King Sunny Ade, the Juju musician who popularized the Yorúbà folk song quoted here, created the lyrics to serve as a caustic warning to his rivals, critics, and detractors that any attempt to undermine his creative abilities will be met with strong opposition likened to an outright annihilation—the stock in trade of the Oro institution.2 When I began my research into the intriguing tradition of Egungun, I quickly learnt a counterhegemonic negation of the song lyrics: “If a woman knows cult secret, she must never tell.”3 That statement is deliberately adopted here, as it recognizes the limitations placed on women in a cultural tradition that was partly invented by them, in spite of their knowledge and leadership position within the cult of Egungun. While reinforcing this societal norm on the restriction and access to esoteric knowledge, Barber (1981: 739) noted that “The important thing is not women’s actual ignorance, but the maintenance of a respectful silence about their knowledge. It is a matter of keeping up appearances for the sake of ancestral dignity.” In spite of the overwhelming presence and visibility of women in every aspect of the public procession and organization of Egungun, little scholarly attention has been devoted to the role and position that women occupy in the annual celebrations of Egungun. In a bid to address this anomaly, this essay focuses on the unique position of women in the installation and consecration rituals of Egungun, specifically addressing their roles as guides, singers, and dancers in the public performances of Egungun. I will also examine the position of women as custodians of the ethical codes and histories of Egungun and highlight the multifaceted roles women perform in the staging and reenactment of this ancient tradition. Our goal here is to demonstrate the symbiotic relationship between male and female counterparts in their roles to establish the cultural phenomenon that is now known as Egungun. It follows, therefore, that the position of women cannot be ignored or marginalized. On the contrary, we seek to remind the readers of the preeminent position of women as active members within most of the major religious organizations and especially the Yoruba Egungun. Indeed, Ifa cautions that, to ignore the position of women is to invite disaster, disorderliness and strife in every aspect of human endeavors. Mediated more by the principle of inclusiveness and collaboration, the Yorúbà religious sphere is neither hierarchically structured nor entirely fragmented along gender divides; rather, it is organized on the basis of equality, parity, and mutual respect. That ethos of inclusiveness, best articulated in the aphorism omode gbon, agba gbon la fi da’le Ife (“the wisdom and perception of both the youth and the elders were the organizing principle in the establishment of Ife”), fosters the spirit of mutual respect and recognition in Yorúbà philosophical thought and value system. Using oral literature as the basi
Juju音乐家King Sunny Ade推广了这里引用的Yorúbà民歌，他创作歌词是为了向他的竞争对手、评论家、，以及诋毁者认为，任何破坏他的创作能力的企图都会遭到强烈的反对，这被比作彻底的毁灭——奥罗机构的存量。2当我开始研究埃贡贡贡有趣的传统时，我很快就学会了对歌词的反霸权否定：“如果一个女人知道邪教的秘密，她永远不能说出来。”。“3这一说法在这里被有意采用，因为它承认了在一定程度上由妇女创造的文化传统中对妇女的限制，尽管她们在埃贡贡贡崇拜中有知识和领导地位。Barber（1981:739）在强化这一关于限制和获取深奥知识的社会规范的同时指出，“重要的不是女性的实际无知，而是对她们的知识保持尊重和沉默。这是为了祖先的尊严而保持外表的问题。”。“尽管妇女在埃贡贡贡的公共游行和组织的各个方面都有着压倒性的影响力，但学术界很少关注妇女在埃贡贡贡年度庆祝活动中所扮演的角色和地位。为了解决这一反常现象，本文重点探讨了女性在Egungun装置和祝圣仪式中的独特地位，特别是她们在Egungon公共表演中作为向导、歌手和舞者的角色。我还将研究女性作为埃贡贡贡道德规范和历史守护者的地位，并强调女性在这一古老传统的上演和再现中所扮演的多方面角色。我们在这里的目标是展示男性和女性在角色上的共生关系，以建立现在被称为Egungun的文化现象。因此，妇女的地位不能被忽视或边缘化。相反，我们试图提醒读者，作为大多数主要宗教组织，特别是约鲁巴-埃贡贡贡组织的积极成员，妇女处于卓越地位。事实上，Ifa警告说，忽视女性的地位会在人类努力的各个方面引发灾难、混乱和冲突。约鲁巴宗教领域更多地受到包容性和协作原则的调解，既没有等级结构，也没有完全按照性别划分而分散；相反，它是在平等、平等和相互尊重的基础上组织起来的。这种包容精神在格言omode gbon，agba gbon la fi da'le Ife中得到了最好的表达（“青年和老年人的智慧和感知是建立Ife的组织原则”），在约鲁巴哲学思想和价值体系中培养了相互尊重和认可的精神。本文以口头文学作为其批评词汇的基础，考察了《伊贡贡贡》剧目中具有明显女性联想和象征意义的仪式对象的选择。许多学者的作品代表了关于埃贡贡贡的重要试金石，或者更具体地说，是关于约鲁巴宗教空间中的女性，4包括我自己（Campbell 201520162020）。正如我在研究中所注意到的，对女性在约鲁巴社会格局中独特的代表性和地位的异常敏感和密切关注成为了重要的标志
