AFRICAN ARTS最新文献

{"title":"The Lower Niger Bronzes: Beyond Igbo Ukwu, Ife, and Benin by Philip M. Peek","authors":"Raymond A. Silverman","doi":"10.1162/afar_r_00736","DOIUrl":"https://doi.org/10.1162/afar_r_00736","url":null,"abstract":"For the past sixty years, one of African art history's most intriguing “problems” has been sorting out the temporal and spatial relationships among a diverse corpus of cast copper alloy artifacts from southern Nigeria collectively known as the Lower Niger Bronze Industry (LNBI). As an undergraduate at UCLA in the early 1970s, I remember sitting in Arnold Rubin's survey of the arts of West Africa and listening to him speak about these enigmatic cuprous objects associated with various sites and societies situated in the region surrounding the confluence of the Niger and Benue rivers, artifacts that sometimes share formal characteristics, sometimes not. Some had been documented in situ, most were museum pieces with little or no provenance. Though associated with different societies, their concentration in this circumscribed area, prompted questions about their histories and the relationships of the communities with which they are associated, questions that today are still largely unanswered. Who made them, when were they made, where did the material from which they were made come from, and how were they used in the societies with which they are associated?In 1963, the then keeper of the African collections of the British Museum, William Fagg, created the rubric “Lower Niger Bronze Industry” to differentiate this heterogenous group of artifacts from the better-known cuprous traditions of Igbo Ukwu, Benin, and Ife. He applied this appellation to fourteen objects that he had identified as possessing certain affinities. He speculated about their possible origins, considering when they were made and who made them, as well as their meanings in the societies in which they were documented. Over the last sixty years, the LNB corpus has expanded as more artifacts have been discovered, in the field but mostly in museum collections. During this time several scholars have grappled with this art historical enigma, but it is only recently that Philip Peek, a longtime specialist in the expressive cultures of southern Nigeria, has taken on the formidable task of sorting through the existing scholarship and material evidence associated with these provocative objects. The Lower Niger Bronzes: Beyond Igbo-Ukwu, Ife, and Benin, offers the first comprehensive study of this material. A warning, this book is not for the faint of heart. Though not a catalogue raisonné, it does examine a large representative sample from a corpus of over 1,000 objects and offers a deep dive into the analysis of this vast and varied body of metalwork, most carrying little if any provenance, to make sense of what it might tell us about the migration of people and things through time and space and the insights it might reveal concerning the precolonial histories of southern Nigeria. Peek presents prime examples of the full range of LNBs, effectively integrating sixty black-and-white and sixteen color photographs to buttress this impressive study.In a field (art history) that relies heavily on mo","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135508443","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":"Gatekeepers and Vengeful Spirits of the Ọ̀wọ̀ Past: Word and Act Made Visible","authors":"Robin Poynor","doi":"10.1162/afar_a_00727","DOIUrl":"https://doi.org/10.1162/afar_a_00727","url":null,"abstract":"Under the assumption that there is value in retrospectively examining one's earlier research to assess areas of omission or misunderstanding, I write this article some fifty years after my initial research in Ọ̀wọ̀, Nigeria, the capital city of a once powerful, sprawling kingdom on the eastern edge of Yòrùbá territory, bordering on the powerful Edo Benin Kingdom whose capital is a scant 75 miles south.As a neophyte researcher whose training prior to graduate study was in studio, what attracted me to the study of African art was the thoughtfulness with which African artists translated mental images and ideas into material form. I was entranced by sensitive abstraction in much African art as well as by idealized naturalism of the art of Ife.My choice of Ọ̀wọ̀ as a research site was inspired by Ekpo Eyo's recent excavation in Ọ̀wọ̀ in 1969, where he uncovered naturalistic terracotta objects whose idealized features reinforced Ọ̀wọ̀'s claim of origin from ancient Ife (Eyo and Willett 1980). At the same time, other objects suggested contact with Benin to the south. Seeing these ancient forms as evidence of links to different kingdoms, my project was to use art objects as indexes of cultural contact. I set out to Ọ̀wọ̀ to investigate leadership arts, intent on examining beautifully rendered forms that reinforced roles played by the hierarchy of the Olọ́wọ̀ (king), identifying objects that may derive from Yòrùbá prototypes and those