This document summarizes a research paper that examines the role of crafts, oral literature, and language in tourism development in Ghana. It finds that these three areas are important for their economic value, information exchange, sharing of experiences, and reducing biases. However, lack of marketing outlets and product finishing pose major challenges. The document provides historical context on increased interest in Africa after independence, and how crafts, textiles, and traditional attire have helped change perceptions. It discusses how crafts, oral literature, and music are interrelated through their organization and manipulation of sounds to create aesthetic experiences, despite language barriers. This benefits tourism by showcasing Ghana's unique cultural expressions.
International Journal of Humanities and Social Science Invention (IJHSSI)inventionjournals
This document summarizes a research paper on the Atam masquerade tradition of the Bakor people of Nigeria. It discusses how masquerades are an important part of cultural expression and identity in many African societies. The Atam masquerade holds significant ritual and social roles in Bakor society. It serves functions like cleansing, adjudication, and mourning royal figures. The paper aims to document the Atam tradition and its artistic and functional significance before it potentially disappears, as many cultural practices and skills are being lost. It examines masquerading as a form of artistic communication and how masks symbolize cultural beliefs and ideas.
This document provides an overview of a seminar on Modern African Art. It will be taught on Tuesdays from 3-6pm in Room 014 Hayden Hall. The instructor is Dr. Onoyom Ukpong and their office hours are Mondays and Wednesdays from 1:30-3:30pm. The seminar will examine crucial questions around the evolution, proliferation, legitimacy and status of modern African art through assigned readings and discussions. It will be structured in three parts - retrospective analysis, active critical writing, and scheduled oral presentations. Students will be graded based on attendance, an oral presentation, and a final seminar paper.
This document summarizes an article that discusses how the artist Clement Akpang uses "Hybrid Aesthetics" to incorporate traditional African symbols and scripts into modern paintings and sculptures. It describes one of Akpang's works called "Identity I 2012", which adapts traditional African symbols through a hybrid process of hand drawing, digital manipulation, and screen printing. The document argues that this process recontextualizes traditional visual culture in a contemporary art form, demonstrating traditionalism within modernism. It also discusses how the repetitive elements and multiplicity of the work challenge ideas of originality and authenticity in modern African art.
Presented by Debra Klein at the Annual Conference of the Visual Resources Association, April 3rd - April 6th, 2013, in Providence, Rhode Island.
Session #09: Documenting the Art of Africa: Creating New Vocabularies
ORGANIZER: Karen Kessel, Sonoma State University
MODERATOR: Carole Pawloski, Eastern Michigan University
PRESENTERS:
Debra Klein, Bard College
Jennifer Larson, Department of the Arts of Africa, Oceania and the Americas, Metropolitan Museum of Art
Carole Pawloski, Eastern Michigan University
Endorsed by the Education Committee
Over 100 years ago, artists like Picasso and Gauguin found novel inspiration for their art in the creative works of art from exotic places like Africa and the South Pacific. Digital technology has created the ability to more widely share the resources that we manage yet our vocabulary in describing them is limited. Most Western cultures still view traditional arts of the African continent with a Western aesthetic. People are more interested in how the work is formally viewed than its original function or how and why it was created and how it is displayed. There is often much lacking with record descriptions, cataloging and display that would both enhance the work and give viewers a more accurate understanding of each object. More complete records would enhance the usefulness of object records for multiple disciplines. The influence of African art on the work of Western artists could be documented in the object records. This session will strive to provide these missing elements and further cultural understanding by presenting some of the concerns about the documentation of objects being addressed by current scholars in African art history and related fields. It will touch on the evolving standards and codification of traditional African art, the multiplicity of functionality within objects, and how to better convey meaning through the documentation and contextual display of objects. At the same time, we need to be aware that these cultures may express a need to limit the sharing of information about works that have special significance to their own cultural communities or ethnic groups.
Thursday April 4, 2013 1:35pm - 2:55pm
The document discusses the culture and context of the Cinderella story "Yeh-Shen" which originated in China. It describes the Ch'in and Han dynasties when the story was set, including the social roles of women, children, and marriage customs. The culture placed importance on rites, ceremonies, and weaving. Scholars believe details in the story reflect cultural symbols and traditions around things like fish, caves, guardian figures, architecture, and animals within Chinese culture and locations in Asia. Questions are raised about how cultural elements influence folktales and their interpretations.
The humanities are studies that are directly concerned with human values and how humans interact with each other, the natural world, and concepts like God. The humanities encompass areas like cultural studies, history, philosophy, languages, art, music, theater, and religious studies. Key aspects of culture include creation myths that influence a group's worldview, art that expresses cultural values, and similarities and differences in structures like houses, monuments, and sculptures across civilizations. Civilizations develop in river valleys with resources to support large populations, administrative elites, trade, production, and expressions of culture through images and writing.
This document summarizes Tan Wei Sheng's portfolio for the Culture and Civilization module. It includes 4 projects:
1) A culture journal on Vietnam comprising its ancient history, culture, and civilization.
2) A runway show featuring traditional Roman attire and a model of a Roman mansion.
3) A set of postcards showcasing street foods from different areas in Kuala Lumpur, Malaysia.
4) The postcards are presented in packaging made from cardboard with a green theme and feature black and white imagery with color photos of the foods.
International Journal of Humanities and Social Science Invention (IJHSSI)inventionjournals
This document summarizes a research paper on the Atam masquerade tradition of the Bakor people of Nigeria. It discusses how masquerades are an important part of cultural expression and identity in many African societies. The Atam masquerade holds significant ritual and social roles in Bakor society. It serves functions like cleansing, adjudication, and mourning royal figures. The paper aims to document the Atam tradition and its artistic and functional significance before it potentially disappears, as many cultural practices and skills are being lost. It examines masquerading as a form of artistic communication and how masks symbolize cultural beliefs and ideas.
This document provides an overview of a seminar on Modern African Art. It will be taught on Tuesdays from 3-6pm in Room 014 Hayden Hall. The instructor is Dr. Onoyom Ukpong and their office hours are Mondays and Wednesdays from 1:30-3:30pm. The seminar will examine crucial questions around the evolution, proliferation, legitimacy and status of modern African art through assigned readings and discussions. It will be structured in three parts - retrospective analysis, active critical writing, and scheduled oral presentations. Students will be graded based on attendance, an oral presentation, and a final seminar paper.
This document summarizes an article that discusses how the artist Clement Akpang uses "Hybrid Aesthetics" to incorporate traditional African symbols and scripts into modern paintings and sculptures. It describes one of Akpang's works called "Identity I 2012", which adapts traditional African symbols through a hybrid process of hand drawing, digital manipulation, and screen printing. The document argues that this process recontextualizes traditional visual culture in a contemporary art form, demonstrating traditionalism within modernism. It also discusses how the repetitive elements and multiplicity of the work challenge ideas of originality and authenticity in modern African art.
Presented by Debra Klein at the Annual Conference of the Visual Resources Association, April 3rd - April 6th, 2013, in Providence, Rhode Island.
