Result of the research : 'capital'
Marius de Zayas "Mrs Brown-Potter" by Marius de Zayas. Published in Camera Work, No 29 1910Marius de Zayas Enriquez y Calmet (March 13, 1880-January 10, 1961), was an early 20th century Mexican artist, writer and art gallery owner who was influential in the New York arts circles of the 1910s and 1920s. Life
De Zayas was born to wealthy and aristocratic parents in Veracruz, Mexico. His father, Rafael de Zayas (1848–1932) was a noted journalist, novelist, dramatist, poet and lawyer. He established two newspapers in Veracruz, and it was there that his sons Marius and George developed their artistic careers by providing illustrations for the papers. In 1906 the two brothers began providing caricatures for Mexico City's leading newspaper El Diario, which was founded by American-born journalist Benjamin De Casseres. A year later the de Zayas newspapers took a strong editorial stance against Mexican President Porfirio Diaz, and under threat their family left Mexico and settled in New York. Shortly after arriving in New York, de Zayas took a position drawing caricatures for the New York Evening World, and he quickly established a reputation for his witty parodies of prominent citizens. Through his connections with other artists in the city he became acquainted with Alfred Stieglitz, and in January 1909 Stieglitz exhibited a group of de Zayas's caricatures at his art gallery, "291". A year later Stieglitz gave de Zayas another exhibit in which he brought his caricatures to a three-dimensional level. On a large wooden platform he created more than 100 free-standing cardboard cutouts of some of New York's most prominent people, seen strolling down Fifth Avenue in front of the Plaza Hotel. The show became such a hit that lines were often stretched far outside the doorway to the
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Extrait du monde diplomatique DES EXHIBITIONS RACISTES QUI FASCINAIENT LES EUROPÉENS Ces zoos humains de la République coloniale
Comment cela a-t-il été possible ? Les Européens sont-ils capables de prendre la mesure de ce que révèlent les « zoos humains » de leur culture, de leurs mentalités, de leur inconscient et de leur psychisme collectif ? Double question alors que s’ouvre enfin, à Paris, au c ur du temple des arts - le Louvre -, la première grande exposition sur les arts premiers. Par Nicolas Bancel, Pascal Blanchard et Sandrine LemaireLes zoos humains, expositions ethnologiques ou villages nègres restent des sujets complexes à aborder pour des pays qui mettent en exergue l’égalité de tous les êtres humains. De fait, ces zoos, où des individus « exotiques » mêlés à des bêtes sauvages étaient montrés en spectacle derrière des grilles ou des enclos à un public avide de distraction, constituent la preuve la plus évidente du décalage existant entre discours et pratique au temps de l’édification des empires coloniaux. « Cannibales australiens mâles et femelles. La seule et unique colonie de cette race sauvage, étrange, défigurée et la plus brutale jamais attirée de l’intérieur des contrées sauvages. Le plus bas ordre de l’humanité (1). » L’idée de promouvoir un spectacle zoologique mettant en scène des populations exotiques apparaît en parallèle dans plusieurs pays européens au cours des années 1870. En Allemagne, tout d’abord, où, dès 1874, Karl Hagenbeck, revendeur d’animaux sauvages et futur promoteur des principaux zoos européens,
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The group Ashanti are one of the ethnic groups of all Akan in Ghana.
They speak Twi is a dialect of Akan belonging to the Kwa group of languages.
Flag of the Ashanti
Geographical
Empire Asante in Ghana
Asante federation grows in the thirteenth century. Kumasi is the capital . In the nineteenth century, the civilization reached its peak and occupies nearly 70% of modern Ghana.
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Who are the Baule?
About three million people living mainly in central Ivory Coast are defined as Baule. Yet after a closer study it semblairaient these men identify with villages or village clusters (ranging from 4 to 12) as an ethnic group. although the Baule ethnic reality remains msytérieuse can not be denying the existence of a style Baule. artists who use this style talk Baule and abroad their art is known as Baule for over a century.