{"title":"“If a Woman Knows Cult Secret, She Must Never Tell”: Ritual Consecration, Secrecy, and Female Power in Egungun Pageantry Among the Yoruba","authors":"Bolaji Campbell","doi":"10.1162/afar_a_00667","DOIUrl":"https://doi.org/10.1162/afar_a_00667","url":null,"abstract":"King Sunny Ade, the Juju musician who popularized the Yorúbà folk song quoted here, created the lyrics to serve as a caustic warning to his rivals, critics, and detractors that any attempt to undermine his creative abilities will be met with strong opposition likened to an outright annihilation—the stock in trade of the Oro institution.2 When I began my research into the intriguing tradition of Egungun, I quickly learnt a counterhegemonic negation of the song lyrics: “If a woman knows cult secret, she must never tell.”3 That statement is deliberately adopted here, as it recognizes the limitations placed on women in a cultural tradition that was partly invented by them, in spite of their knowledge and leadership position within the cult of Egungun. While reinforcing this societal norm on the restriction and access to esoteric knowledge, Barber (1981: 739) noted that “The important thing is not women’s actual ignorance, but the maintenance of a respectful silence about their knowledge. It is a matter of keeping up appearances for the sake of ancestral dignity.” In spite of the overwhelming presence and visibility of women in every aspect of the public procession and organization of Egungun, little scholarly attention has been devoted to the role and position that women occupy in the annual celebrations of Egungun. In a bid to address this anomaly, this essay focuses on the unique position of women in the installation and consecration rituals of Egungun, specifically addressing their roles as guides, singers, and dancers in the public performances of Egungun. I will also examine the position of women as custodians of the ethical codes and histories of Egungun and highlight the multifaceted roles women perform in the staging and reenactment of this ancient tradition. Our goal here is to demonstrate the symbiotic relationship between male and female counterparts in their roles to establish the cultural phenomenon that is now known as Egungun. It follows, therefore, that the position of women cannot be ignored or marginalized. On the contrary, we seek to remind the readers of the preeminent position of women as active members within most of the major religious organizations and especially the Yoruba Egungun. Indeed, Ifa cautions that, to ignore the position of women is to invite disaster, disorderliness and strife in every aspect of human endeavors. Mediated more by the principle of inclusiveness and collaboration, the Yorúbà religious sphere is neither hierarchically structured nor entirely fragmented along gender divides; rather, it is organized on the basis of equality, parity, and mutual respect. That ethos of inclusiveness, best articulated in the aphorism omode gbon, agba gbon la fi da’le Ife (“the wisdom and perception of both the youth and the elders were the organizing principle in the establishment of Ife”), fosters the spirit of mutual respect and recognition in Yorúbà philosophical thought and value system. Using oral literature as the basi","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"26-37"},"PeriodicalIF":0.3,"publicationDate":"2022-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41905489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
| african arts AUTUMN 2022 VOL. 55, NO. 3 In 2013, the Museum of Modern Art of Algiers (Musée Public National d’Art Moderne et Contemporain d’Alger; MAMA) staged a group exhibition that featured photography from the Algerian War of Independence (1954–62).1 Les Photographes de Guerre, Les Djounoud du noir et blanc (May 14–August 30, 2013) featured blown-up black-and-white photographs on three floors of the museum, a repurposed department store from the early twentieth century in the former European quarter of Algiers. Images taken by professional and amateur Algerian photographers were placed alongside those by international and French image makers, revealing the broader networks of visual production during the war (see Djehiche and Djilali 2013). Fought between the National Liberation Front (Front de libération nationale; FLN) and the French colonial state, the Algerian War of Independence holds a prolific place within histories of decolonization due to its excessive violence and impact on other