Session #09: Documenting the Art of Africa: Creating New Vocabularies
ORGANIZER: Karen Kessel, Sonoma State University
MODERATOR: Carole Pawloski, Eastern Michigan University
PRESENTERS:
Debra Klein, Bard College
Jennifer Larson, Department of the Arts of Africa, Oceania and the Americas, Metropolitan Museum of Art
Carole Pawloski, Eastern Michigan University
Endorsed by the Education Committee
Over 100 years ago, artists like Picasso and Gauguin found novel inspiration for their art in the creative works of art from exotic places like Africa and the South Pacific. Digital technology has created the ability to more widely share the resources that we manage yet our vocabulary in describing them is limited. Most Western cultures still view traditional arts of the African continent with a Western aesthetic. People are more interested in how the work is formally viewed than its original function or how and why it was created and how it is displayed. There is often much lacking with record descriptions, cataloging and display that would both enhance the work and give viewers a more accurate understanding of each object. More complete records would enhance the usefulness of object records for multiple disciplines. The influence of African art on the work of Western artists could be documented in the object records. This session will strive to provide these missing elements and further cultural understanding by presenting some of the concerns about the documentation of objects being addressed by current scholars in African art history and related fields. It will touch on the evolving standards and codification of traditional African art, the multiplicity of functionality within objects, and how to better convey meaning through the documentation and contextual display of objects. At the same time, we need to be aware that these cultures may express a need to limit the sharing of information about works that have special significance to their own cultural communities or ethnic groups.
Thursday April 4, 2013 1:35pm - 2:55pm
The document discusses the culture and context of the Cinderella story "Yeh-Shen" which originated in China. It describes the Ch'in and Han dynasties when the story was set, including the social roles of women, children, and marriage customs. The culture placed importance on rites, ceremonies, and weaving. Scholars believe details in the story reflect cultural symbols and traditions around things like fish, caves, guardian figures, architecture, and animals within Chinese culture and locations in Asia. Questions are raised about how cultural elements influence folktales and their interpretations.
The humanities are studies that are directly concerned with human values and how humans interact with each other, the natural world, and concepts like God. The humanities encompass areas like cultural studies, history, philosophy, languages, art, music, theater, and religious studies. Key aspects of culture include creation myths that influence a group's worldview, art that expresses cultural values, and similarities and differences in structures like houses, monuments, and sculptures across civilizations. Civilizations develop in river valleys with resources to support large populations, administrative elites, trade, production, and expressions of culture through images and writing.
This document summarizes Tan Wei Sheng's portfolio for the Culture and Civilization module. It includes 4 projects:
1) A culture journal on Vietnam comprising its ancient history, culture, and civilization.
2) A runway show featuring traditional Roman attire and a model of a Roman mansion.
3) A set of postcards showcasing street foods from different areas in Kuala Lumpur, Malaysia.
4) The postcards are presented in packaging made from cardboard with a green theme and feature black and white imagery with color photos of the foods.
This document discusses diaspora, hybridity, and their relationship. It defines diaspora as the dispersal of a population from its homeland and its retention of a collective identity and connection to the homeland. Hybridity is defined as the mixing of two different things, such as the mixing of cultures that occurs when diaspora populations integrate aspects of their native and new cultures. The document posits that hybridity commonly emerges within diaspora populations in sectors such as culture, language, and identity as they blend traditions from their homeland with those of their new country.
The document discusses identity formation within immigrant communities. It explores how immigrant communities preserve cultural practices from their originating culture as a means of maintaining their cultural identity amidst migration. However, over time originating cultures continue to modernize independently, resulting in disconnect when immigrant communities and their originating cultures eventually interact. The study found that identity is fluid and shaped by social and group dynamics. Immigrant communities cling to familiar cultural histories for stability, which can lead to extremes that diverge from the modernizing originating culture.
The document is a chapter from a book that discusses a community arts project in Clanwilliam, South Africa called the Clanwilliam Arts Project. It provides background information on the project, which engages school students in creative arts activities based on stories and icons from the Bleek & Lloyd archive of /Xam (San) oral traditions. The project aims to provide arts access, train facilitators, and reconnect the community to its /Xam heritage through performance. It discusses how heritage is an active process of engaging with the past in the present, and can be transformative.
The document provides an overview of a presentation by Deborah Kozdras on using artifacts in trace-based case studies and historical thinking. It discusses using timelines, terms, primary and secondary sources, and historians' interpretations to analyze artifacts. It also addresses using maps and place-based literacy to understand how geography impacted civilizations. Additional concepts covered include economic growth factors, scarcity, trade, and distinguishing between economic and economic history approaches. The document demonstrates how to structure trace-based cases starting with an artifact and asking questions to investigate its context regarding who, when, where, how, why and adding related sources.
Slideshow to an exposition that I wrote on cultural appropriation and the complex views on negative and positive appropriation
Link to doc:
https://lachlannewall.wordpress.com/2016/03/10/the-mainstream-and-cultural-appropriation/
The document describes a new course that was created called "Africa, the Americas, and Europe: An Exchange" that takes a more global perspective on history from 1400 onwards, focusing on regions and peoples before, during and after the age of exploration. It involved students creating a museum exhibit on topics related to civilizations and their encounters and cultural exchanges. Students conducted research, wrote text and created hands-on exhibits. Sample exhibits focused on topics like the slave trade, African empires and trade networks, and key figures like Ibn Battuta. The project aimed to promote interdisciplinary and critical thinking.
The document provides an overview of a presentation by Deborah Kozdras on using artifacts in trace-based cases for teaching history. It discusses using artifacts as traces of the past to spark questions from students and have them investigate the context around when, where, who, how, and why regarding the artifact. Examples are provided of using an earthenware sculpture of a horse from China to discuss the importance of horses to the Han Dynasty and the development of the Silk Road. Guiding questions are suggested for how to structure an investigation and argument around an artifact. Resources like timelines, textbooks, poems, and articles are recommended to supplement the students' research.
Hereby, I have attached traditional folk art of Bangladesh. Bangladesh is enrich in folk art, there various types of folk art.
May be this slides will guide anyone for getting introduce with Bangladeshi culture, Hope it'll be helpful.
This document defines culture and civilization and discusses their relationship. It provides examples of major world civilizations such as Ancient Greek, Roman, Chinese, and Inca. The document also highlights some peculiar cultures around the world like the Turkish yes/no culture, Egyptian flower gifts, Japanese invitations, and tomato festivals. It concludes that in a civilization, culture of the mind must be subservient to humanity.
The document discusses the role of Zimbabwean museums, specifically the Zimbabwe Military Museum, in creating national identity during the post-colonial era. It finds that the museum's collections, themes, events, and displays still pursue colonial ideologies and have done little to address national identity. The research aims to evaluate how well the museum portrays Zimbabwean identity and determines audiences' perceptions of its role in nation-building. It concludes that if the museum does not take steps to reduce colonial influences in its exhibitions, audiences will continue disengaging from its activities.
Civilization refers to advanced stages of social and cultural development characterized by progress in the arts, sciences, and forms of social organization. Early civilizations flourished along river valleys because they provided water, fertile soil, building materials, opportunities for fishing, transportation, trade, and a moderate climate. The Bronze Age saw the introduction of bronze, an alloy stronger than copper or tin alone, leading to improved tools and crafts. Notable early civilizations included those in Mesopotamia, Egypt, China, and India, which developed writing systems, calendars, legal codes, herbal medicine, and other innovations while worshipping nature and engaging in agriculture.
China has a vast field of arts and crafts
China has a vast field of arts and crafts , numerous categories , numerous styles, mainly divided into the following categories:
Press the functional value of arts and crafts can be divided into practical arts and crafts and arts and crafts furnishings . Practical Arts and Crafts aesthetic artistic conception that contains the production, household items , such as clothing , tools, etc. Used ; furnishings that showcase arts and crafts materials or aesthetic art artistic conception clever styling designed for viewing and decorative arts and crafts, such as ivory , jade , cloisonne , etc.