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STRENGTH AND MEASUREMENT
The discovery of "primitive art": an art of strength
Shapes and shape functions
Deities and ancestors
The living wood
Force and Measurement
Develop an aesthetic of black Africa is seen as a risky business in many ways. Is it legitimate to isolate these objects, that today we call art, the general framework of their relations and their cultural constraints? Can we submit to a test that has never existed in the minds of their creators? And can we finally see in this art - if we 'take on this term - a uniform phenomenon, despite the wide variety of both regional and local styles we offer this huge continent, following lengthy Historical developments often poorly understood? Finally, remember that this approach excludes large regions, including Africa white, that is to say the Mediterranean area with its ancient history, the eastern and southern Africa whose pastoral peoples have given rise to cultures almost without images, and finally these hunting societies, which, even in our time have not passed the stage of evolution of prehistoric rock paintings which are the main evidence of an artistic production that appears at various points the continent. Similarly, we must exclude from our contribution to the aesthetics of black African art the old feudal societies, including Benin. Our discussion is therefore limited to large areas farmers, the true cradle of
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Study on the sacred
Introduction
The sacred: the real paradigm
The flaw in the anthropological research of the sacred
The position of the African researcher
The inconsistency of the true-false paradigm of the irrational
The crucial importance of the event
Ancestor worship: in search of a definition
The premier event: the phenomenon agrarian
Biological Bases
The neurobiological underpinnings
Astronomical Foundations
Conclusion
Bibliography
Introduction
Welcome to this site dedicated to refuting the paradigm of the irrational use explicit about the facts of sacred archaic or traditional societies, and especially African societies.
As a member of these societies, the systematic use of the irrational as ultimate explanation of these facts is offensive and we might seem a lack of rigor in research.
In the approach to ethnology-anthropology there is always explicitly or implicitly begging the question that traditional societies through their culture could not produce something intellectually coherent. This profession of faith explains the systematic irrationality as an explanation of the ultimate sacred facts.
By irrational, what is heard is indeed something wrong, incoherent, that defies logic, in
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THE WAY OF THE AFRICAN RENAISSANCE
Text from the "diplomatic world" in October 1998
In economic terms, Africa figure of poor and marginalized continent. Since the end of the Cold War, it appears as an area that declassified no longer a geopolitical and diplomatic challenge for the major powers. Outside of emergencies that require humanitarian intervention, nobody is really interested in the fate of 700 million men and women who live in this part of the world. "Bankruptcy of development"? "Retard"? Or, rather, strength of African societies, refusing to be trapped neoliberal, and the emergence of alternatives to the Western model of development?
Few studies of the continent really leave room for hope: it keeps repeating that it "Africa sinks" and becomes "a repository of humanity's ills." The image of a "continent wrecked," repeated ad nauseam, seems to summarize all the perceptions of Africa that tend to be synonymous with poverty, corruption and fraud would be the home of violence, conflict and genocide. Images are projected onto Apocalypse "an impoverished Africa in the spiral of conflict." In the late twentieth century, "no continent offers such a spectacle of desolation, war and famine as Africa. (...) Slowly, the place is going to drift. "
The paradigm of "bankruptcy" is the same analytical framework of economic and social
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Texte de présentation extrait de l'ouvrage:
J. Kerchache, J-L. Paudrat, L. Stephan, L'Art Africain Jacques Kerchache, Citadelles, 1988
Sans méthode préalable, la passion de l'Afrique m'a propulsé au cœur du Gabon, m'a porté du Congo en Guinée équatoriale, de la Côte-d'Ivoire au Libéria, m'a conduit du Burkina Faso au Mali, de l'Éthiopie au Bénin, du Nigeria au Cameroun et de la Tanzanie au Zaïre. De ces expériences parfois difficiles, physiques certes, mais surtout intellectuelles et spirituelles, de ma participation à certaines cérémonies et à diverses manipulations d'objets, de mon immersion temporaire mais effective dans les cultes de l'ancienne Côte des Esclaves, je ne puis restituer aujourd'hui que des sensations, des impressions et je me garderai de toute affirmation.