liberation movements on the continent. For a long time, however, it was thought to have been pictured exclusively through French visual production, which often served to support or produce colonial propaganda (see Stora 2005: 199–220).2 However, by unearthing the work of Algerian photographers and mapping the extensive infrastructure of photographic studios that supported FLN politics across the region, the exhibition countered assumptions of an alleged absence of visual representation produced from “within” the revolution. Almost a decade before, Photographier la guerre d’Algérie, an exhibition organized by Laurent Gervereau and Benjamin Stora at the Hôtel de Sully in Paris (January 23–April 18, 2004) had offered a far more Francocentric view of the war’s photographic legacy. Gervereau and Stora’s show featured the work of official French military photographers, including René Bail and Marc Flament, photojournalists Marc Riboud and Raymond Depardon, as well as international reporters including Dickey Chapelle and Kryn Taconis. The exhibition featured only a handful of images taken by Algerian photographers, all of whom were relegated to anonymity. An “Algerian point of view” in photography, the exhibition’s organizers lamented, was rare during the war (Gervereau and Stora 2004: 7–9). Even in instances when the revolution succeeded in producing visual representation for its own political purposes, they added, it was quickly buried under the flood of pictures produced by French propaganda and published, for instance, in the military magazine Le Bled. Yet given the wealth of images shown at MAMA in 2013, these claims need to be reassessed. While Stora and Gervereau rightly noted that unequal financial resources on the French and Algerian sides informed the war’s visual production, they obscured the revolution’s varied photographic cultures by relegating the Algerian bodies of work to the margins of the show. The exhibition organized a decade later in Algier
b|非洲艺术2022年秋季第55卷，第1期。3 2013年阿尔及尔现代艺术博物馆(mus公共国家现代艺术与当代艺术博物馆);MAMA)举办了一个群展，展出了阿尔及利亚独立战争(1954-62)期间的摄影作品Les photographs de Guerre, Les Djounoud du noir et blanc(2013年5月14日至8月30日)在博物馆的三层展出了放大的黑白照片，该博物馆是20世纪初在阿尔及尔前欧洲区改建的百货商店。由专业和业余阿尔及利亚摄影师拍摄的图像与国际和法国图像制作者拍摄的图像放在一起，揭示了战争期间更广泛的视觉制作网络(见Djehiche和Djilali 2013)。民族解放阵线(民族解放阵线;FLN)和法国殖民国家，阿尔及利亚独立战争在非殖民化历史中占有丰富的地位，因为它的过度暴力和对非洲大陆其他解放运动的影响。然而，在很长一段时间里，人们认为它完全是通过法国的视觉制作来描绘的，这些视觉制作经常用于支持或生产殖民宣传(见Stora 2005: 199-220)然而，通过发掘阿尔及利亚摄影师的作品和绘制支持民族解放阵线政治的摄影工作室的广泛基础设施，该展览反驳了所谓“内部”革命中缺乏视觉表现的假设。大约在十年前，Laurent Gervereau和Benjamin Stora在巴黎的Hôtel de Sully(2004年1月23日至4月18日)组织的摄影展“摄影师la guerre d ' algsarie”提供了一个以法国为中心的视角来看待战争的摄影遗产。Gervereau和Stora的展览展示了法国官方军事摄影师的作品，包括ren Bail和Marc Flament，摄影记者Marc Riboud和Raymond Depardon，以及包括Dickey Chapelle和Kryn Taconis在内的国际记者。这次展览只展出了阿尔及利亚摄影师拍摄的少数几张照片，所有这些摄影师都被要求匿名。展览的组织者哀叹道，摄影作品中的“阿尔及利亚视角”在战争期间是罕见的(Gervereau and Stora 2004: 7-9)。他们补充说，即使在革命成功地为自己的政治目的制作了视觉表现的情况下，它也很快被淹没在法国宣传部门制作的大量图片中，并发表在军事杂志《流血》(Le Bled)上。然而，鉴于2013年MAMA上展示的大量图像，这些说法需要重新评估。虽然斯托拉和热弗罗正确地指出，法国和阿尔及利亚双方不平等的财政资源影响了战争的视觉制作，但他们通过将阿尔及利亚的作品置于展览的边缘，掩盖了革命的各种摄影文化。十年后在阿尔及尔举办的展览提议以不同的方式看待战争的视觉遗产。通过揭示战争期间更广泛的图像制作网络，其中包括许多非洲和国际演员，该展览使完全由法国控制的视觉文化的观点复杂化在MAMA展出的照片中，有摄影师Mohamed Kouaci(1922-1996)拍摄的照片，他曾为阿尔及利亚共和国临时政府(Government provisire de la r publiclique algrienne;GPRA)在1958年至1962年之间。GPRA是一个流亡政府，其成立是为了进一步赋予反殖民革命合法性，并加强FLN的国际谈判地位(Vince 2015: 37)。当Mohamed Kouaci开始为GPRA工作时，它的所在地在突尼斯，在1956年法国军队撤退后，突尼斯成为阿尔及利亚民族主义者的重要基地(Bizard 2002: 225)。穆罕默德·库阿奇在民族解放阵线中的地位使《阿尔及利亚革命档案》在Zineb Sedira的《花园》中得以保存
{"title":"Archiving the Algerian Revolution in Zineb Sedira's Gardiennes d'images","authors":"Katarzyna Falęcka","doi":"10.1162/afar_a_00668","DOIUrl":"https://doi.org/10.1162/afar_a_00668","url":null,"abstract":"| african arts AUTUMN 2022 VOL. 55, NO. 3 In 2013, the Museum of Modern Art of Algiers (Musée Public National d’Art Moderne et Contemporain d’Alger; MAMA) staged a group exhibition that featured photography from the Algerian War of Independence (1954–62).1 Les Photographes de Guerre, Les Djounoud du noir et blanc (May 14–August 30, 2013) featured blown-up black-and-white photographs on three floors of the museum, a repurposed department store from the early twentieth century in the former European quarter of Algiers. Images taken by professional and amateur