CLICK HERE TO LEARN MORE : WWW.ARTCRAFTCHINA.COM
This document outlines a portfolio project on the ancient civilizations of Southeast Asia. The objectives are to explore the rise of human civilizations through research and analysis of the change from Neolithic periods to civilizations. Specific learning outcomes include understanding Vietnamese culture and history through creating a timeline and culture journal. The portfolio involves conducting research on the timeline, showcasing it through a runway show, and producing individual models to examine similarities and differences between Eastern and Western civilizations. It also includes designing postcards and packaging to capture the essence of culture and civilization.
The KHIRY Spring/Summer '17 collection is inspired by Fela Kuti and his Kalakuta Republic commune in Lagos, Nigeria. KHIRY's goal is to present an alternative perspective on luxury focused on Africa and its diaspora, rather than the typical Western focus. The collection features sterling silver jewelry embellished with gold or semi-precious stones, drawing on African symbols and aesthetics to reimagine what luxury can mean and represent.
The document discusses the importance of museums in preserving culture and history for future generations in India's diverse society. It argues that museums play a dual role of guarding against misconceptions of history while furthering inquiry and knowledge. However, museums are often seen negatively as places for unwanted objects. The document calls for museums to overhaul how they function to be more accessible, educational, community-oriented, and children-friendly in order to remain relevant and spread their message.
Cultural appropriation involves adopting elements of a minority culture by members of the dominant culture. It can negatively impact minority groups when sacred cultural items are exploited, disrespected, or misrepresented by those in positions of greater social power. Whether cultural appropriation is acceptable depends on what is being borrowed, whether it has religious or spiritual significance, the level of understanding and respect the borrower has for the culture, and if the element is accurately represented. Mainstream cultural appropriation of minority cultures is problematic because the mainstream holds more power to influence global perceptions, and minority groups are often victimized by the appropriation of their cultural identities and practices.
This document discusses museums in the Arabian Peninsula. It notes that while museums in the region have adopted a Eurocentric model, the purpose and function of museums can vary significantly depending on local context. The document examines how museums in the Peninsula are attempting to balance Western practices with local, indigenous influences to create institutions that serve Gulf societies. It argues that more study is needed of how museums in the region are developing their own unique forms and roles outside of Western frameworks.
Africa is the second largest continent containing over 30 million square kilometers and 1 billion people. It is considered the oldest inhabited area worldwide with early human fossils dating back 7 million years ago. Africa has an extremely diverse array of cultures, with over 2000 ethnic groups speaking over 2000 languages. The major religions on the continent are Christianity and Islam, which have around 45% and 40% of followers respectively. Traditional African music was highly influenced by genres like Afrobeat and Highlife but now also incorporates styles such as samba, blues, jazz, reggae, hip-hop and rock.
It is a powerpoint presentation that discusses about the lesson or topic: African Literature. It also includes the definition and types of African Literature.
Realism, Modernism And Naturalism In African American Literature(3)cbrownell
This document discusses African American literature from 1940-1960, focusing on major writers of the period. It describes the styles of realism, naturalism, and modernism. Key figures covered include Richard Wright, Ralph Ellison, James Baldwin, Gwendolyn Brooks, and Lorraine Hansberry. Their works dealt with themes of racial injustice, the urban black experience, and the struggles of individuals and communities.
This document summarizes key aspects of African oral literature and traditions. It discusses genres like orature, epics, trickster stories, and folktales. It also outlines important authors and their works, such as the first African novel, drama, and play written in English. Finally, it provides an overview of characters and places from the novel Things Fall Apart by Chinua Achebe.
This document provides an overview of traditional literature, including the main categories of folktales, fables, myths, epics, and legends. It describes some common folktale types such as cumulative tales, pourquoi tales, beast tales, and wonder tales. It also discusses typical characteristics of folktales, such as short, simple plot structures with good rewarded and evil punished, flat characters that are either completely good or completely evil, themes that present important cultural values, and common motifs. The study of folklore from different cultures can provide insights into those cultures and show universal qualities of humanity.
This document discusses diaspora, hybridity, and their relationship. It defines diaspora as the dispersal of a population from its homeland and its retention of a collective identity and connection to the homeland. Hybridity is defined as the mixing of two different things, such as the mixing of cultures that occurs when diaspora populations integrate aspects of their native and new cultures. The document posits that hybridity commonly emerges within diaspora populations in sectors such as culture, language, and identity as they blend traditions from their homeland with those of their new country.
The document discusses identity formation within immigrant communities. It explores how immigrant communities preserve cultural practices from their originating culture as a means of maintaining their cultural identity amidst migration. However, over time originating cultures continue to modernize independently, resulting in disconnect when immigrant communities and their originating cultures eventually interact. The study found that identity is fluid and shaped by social and group dynamics. Immigrant communities cling to familiar cultural histories for stability, which can lead to extremes that diverge from the modernizing originating culture.
The document is a chapter from a book that discusses a community arts project in Clanwilliam, South Africa called the Clanwilliam Arts Project. It provides background information on the project, which engages school students in creative arts activities based on stories and icons from the Bleek & Lloyd archive of /Xam (San) oral traditions. The project aims to provide arts access, train facilitators, and reconnect the community to its /Xam heritage through performance. It discusses how heritage is an active process of engaging with the past in the present, and can be transformative.
The document provides an overview of a presentation by Deborah Kozdras on using artifacts in trace-based case studies and historical thinking. It discusses using timelines, terms, primary and secondary sources, and historians' interpretations to analyze artifacts. It also addresses using maps and place-based literacy to understand how geography impacted civilizations. Additional concepts covered include economic growth factors, scarcity, trade, and distinguishing between economic and economic history approaches. The document demonstrates how to structure trace-based cases starting with an artifact and asking questions to investigate its context regarding who, when, where, how, why and adding related sources.
Slideshow to an exposition that I wrote on cultural appropriation and the complex views on negative and positive appropriation
Link to doc:
https://lachlannewall.wordpress.com/2016/03/10/the-mainstream-and-cultural-appropriation/
The document describes a new course that was created called "Africa, the Americas, and Europe: An Exchange" that takes a more global perspective on history from 1400 onwards, focusing on regions and peoples before, during and after the age of exploration. It involved students creating a museum exhibit on topics related to civilizations and their encounters and cultural exchanges. Students conducted research, wrote text and created hands-on exhibits. Sample exhibits focused on topics like the slave trade, African empires and trade networks, and key figures like Ibn Battuta. The project aimed to promote interdisciplinary and critical thinking.
The document provides an overview of a presentation by Deborah Kozdras on using artifacts in trace-based cases for teaching history. It discusses using artifacts as traces of the past to spark questions from students and have them investigate the context around when, where, who, how, and why regarding the artifact. Examples are provided of using an earthenware sculpture of a horse from China to discuss the importance of horses to the Han Dynasty and the development of the Silk Road. Guiding questions are suggested for how to structure an investigation and argument around an artifact. Resources like timelines, textbooks, poems, and articles are recommended to supplement the students' research.
Hereby, I have attached traditional folk art of Bangladesh. Bangladesh is enrich in folk art, there various types of folk art.
May be this slides will guide anyone for getting introduce with Bangladeshi culture, Hope it'll be helpful.
This document defines culture and civilization and discusses their relationship. It provides examples of major world civilizations such as Ancient Greek, Roman, Chinese, and Inca. The document also highlights some peculiar cultures around the world like the Turkish yes/no culture, Egyptian flower gifts, Japanese invitations, and tomato festivals. It concludes that in a civilization, culture of the mind must be subservient to humanity.
The document discusses the role of Zimbabwean museums, specifically the Zimbabwe Military Museum, in creating national identity during the post-colonial era. It finds that the museum's collections, themes, events, and displays still pursue colonial ideologies and have done little to address national identity. The research aims to evaluate how well the museum portrays Zimbabwean identity and determines audiences' perceptions of its role in nation-building. It concludes that if the museum does not take steps to reduce colonial influences in its exhibitions, audiences will continue disengaging from its activities.
