From Primitivism to Pan-Africanism

References

1. ↵
   1. Abiodun, R,
   2. Drewal, H. J., &
   3. Pemberton, J., , III.

   (Eds.). (1994). The Yoruba artist: New theoretical perspectives on African arts. Washington, DC: Smithsonian Institution Press.
2. 1. Adepegba, C. O.

   (Ed.). (1995). Osogbo: Model of growing African towns. Ibadan, Nigeria: University of Ibadan.
3. ↵
   1. Adorno, T. W.

   (1970). Aesthetic theory. G. Adorno & R. Tiedemann (Eds.). London, England: Routledge and Kegan Paul.
4. ↵
   1. Akanji

   . (1957). Reviews of the books The dark child, by Camara Laye; and Black power, by Richard Wright. Black Orpheus, 1, 47–51.

   OpenUrl
5. ↵
   1. Akanji

   . (1958). Wenger: An example of Afro-European culture contact. Black Orpheus, 2, 29–31.

   OpenUrl
6. 1. Akanji

   . (1960). Note on Susanne Wenger’s exhibition in Lagos. Black Orpheus, 7, 35–36.

   OpenUrl
7. 1. Appadurai, A.

   (Ed.). (1986). The social life of things: Commodities in cultural perspective. Cambridge, England: Cambridge University Press.
8. ↵
   1. Apter, A. H.

   (1992). Black critics and kings: The hermeneutics of power in Yoruba society. Chicago: University of Chicago Press.
9. ↵
   1. Apter, A. H.

   (2005). The Pan-African nation: Oil and the spectacle of culture in Nigeria. Chicago: University of Chicago Press.
10. ↵
    1. Archer-Straw, P. E.

    (2000). Negrophilia: Avant-garde Paris and black culture in the 1920s. London, England: Thames & Hudson.
11. 1. Armstrong, R. G.

    (1981). On “The myth of Oshogbo” (Letter to the editor). African Arts, 15(1), 8.

    OpenUrl
12. ↵
    1. Arneson, J. J.

    (1974). Tradition and change in Yoruba art. Sacramento, CA: E. B. Crocker Art Gallery.
13. ↵
    1. Asad, T

    . (1986). The concept of cultural translation in British social anthropology. In J. Clifford & G. E. Marcus (Eds.), Writing culture: The poetics and politics of ethnography (pp. 141–165). Berkeley: University of California Press.
14. ↵
    1. Badejo, D. L.

    (1996). Ọṣun Seegesi: The elegant deity of wealth, power and femininity. Trenton, NJ: Africa World Press.
15. ↵
    1. Bakke, G., &
    2. Peterson, M.

    (Eds.). (2016). Anthropology of the arts: A reader. New York, NY: Bloomsbury.
16. ↵
    1. Barber, K

    . (1987). Popular arts in Africa. African Studies Review, 30(3), 1–78.

    OpenUrl
17. ↵
    1. Bascom, W. R.

    (1969a). Creativity and style in African art. In D. Biebuyck (Ed.), Tradition and creativity in tribal art (pp. 98–119). Berkeley: University of California Press.
18. ↵
    1. Bascom, W. R.

    (1969b). The Yoruba of southwestern Nigeria. Prospect Heights, IL: Waveland Press.
19. 1. Bassey, E.N.

    (1983). National Gallery of Modern Art. Nigeria Magazine, 145, 55–73.

    OpenUrl
20. ↵
    1. Beier, H. U.

    (1957a). The conflict of cultures in West African poetry. Black Orpheus, 1, 17–21.

    OpenUrl
21. ↵
    1. Beier, H. U.

    (1957b). Oshun festival. Nigeria Magazine, 53, 170–187.

    OpenUrl
22. ↵
    1. Beier, H. U.

    (1959). Two Yoruba painters. Black Orpheus, 6, 29–32.

    OpenUrl
23. 1. Beier, H. U.

    (1962). Nigerian folk art. Nigeria Magazine, 75, 26–32.

    OpenUrl
24. 1. Beier, H. U.

    (1964). A new sanctuary at Oshogbo. Nigeria Magazine, 81, 98–105.

    OpenUrl
25. ↵
    1. Beier, H. U.

