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Essay of yoruba sculptures
A reflection of art appreciation
Yoruba Art and Culture
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Henry John Drewal wrote an article “Senses in Understandings of Art” in which he describes his research path of discovering how important the five senses of the human are to create understandings in Art. He gained a lot of his insight of multi-sensory concepts in the African art from the Yoruba people. Drewal focuses a lot of the article on mind-body matter that he learned throughout his research. This essay includes my response to Drewal’s perceptions and ideas in his article.
Henry John Drewal has a project of studying human senses in understandings of African, African Diaspora art, and general art. He has learned that words are often used to teach the art, but actions can do as much work as words can to help bring understanding of the style and aesthetics. He discovered that it is vital to have a bodily or multi-sensorial experience when getting an understanding of the Yoruba Art and their culture. Drewal explains in his article how Yoruba’s have a different understanding of their art because they use multiple senses at once as they experience their art.
Earlier in Drewal’s life, his PhD field research involved Efe/Gelede masquerades because it represented how deep and
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In this seminar, He had students research different African masquerades and find sensory data. In an example of the findings, his student Michelle Craig found that in an initiation ceremony, the people in a Niger cult would have a ritual consumption of sacrificial animal ears, eyes, tongue, and foot to strengthen their sensory receptivity. Drewal explains that his sensiotic language helps understand contemporary African art as well. He describes how he learned that Blues music originated in Africa after watching a documentary directed by Antoine Fuqua, and how it is important understand the senses that shape the artistic
Art has always been considered the effervescent universal tool of communication. Art does not require a concrete directive . One sculpture,drawing or written creative piece, can evoke a myriad of emotions and meaning . Artistic pieces can sometimes be considered the regurgitation of the artist's internal sanctum. In Richard Hooks graphic painting,Adoption of the Human Race, the effect of the imagery,symbols ,color and emotional content projects a profound unification of a spiritual edict.
My friends, after traveling through the Asian continent and Japan, I continued on to the Americas. The art in the Americas has three regions, North America, Central America, and South America. Each region has a very distinct aspect to their forms of art. All cultures have some kind of art. Being curious about art, I have collected samples from five different areas. The following works of art are very different from European art, but there are still some similarities. The similarities of the human spirit are evident in the following images.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
In John Berger’s essay titled “Ways of Seeing.”, it discusses the way art is looked at now and how art is not as appreciated as it was when it was originally made. The author also mentions how replication of paintings are not as valued as the original. Mr. Berger is trying to speak to an educated audience with the purpose of informing the audience of the different ways art and paintings looked at in other ways than intended. As the author writes the essay, he is aware that he is developing the rhetorical strategies of pathos, logos and ethos.
In sub-Saharan Africa, thousands of languages, cultures, and geographical regions helped influence our African society. The ways in which we produce our artwork, spiritual ideals, and ritual performances are organic and raw. From the tropical regions of Congo and Ghana, to the arid regions of Mali; I pass through the global gateway into a domain where the Western world lost its roots and artistic imagination and grandeur. Africa appeals most to me for its ability to create a realm where the living, dead, and artistic ideals come into a single unit of tranquil philosophy.
Unlike science, art is subjective. The artist leaves behind a part of himself in his work. Therefore, each piece has its own distinct perspective. Frida Kahlo’s self-portraits show her view on her life, on how she has faced so many struggles, yet managed to be a strong person. When we see or hear or read an artistic creation, it produces a mood such as calm or loud, fear or safety. For example, the Eiffel Tower gives Paris a majestic awe; everyone who passes by feels the strength of the 113-year-old grand structure. Art also has a texture. Photographs reveal much through their textures; grainy surfaces often make the picture more realistic while smooth ones seem softer. When we hear a piece of music or see a film, a rhythm carries us from one part to another. Not just true for these two genres, rhythm is present in any artistic work. These few properties are characteristic of everything we encounter in the world of art, the world of human expression. Most have other special features also. Most of the time, though, we do not think about these characteristics because we do not have enough time to pay attention to anything for more than a few seconds.
In Confronting Images, Didi-Huberman considers disadvantages he sees in the academic approach of art history, and offers an alternative method for engaging art. His approach concentrates on that which is ‘visual’ long before coming to conclusive knowledge. Drawing support from the field of psycho analytics (Lacan, Freud, and Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what he might describe as an instance of receptivity, as opposed to a linear, step-by-step analytical process. He underscores the perceptive mode of engaging the imagery of a painting or other work of art, which he argues comes before any rational ‘knowing’, thinking, or discerning. In other words, Didi-Huberman believes one’s mind ‘sees’ well before realizing and processing the object being looked at, let alone before understanding it. Well before the observer can gain any useful insights by scrutinizing and decoding what she sees, she is absorbed by the work of art in an irrational and unpredictable way. What Didi-Huberman is s...
Among the many theories of art that have emerged over time, the theory I will defend in this paper is the Neo-Wittgensteinian theory of Art. I will defend this view against the following (two) objections: a) The “open concept” idea of art is too expansive, and b) the “family resemblance” theory of artworks is also too expansive.
SKIDMORE, E. 1995, the world of spirits and ancestors in the art of western sub-Saharan Africa, Texas Tech University press, Texas, p30-33
Paintings, like many forms of art, are very subjective—what one may find intriguing another may completely disagree. “Art is physical material that affects a physical eye and conscious brain” (Solso, 13). To glance at art, we must go through a process of interpretation in order to understand what it is we are looking at. Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception—the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes—which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history—the entire set of our expectations and past experiences—and knowledge (Solso, preface)
Pink, S. (2006). Engaging the Visual: An Introduction. In, Pink, S., The Future of Visual Anthropology: Engaging the Senses. Routledge: New York, pp. 3-20.
African dance provides numerous ways for people to emerge themselves into dance unprofessionally due to its function of being not only social but also historical and ritualistic. By utilizing dance as a way to connect the African community back to their ancestry and nature, each element that formulates each performance is deeply imbedded with meaning and symbols, reflecting back to the traditional lifestyle (Theophile, 2012). In saying so, one of the most importan...
The mind creates the emotions and ideals responsible for art. The brain is capable of imagining glorious things, and art is the physical manifestation of these ideals. These ideals are usually intense emotions with aesthetic power (Wilson, 220). Art organizes these emotions in a matter that can easily express the ideals to...
Human’s have always struggled to express themselves. Art, is considered by many to be the ultimate form of human expression. Many assume that art has a definition, but this is not the case. Art, it can be said, is “in the eye of the beholder.” This simply means that what you consider art, someone else would not. Art is part of a person’s internal emotions, which signifies why different people see art as different things. Every type of culture and era presents distinctive and unique characteristics. Different cultures all have different views of what art can, and would be, causing art itself to be universally renowned throughout the world.