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The genesis in african traditional narratives
African storytelling and oral tradition
African storytelling and oral tradition
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Recommended: The genesis in african traditional narratives
In the Harn museum in Gainesville there's a large drape of cloth called “Old Man’s Cloth” by sculptor and artist El Anatsui. Anatsui is a very prominent figure in the art world, he was born in Ghana, but most of his career life was in Nigeria. Anatsui’s work is recognized all over the world and recently won the Praemium Imperiale award this year. This sculptor makes use of his materials which include copper, clay, wood, and not long ago he started to experiment with discarded metal caps from liquor bottles this way his artwork is manageable, lightweight and stretchable. Basically Anatsui uses material of different procedures like cassava skimmers, train tracks, and even floating pieces of wood from the riverbank.Anatsui’s attended the Science and Technology University in Kumasi, Ghana. In the”old man’s cloth” in particular he used metals such as copper which is a metal that is soft and manageable, also it’s not magnetic. Copper has a orangy-red color and is very abundant and easy to find. Anatsui incorporates aluminium which is a metal that’s silver/white and soft. Aluminum is a very common metal to find on earth, and it’s cheap, so it's very accessible. It’s also resistant to corrosion meaning it doesn't rust. El Anatsui may have used this materials on his sculpture to give a sense of humbleness and poverty to …show more content…
Anatsui was inspired by the joy of his people. v Another beautiful african tradition is storytelling. Kente clothes tell stories through their significant colors. A young man may have a black and yellow kente cloth stole made for his graduation meaning he has reached maturity (black) and he is precious to his family and hope for wealth (yellow). El Anatsui tells a story, a recounting of events, in the “Old Man’s Cloth” of stressful trading between Africa and Europe of slaves and
Woodhouse, T. F. (1929). Artificial Silk or Rayon (2nd ed.). Sir Isaac Pitman & Sons, Ltd.
...hese materials were used because they could be easily found at a low price compared to Hemp fiber and silk. Hemp fiber and silk were used at first but then the Chinese realized there are greater uses for this material. Therefore they started to use the worn fishnet, bark and cloth.
In the essay “Why Africa? Why Art?” by Kwame Anthony Appiah, he talks about basically how Africa is thought to be an uncivilized barren and that’s the stereotypical thing that comes to most people’s mind when thinking about this continent. African art has to look a certain way to be able to be called “African.” It has to be made by a tribe, not just one person which is why he says that most African pieces are signed with a tribe name, not just one name. Appiah gives an example of these Asante gold weights that his mother had a collection of. Their use value was to weigh gold dust, which used to be the method of currency. They were made as a utilitarian product, not for art, but many people started to recognize the aesthetic value. He says, “…in appreciating and collecting these weights as art, we are doing something new with them…” These days art is defined to be a certain way and look a certain way. It can’t just be anything, it has to have an aesthetic value to be considered art and to fall into the “guidelines”.
...ore resin. I think her resin paintings are much stronger and more effective just because they are so much more unique and unusual.
are even made in the same way and from the same fabrics that were used
Africanisms in America are a highly surveyed topic for the black community. Joseph E. Holloway describes Africanisms as “those elements of culture found in the New World that are traceable to an African origin” (Holloway 2). I believe, that africanisms are the traditions and cultural behaviors of African Americans that resemble the some of the same traditions and cultures in Africa. Which makes you ponder about what current elements does our culture use that ties back to Africa. Which in fact there are several africanisms that still exist. African Americans have retained an essence of Africa in their speech, hair care, clothing, preparation of foods, and music by over centuries of separation from the Dark Continent.
Many African cultures see life as a cycle we are born, we grow and mature, enter adulthood, and one day we will eventually die but the cycle continues long after death. In Africa art is used as a way to express many things in their society, in this paper I will focus on different ways traditional African art are used to describe the cycle of one’s life. Since Africa is such a large continent it is important to keep in mind that every country and tribe has different rituals and views when it comes to the cycle of life. It is estimated to be well over a thousand different ethnic groups and cultures in Africa today. Thousands of cultures in Africa see the stages of life bound together in a continuous cycle; a cycle of birth, growth, maturity,
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
Storytelling has a special importance in culture throughout the African continent; Anansi the spider in Ghana, is one great example of an African fable that teaches children important lessons including respect for elders, the importance of wisdom, and the importance of culture. These stories have been retained and perpetuated by oral tradition, despite the western emphasis on written records; African tribes have preserved history and culture well thorough oral historians. The translator, D.T. Niane, explains the validity of oral history well by stating that written text can contain inaccuracies as well (xv). The importance of the oral aspect of djelis method relays the information in a personal manner, as Djeli Mamoudou Kouyate states, “writing lacks the warmth of the human voice,” therefore by creating a written text of an oral story it “does violence” to it (xvi). I was raised in an African community, here in DC and was lucky enough to attend Djeli performances by family friend, Djimo Kouyate, and later his son Amadou. Although I do not speak Manding, Djeli Djimo Koyate, performed the music in such a way that I was able to relate and...
Shaw, Madelyn. “Slave Cloth and Clothing Slaves: Craftsmanship, Commerce, and Industry.” Journal of Early Southern Decorative Arts. Mesda Journal. 2012. Web. 13 Nov. 2013. .
In the novel Purple Hibiscus, culture is paramount to the development of both Kambili and Jaja while being a source of personal conflict or pride for other characters in the novel. There is a clear juxtaposition presented between cultural rejection and cultural acceptance of Nigerian culture by Nigerians which is depicted by contrasting characters like Papa Eugene, a product of colonialism, and Papa Nnukwu, a traditionalist. Adichie manipulates culture throughout the novel in order to emphasize its importance to personal identity and one’s authenticity, highlight the dangers of cultural intolerance and ignorance, and expose the implicit misconception of the superiority of Western civilization.
It is essential in representing the strong african heritage and it 's importance can be seen in many aspects of culture (Gaines 1).
Weaving is a common thread among cultures around the world. Weaving is a way of producing cloth or textile. Today we have machines that weave large-scale textiles at cheap prices. Production of cloth by hand is rarely engaged in today’s Westernized societies. Not many people are thinking about how the fibers are actually constructed to make their clothes. However, in other cultures across the world the tradition of weaving still exists. By comparing three cultures that continue weaving as a part of their tradition we can see similarities and the differences between them. The reasons that each culture still weaves vary, as do the methods and materials. The desired characteristics of the cloth also vary around the world as each culture values different aesthetics.
The main problem which was needed to overcome was the selection of the fabric. Due to sustainable principle, I tried best to find the most sustainable fabrics; however, it was full of challenge. 100% silk organza, 100% silk taffeta and 100% Merino wool which were essential in my project were hard to discover in the fabric market in the UK. After consideration, I decided to order these expensive fabrics from China and finally sorted out the problem.