Civilization refers to advanced stages of social and cultural development characterized by progress in the arts, sciences, and forms of social organization. Early civilizations flourished along river valleys because they provided water, fertile soil, building materials, opportunities for fishing, transportation, trade, and a moderate climate. The Bronze Age saw the introduction of bronze, an alloy stronger than copper or tin alone, leading to improved tools and crafts. Notable early civilizations included those in Mesopotamia, Egypt, China, and India, which developed writing systems, calendars, legal codes, herbal medicine, and other innovations while worshipping nature and engaging in agriculture.
China has a vast field of arts and crafts
China has a vast field of arts and crafts , numerous categories , numerous styles, mainly divided into the following categories:
Press the functional value of arts and crafts can be divided into practical arts and crafts and arts and crafts furnishings . Practical Arts and Crafts aesthetic artistic conception that contains the production, household items , such as clothing , tools, etc. Used ; furnishings that showcase arts and crafts materials or aesthetic art artistic conception clever styling designed for viewing and decorative arts and crafts, such as ivory , jade , cloisonne , etc.
CLICK HERE TO LEARN MORE : WWW.ARTCRAFTCHINA.COM
This document outlines a portfolio project on the ancient civilizations of Southeast Asia. The objectives are to explore the rise of human civilizations through research and analysis of the change from Neolithic periods to civilizations. Specific learning outcomes include understanding Vietnamese culture and history through creating a timeline and culture journal. The portfolio involves conducting research on the timeline, showcasing it through a runway show, and producing individual models to examine similarities and differences between Eastern and Western civilizations. It also includes designing postcards and packaging to capture the essence of culture and civilization.
The KHIRY Spring/Summer '17 collection is inspired by Fela Kuti and his Kalakuta Republic commune in Lagos, Nigeria. KHIRY's goal is to present an alternative perspective on luxury focused on Africa and its diaspora, rather than the typical Western focus. The collection features sterling silver jewelry embellished with gold or semi-precious stones, drawing on African symbols and aesthetics to reimagine what luxury can mean and represent.
The document discusses the importance of museums in preserving culture and history for future generations in India's diverse society. It argues that museums play a dual role of guarding against misconceptions of history while furthering inquiry and knowledge. However, museums are often seen negatively as places for unwanted objects. The document calls for museums to overhaul how they function to be more accessible, educational, community-oriented, and children-friendly in order to remain relevant and spread their message.
Cultural appropriation involves adopting elements of a minority culture by members of the dominant culture. It can negatively impact minority groups when sacred cultural items are exploited, disrespected, or misrepresented by those in positions of greater social power. Whether cultural appropriation is acceptable depends on what is being borrowed, whether it has religious or spiritual significance, the level of understanding and respect the borrower has for the culture, and if the element is accurately represented. Mainstream cultural appropriation of minority cultures is problematic because the mainstream holds more power to influence global perceptions, and minority groups are often victimized by the appropriation of their cultural identities and practices.
This document discusses museums in the Arabian Peninsula. It notes that while museums in the region have adopted a Eurocentric model, the purpose and function of museums can vary significantly depending on local context. The document examines how museums in the Peninsula are attempting to balance Western practices with local, indigenous influences to create institutions that serve Gulf societies. It argues that more study is needed of how museums in the region are developing their own unique forms and roles outside of Western frameworks.
Africa is the second largest continent containing over 30 million square kilometers and 1 billion people. It is considered the oldest inhabited area worldwide with early human fossils dating back 7 million years ago. Africa has an extremely diverse array of cultures, with over 2000 ethnic groups speaking over 2000 languages. The major religions on the continent are Christianity and Islam, which have around 45% and 40% of followers respectively. Traditional African music was highly influenced by genres like Afrobeat and Highlife but now also incorporates styles such as samba, blues, jazz, reggae, hip-hop and rock.
It is a powerpoint presentation that discusses about the lesson or topic: African Literature. It also includes the definition and types of African Literature.
Realism, Modernism And Naturalism In African American Literature(3)cbrownell
This document discusses African American literature from 1940-1960, focusing on major writers of the period. It describes the styles of realism, naturalism, and modernism. Key figures covered include Richard Wright, Ralph Ellison, James Baldwin, Gwendolyn Brooks, and Lorraine Hansberry. Their works dealt with themes of racial injustice, the urban black experience, and the struggles of individuals and communities.
This document summarizes key aspects of African oral literature and traditions. It discusses genres like orature, epics, trickster stories, and folktales. It also outlines important authors and their works, such as the first African novel, drama, and play written in English. Finally, it provides an overview of characters and places from the novel Things Fall Apart by Chinua Achebe.
This document provides an overview of traditional literature, including the main categories of folktales, fables, myths, epics, and legends. It describes some common folktale types such as cumulative tales, pourquoi tales, beast tales, and wonder tales. It also discusses typical characteristics of folktales, such as short, simple plot structures with good rewarded and evil punished, flat characters that are either completely good or completely evil, themes that present important cultural values, and common motifs. The study of folklore from different cultures can provide insights into those cultures and show universal qualities of humanity.
The document provides information about Africa, including its geography, people, languages, education, and literature. It notes that Africa is the second largest continent, separated from Asia by the Suez Canal and Red Sea. It describes the complex diversity of Africa's people and over 800 languages spoken. It highlights some of Africa's most prominent authors like Chinua Achebe, Ngugi wa Thiong'o, and Chimamanda Ngozi Adichie. The document also discusses Africa's rich tradition of oral literature and praise singing, as well as the variation in education standards across Africa.
African literature consists of oral traditions and written works in various languages and genres. Oral traditions were the primary form of literature in sub-Saharan Africa and included stories, histories, myths, songs, proverbs and other expressions used to educate and entertain. With colonization, Europeans tried to suppress African cultures and impose their own. Nelson Mandela was a prominent anti-apartheid revolutionary who became South Africa's first black president and led the transition from minority rule to democracy.
The document discusses the objectives of learning about Africa's rich cultural heritage and literature. It provides background information on Africa, including its population, location, climate, and natural resources like agriculture, woods, minerals, oil, and fresh water. It then discusses African literature, including oral literature traditions as well as literature written in colonial languages of French, Portuguese, and English. Oral literature serves to educate, entertain, and remind communities of their history, traditions, and customs.
This document provides an overview of African literature, including its origins and development. It discusses the oral traditions that formed the early literary background in Africa and how written literature later emerged through interactions with Islam, Christianity, and colonialism. Major genres like novels, poetry, and plays are examined. The document also profiles important literary movements like Negritude and analyzes works by seminal African writers such as Senghor, Soyinka, Achebe, and others who addressed themes of identity, culture, and the African experience.
This document summarizes an article about the relationship between African art and oral tradition. It discusses how oral tradition has been important for reconstructing African art history by transmitting information across generations in the absence of writing. It also helped debunk the Western notion that Africa had no history. While oral tradition is subjective and imperfect, it remains a key source of information about African cultural and artistic expressions before colonial contact.
xxxx ARH2000 Fall 2017 Harn Diversity Project .docxadampcarr67227
xxxx
ARH2000
Fall 2017
Harn Diversity Project
Introduction
The city of Gainesville is home to a vast population of over one hundred thousand
people, yet with that large population comes a very high fraction of residents represented by only
two groups. The balance of races shows a heavy tilt towards Caucasians and African-Americans,
with almost ninety percent of people falling into those two categories and the majority of them
being in the former (Areavibes). Perhaps this has to do with Gainesville not being a particular
hub of travel, tourism or development (despite the constant construction seen around the city) but
rather a community based around a university. It is the college in this “college-town,” however,
that helps to strengthen the population’s diversity.