    (1968). Contemporary art in Africa. New York, NY: Praeger.
26. ↵
    1. Beier, H. U.

    (1975). The return of the gods: The sacred art of Susanne Wenger. Cambridge, England: Cambridge University Press.
27. ↵
    1. Beier, H. U.

    (1991). Thirty years of Oshogbo art. Bayreuth, Germany: Iwalewa.
28. ↵
    1. Beier, H. U.

    (Ed.). (1999). A dreaming life: An autobiography of Chief Twins Seven-Seven, the Ekerin-Bashorun Atunluto of Ibadanland; from conversations with Twins Seven-Seven. Bayreuth, Germany: Iwalewa.
29. ↵
    1. Benson, P

    . (1983). “Border operators”: Black Orpheus and the genesis of modern African art and literature. Research in African Literatures, 14(4), 431–473.

    OpenUrl
30. ↵
    1. Benson, P

    . (1986). “Black Orpheus,” “Transition,” and modern cultural awakening in Africa. Berkeley: University of California Press.
31. 1. Berger, R.

    (1988, December). Oshogbo omission (Letter to the editor). West Africa.
32. 1. Bhabha, H. K.

    (1994). The location of culture. London, England: Routledge.
33. 1. Biebuyck, D.

    (Ed.). (1969). Tradition and creativity in tribal art. Berkeley: University of California Press.
34. 1. Boas, F

    . (1955). Primitive art. New York: Dover. (Original work published 1927)
35. 1. Casey, D. M.

    (1974). Contemporary African art (Exhibition review). African Arts, 8(1), 62.

    OpenUrl
36. ↵
    1. Chakrabarty, D

    . (2000). Provincializing Europe: Postcolonial thought and historical difference. Princeton, NJ: Princeton University Press.
37. ↵
    1. Clifford, J

    . (1988). The predicament of culture: Twentieth-century ethnography, literature, and art. Cambridge, MA: Harvard University Press.
38. 1. Cole, H. M.

    (1982). Mbari: Art and life among the Owerri Igbo. Bloomington: Indiana University Press.
39. ↵
    1. Deliss, C.

    (Ed.). (1995). Seven stories about modern art in Africa. Paris, France: Flammarion.
40. 1. Drewal, H. J.

    (1980). African artistry: Technique and aesthetics in Yoruba sculpture. Atlanta, GA: High Museum of Art.
41. ↵
    1. Drewal, M. T.

    (1992). Yoruba ritual: Performers, play, agency. Bloomington: Indiana University Press.
42. ↵
    1. Eagleton, T

    . (1990). The ideology of the aesthetic. Oxford, England: Blackwell.
43. ↵
    1. Engelke, M

    . (2004). Text and performance in an African church: The Book, “live and direct.” American Ethnologist, 31(1), 76–91.

    OpenUrl
44. ↵
    1. Enwezor, O.

    (Ed.). (2001). The short century: Independence and liberation movements in Africa, 1945–1994. Munich, Germany: Prestel.
45. ↵
    1. Fabian, J

    . (1996). Remembering the present: Painting and popular history in Zaire. Berkeley: University of California Press.
46. 1. Folarin, A

    . (1988). The role of public sculpture in Nigeria. Nigeria Magazine, 56(1–2), 15–26.

    OpenUrl
47. ↵
    1. Gauguin, P

    . (1985). Noa noa: The Tahitian journal. New York, NY: Dover. (Original work published 1914)
48. ↵
    1. Gibbs, J

    . (2009). Nkyin-Kyin: Essays on the Ghanaian theatre. Amsterdam, the Netherlands: Rodopi.
49. ↵
    1. Harney, E

    . (2004). In Senghor’s shadow: Art, politics, and the avant-garde in Senegal, 1960–1995. Durham, NC: Duke University Press.
50. ↵
    1. Hassan, S. M., &
    2. Oguibe, O.

    (2001). Authentic/Ex-Centric: Conceptualism in Contemporary African Art. Ithaca, NY: Forum for African Arts.
51. ↵
    1. Jahn, J

    . (1958). World Congress of Black Writers. Black Orpheus, 1, 39–46.

