google Scholar Kwaku Boafo Kissiedu (Castro), Kwaku Boafo Kissiedu (Castro) Search for other works by this author on: This Site Google Scholar George Ampratwum (Buma), George Ampratwum (Buma) Search for other works by this author on: This Site Google Scholar Kwasi Ohene-Ayeh, Kwasi Ohene-Ayeh Search for other works by this author on: This Site Google Scholar Dorothy Amenuke, Dorothy Amenuke Search for other works by this author on: This Site Google Scholar Michael Adashie, Michael Adashie Search for other works by this author on: This Site Google Scholar Ibrahim Mahama, Ibrahim Mahama Search for other works by this author on: This Site Google Scholar Adjo Kisser, Adjo Kisser Search for other works by this author on: This Site Google Scholar Billie McTernan, Billie McTernan Search for other works by this author on: This Site Google Scholar Bernard Akoi-Jackson, Bernard Akoi-Jackson Search for other works by this author on: This Site Google Scholar Kezia Owusu-Ankomah, Kezia Owusu-Ankomah Search for other works by this author on: This Site Google Scholar Selom Kujie, Selom Kujie Search for other works by this author on: This Site Google Scholar Robin Riskin, Robin Riskin Search for other works by this author on: This Site Google Scholar Tracy Naa Koshie Thompson Tracy Naa Koshie Thompson Search for other works by this author on: This Site Google Scholar Author and Article Information Edwin Bodjawah Kwaku Boafo Kissiedu (Castro) George Ampratwum (Buma) Kwasi Ohene-Ayeh Dorothy Amenuke Michael Adashie Ibrahim Mahama Adjo Kisser Billie McTernan Bernard Akoi-Jackson Kezia Owusu-Ankomah Selom Kujie Robin Riskin Tracy Naa Koshie Thompson Online Issn: 1937-2108 Print Issn: 0001-9933 © 2021 by the Regents of the University of California2021Regents of the University of California African Arts (2021) 54 (2): 22–35. https://doi.org/10.1162/afar_a_00581 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Edwin Bodjawah, Kwaku Boafo Kissiedu (Castro), George Ampratwum (Buma), Kwasi Ohene-Ayeh, Dorothy Amenuke, Michael Adashie, Ibrahim Mahama, Adjo Kisser, Billie McTernan, Bernard Akoi-Jackson, Kezia Owusu-Ankomah, Selom Kujie, Robin Riskin, Tracy Naa Koshie Thompson; Transforming Art from Commodity to Gift: kąrî’kạchä seid'ou's Silent Revolution in the Kumasi College of Art. African Arts 2021; 54 (2): 22–35. doi: https://doi.org/10.1162/afar_a_00581 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsAfrican Arts Search Advanced Search It was in Kumasi that most of Ghana's significant artists and curators of the millennial generation and their cotravellers had their epiphany. Bernard Akoi-Jackson, Adwoa Amoah, Ibrahim Mahama, Rita Fatric Bewong, Kelvin Haizel, Selasi Awusi Sosu, Robin Riskin, Kwasi Ohene-Ayeh (IUB), Gideon Appah, Larry Amponsah, Jeremiah Quarshie, Adjo Kisser, Patrick Tagoe-Turkson, Patrick Quarm, Yaw Owusu, Bright Ackwerh, Tracy Naa Koshie Thompson, Benjamin Okantey, Issah Alhassan, Emmanuel Opoku Manu, Priscilla Kennedy, the Asafo Black Collective, and Vabene Elikem Fiatsi (crazinisT artisT) are a few examples. The list is still growing, the range of interests, formats, media, and attitudes is ever expanding; their influence is being felt in Ghana's capital cities and international circuits of contemporary art. More women and cultural and ethnic minorities are beginning to take their place in the unfolding ethos.1... © 2021 by the Regents of the University of California2021Regents of the University of California You do not currently have access to this content.

“Where Shall We Place Our Hope?”: COVID-19 and the Imperiled National Body in South Africa's “Lockdown Collection”

“Where Shall We Place Our Hope?”: COVID-19 and the Imperiled National Body in South Africa's “Lockdown Collection”