that had resulted from contact with Benin.Over the years I have dealt with images of power and authority in Ọ̀wọ̀—chieftaincy garb, ceremonial swords, textiles and dress, and ancestral images that reinforce the authority of living men while honoring ancestors. (Some of the publications that have dealt with these include Poynor 1976, 1978, 1980, 1981, 1984, 1987a, 1987b, 1989, 1995, 2000, 2003, 2011, 2023; Poynor, Cole, and Visoná 2001.)While conducting my research in Ọ̀wọ̀ in 1973, I encountered several types of objects that, from my point of view at that time, did not fit the traditional categories of leadership art. Made of unfired clay, their medium was not as elegant as the more exquisite ivory, brass, and wooden objects Ọ̀wọ̀ is known for. They were called by several names, ṣìgìdì (pronounced shee-ghee-dee) and ìyègbè being the most often used. At that time, I was drawn to the more sophisticated arts used in leadership contexts and I pushed these earthen figures aside in my research agenda, although they did work in the context of governance.1The purposes of the clay figures were various. They functioned as gatekeepers on the one hand, or as violent forces to wreak havoc on enemies on the other. Both, I now realize, were in the service of important dignitaries within the hierarchy of the kingdom.The functions of objects discussed here are by no means limited to the Ọ̀wọ̀ or to the Yòrùbá. The use of images as guards, sentinels, watchdogs, tutelary spirits, doorkeepers or gatekeepers, detectives, look","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"2016 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135508450","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":"Personal Reflections on Technologies and the Study of African Art","authors":"Robin Poynor","doi":"10.1162/afar_a_00726","DOIUrl":"https://doi.org/10.1162/afar_a_00726","url":null,"abstract":"A few of us remember Hal, the fictional AI character that takes control of the spaceship Discovery One in the 1968 film 2001: A Space Odyssey. Hal1 was not friendly when the protagonist of the film interacted with him. He took over, refusing to cooperate with human “passengers.” The character was capable of performing tasks we recognize as AI (artificial intelligence) today: speech recognition, simulated speech, peforming visual input processing such as facial recognition, processing natural language (among other aptitudes), and even lip-reading. (He also was “naturally” ascribed a gender identity.) He assumed control against the will of humans who created him. Hal was said to have been created in 1992. Interestingly, many digital tools we use today were introduced about the same time: the World Wide Web, H-NET, PowerPoint, smartboards, learning management systems like Blackboard, JSTOR, and others.Although my university is agog about AI and plans to hire some 100 new faculty with AI experience,2 I have not paid much attention to it until now. However, recent communication from MIT Press Journals, distributor of African Arts, advised the African Arts editorial consortium:I had never heard of ChatGPT, but that plea (and recent uses of digital technology linking me to individuals and groups in Nigeria) made me process in my own mind the effects technology has had on our disciplines since I began studying African art fifty-seven years ago. In 1993, the World Wide Web was made public, greatly altering ways life is lived and making a profound impact on disciplines investigating African creative arts.4 And with the introduction of AI and the fear of higher education being turned “upside down” as the MIT email suggests, should we fear an academic version of Hal?5Allow me to muse over ways technology has had a bearing on my own studies and think in terms of where digital communication may lead. I look at the trickle of new technologies half a century ago, the ensuing flood of media and means of communication during ensuing several decades, and dire predictions presently being made.I first introduce an image I took in 1973 (Fig. 1). I stood on a street in Ọ̀wọ̀, Nigeria. A seemingly endless procession of middle-aged men dressed in handwoven drapes passed. Using my Canon camera, I snapped many images, not knowing who individuals were, what roles they played within their age grade, who they would become, or how they would be remembered. Fifty years later, because of digital communication, I can identify four of the men and can piece together arcs of their lives.I did not even know if the image would come out. A half century ago in Nigeria, colored film had to be mailed back to the United States for processing. It would not be until I returned that I would know if that shot was successful or not. Today digital photography, even on cell phones, reveals the quality of the photograph immediately, and it is shareable instantly by email, social media, or “the c","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"181 