Cependant, devant la sculpture africaine, il faut cesser d'avoir peur d'être profane et se laisser envahir par elle ; il faut s'en approcher, la fréquenter, se l'approprier, l'aimer. Lui offrir son temps, lui ouvrir sa sexualité, ses rêves, lui livrer sa mort, ses inhibitions, redécouvrir autre chose en soi. Sans lâcheté, ne pas hésiter à désacraliser, sans les rejeter, ses sources culturelles. Ne plus avoir cette taie sur l'œil et se laisser aller à la jouissance, se laisser gagner par la magie.
Même si nous ne pouvons contempler cette sculpture que par fragments, ceux-ci
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Artists Abomey
dialogue on an African Kingdom
Mezzanine East
Tuesday 10 November 2009 to Sunday, January 31, 2010
Commission: Gaëlle Beaujean, head of collections Africa Branly
with the collaboration of Joseph Adande, art historian at the University of Abomey and Ahonon Leonard, manager and curator of the site of the royal palaces of Abomey
This exhibition presents 82 works through graphics and 8 elders, artists of the kingdom of Dahomey (1600-1894), in present-day Benin.
Its purpose is to present their works but also to question their role and status within society danhoméenne, and more specifically in the capital Abomey. Indeed, the artists chosen by the king, enjoyed great privileges while being constrained by their allegiance. The exhibition will explore their creations through the different functions of art in Abomey.
It is also to involve artists and families of artists in each type of objects presented. This new approach is the result of a research conducted by the research team, which resulted in an award-sometimes very finely certain objects.
The exhibition will last a double look at the works presented: the country of origin (through the participation of two scientists from Benin) and the French commissioner.
route of exposure
After an introductory space with an old map and a genealogy of the kings
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Culture
Culture (from the Latin cultura stemming from colere, meaning "to cultivate")[1] is a term that has different meanings. For example, in 1952, Alfred Kroeber and Clyde Kluckhohn compiled a list of 164 definitions of "culture" in Culture: A Critical Review of Concepts and Definitions. However, the word "culture" is most commonly used in three basic senses:
* excellence of taste in the fine arts and humanities, also known as high culture
* an integrated pattern of human knowledge, belief, and behavior that depends upon the capacity for symbolic thought and social learning
* the set of shared attitudes, values, goals, and practices that characterizes an institution, organization or group.
When the concept first emerged in eighteenth- and nineteenth-century Europe, it connoted a process of cultivation or improvement, as in agriculture or horticulture. In the nineteenth century, it came to refer first to the betterment or refinement of the individual, especially through education, and then to the fulfillment of national aspirations or ideals. In the mid-nineteenth century, some scientists used the term "culture" to refer to a universal human capacity.
In the twentieth century, "culture" emerged as a concept central to anthropology, encompassing all human phenomena that are not purely results of human genetics.
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Ethnology
Ethnology (from the Greek ἔθνος, ethnos meaning "habit, custom, convention") is the branch of anthropology that compares and analyzes the origins, distribution, technology, religion, language, and social structure of the ethnic, racial, and/or national divisions of humanity.
Compared to ethnography, the study of single groups through direct contact with the culture, ethnology takes the research that ethnographers have compiled and then compares and contrasts different cultures. The term ethnology is credited to Adam Franz Kollár who used and defined it in his Historiae ivrisqve pvblici Regni Vngariae amoenitates published in Vienna in 1783. Kollár's interest in linguistic and cultural diversity was aroused by the situation in his native multi-lingual Kingdom of Hungary and his roots among its Slovaks, and by the shifts that began to emerge after the gradual retreat of the Ottoman Empire in the more distant Balkans.
