Access the full text.
Sign up today, get DeepDyve free for 14 days.
(2012)
“ The Artist in His Own Words . ” In
(1987)
A View from the Forest: The Power of Southern Kuba Initiation Masks
S. Ottenberg (1989)
'We Are Becoming Art Minded': Afikpo Arts 1988African Arts, 22
(2022)
“ Rethinking the Ethnographic Museum . ”
Jordan Fenton (2022)
Masquerade and Money in Urban Nigeria
D. Biebuyck (1975)
Lega culture; art, initiation, and moral philosophy among a Central African people
(2003)
Nisbidi, Gender, and Literacy: The Art of the Bakor-Ejagham
P. McNaughton (2008)
A Bird Dance near Saturday City: Sidi Ballo and the Art of West African Masquerade
Dellena Aquilar, L. Birch (1997)
The Gelede Spectacle: Art, gender and social harmony in an African CultureAfrican Affairs, 96
(1995)
Alagba Masquerade: The Amazing Start to the Ancient Seventeen Year Cycle
(1992)
Camp . 1988 . “ An Interview with Sokari Douglas Camp . ” In Dean Trackman and Wendy Belcher
(2006)
[ 1994 ] . “ Changes Over Time in an African Culture and in an Anthropologist . ” In Toyin Falola
Anthony Appiah (1992)
In My Father's House: Africa in the Philosophy of Culture
Jordan Fenton (2017)
Sustainable Futures: Ekpenyong Bassey Nsa and the Study of Traditional-Based African ArtistsAfrican Arts, 50
H. Drewal, Gerald Jones, K. Morris, William Arnett (1980)
African artistry : technique and aesthetics in Yoruba sculpture
S. Blier (2001)
Autobiography and Art History: The Imperative of Peripheral VisionRES: Anthropology and Aesthetics, 39
(1988)
An Interview with Sokari Douglas Camp
(2002)
“ Uli and My Early Art Experience
Michael Harris, S. Ottenberg (2002)
The Nsukka Artists and Nigerian Contemporary Art
Everything Has a Price:' Considering 'Ethnographic Reciprocity' when Working with Living Artists
S. Gagliardi (2018)
Seeing the unseeing audience: women and West African power association masqueradesAfrica, 88
(1984)
The Iconography of Carved Altar Tusks from Benin
S. Ottenberg (1975)
Masked Rituals of Afikpo: The Context of an African Art
first word Touched and Changed Self-Reflexivity and Reciprocity in Fieldwork Jordan A. Fenton REMEMBERING MY ADOPTIVE FATHER As I stood with a tumbler filled with gin in my right hand, heightened nerves and trepidation overcame me. I was standing in front of the final burial and resting place of my Nigerian adoptive father. It was summer of 2022—the first time I was able to travel to Calabar and see my adoptive family since his passing in 2020. COVID was of course to blame, as it prevented me from traveling. Prior to this, I fondly recall phone calls (and bothers embraced me, smiled, and were 1 Author after his initiation into Nnabo with Qua-Ejagham Nnabo President Iso Edim (left) of messaging via WhatsApp) from my home in content. After, we sat in the room beside my the Nka Anim Inyang faction (Ediba) and fellow Ohio (USA) with my adoptive mother and adoptive father’s resting place chatting and Nnabo members. 2009. the rest of the family about his passing. Yet catching up about the things that make one Photo: Essien Eyo Effiong even with my amplie fi d anxiety as I stood whole. At that moment I was so grateful to
African Arts – MIT Press
Published: Jun 1, 2023
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.