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135508427","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":"Morphing Identity and Style in Contemporary Ghanaian Painting: Two Artists From Sekondi-Takoradi","authors":"Elijah Sofo, Edinam Kakra Avoke, Edwin K. Bodjawah","doi":"10.1162/afar_a_00729","DOIUrl":"https://doi.org/10.1162/afar_a_00729","url":null,"abstract":"The term “morphing” is used in animation to describe the process of gradually transforming a sourced image, appearance, or form into another. This term amply reflects the state of contemporary painting in Ghana since her independence in 1957. The few published texts on modern and contemporary Ghanaian artistic developments have established at least three generations of contemporary Ghanaian artists and the periodization of their works. The notion of style has been used as the main method of classifying their artistic productions in response to these transformations. As a result, Maruska Svašek posits that, “In the history of Ghanaian artistic production … various individuals and groups have utilized the notion of style in order to present their arts as an expression of their ‘natural’ identity” (1997: 2). She suggests a seamless synergy between style and identity. The notion of identity and style in contemporary Ghanaian painting in this instance portends a merger between particular individual or shared innate attributes/ethos (as a result of relationships, sociopolitical, economic, and cultural factors, amongst others) and their corresponding artistic styles that culminate in the construction of what she describes as either individual or shared group identities.To define “contemporary Ghanaian painting” will mean clarifying the complexities of a now-historical but still evolving Ghanaian artistic phenomenon. Amelia Jones is of the view that the word “contemporary” refers to the present or that which is “in existence now” (2006: 1), such that contemporary Ghanaian painting denotes a current genre of Ghanaian artistic expression. However, we argue that this Ghanaian artistic genre has gone through several phases that are firmly rooted in Ghana's sociopolitical, economic, and cultural past, as well as the present (Fosu 2003).The first of three generations of modern and contemporary Ghanaian artists, according to Kojo Fosu (2013), is the “pioneers.” Svašek posits that the pioneers of contemporary Ghanaian art fought the “myth of static primitive traditions” and “claimed ‘European’ realism” (broadly defined and incorporating diverse styles, such as naturalism, impressionism, and figurative expressionism) as an artistic style to propagate their nationalist agendas of independence, decolonization, and the notion of the African personality (Svašek 1997: 5). The second generation, on the other hand, consists of artists who thematically freed their art from the dogmatism of the pioneers. Although this generation also adopted “European realism” or genre painting as their artistic style, they broke the myth of romanticizing their cultural past and started painting the life and scenes of the urban cities where they dwelled in the 1970s—specifically, Accra, the capital city of Ghana, and Kumasi, where Ghana's premier College of Art (Kwame Nkrumah University of Science and Technology, KNUST) is located. Painting, therefore, became a form of pictorial documenta","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135508398","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":"Practical Work: Sapeuses (Women Sapeurs) in Kinshasa, Democratic Republic of the Congo","authors":"Kristen Laciste","doi":"10.1162/afar_a_00730","DOIUrl":"https://doi.org/10.1162/afar_a_00730","url":null,"abstract":"During a conversation in the summer of 2019 in Kinshasa with the sapeuse La Princesse, she said that she tells her son repeatedly, “You eat money from La SAPE.” We sat at an outside table of a nganda (bar) underneath the shade while her son sat within earshot of our conversation.1 I was struck by La Princesse's assertion because it had framed La SAPE as a source of money that enables one to eat. This is significant in light of academic and media (mis)representations of La SAPE, which often concentrate on the elegance, extravagance, and escapism of sapeuses and sapeurs. Speaking of La SAPE in terms of earning income shifts the focus to practicality rather than reinforcing its sensationalism.La SAPE stands for Société des Ambianceurs et des Personnes Élégantes (Society of Ambiance Makers and Elegant Persons), and its members are called sapeuses (for women) and sapeurs (for men).2 While its exact origins are unclear, La SAPE today is associated generally with Brazzaville and Kinshasa. Separated by the Congo River, the histories of these twin capitals are entangled yet distinct, as Republic of the Congo was colonized by France and Democratic Republic of the Congo was colonized by Belgium. In conversations that I had with sapeuses and sapeurs in Kinshasa, they consistently claimed that they are born members of La SAPE and that