Among the goals of ethnology have been the reconstruction of human history, and the formulation of cultural invariants, such as the incest taboo and culture change, and the formulation of generalizations about "human nature", a concept which has been criticized since the 19th century by various philosophers (Hegel, Marx, structuralism, etc.). In some parts of the world ethnology has developed along independent paths of investigation and pedagogical doctrine, with cultural anthropology becoming dominant especially in the United States, and social anthropology in Great Britain. The distinction between the three terms is increasingly blurry. Ethnology has been
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“Africa Remix” featured the work of over 100 African artists in a
2,200-sq.m exhibition space. With paintings by Chéri Samba,
installations by Barthélémy Toguo, drawings by Frédéric Bruly Bouabré
and photographs by Guy Tillim, “Africa Remix” revealed the varied
facets of Africa’s contemporary arts scene.
The
exhibition examined contemporary African art not only from an aesthetic
angle but also from historical, political and ideological perspectives.
- Total pledges support for African art with the ”Africa Remix” exhibition in Paris -
So
near, and yet so far: Africa is an enigma that continues to exert a
strange fascination for many. “Africa Remix” was an invitation to
reflect on what Africa really means – to explore and rediscover it by
straying from the beaten path of commonplace ideas and platitudes. As
Total has a strong presence in Africa, we are all too aware of the
difficulties affecting the continent, but we’re also committed to
bringing African culture the recognition it deserves.
Africa Remix
Under the artistic direction of Simon Njami (photo), an international team of curators (see dates and facts as well as the photo) has assembled this overview of the artistic production in Africa and the African diaspora. 88 artists show works from the last 10 years, among them several specially
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African art
African art constitutes one of the most diverse legacies on earth. Though many casual observers tend to generalize "traditional" African art, the continent is full of peoples, societies, and civilizations, each with a unique visual special culture. The definition also includes the art of the African Diasporas, such as the art of African Americans. Despite this diversity, there are some unifying artistic themes when considering the totality of the visual culture from the continent of Africa.
* Emphasis on the human figure: The human figure has always been a the primary subject matter for most African art, and this emphasis even influenced certain European traditions. For example in the fifteenth century Portugal traded with the Sapi culture near the Ivory Coast in West Africa, who created elaborate ivory saltcellars that were hybrids of African and European designs, most notably in the addition of the human figure (the human figure typically did not appear in Portuguese saltcellars). The human figure may symbolize the living or the dead, may reference chiefs, dancers, or various trades such as drummers or hunters, or even may be an anthropomorphic representation of a god or have other votive function. Another common theme is the inter-morphosis of human and animal.
Yoruba bronze head sculpture, Ife, Nigeria c. 12th century A.D.
* Visual abstraction: African artworks tend to favor visual abstraction over naturalistic representation. This is because many African artworks generalize stylistic norms. Ancient Egyptian art, also usually thought of as naturalistically depictive, makes use of highly abstracted and regimented visual canons, especially in painting, as well as the use of different colors to represent the qualities and characteristics of an individual being depicted.
* Emphasis on sculpture: African artists
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At once beautiful, protective, seductive, and dangerous, the water
spirit Mami Wata (Mother Water) is celebrated throughout much of Africa
and the African Atlantic. A rich array of arts surrounds her, as well
as a host of other aquatic spirits--all honoring the essential, sacred
nature of water. Mami Wata is often portrayed as a mermaid, a snake
charmer, or a combination of both. She is widely believed to have
"overseas" origins, and her depictions have been profoundly influenced
by representations of ancient, indigenous African water spirits,
European mermaids, Hindu gods and goddesses, and Christian and Muslim
saints. She is not only sexy, jealous, and beguiling but also exists in
the plural, as the mami watas and papi watas who comprise part of the vast and uncountable "school" of African water spirits.
