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Nsibidi is used to design the 'ukara ekpe' woven material which is usually dyed blue (but also green and red) and is covered in Nsibidi symbols and motifs. Ukara ekpe cloths are woven in Abakaliki, and then they are designed by male Nsibidi artists in the Igbo-speaking towns of Abiriba, Arochukwu and Ohafia to be worn by members of the Ekpe ...
As George Joseph notes in his chapter on African Literature [3] in Understanding Contemporary Africa, whereas European views of literature stressed a separation of art and content, African awareness is inclusive and "literature" can also simply mean an artistic use of words for the sake of art alone. Traditionally, Africans do not radically ...
African poetry encompasses a wide variety of traditions arising from Africa's 55 countries and from evolving trends within different literary genres.The field is complex, primarily because of Africa's original linguistic and cultural diversity and partly because of the effects of slavery and colonisation, the believe in religion and social life which resulted in English, Portuguese and French ...
Adinkra Alphabet is a phonetic writing system derived from Adinkra symbols. The Adinkra Alphabet , invented by Charles Korankye in 2015, and expanded and refined over the next several years to accommodate various languages spoken in Ghana and Ivory Coast such as Akan, Dagbani , Ewe and Ga - a process that culminated with the creation of a ...
The writing systems of Africa refer to the current and historical practice of writing systems on the African continent, both indigenous and those introduced.In many African societies, history generally used to be recorded orally despite most societies having developed a writing script, leading to them being termed "oral civilisations" in contrast to "literate civilisations".
These motifs are named for either the part of the natural environment they resemble, the method of execution used to make the design, or the abstract shape they form. [4] For example, the isnwaogi motif is named for the three-lobed nut, and the aswolago motif is for after the snake. [10]
Research conducted by Van Wyk and Mathews in the late-1980s and mid-1990s, culminating in two photographically illustrated books titled African Painted Houses: Basotho Dwellings of Southern Africa (Van Wyk, 1998) and The African Mural (Chanquion & Matthews, 1989), suggests that the art of litema cannot be understood in purely aesthetic terms.
The study of African art until recently focused on the traditional art of certain well-known groups on the continent, with a particular emphasis on traditional sculpture, masks and other visual culture from non-Islamic West Africa, Central Africa, [15] and Southern Africa with a particular emphasis on the 19th and 20th centuries. Recently ...