    OpenUrl
52. ↵
    1. Jegede, D

    . (1984). Patronage and change in Nigerian art. Nigeria Magazine, 150, 29–36.

    OpenUrl
53. ↵
    1. Kasfir, S. L., &
    2. Förster, T.

    (Eds.). (2013). African art and agency in the workshop. Bloomington: Indiana University Press.
54. ↵
    1. Kennedy, J

    . (1981). Speaking of myths (Letter to the editor). African Arts, 14(4), 78–80.

    OpenUrl
55. ↵
    1. LaDuke, B

    . (1991). Africa through the eyes of women artists. Trenton, NJ: Africa World Press.
56. ↵
    1. Lawal, B

    . (2008). Èjìwàpò: The dialectics of twoness in Yoruba art and culture. African Arts, 41(1), 24–39.

    OpenUrl
57. 1. Lefebvre, H

    . (1991). The production of space. Oxford, England: Blackwell. (Original work published 1974)
58. ↵
    1. Lindfors, B

    . (1968). A decade of Black Orpheus. Books Abroad, 42(4), 509–516.

    OpenUrl
59. 1. Lindfors. B.

    (1970). The new Black Orpheus. Books Abroad, 44(3), 404–407.

    OpenUrl
60. ↵
    1. Marcus, G. E., &
    2. Myers, F. R.

    (Eds.). (1995). The traffic in culture: Refiguring art and anthropology. Berkeley: University of California Press.
61. ↵
    1. McGovern, M

    . (2013). Unmasking the state: Making Guinea modern. Chicago: University of Chicago Press.
62. ↵
    1. Moore, H

    . (1957). Amos Tutuola: A Nigerian visionary. Black Orpheus, 1, 27–35.

    OpenUrl
63. ↵
    1. Mount, M. W.

    (1973). African art: The years since 1920. Bloomington: Indiana University Press.
64. 1. Mubimbe, V. Y.

    (1994). The idea of Africa. Bloomington: Indiana University Press.
65. 1. Mundy-Castle, A. C., &
    2. Mundy-Castle, V.

    (1972). Twins Seven Seven. African Arts, 6(1), 8–13.

    OpenUrl
66. 1. Munn, N. D.

    (1992). The cultural anthropology of time: A critical essay. Annual Review of Anthropology, 21, 93–123.

    OpenUrlCrossRefWeb of Science
67. ↵
    1. Munn, N. D.

    (1996). Excluded spaces: The figure in the Australian Aboriginal landscape. Critical Inquiry, 22(3), 446–465.

    OpenUrlCrossRefWeb of Science
68. ↵
    1. Myers, F. R.

    (2002). Painting culture: The making of an Aboriginal high art. Durham, NC: Duke University Press.
69. ↵
    1. Myers, F. R.

    (2005). “Primitivism,” anthropology, and the category of “primitive art.” In C. Tilley et al. (Eds.), Handbook of material culture (pp. 267–284). London, England: Sage.
70. 1. Naifeh, S. W.

    (1981). The myth of Oshogbo (Letter to the editor). African Arts, 14(2), 25–88.

    OpenUrl
71. 1. Nelson, R. S., &
    2. Shiff, R.

    (Eds.). (1996). Critical terms for art history. Chicago: University of Chicago Press.
72. ↵
    1. Oguibe, O., &
    2. Enwezor, O.

    (Eds.). (1999). Reading the contemporary: African art from theory to the marketplace. Cambridge, MA: MIT Press.
73. ↵
    1. Okeke-Agulu, C.

    (2013). Rethinking Mbari Mbayo: Osogbo workshops in the 1960s, Nigeria. In S. L. Kasfir & T. Förster (Eds.), African art and agency in the workshop. Bloomington: Indiana University Press.
74. ↵
    1. Okeke-Agulu, C.

    (2015). Postcolonial modernism: Art and decolonization in 20th-century Nigeria. Durham, NC: Duke University Press.
75. ↵
    1. Olowo, B.

    (1989, 29 May–4 June). Living with the gods: A profile of an artistic engima. West Africa, 3745, 874–875.

    OpenUrl
76. ↵
    1. Oyelami, M

    . (1981). Mbari Mbayo and the Oshogbo artists (Letter to the editor). African Arts, 15(2), 85–87.