Mami Wata's presence is pervasive partly because she can bring good
fortune in the form of money. As a "capitalist" deity par excellence,
her persona developed between the fifteenth and twentieth centuries,
the era of growing trade between Africa and the rest of the world. Her
very name, which may be translated as "Mother Water," is pidgin
English, a language developed to facilitate trade. Countless enslaved
Africans forcibly brought to the Americas as part of this "trade"
carried with them their beliefs, practices, and arts honoring water
spirits such as Mami Wata. Reestablished, revisualized, and revitalized
in the African Atlantic, Mami Wata emerged in new communities and under
different guises, among them Lasirèn, Yemanja, Santa Marta la
Dominadora, and Oxum. African--based
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Jacques Chirac22nd President of the French Republic5th President of the Fifth RepublicCo-Prince of AndorraIn office17 May 1995 – 16 May 2007Prime Minister Alain JuppéLionel JospinJean-Pierre RaffarinDominique de VillepinPreceded by François MitterrandSucceeded by Nicolas SarkozyMayor of ParisIn office20 March 1977 – 16 May 1995Preceded by Office CreatedSucceeded by Jean Tiberi159th Prime Minister of France10th Prime Minister of Fifth Republic
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Sir Henry Morton Stanley (né John Rowlands) est un journaliste britannique né le 28 janvier 1841 à Dinbych dans le Denbighshire et mort le 10 mai 1904.
Son père était fermier et s'appelait John Rowlands. Tôt orphelin, il embarque, à l'âge de 15 ans, comme mousse pour l'Amérique. Il débarque à La Nouvelle-Orléans et est adopté par un riche négociant nommé Stanley, qui lui donne son patronyme. Il participe ensuite à la guerre de Sécession comme soldat sudiste avant de devenir le correspondant de divers journaux en Asie mineure et en Abyssinie (Éthiopie).
Henry Morton Stanley
Comment j'ai retrouvé Livingstone
Sa réputation grandit et, en 1869, le rédacteur en chef du New York Herald l'envoie à nouveau en Afrique équatoriale, avec pour mission de retrouver David Livingstone, parti à la recherche de la source du Nil et porté disparu, afin de réaliser un formidable scoop ! Il lui faudra de longs mois pour découvrir le célèbre explorateur. Il y parviendra le 10 novembre 1871. Livingstone bloqué à Ujiji sur les rives du lac Tanganyika, en Tanzanie, est malade et à court de vivres. Plus tard, Stanley publiera le récit de cette aventure qu'il intitulera : Comment j'ai retrouvé Livingstone ; ce
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Pietro Paolo Savorgnan di Brazzà ou Pierre Paul François Camille Savorgnan de Brazza en français, né à Castel Gandolfo le 26 janvier 1852 et mort à Dakar le 14 septembre 1905, est un explorateur italien naturalisé français. Il explora la rive droite du fleuve Congo ouvrant la voie à la colonisation française en Afrique équatoriale. Sa bonhommie, son charme, son approche pacifique des Africains faisaient de Brazza une figure d’exception parmi ses contemporains qui exploraient l’Afrique au nom des grandes puissances occidentales.
Un explorateur pacifique et altruiste
Élevé à Rome, sous le nom de « Pietro Paolo Savorgnan di Brazzà », le futur explorateur est le septième fils des douze enfants du comte Ascanio Savorgnan di Brazzà, un noble d’Udine. Cet homme cultivé et voyageur avait de nombreux amis français, dont le prestigieux amiral Louis de Montaignac. Avec son soutien et celui de son précepteur, Pietro vient à Paris et suit les cours du collège Sainte-Geneviève pour préparer le concours d’entrée à l’École navale de Brest. Il y rentre à 17 ans, en ressort enseigne de vaisseau et embarque sur la Jeanne d’Arc pour l’Algérie. Là-bas, il est horrifié par la violence de la répression de la révolte kabyle par les troupes françaises. La guerre de 1870 est alors déclarée : il veut être affecté dans une unité combattante. Il en profite pour demander la naturalisation française et se retrouve sur le
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Royaume d'Aksoum
Aksoum jouait un rôle important dans le commerce international dès le Ier siècle de notre ère (voir le Périple de la mer Érythrée) jusqu'à ce que, vers la fin de la Ier millénaire, il succombe aux différentes puissances régionales islamiques qui s'étaient liguées contre elle.