Algerian photographers were placed alongside those by international and French image makers, revealing the broader networks of visual production during the war (see Djehiche and Djilali 2013). Fought between the National Liberation Front (Front de libération nationale; FLN) and the French colonial state, the Algerian War of Independence holds a prolific place within histories of decolonization due to its excessive violence and impact on other liberation movements on the continent. For a long time, however, it was thought to have been pictured exclusively through French visual production, which often served to support or produce colonial propaganda (see Stora 2005: 199–220).2 However, by unearthing the work of Algerian photographers and mapping the extensive infrastructure of photographic studios that supported FLN politics across the region, the exhibition countered assumptions of an alleged absence of visual representation produced from “within” the revolution. Almost a decade before, Photographier la guerre d’Algérie, an exhibition organized by Laurent Gervereau and Benjamin Stora at the Hôtel de Sully in Paris (January 23–April 18, 2004) had offered a far more Francocentric view of the war’s photographic legacy. Gervereau and Stora’s show featured the work of official French military photographers, including René Bail and Marc Flament, photojournalists Marc Riboud and Raymond Depardon, as well as international reporters including Dickey Chapelle and Kryn Taconis. The exhibition featured only a handful of images taken by Algerian photographers, all of whom were relegated to anonymity. An “Algerian point of view” in photography, the exhibition’s organizers lamented, was rare during the war (Gervereau and Stora 2004: 7–9). Even in instances when the revolution succeeded in producing visual representation for its own political purposes, they added, it was quickly buried under the flood of pictures produced by French propaganda and published, for instance, in the military magazine Le Bled. Yet given the wealth of images shown at MAMA in 2013, these claims need to be reassessed. While Stora and Gervereau rightly noted that unequal financial resources on the French and Algerian sides informed the war’s visual production, they obscured the revolution’s varied photographic cultures by relegating the Algerian bodies of work to the margins of the show. The exhibition organized a decade later in Algier","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"38-53"},"PeriodicalIF":0.3,"publicationDate":"2022-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46460558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
| african arts AUTUMN 2022 VOL. 55, NO. 3 Historical works of African sculpture have become increasingly entangled with the global Black Lives Matter movement. A popular sign that was carried by protestors in the United Kingdom after the police killing of the unarmed African American man George Floyd in May 2020 read: “Don’t like looting? You will hate the British Museum.” Meanwhile, a statement from the British Museum deploring Floyd’s death and expressing solidarity with the Black Lives Matter movement sparked thousands of tweets accusing the institution of hypocrisy and insensitivity. In June 2020, Paris Black Lives Matter demonstrators tried to seize artifacts at the Musée du Quai Branly. The material lives of African sculptural objects are today intimately linked with Black diasporic experiences, and these connections are made explicit in the work of contemporary American artists Hugh Hayden (b. 1983) and Simone Leigh (b. 1967). Both Hayden and Leigh draw on African sculptural traditions, largely from West and Central Africa, and sometimes even incorporate the objects themselves in their own sculptures. Their work creates a parallel between the colonial pillaging and displacement of African sculpture to Europe and North America and the forced diaspora of slavery and its afterlives in the United States. In his practice, Hayden utilizes wood as his primary medium, playing with its multilayered histories—African sculpture offers one iteration of this material. His sculptures and installations reflect on the history of social politics in the United States and the contribution of enslaved Africans