While the Gainesville may not be all that diverse, the University of Florida assists in
bringing a broader range of different characteristics. People from all around the world are
represented on campus, with a slightly more balanced population at hand. The percentage of
Caucasians is lower and Hispanic/Latino people hold the second largest group at UF at
approximately twenty-two percent. Asian and African-American students represent two other
main ethnicities found on campus, with American Indian, Multi-race, Pacific Islander, and
unknown making up the rest of the population (Collegedata).
!
2!
One of the greatest attributes of the University of Florida is its capacity to entertain the
interests of over all fifty thousand of its students. Other than the many different educational
routes that pertain to different aspects of diversity, there are over a thousand registered student
organizations and clubs available, many of which focusing on religion, heritage and culture
(Student Activities and Involvement). Another superb element of the university is its very own
Samuel P. Harn Museum of Art, which brings together artwork from around the world in order to
showcase different pieces of culture right here in Gainesville. The museum offers the
opportunity to let art-lovers, random passersby, and everyone that falls in between experience
fascinating collections from different time periods and distant locations. By doing this, one can
learn about different peoples and catch a glimpse into the lives of others far different from them.
One such collection is the Harn Museum’s African Collection, an assemblage of art
representative of the peoples of Sub-Saharan Africa, that is incredibly and beautifully different
from the culture here in Gainesville.
A Look Into African Art, History and Culture
African art history incorporates a wide variety of different peoples spread out over the
continent, and with those many peoples come many cultures. Throughout the course, many
topics discussed originate from the ancient history of Africa, starting with one of the oldest
pieces of art being found in South Africa.
This document discusses issues surrounding the canon, market, and definitions of value and authenticity in African art. It summarizes a proposal from Dr. Mumbe, a Congolese professor living in Canada, to sell over 400 pieces from his collection of mostly Congolese art to a Western institution. While Dr. Mumbe and three African art experts vouch for the authenticity and quality of the pieces, colleagues of the author expressed doubts due to the pieces' rougher appearance and lack of documented provenance compared to pieces in the African art canon. The author reflects on ongoing debates around what defines value, authenticity, and the canon in African art and how Western collectors, markets, and aesthetics have come to largely
African culture was incorporated. Traditional skills and knowledge were highly regarded. Unfortunately, many painters' names are unknown since their works of art were not recorded when they were first acquired and stored. If you have an excellent sense of African arts and crafts, you should develop it rather than squander it.
Society of Architectural Historians and University of CaliforMoseStaton39
The document summarizes the historical neglect of African architecture in Western scholarship. It discusses how African architecture was often dismissed as merely "mud huts" and not considered a legitimate field of study. This was due to ethnocentric attitudes that defined architecture narrowly based on Western ideals of permanence and monumentality. More recently, the field of architectural history has broadened its scope to include vernacular and indigenous architectures, allowing for a reevaluation and better understanding of architecture in Africa.
The Black crafts primarily makes anything that requires a high degree of skill to do. Since this is so prevalent in our society, the vast majority of 'art' has become a craft. May we conclude from this that a "craft" can be called an "art form"? One that will, I doubt, be debated incessantly for the rest of time!
The broad perspectives of the tradition and culture of the grass-field region of Cameroon as perceived
through palace relics or artifacts and sculptures, embody much more than visual history and a synoptic
recapitulation of the cosmology of the people. Often appreciated basically from their face values, palace
artifacts serve as historiography and associated material for the representation of societal lore and mores. This
is to say artifacts are more or less historical/ literary, as well as archeological representations begging for a
critical attention beyond their surface fascination. In essence, grass field palace arts underscore the crucial
place of signs and symbols in the articulation of cultural and traditional practices that characterize a people in
space and time. Through the compact and systematic use of codes, the extensive and intensive zoomorphic
symbols effectively capture the values and beliefs embedded in the politically stratified cultural systems. This
paper is thus premised on the hypothetical assumption that grass field palace artifacts, together with their
precast motifs, recapitulate the collective world views of the people. The objects and their associated
paraphernalia speak to the dynamism of their cultural insights. In this regards, the pictographic representations
do not only define the depth and scope of the people’s public informative medium, but also point to the hidden
power of the indigenous knowledge systems. Significantly, this paper underpins both the value and the need to
formulate policies for the protection and preservation of the complex practices and depth of indigenous systems.
Our analyses are anchored against the theories of structural functionalism as propounded by Bronislaw
Malinowski and also the theory of social semiotics by Hodge and Kress
Analyzing Culture and Communication in a Folk MuseumJill Toews
This document summarizes an ethnographic study analyzing culture and communication at a folk museum in Finland. The study used Raymond Williams' theory of cultural analysis to interpret the cultural values communicated at the museum. The researcher conducted interviews and video recordings with a participant, Freya, who wanted to intentionally guide the selection of cultural values from the present to the future. Interpretive phenomenological analysis was used to discover the cultural values represented at the museum from the data collected. The results supported Williams' three levels of cultural analysis and confirmed that traditions act as an asymmetrical communicator of cultural values over time at the folk museum.
Analyzing Culture and Communication in a Folk MuseumJill Toews
This document summarizes an ethnographic study analyzing culture and communication at a folk museum in Finland. The study used Raymond Williams' theory of cultural analysis to interpret the cultural values communicated at the museum. The researcher conducted interviews and video recordings with a participant, Freya, who wanted to intentionally guide the selection of cultural values from the present to the future. Interpretive phenomenological analysis was used to discover the cultural values represented at the museum from the data collected. The results supported Williams' three levels of cultural analysis and confirmed that traditions act as an asymmetrical communicator of cultural values over time at the folk museum.
Cuvi, Nicolás, y Delfín Viera. 20 21. _History and the Quest for a Historiogr...ElizabethLpez634570
This document discusses the history and historiography of scientific exploration and evolutionism in the American tropics, particularly Ecuador, Colombia, and Venezuela. It outlines four stages in the historiography: 1) Early universalist and descriptive histories that emphasized European explorers; 2) Reception histories that examined local dynamics; 3) Histories focusing on international networks and new social actors like local scientists; 4) Recent global and STS-influenced histories that examine circulation of ideas and situate science in local contexts. The historiography has moved from internalist narratives to more critical social histories that reveal previously invisible local actors and knowledge traditions, and analyze science as a power relation embedded in colonialism.
Folklore in English literature. RESEARCH/DissertationSachinKumar945617
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This article seeks to demonstrate that cultural nationalism has been a significant ideological force in African literary writings in general and poetry in particular. It endorses a distinctive communitarian vision of the nation and has repeatedly been espoused by many a literary academic as a remarkable effort towards the re-establishment of coherence and integrity in African traditional life and institutions. While recognising the beauty of traditional life, this approach turns a blind eye to the endemic challenges that these nations are grappling with. Taking Okot’s Song of Lawino and Song of Ocol as the literary points of reference, I have delineated the character of cultural nationalism, the leadership role of the colonised intellectual, and its recurring emergence in alternation with escapist idealism. Using Fanonian theory, I have argued that rather than idolise the past in what may be largely interpreted as idealist escapism, Okot’s intent in the two poems selected for this study is to offer a truthful, accurate and objective representation of the real African world. He divorces his poems, Sengorian and Negritudist as they may seem, from rigid cultural historicism and espouses the marginalised perspective that Africa’s culture is a product of shared heritage and the desire for liberation should not blind us to the dynamism of our culture and the reality that neocolonialism has ushered in a new political culture that should worry us more than the coloniser’s. It is not enough for us to look only backwards in our quest for cultural revolution.
