The Shattered Gourd: Yoruba Forms in Twentieth Century American ArtUniversity of Washington Press, 2012 - 256 pàgines The Shattered Gourd uses the lens of visual art to examine connections between the United States and the Yoruba region of western Nigeria. In Yoruba legend, the sacred Calabash of Being contained the Water of Life; when the gourd was shattered, its fragments were scattered over the ground, death invaded the world, and imperfection crept into human affairs. In more modern times, the shattered gourd has symbolized the warfare and enslavement that culminated in the black diasporas. The "re-membering" of the gourd is represented by the survival of people of African origin all over the Americas, and, in this volume, by their rediscovery of African art forms on the diaspora soil of the United States. Twentieth-century African American artists employing Yoruba images in their work have gone from protest art to the exploration and celebration of the self and the community. But because the social, economic, and political context of African art forms differs markedly from that of American culture, critical contradictions between form and meaning often appear in African American works that use African forms. In this book -- the first to treat Yoruba forms while transcending the conventional emphasis on them as folk art, focusing instead on the high art tradition -- Moyo Okediji uses nearly four dozen works to illustrate a broad thematic treatment combined with a detailed approach to individual African and African American artists. Incorporating works by such artists as Meta Warrick Fuller, Hale Woodruff, Aaron Douglas, Elizabeth Catlett, Ademola Olugebefola, Paul Keene, Jeff Donaldson, Howardena Pindell, Muneer Bahauddeen, Michelle Turner, Michael Harris, Winnie Owens-Hart, and John Biggers, the author invites the reader to envision what he describes as "the immense possibilities of the future, as the twenty-first century embraces the twentieth in a primal dance of the diasporas," a future that heralds the advent of the global as a distinct movement in art, beyond postmodernism. |
Des de l'interior del llibre
Resultats 1 - 5 de 41.
... Double - Headed Axe 63 5 ( Re ) visioning Africa 88 6 When Memory Fails 111 7 Crossroads to Amnesia 139 8 Conclusion : Spring and Renewal 174 Notes 185 Index 197 THE SHATTERED GOURD Yoruba Forms in Twentieth - Century American.
... amnesia , these black American artists recuperate certain Yoruba forms in their compositions . Their recovery of ethnic fragments contains race , gender , and class frac- tures , allowing one to observe the aesthetic and ideological ...
... amnesia , a condition that often accom- panies intense traumatic experiences such as surviving the Middle Passage and the centuries of physical and psychological enslavement . It is there- fore not surprising that a lot of works in ...
... amnesia within the larger challenges of race , gender , and class conflicts in American society . In the processes of dealing with these bigger challenges , she suc- ceeds in her battles with amnesia , while incorporating Yoruba textile ...
... amnesia , bringing into play Abiodun's concept of grp , as exemplified in Derrida's concept of anamne- sia and Yai's notion of itan . 0ro , being a concept beyond traditional art his- torical metalanguage , requires all the innovative ...
Continguts
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18 | |
32 | |
The DoubleHeaded Axe | 63 |
Revisioning Africa | 88 |
When Memory Fails | 111 |
Crossroads to Amnesia | 139 |
Spring and Renewal | 174 |