to American culture and cuisine. Alternatively, Leigh’s practice, which spans sculpture, performance, film, and activist-based work, is concerned with the marginalization of Black women and their exclusion from the archive or history. She uses her work to reframe the experiences of Black women as central to society. Hayden and Leigh bring these respective concerns to bear on the histories of African sculpture. The adoption of African sculpture by Hayden and Leigh occurs against a background of twentieth-century engagements with these traditions by European and African American artists and theorists. The Paris avant-garde’s “discovery” of African sculpture, known then as art nègre, or “Black art,” effected the constitution of AfroAmerican modernism. The African American philosopher and art critic Alain LeRoy Locke (1895–1954), an influential figure of the Harlem Renaissance who travelled frequently to Paris, encouraged African American artists to adopt African sculptural traditions as a way to “reconnect” with an ancestral Africa in the creation of a Black art. However, African sculpture signifies differently today than it did at this earlier moment in time. There has been a turn toward the material lives of these objects and the contexts of violence through which they were acquired by Western institutions. The global Black Lives Matter movement has rene
{"title":"Between African Sculpture and Black Diasporic Experiences: Hugh Hayden and Simone Leigh","authors":"G. Nugent","doi":"10.1162/afar_a_00670","DOIUrl":"https://doi.org/10.1162/afar_a_00670","url":null,"abstract":"| african arts AUTUMN 2022 VOL. 55, NO. 3 Historical works of African sculpture have become increasingly entangled with the global Black Lives Matter movement. A popular sign that was carried by protestors in the United Kingdom after the police killing of the unarmed African American man George Floyd in May 2020 read: “Don’t like looting? You will hate the British Museum.” Meanwhile, a statement from the British Museum deploring Floyd’s death and expressing solidarity with the Black Lives Matter movement sparked thousands of tweets accusing the institution of hypocrisy and insensitivity. In June 2020, Paris Black Lives Matter demonstrators tried to seize artifacts at the Musée du Quai Branly. The material lives of African sculptural objects are today intimately linked with Black diasporic experiences, and these connections are made explicit in the work of contemporary American artists Hugh Hayden (b. 1983) and Simone Leigh (b. 1967). Both Hayden and Leigh draw on African sculptural traditions, largely from West and Central Africa, and sometimes even incorporate the objects themselves in their own sculptures. Their work creates a parallel between the colonial pillaging and displacement of African sculpture to Europe and North America and the forced diaspora of slavery and its afterlives in the United States. In his practice, Hayden utilizes wood as his primary medium, playing with its multilayered histories—African sculpture offers one iteration of this material. His sculptures and installations reflect on the history of social politics in the United States and the contribution of enslaved Africans to American culture and cuisine. Alternatively, Leigh’s practice, which spans sculpture, performance, film, and activist-based work, is concerned with the marginalization of Black women and their exclusion from the archive or history. She uses her work to reframe the experiences of Black women as central to society. Hayden and Leigh bring these respective concerns to bear on the histories of African sculpture. The adoption of African sculpture by Hayden and Leigh occurs against a background of twentieth-century engagements with these traditions by European and African American artists and theorists. The Paris avant-garde’s “discovery” of African sculpture, known then as art nègre, or “Black art,” effected the constitution of AfroAmerican modernism. The African American philosopher and art critic Alain LeRoy Locke (1895–1954), an influential figure of the Harlem Renaissance who travelled frequently to Paris, encouraged African American artists to adopt African sculptural traditions as a way to “reconnect” with an ancestral Africa in the creation of a Black art. However, African sculpture signifies differently today than it did at this earlier moment in time. There has been a turn toward the material lives of these objects and the contexts of violence through which they were acquired by Western institutions. The global Black Lives Matter movement has rene","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"70-83"},"PeriodicalIF":0.3,"publicationDate":"2022-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45094304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