Le Royaume d'Aksoum ou Empire Aksoumite était un royaume commercial important dans le nord-est de l'Afrique, qui s'est développé à partir du IVe siècle av. J.-C. pour atteindre son apogée au Ier siècle. Son ancienne capitale, Aksoum, se situait au nord de l'actuelle Éthiopie. Le royaume utilisa le nom "Ethiopie" dès le IVe siècle.Il est également le lieu présumé où repose l'Arche d'alliance et la maison de la reine de Saba. Aksoum a été également le premier grand empire à se convertir au christianisme.
Histoire
Origines
Aksoum fut longtemps considérée comme ayant été fondée par des sabéens de langue sémitique qui auraient traversé la Mer Rouge en venant d'Arabie du Sud (l'actuel Yémen), mais la plupart des chercheurs s'entendent maintenant pour dire que ce fut un développement autochtone.[4] En effet, il existait l'ancien royaume D'mt (ou Da'amot), avant toute migration sabéenne au IVe et Ve siècle av. J.-C.En outre, le Guèze, l'ancienne langue sémitique d'Érythrée et d'Éthiopie, est maintenant connue pour ne pas avoir dérivé de la langue de Saba et il y a des signes de présence de langues sémitiques en Éthiopie et en Érythrée au moins 2000 ans av. J.-C.. L'influence du Royaume de Saba semble
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Africa
Africa is the world's second-largest and second most-populous continent, after Asia. At about 30.2 million km² (11.7 million sq mi) including adjacent islands, it covers 6% of the Earth's total surface area and 20.4% of the total land area. With a billion people (as of 2009, see table) in 61 territories, it accounts for about 14.8% of the World's human population. The continent is surrounded by the Mediterranean Sea to the north, the Suez Canal and the Red Sea to the northeast, the Indian Ocean to the southeast, and the Atlantic Ocean to the west. Not counting the disputed territory of Western Sahara, there are 53 countries, including Madagascar and various island groups, associated with the continent.
Africa, particularly central eastern Africa, is widely regarded within the scientific community to be the origin of humans and the Hominidae tree (great apes), as evidenced by the discovery of the earliest hominids and their ancestors, as well as later ones that have been dated to around seven million years ago – including Sahelanthropus tchadensis, Australopithecus africanus, A. afarensis, Homo erectus, H. habilis and H. ergaster – with the earliest Homo sapiens (human) found in Ethiopia being dated to ca. 200,000 years ago.
Africa straddles the equator and encompasses numerous climate areas; it is the only continent to stretch from the northern temperate to southern temperate zones.
Etymology
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Empire peul du Macina
L’Empire peul du Macina, appelé « Diina », est un empire théocratique fondé au XIXe siècle par le marabout peul Sékou Amadou de clan Barry. Il s’étend sur une partie du Mali actuel, de Tombouctou au nord, au pays Mossi au sud, de la Mauritanie à l’est à la région de Mopti, avec Hamdallaye comme capitale.
Les peuls, venus du Fouta Toro, s’étaient installés dans la région vers la fin du XIVe siècle. Au début du XIXe siècle, les « ardos », chefs de clan peuls, de clan Dicko, contrôlaient la région.
Sékou Amadou, exilé à Noukouma après avoir rencontré des problèmes avec les oulemas de Djenné, y livre sa première bataille en 1818 contre les ardos, alliés au Fama (roi) de Ségou. C’est la victoire qui le conduit à déclarer le Jihad et à conquérir Djenné un an plus tard en 1819. Il fait raser la grande mosquée construite par le roi Koi Koumboro et fait édifier une nouvelle mosquée.
Il fonde alors un empire théocratique qu’il nomme diina, ce qui signifie « foi en l’islam ». Il divise son empire en 5 régions, chacune dirigée par un gouverneur militaire et un conseil religieux. Il fonde la ville
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