Ndebele d’Afrique du Sud
Within just a few years, during the international cultural boycott against apartheid, the South African Ndebele managed to associate a specific visual identity to their culture through mural painting and beadworking. South African white researchers as well as foreign media and tourists have been lur...
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OpenEdition
2011
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oai:doaj.org-article:931845da6ff9460b803fb796212ff5552021-12-02T10:47:57ZNdebele d’Afrique du Sud2431-204510.4000/aaa.609https://doaj.org/article/931845da6ff9460b803fb796212ff5552011-12-01T00:00:00Zhttp://journals.openedition.org/aaa/609https://doaj.org/toc/2431-2045Within just a few years, during the international cultural boycott against apartheid, the South African Ndebele managed to associate a specific visual identity to their culture through mural painting and beadworking. South African white researchers as well as foreign media and tourists have been lured by geometrical patterns and colour contrasts. The rise of this « recent traditional aesthetic style » is relevant to a strategy of identity recognition which is closely related to the making of Ndebele in history. The post-apartheid period raises new questions about the future of this art and the artistic status of its two main female représentatives.Manuel ValentinOpenEditionarticleNdebeleNdzundzaartidentityhistorymural paintingArchaeologyCC1-960History of the artsNX440-632ENFRAfrique Archéologie Arts, Vol 7, Pp 41-54 (2011) |
| institution |
DOAJ |
| collection |
DOAJ |
| language |
EN FR |
| topic |
Ndebele Ndzundza art identity history mural painting Archaeology CC1-960 History of the arts NX440-632 |
| spellingShingle |
Ndebele Ndzundza art identity history mural painting Archaeology CC1-960 History of the arts NX440-632 Manuel Valentin Ndebele d’Afrique du Sud |
| description |
Within just a few years, during the international cultural boycott against apartheid, the South African Ndebele managed to associate a specific visual identity to their culture through mural painting and beadworking. South African white researchers as well as foreign media and tourists have been lured by geometrical patterns and colour contrasts. The rise of this « recent traditional aesthetic style » is relevant to a strategy of identity recognition which is closely related to the making of Ndebele in history. The post-apartheid period raises new questions about the future of this art and the artistic status of its two main female représentatives. |
| format |
article |
| author |
Manuel Valentin |
| author_facet |
Manuel Valentin |
| author_sort |
Manuel Valentin |
| title |
Ndebele d’Afrique du Sud |
| title_short |
Ndebele d’Afrique du Sud |
| title_full |
Ndebele d’Afrique du Sud |
| title_fullStr |
Ndebele d’Afrique du Sud |
| title_full_unstemmed |
Ndebele d’Afrique du Sud |
| title_sort |
ndebele d’afrique du sud |
| publisher |
OpenEdition |
| publishDate |
2011 |
| url |
https://doaj.org/article/931845da6ff9460b803fb796212ff555 |
| work_keys_str_mv |
AT manuelvalentin ndebeledafriquedusud |
| _version_ |
1718396722055479296 |