it is in their blood; in cases in which people want to become members of La SAPE, they have to work hard. They also describe a handful of qualities that make one recognizable as a member of La SAPE: being clean, behaving well, dressing well, and having a good attitude towards work. Kadhitoza, a member of La SAPE (Fig. 1), showed me his identity card, which listed sapeur as his occupation. This emphasis on work has been lost in academic and media representations of La SAPE in the United States and Europe.Therefore, my aim is to offer a reading of La SAPE as work in a few respects: as connected to public performance, as a way to earn money, and as a means of support for its members, their families, and individuals affiliated with (but not members of) La SAPE. I move the focus away from sensational readings of La SAPE to show how it is not escapism from one's reality of living in Kinshasa; rather, it is a response to the very challenges of living in the city. In particular, I discuss how membership in La SAPE is a practical strategy for sapeuses in Kinshasa, as the experience for sapeuses and sapeurs is distinct due to existing gender expectations and attitudes towards women working in public. However, this is not to exclude the idea that sapeurs consider La SAPE as a form of work. Instead, I deliberately narrow my focus to sapeuses, as sapeurs dominate academic and media representations. I begin by introducing the origins and history of La SAPE, and then discuss previous scholarly interpretations that depict it as a means of escapism. Then, I turn to the urban realities of living in Kinshasa, concentrating on the informal or secon","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135508444","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":"Before Nollywood: The Ideal Photo Studio curated by Amy Staples. Iké Udé: Nollywood Portraits Originating curator: Selene Wendt; Smithsonian curator: Karen Milbourne","authors":"Mark Auslander","doi":"10.1162/afar_r_00733","DOIUrl":"https://doi.org/10.1162/afar_r_00733","url":null,"abstract":"Two photographic exhibitions at the National Museum of Africa Art offered profoundly different approaches to modern Nigerian visual culture. Iké Udé: Nollywood Portraits, a traveling exhibition, celebrated the Nigerian film industry from a transnational elite perspective. In contrast, Before Nollywood: The Ideal Photo Studio explored the popular studio photography of Solomon Osagie Alonge during the late colonial and early national era, documenting community leaders and middle-class lives in Benin City, Nigeria.Before Nollywood emerged out of long-term research, conservation, and curatorial partnership between the Edo kingdom, the people of Benin City, the Osagie and Alonge families, the Nigerian National Commission for Museums and Monuments, and the Eliot Elisofon Photographic Archives (EEPA) of the National Museum of African Art (NMAfA). The Alonge Project included NMAfA's major 2014-2016 exhibition Chief S.O. Alonge: Photographer to the Royal Court of Benin, Nigeria. In 2017, the Smithsonian presented parts of the show as a permanent gift to the National Museum of Benin in Benin City, Edo State, Nigeria (Staples 2017b). This has allowed thousands of community members to encounter long-lost images of themselves, friends, and family members; to reflect on the popular visual history of Edo State; and to contribute to a continuing community-based research project on the city's social and cultural history.The deep excitement over the installation in Benin City was echoed at the October 1, 2022 opening of Before Nollywood at NMAfA, as dancers and drummers of the diasporic Edo community performed in the presence of many members of the Alonge family and the Edo Association of Washington, DC (Fig. 1). The excellent catalogue Fragile Legacies: The Photographs of Solomon Osagie Alonge (Staples, Kaplan, and Freyer 2017) remains a vital scholarly anchor of the overall project.Roland Barthes suggests that cameras are “clocks for seeing,” moving viewers back and forth across time's passage in sensuous, uncanny ways (Barthes 1981: 15). Indeed, the dominant sensibility pervading the Ideal Studio exhibition was not so much time's loss, as time regained, making time's passage visible while binding together discrete temporal moments. Entering the gallery, visitors saw a wall-sized mural photograph of the members of the Benin Social Circle, taken in 1938, the year of the organization's founding by the city's educational, cultural, and political elite (Fig. 2; center right is Nnamdi Azikiwe, who later became Nigeria's first president in 1963). A small diagram identified known members of the Circle and requested visitors’ help in filling in the blanks. In an evocative demonstration of the enduring vitality of Edo cosmopolitanism and resilience across the generations, a 2015 color photograph featured the surviving founding members of the Circle, along with curator Amy Staples, marking the 77th anniversary of