scholarly journals Erratum: In defence of communitarianism philosophy: The contribution of moderate communitarianism to the formation of an African identity

2021 ◽  
Vol 42 (1) ◽  
Author(s):  
Walter P. Maqoma
Keyword(s):  

No abstract available.

2021 ◽  
Vol 2 (1) ◽  
pp. 117-130
Author(s):  
M. Mogoboya

The story of African liberation struggle has, over many years, been related in a colonial and neo-colonial manner by the imperial powers, with Africa delineated as a dark continent and Europe as a civilised one. This article, therefore, strives to disrupt this oppressive narrative by painting the correct version through Ngugi's A Grain of Wheat (1967) (AGW) and Matigari (1987). Kenya is used as a microcosm of the entire Africa in these novels. Furthermore, the study is a qualitative recounting of the African liberation struggle which is underpinned by Afrocentricity as an emancipatory theoretical strand. Purposive sampling, guided by exploratory research design, was employed to select the two texts by Ngugi because of their appositeness to the study. Narrative textual analysis was used to interpret the two novels as primary data. Ngugi conscientises Africans about their African liberation history in order for them to cultivate a true African identity (Biko,1978).


2016 ◽  
pp. 369-373
Author(s):  
Obiagele Lake
Keyword(s):  

Author(s):  
Janet Goldner

The Groupe Bogolan Kasobané is an association of six artists from Mali, West Africa: Kandioura Coulibaly, Klètigui Dembélé, Boubacar Doumbia, Souleymane Goro, Baba Fallo Keita, and Néné Thiam. The five men and one woman began working together in 1978. The Groupe is largely responsible for having elevated bogolan, a Malian textile technique traditionally used to decorate garments, to an important symbol of national and even pan-African identity. The members of the Groupe met as students at the Institut National des Arts (L’INA) in Bamako. At that time, bogolan was rarely seen in urban areas and was fabricated only by rural women. The study of bogolan was also strictly forbidden at the art academy. The Groupe’s use of local materials and elevation of materials associated with craft is a strategy employed by many contemporary artists throughout the world. Their first objective, to promote and preserve bogolan and to have it accepted and valued as artistic expression has been achieved. The Groupe moved the technique from craftsmanship to art. Today the Groupe is known because of their numerous exhibitions in Mali and around the world. Working collaboratively and developing new approaches to this centuries-old technique, they have continued to feature it in their art and award-winning costume and set designs for film and stage as well as fabrics for fashion and home furnishings.


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