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At Foremedia Group , the craft is primarily used to create anything that necessitates a high level of competence. Because of this, the vast bulk of what we call "art" has devolved into a craft. Is it possible to label a "craft" a "art form" based on this? One that, I'm sure, will be argued endlessly for the rest of time.
This document discusses the concept of hybrid cultures and how they have formed from the mixing of different cultures. It provides examples of how Pakistani culture is a hybrid of Indian, Turkish, Iranian, and European influences seen in food, clothing, music, and cultural exchange programs. It also examines how urbanization and technology have contributed to increased cultural hybridization and the breakdown of traditional divisions between high and low cultural forms. Museums and collections played a role in separating cultural goods into hierarchical groups, but new technologies now allow mixing of different cultural materials in personal collections at home.
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The craft industry, oral literature and language in the development of tourism in ghana prospects and challenges
1. Arts and Design Studies
ISSN 2224-6061 (Paper) ISSN 2225-059X (Online)
Vol.14, 2013
www.iiste.org
The Craft Industry, Oral Literature and Language in the
Development of Tourism in Ghana: Prospects and Challenges
Vesta E. Adu-Gyamfi 1, P. Arthurn2 , J. O. B. Boahinn3*
1, 3. Department of Integrated Rural Art and Industry, , College of Art and Social Sciences, Kwame Nkrumah
University of Science and Technology, Kumasi.
2. Department of History, College of Art and Social Sciences, Kwame Nkrumah University of Science and
Technology, Kumasi.
*E-mail of corresponding author: jboahin@gmail.com
Abstract
This paper examines the role the craft industry, Oral Literature and language play in the development of
tourism in Ghana. From the study, it was found that all the three are important for several reasons, namely
economic value, exchange of information, sharing of experiences or world-views and finally changing biases.
However, lack of outlets and finishing of products constitute major problems.
Key Words: Artifact, Cosmo-vision, pragmatic interpretation, equiparable, lyrical interpretation.
1. Introduction
The evolution of knowledge has led us to modify our view of and approach to the study of events and
phenomena. The advent of intersemiotics, which is the scientific study of common processes and procedures
across different signifying systems, has introduced an area of research that had been hitherto neglected but
holds a lot of promise for the insight that it gives and the contributions that it makes to enhance the state of
knowledge of our world. It is our interest in the afore-mentioned common processes and procedures that led
us to write the present article.
2. Methodology of Study
The methodology used in this study is the semiotic approach to the study of sign systems which identifies the
units or elements in each system of signification and establishes the relationship between them since they are
supposed to be interdependent with each other, and proposes an interpretation to be given to the system so
formed using the principle of plausibility rather than in terms of very-conditionality (truthfulness/falsehood).
3.Discussion
The real story of anything of Africa is her people and their cultures. With the emergence of the independent
African nations in the late 1950’s and early 60’s came a healthy curiosity about the vast and mysterious
continent. Modern technology – notably air travel and the media – made Africa accessible to the world as the
world became accessible to Africans.
Various forms of exchange have encouraged a new insightfulness about Africa and have often helped change
outmoded and false conceptions about Africans and their countries. These multilevel exchanges have also
helped assuage the painful experiences of the colonialization of Africa by bringing into light hitherto-hidden
treasures in African art and craft.
It is against this back background that, for instance, international diplomatic relations with the newly formed
African Republics opened areas of awareness which provided more realistic concepts about these countries.
Many universities and African Studies Centers, featured exchange programs and extensive field work in
Africa. Government and private agencies subsidized study grants in Africa and sponsored programs enabling
Africans to study abroad. In addition, tourists and businessmen began to visit Africa as never before. These
exchanges made immediate contributions toward a more rapid dispersal of information and ideas within Africa
as well as on other continents.
These visitors and their families, some of whom stayed for years, went home from Africa, sharing their
treasures as well as their experiences. For instance, crafts with simple forms, carved figurines and sculptures,
painted calabashes, leather products, beads and, of course, fabrics brought from Africa, were displayed in
homes which had once housed only familiar bric-a-brac. Some of these crafts, startling collections of African
objects, included complete costumes used in initiation rites, ingeniously designed rural mousetraps, and
basketry devices for catching fish. Other visitors took back to their home country and wore indigenous
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African clothes, such as the bou-bou, the yele head tie, and wrap-around pagne from Africa. Fabrics were also
a direct way people could relate to African cultures, for textiles are almost a universal experience. There are
no language barriers with leather and fabric products. They speak directly to the senses, and we can wrap
ourselves in its sensuality and special textures, densities and movements. They make us feel close to the
culture as well as the craftsman.
Sporadic and peripheral international interest in African decorative art had been expressed in writing by
missionaries and explorers for centuries before it became popular. Arab Scholars wrote about African leather
and fabrics as early as the Eleventh Century as functional or utilitarian objects. They were, by definition,
artifacts, yet aesthetically pleasing as art, to the Western eye. The distinction between art and artifact become
blurred, thereby broadening the meaning of art.
While thousands of artistic objects, so highly charged with energies and vitalities of their own societies, lay
dormant for years in dusty basements of natural history and museums in various countries, eager and insightful
art historians gradually recognized these hidden treasures and brought them to the open where they were made
available to scholars, students and the public by anxious curators who were to revitalize their study collections.
These humble items came to be recognized as objects worthy of exhibition with the ‘classic’ art of Africa
represented by those masks and figures which inspired Picasso and others who were also collectors.
African artifacts were thus given a new significance and moved from museums of natural history into
museums of fine and decorative arts. This new significance shows in the fact that leather and fabrics have
been used as currency in many societies and have often served as marriage tender – as bride ‘wealth’ in Africa
and ‘dowry’ in Western societies. So, naturally, it would be assumed that traditional hand-crafted fabrics and
skin or hides from animal held highly as trophies’ of bravely began to occupy a place of esteem.
By the late 1960s, however, growing interest in African Studies was revealed in various ways. Original
research was carried out among international and African scholars. While connoisseurs and collectors of art
developed interest in extending and reclassifying their collections, other experts increasingly regarded African
art as one of the world’s greatest art forms.
The change in perception of the decorative arts was aided by a revolutionary change in the definition of
African art itself. The long and dreary debate separating anthropological and ethnographic ‘material culture’
from the world of “Art” was coming to an end. The source of the conflict in opinion was initially in the
contemporary Western idea that the art object may be of value purely for its aesthetic form while for the
African creator of art, his artifact may also be of artistic import from his own perspective. The following
reasons provide justification for the African’s broader perspective.
Firstly, the conservative approach to artistic development has obscured a historical perception of the nation’s
artistic achievement. Hence, it has been easy to dismiss Ghanaian classical art as lacking in history.
Secondly, it is important to emphasize that the traditional art of Ghana is produced for functional purposes but
also at the same time, out of necessity, it has inspired aesthetic qualities of considerable value. For these
reasons, the traditional art of Ghana must be seen from both its functional and aesthetical perspectives. It must
be noted that African art, and for that matter, Ghanaian arts/crafts, are not primitive, that is, if by primitive we
mean simple, crude, or original in the sense of being without history. The arts of Ghana/Africa are, in fact,
sophisticated and possess a long history, deeply embedded as they are in the belief patterns of society.