| 7 it to account for contradictions and internal conflicts. Care, as an act of solidarity, can be redemptive, but it is not an end in itself. Care exists in the messy, convoluted, and volatile relationships forged within political communities. As such, one can talk of spiritual repatriation, but it is weakened and ineffectual in the absence of material repatriation. This reopens many questions about the ways in which care is fashioned in cultural institutions marred by a history of violence.
{"title":"(In)visibility and African Fashion in UK Museums","authors":"N. Stylianou","doi":"10.1162/afar_a_00664","DOIUrl":"https://doi.org/10.1162/afar_a_00664","url":null,"abstract":"| 7 it to account for contradictions and internal conflicts. Care, as an act of solidarity, can be redemptive, but it is not an end in itself. Care exists in the messy, convoluted, and volatile relationships forged within political communities. As such, one can talk of spiritual repatriation, but it is weakened and ineffectual in the absence of material repatriation. This reopens many questions about the ways in which care is fashioned in cultural institutions marred by a history of violence.","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"7-8"},"PeriodicalIF":0.3,"publicationDate":"2022-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41402485","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Investigating the monkeypox outbreak.","authors":"Christopher Dye, Moritz U G Kraemer","doi":"10.1136/bmj.o1314","DOIUrl":"10.1136/bmj.o1314","url":null,"abstract":"","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"3 1","pages":"o1314"},"PeriodicalIF":0.0,"publicationDate":"2022-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91279940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Second Careers: Two Tributaries in African Art","authors":"Matthew Francis Rarey","doi":"10.1162/afar_r_00659","DOIUrl":"https://doi.org/10.1162/afar_r_00659","url":null,"abstract":"","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"85-87"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45562127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
the weird voice of the nocturnal agent and the fearful sound that ac-company it lend to the darkness of the night a sure feeling of spirit presence. It parades the close peripheries of people’s homes, singing lampoons, calling derogatory names and exposing the deeds of crim- inals within the community, warning them to repent before nemesis overtakes them from the ancestral realm (2013: 20).
{"title":"Nkwọ Onunu Cultural Heritage in Nsukka Igbo, Nigeria: A Festival in Honor of a Mother Goddess","authors":"Martins N. Okoro","doi":"10.1162/afar_a_00656","DOIUrl":"https://doi.org/10.1162/afar_a_00656","url":null,"abstract":"the weird voice of the nocturnal agent and the fearful sound that ac-company it lend to the darkness of the night a sure feeling of spirit presence. It parades the close peripheries of people’s homes, singing lampoons, calling derogatory names and exposing the deeds of crim- inals within the community, warning them to repent before nemesis overtakes them from the ancestral realm (2013: 20).","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"50-65"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48700475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editing in the Time of COVID","authors":"L. Jones","doi":"10.1162/afar_e_00648","DOIUrl":"https://doi.org/10.1162/afar_e_00648","url":null,"abstract":"","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"1-6"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42542021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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