the organization's creation, seated once more together in B","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135508448","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":"Picasso in Dakar, 1972-2022 curated by Guillaume de Sardes, Hélène Joubert, El Hadji Malick Ndiaye, and Ousseynou Wade","authors":"Lauren Taylor","doi":"10.1162/afar_r_00731","DOIUrl":"https://doi.org/10.1162/afar_r_00731","url":null,"abstract":"Debuting amid the 2022 edition of the Dak'art Biennial, Picasso in Dakar, 1972-2022—curated by Guillaume de Sardes, Hélène Joubert, El Hadji Malick Ndiaye, and Ousseynou Wade, with project managers Chih-Chia Chung, Safia Belmenouar, Sophie Daynes-Diallo, Sarah Lagrevol—brought together works from four lending institutions: from France, the Musée Picasso and Musée du quai Branly-Jacques Chirac; and in Senegal, the Théodore Monod Museum of African Art as well as the host venue, the Museum of Black Civilizations (Fig. 1). The exhibition marked the passage of fifty years since a solo show of the Spanish artist's work appeared at the now defunct Musée Dynamique, Dakar's first art museum to be built under the supervision of independent Senegal's inaugural president, Léopold Sédar Senghor. To revisit this 1972 moment in 2022 was to implicitly remind audiences of the city's enduring status as an African superconductor in the circuitry of the global art world. But if Picasso in Dakar, 1972-2022 was a reminder of such legacies maintained, it was also an opportunity to revisit Dakar's relationship to Picasso with critical hindsight.In the opening address of the 1972 Picasso exhibition, a show cosponsored by French president Georges Pompidou, Senghor praised the artist and suggested that his Andalusian roots gave ancestral backing to the role that African art played in the artist's creations. For Dakar's contemporary artists, Senghor proclaimed, Picasso was a model “whose kinship serves as a firm promise, and whose differentness serves as a powerful encouragement” (Senghor 1995: 228). But over the half-century that has passed since Senghor's laudatory remarks, Picasso's relationship to Africa has received important scrutiny. Simon Gikandi (2003) famously called out the “schemata of difference” upon which the artist's relationship to African art and people relied. Recent books by Suzanne Blier (2019) and Joshua Cohen (2020) have identified specific interactions shaping the artist's engagement with the continent and its cultural forms. And more broadly, the legacy of Picasso faces renewed critique well beyond the walls of academia, amid a public recognition of the role that exclusionary art canons and their protagonists have played in the ideologies of patriarchy and White supremacy.Given this context, the fraught hyphen in the title Picasso in Dakar, 1972-2022 dangled provocative questions. How might the past five decades of research and criticism equip this show to cast new light on both Picasso and Senghor? What present-day concerns, particularly regarding the intertwined political and artistic institutions of Africa and Europe, could this exhibition lend greater historical depth? Could viewing the reciprocal relationship between the artist and a single city offer specificity, multidirectionality, and analytical rigor to Picasso-Africa discourse, guiding audiences beyond familiar accounts of the European artist's gaze upon a generalized continent?This exhib","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135508447","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":"New Masks, New Meanings: Covid Perspectives on African Art History: Part 2: Coups, Pandemics, and Careers in African Art History","authors":"L. Homann","doi":"10.1162/afar_a_00677","DOIUrl":"https://doi.org/10.1162/afar_a_00677","url":null,"abstract":"An introduction is presented in which author discusses articles on topics including focuses on feasibility of conducting research abroad that is equally unpredictable and COVID-19 pandemic has prevented many of from going about business as usual, including traveling abroad.","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"4-5"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47870800","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":"Moth to Cloth: Silk in Africa","authors":"L. Robertson","doi":"10.1162/afar_r_00685","DOIUrl":"https://doi.org/10.1162/afar_r_00685","url":null,"abstract":"","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"84-85"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46537433","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":"Afro-Catholic Festivals in the Americas: Performance, Representation, and the Making of Black Atlantic Tradition","authors":"H. Drewal","doi":"10.1162/afar_r_00687","DOIUrl":"https://doi.org/10.1162/afar_r_00687","url":null,"abstract":"","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"90-91"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43067167","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}