With respect to style and form, the art and crafts as a discipline may be characterized as conservative, for at
the core it lie the commonly held traditional belief patterns which strongly reflect those shared values and at
the same time reinforce and symbolize them. They are symbolic rather than abstract. To the Western eye, the
carvings, especially figure carvings, tend to appear head-heavy, and this tendency is combined with emphasis
on balance and symmetry. The proportions appear and become accepted and once accepted, they become
required and expected. Masks and figures depict an expressionless, cool countenance; facial twitches of range
and pleasure of honour are absent. In spite of these abstract and often simplified forms, details are accurate,
with characteristic hair styles, body ornaments or scarification. Patterns are depicted with clarity and
correctness.
Strictly speaking, with carvings across West Africa, art appears most frequently, and there is a rich and
amazing diversity of cultures: tribal and sub-tribal styles which are the most distinctive because they are the
most easily identifiable styles of artistic development in traditional Ghana.
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The above historical changes in the artistic expressions of these artists/craftsmen tend to enrich and entrench
rather than dilute and agitate for drastic changes in pattern.
With independence came new attitudes. Leaders of individual African states have renewed national pride in
traditional textiles and attire, which they wear. African diplomats used to wear robes similar to those which
clothed the suzerains of ancient kingdoms. These sumptuous cloaks and ensembles have inspired international
admiration and acclaim. This in turn has stimulated the wearing of traditional garments of handcrafted textiles
by more Africans at home as well as abroad, though in Africa one still sees Western apparel mingled with the
traditional. Beside, the use of leather pouffes, armrest, and floor mats as well as wall hangings have all become
new findings. This renewed interest in African textiles and crafts has spread to African museums. Many of
these institutions seek to reinforce a sense of national pride by displaying traditional costumes and accessories
and setting up exhibitions on handcrafted textiles of all kinds. Some museums have workrooms/studios or
courtyards where craftsmen and craftswomen demonstrate weaving and dyeing techniques; finished items are
then sold by the museum – a development which can be adopted by the museums and galleries in the country
to help boost the tourism business. A number of European and American museums feature similar exhibits
and many more are in the planning stages.
With better factory/studio/workshop methods of reproduction and with great care for the fineness of original
designs, industrialized Africa could even take part in preserving and perpetuating the cultural significance of
handcrafted artistic pieces. This could be achieved by counterbalancing the adoption of Western styles with
dresses made of African fabrics for special events, national functions, festive occasions and office work.
The paper has so far been talking about the craft industry and the development of the tourism industry in Ghana.
Now let us turn our attention to our types of music, specifically lyrics, as artistic expressions, and their relevance
to tourism. Just as we have unique features or characteristics in our craft industry that will be of immense
benefit to the tourism industry, so do we have very unique features in the area of literary studies which, when
paid due attention, can help the tourism industry to firmly establish itself on the global tourism landscape. The
inevitable question of whether the interest of tourism would have been better served by music as a discipline
rather than the study of oral literature comes up here. No one can dispute the fact that music as an indigenous art
has a great role to play in our tourism industry. Interestingly, the importance of the relationship between
Ghanaian music as an indigenous art and Ghanaian oral literature has grossly been underestimated and,
therefore, there is the need to put things in their right perspective and accord the study of Ghanaian oral literature
more specifically Ghanaian music as a discipline, the importance it deserves and bring out the benefit the
Ghanaian tourism industry stands to gain if attention is paid to the relationship between these two disciplines.
The Encarta Encyclopedia (2008, Butler, 2007), defines music from the perspective of Western culture as
follows: Art that is concerned with combining sounds-particular pitches to produce an artifact that has beauty or
attractiveness, that follows some kind of internal logic and exhibits intelligible structure, and that requires special
skill on the part of its creator.
Even though the above definition is from the perspective of Western culture, we all agree that it is applicable to
the African perspective as well and it will, therefore, be superfluous to restate the African definition. The
Encater encyclopedia (2008) goes further to state that there is a relationship between, “sound and other sound
phenomena such as speech” and that, “somewhat analogous to having a language, each society may be said to
have a music” – that is a self-contained system within which musical communication takes place and, like
language, must be learned to be understood”. The relationship between music and language and, for that matter,
literature has clearly been established by the Encyclopædia and it puts paid to all arguments that might move in
the direction of dissociating music from language.
Perhaps looking at the definition of oral literature will more clearly bring out the relationship between music and
literature or language. Oral literature is basically oral tradition and oral tradition is how a particular culture
exists by passing on information from generation to generation by word of mouth. This means that language is
indispensable in oral literature because oral literature is concerned with the literality of the words used in oral
tradition. Perhaps one interesting feature of oral tradition is that most of the words are packaged in the form of
poetry and that is why our oral tradition is replete with aesthetics. We thus find poetry in most forms of oral
tradition including the epic, the ballad, the ode, the elegy, the panegyric, appellations, vocational songs,
proverbs, the lullaby, negro spirituals and many more. What is common to all these forms is that in every
culture, there is a particular way in which sounds are organized for communication. The common ground
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between music and oral literature is sound organization and, as stated earlier on, sound manipulation is common
to both literature and music with music organizing sounds in a time continuum following keys and notations
while literature uses a phonemic phenomenon to organize sounds. The effect is, however, the same: aesthetics.
This is not different from the definition of music offered by the Encarta Encyclopædia (2008) which posits that
music is combining sounds to produce an artifact “that has beauty and attractiveness”. It is the beauty and the
attractiveness that the study of sounds and other literary features in the lyrics of both contemporary and
traditional music might offer that we are interested in at this juncture.
Now, as we discuss the art in the craft industry, let us in the same breath, discuss the craft in Akan lyrics, which
for the purpose of this paper, is an aspect of poetry, an essential component in the study of oral literature.
Beauty or meaning interpreted or appreciated at the word or content level is, therefore, not under discussion here
because it will require greater depth in Akan phonology to do that and also such a study will surrender the
universal appeal of sound organization in Akan poetry since one must necessarily understand Akan before one
can do proper appreciation of lyrics written in Akan. We are here interested only in the phonemic phenomenon
in Akan or any Ghanaian language and examining how sounds, not words, are used to create art. For example,
Ghanaians do not understand any South African language and yet are able to appreciate the accapella of
Blackman Mombaso. Ghanaians do not understand the Mandingo language and yet they enjoy the music of
Yousou N’dour. Again, we do not need to understand the Bambara language before we appreciate More Kante’s
music. The list is endless. This is why we call music a universal language. We do not need to understand the
language before we appreciate it: the sound does the communication. We will therefore concentrate only on
sounds and leave aside imagery, especially the use of figures of speech, diction, content and other literary
devices and structures.
Poetry is characterized by musical patterns of sounds that are based on natural qualities of spoken language. The
rhythms and sound patterns of the poem or the lyrics are not only important for the beauty of the message of the
song but they also add some linguistic glow to it. Reference is here made to pitch, sound length, sound quality,
sound pairing, loudness, sound decoration (major and minor sounds) sound order, sound distribution, and other
supra-segmental features like stress and intonation. In lyrics, sounds are arranged in a vertical or horizontal
order. At the horizontal level we have rhythm, alliteration and assonance that are aspects of internal rhyme. For
example, Obour’s “Atenteben”, “Obour, woho ye huhuuhu” is a masterpiece in sound organization at the
horizontal level. You have a regular rhythm. The consonant /h/ alliterates in “woho” and “huhuuhu” and the
vowel /u/ “huhuuhu” creates a forbodding effect through assonance. In oral literature, this is a kind of repetition
and Obour effectively uses this device to express his awesomeness and one does not need to understand Akan to
appreciate the kind of message that this line puts across.
At the vertical level, we are dealing with external rhyme (end/terminal rhyme, perfect rhyme, eye rhyme, perfect
rhyme, masculine rhyme, feminine rhyme, triple rhyme and many others). We need to go far; the second stanza
of the same song gives us an example of vertical sound order:
AKAN
Atenteben
Ebaa no sen?