    OpenUrl
77. 1. Oyelola, P

    . (1976). Every man’s guide to Nigerian art. Lagos: Nigeria Magazine Cultural Division.
78. ↵
    1. Pemberton, J., , III.

    (2002). Celebrating distinguished Africanists: Ulli Beier and the Oshogbo artists of Nigeria. African Studies Review, 45(1), 115–124.

    OpenUrl
79. ↵
    1. Pemberton, J., &
    2. Afolayan, F. S.

    (1996). Yoruba sacred kingship. Washington, DC: Smithsonian Institution Press.
80. ↵
    1. Pierre, J

    . (2012). The predicament of Blackness: Postcolonial Ghana and the politics of race. Chicago: University of Chicago Press.
81. ↵
    1. Price, S

    . (1989). Primitive art in civilized places. Chicago: University of Chicago Press.
82. ↵
    1. Probst, P

    . (2004). Keeping the goddess alive: Performing culture and remembering the past in Osogbo, Nigeria. Social Analysis: The International Journal of Social and Cultural Practice, 48(1), 33–54.

    OpenUrl
83. 1. Probst, P

    . (2011). Osogbo and the art of heritage: Monuments, deities, and money. Bloomington: Indiana University Press.
84. ↵
    1. Rosenblatt, D

    . (1997). The antisocial skin: Structure, resistance, and “modern primitive” adornment in the United States. Cultural Anthropology, 12(3), 287–334.

    OpenUrlCrossRefWeb of Science
85. 1. Ross, D. H.

    (1996). Africa95: Many stories about the art of a continent. African Arts, 29(3), 1, 6, 8–11.

    OpenUrl
86. ↵
    1. Said, E. W.

    (1993). Culture and imperialism. New York, NY: Knopf.
87. 1. Sakai, N.

    (2001). The dislocation of the West. Traces, 1, 71–94.

    OpenUrl
88. ↵
    1. Shipley, J. W.

    (2013). Living the hiplife: Celebrity and entrepreneurship in Ghanaian popular music. Durham, NC: Duke University Press.
89. ↵
    1. Shipley, J. W.

    (2015). Trickster theatre: The poetics of freedom in urban Africa. Bloomington: Indiana University Press.
90. 1. Solanke, A.

    (1988, 14–20 November). The Oshogbo connection. West Africa, 3718, 2128–2129.

    OpenUrl
91. ↵
    1. Steiner, C. B.

    (1994). African art in transit. Cambridge, England: Cambridge University Press.
92. ↵
    1. Stroter-Bender, J.

    (1994). The transformation of Ogun power: The art of Rufus Ogundele. In R. Abiodun, H. J. Drewal, & J. Pemberton , III (Eds.), The Yoruba artist: New theoretical perspectives on African art (pp. 217–223). Washington, DC: Smithsonian Institution Press.
93. ↵
    1. Torgovnick, M

    . (1990). Gone primitive: Savage intellects, modern lives. Chicago: University of Chicago Press.
94. ↵
    1. Vogel, S

    . (1991). Africa explores:20th century African art. New York, NY: Center for African Art.
95. ↵
    1. Wenger, S

    . (1977). The timeless mind of the sacred: Its new manifestation in the Ọṣun Groves. Ibadan, Nigeria: Institute of African Studies.
96. 1. Wenger, S

    . (1984). Susanne Wenger batiks and oil paintings (Exhibition). Lagos, Nigeria: Goethe Institut.
97. 1. Wenger, S

    . (1990). The sacred groves of Oshogbo. A. Merzeder (Ed.). Krems an der Donau, Austria: Susanne Wenger Foundation.
98. 1. Wenger, S.

    (1991a). Susanne Wenger (Exhibition catalog). Vienna, Austria: Strauchgasse.
99. 1. Wenger, S.

    (1991b). Susanne Wenger: Kunst als lebendiges ritual. Bayreuth, Germany: Iwalewa.
100. ↵
     1. Wenger, S., &
     2. Chesi, G.

     (1983). A life with the Gods: In their Yoruba homeland. Worgl, Austria: Perlinger.