Meyee mo den?
Mo mmu m’aten
ENGLISH
Atenteben
What happened?
What did I do to you?
Why do you judge me?
The monosyllables [ben], [sen], [den] and [ten] are all rhymes carrying their own euphonic effect and decorating
the musicality of the song. Again a combination of the regular beat in the lines and the repetition of the sounds
recreate the effect of rhythm within a rhythm and the sounds provide enough beat for the song and might not
need any accompaniment or instrument for providing either the time line or the time marker. The bell marking
the time beat eight over sixteen is syncopated here. This technique, if properly practiced by our musicians,
especially those who do hiplife music, will enhance music composition in the area of lyrics and our musicians
will be able to appeal better to non-Ghanaians. If we can get very good sound engineers and competent music
programmers, we can compete with United States and French/Francophone musicians. After all, the tourist
would like to leave indelible imprints on his senses and after enjoying a good cuisine, sleeping in a comfortable
hotel and sight-seeing across the country, the next thing is an auditory appeal and that is through good music:
that which communicates beyond the language of the host community.
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Apart from the lyrics (that is to say the interplay of sounds and rhythm within and across word strings in music)
which has an appeal that is not bound to time or space and whose relevance to tourism as an instrument of
development we have attempted to demonstrative above, there is also language packaged in the form of tourist
language guides, which serves to break down communication barriers and through that helps to forge closer links
between people of different cultural, racial and religious backgrounds.Now a language guide for tourists should
be functional to the extent that it contains essentially words, phrases and sentences woven into very short texts
which the user will need to perform specific speech acts in definite situations of communication. Among these
acts, one may cite Greetings, Introducing oneself or other people, Welcoming someone or Stating one’s mission,
asking for information, Expressing opinion, Bargaining, Relating an incident, Describing an event, Calling for
help etc. In all these cases, the language should be simple, clear and concise, especially for complete beginners
and false starters. For tourists with some knowledge of the language, a language guide with information on the
use of idiomatic expressions, proverbs and local jokes is a unifying factor, a way of breaking cultural barriers, of
identifying with and endearing themselves to their new environment. For all categories of tourists, a good
language guide should also give short but concise information about the local people and their customs. To date,
the tourist language guide market in the rural areas remains largely unexplored not to say poorly resourced.
4. Findings
Our findings may be summarized as follows:
• African craft is conservative and symbolic and lays emphasis on balance and symmetry. Cloaks and
ensembles made in the past stimulated admiration and wearing of traditional garments and also renewed
interest. African textiles and craft have spread far and wide and could, with better methods of
reproduction and greater attention to fineness of original designs, Africa could take part in preserving
and perpetuating the cultural significance of its artistic pieces.
• Music, specifically the lyrics based on the form rather than the content of words, is characterized by its
own kind of beauty and attractiveness that constitutes a silent language with an appeal that transcends
all racial, cultural and religious barriers.
• Tourism is currently receiving considerable boost with assistance from government, non governmental
organizations and local people at tourist destinations. However, as at now destinations in rural areas are
poorly resourced and the few existing language guides in the country by individuals who have,
generally, no scientific language background.
• To sum up, In addition to the social benefits gained from music and tourist language guides, there is
also the economic factor. The three products (music, crafts and tourist language guides), are also
potential foreign exchange earners and hold a lot of promise now that tourism products and markets are
receiving an unprecedented boost from government.
5. Recommendations
• What remains to be done in contemporary industrialized Africa is to find a way of striking a
delicate balance between satisfying man’s need for technologically advanced methods of
production, which lightens life’s burden and allows for more meaningful pursuits in work and
leisure (technology’s great advantage) and the threat of a technological take-over where man loses
his own vital involvement in the mechanics of his culture.
This balance can be achieved by the following means:
The craft industry needs to explore the shift in tourist interests, due to the
growing attraction to African Culture in response to the departure from
fashion to a new individuality and informality in the arts and a renewed
respect for all things handmade.
• There is the need for the government to draw up a national tourism plan taking marketing of tourism
products, especially of product design and packaging abroad, as a major promotional tool.
• Attention needs to be focused on capacity building. Efforts should be made at increasing the capacity
of tour operators, developing craft villages and finding ways to boost domestic tourism, and ultimately,
establishing Ghana as the homeland for Africans in the Diaspora.
• Crafts are the great creative reservoir for the future and in view of that, perhaps, the opening of new
centres with the participating art institutions, organizations and the traditional authorities who are the
stakeholders is highly recommended.
• These centres will employ the traditional forms of sculpture, leather, rattan and bamboo work, weaving,
embroidery, leather and beadwork to help in the worship of the Christian God. There could also be
decorative pieces as ornamentations, (figure insert trad symbols ) or to correspond very closely to the
way in which sculptures, painting and stained glass in the European churches of the middle Ages served
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•
•
•
•
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God. This is both to inspire Christian sentiments in the worshippers and instruct those members of the
congregation who cannot read.
If our musicians are taught how to manipulate sound for better lyrical sound effect in their music as
practiced by Bujubanton and Sean Paul, both from Jamaica, and 2pac Shakur (of blessed memory) of
United States of America, tourists will pour in on our shores just like they pay to go and see Yousou
N’dour perform in Senegal. They will also buy the compact disc of these songs as souvenirs. Perhaps
the greatest advantage is that our music will be international, the music industry in the country will
bring a lot of foreign exchange to Ghana and musicians will stop complaining that they are poor.
Looking at the immense benefit that music can bring to the economy of the country by way tourism, we
cannot afford the luxury of inactivity while at the same time wishing that manner falls from heaven. In
a paper titled, “Ten Ways that Ghanaian Music Can Alleviate Poverty”, Prof. John Collins of the Music
Department of the University of Ghana (Collins, 1986), believes that with growing interest in “World
Music”, Ghana stands a great chance of being a beneficiary of its patronage and goes on to say that,
“Ten percent of the foreign exchange spent here by tourists is connected with entertainment and there
are increasing numbers of World Music” tourists interested in African music” (Collins,1986). In the
same paper, he outlines the importance of music as an export commodity for the national market. His
position is that, “Ghanaian bands touring abroad for “World Music” fans and the three million
Ghanaians living abroad” and sales of the African component of “World Music” estimated at $1.5
billion in 2000” should serve as a great incentive for the local music industry. In fact, the potential of
the music industry has caught the attention of the World Bank which has sponsored and organized a
series of workshops for MUSIGA. In addition to that, it has given the Ghana Government a grant of ten
million dollars to develop the music industry to serve as an instrument for poverty alleviation.
There is now no gainsaying the fact that music could be a very lucrative industry and one way of
increasing its potential will be to widen its study to oral literature. We can do that by developing our
craft in lyrical compositions. We have also seen the potential the study of oral literature has for music
and the huge benefit that can come from paying attention to developing the art in lyrical compositions.
Prof. Komla Amoako in a paper entitled “Unleashing the Potential of Ghana’s Music Industry to
Support Poverty Reduction”, (Amoako, 2006) minces no words when he says that, “Indeed, we live in a
globalised world in which we cannot deny the interplay between national economies and culture”
The sector Ministry in charge of Tourism may have to contract some organization or language experts
or practitioners to design language guides in the languages of the areas already identified as tourist
destinations.
5. Conclusion
From the above discussion, it is clear that the craft industry, the artistry of Ghanaian oral literature and
modernized language guides can boost tourism and generate funds which can be channeled into viable ventures
to ensure sustainable development. Tourism should not be dissociated from the ancillary functions it performs
and for that matter a holistic approach is needed to enable it serve as an agent of transformation.
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