Visual Arts in Cameroon
410 Pages
English
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Visual Arts in Cameroon

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Gain access to the library to view online
Learn more
410 Pages
English

Description

Annette Schemmel provides a highly illuminating case study of the major actors, discourses and paradigm that shaped the history of visual arts in Cameroon during the second part of the 20th century. Her book meticulously reconstructs the multiple ways of artistic knowledge acquisition - from the consolidation of the "Système de Grands Frères" in the 1970s to the emergence of more discursively oriented small artists' initiatives which responded to the growing NGO market of social practice art opportunities in the 2000s. Based on archival research, participant observation and in depth interviews with art practitioners in Douala and Yaoundé, this study is a must read for everyone who wants to better understand the vibrant artistic scenes in countries like Cameroon, which until today lack a proper state-funded infrastructure in the arts.

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Published by
Published 27 February 2016
Reads 1
EAN13 9789956763993
Language English
Document size 49 MB

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Exrait

Visual Arts in Cameroon A Genealogy of Nonformal Training 19762014
Annette Schemmel
Visua Arts in Cameroon
Annette Scemme
Vîsua Arts în Cameroon A Geneaogy o Non-orma Traînîng -
angaa Researc & Pubîsîng CïG Mankon, Bamenda
Pubîser: angaa RPCïG angaa Researc & Pubîsîng Common ïnîtîatîve Group P.O. Box  Mankon Bamenda Nort West Regîon Cameroon angaagrp@gmaî.com www.angaa-rpcîg.net
Dîstrîbuted în and outsîde N. Amerîca by Arîcan Books Coectîve orders@arîcanbookscoectîve.com www.arîcanbookcoectîve.com ïSBN: ---
© Annette Scemme 
Cover îustratîon: Pascae Martîne Tayou,Coonne Pascae,, commîssîon or Saon Urbaîn de Douaa , poto by te autor.
A rîgts reserved.
No part o tîs book may be reproduced or transmîtted în any orm or by any means, mecanîca or eectronîc, încudîng potocopyîng and recordîng, or be stored în any înormatîon storage or retrîeva system, wîtout wrîtten permîssîon rom te pubîser
Visua Arts in Cameroon
A Geneaogy o Non-orma Training -
Annette Scemme
angaa Researc & Pubîsîng CïG Mankon, Bamenda
To my parents
Acknowedgements
Two artîsts ave convînced me tat ît was wortwîe to pursue tîs endeavour; namey, Marjoîjn Dîjkman and Crîstîan Hanussek. To tem and to a te oter artîsts and teacers, wo ave înspîred my ove or vîsua art ï woud îke to express my admîratîon and my gratîtude. hîs ods especîay true or a our coeagues în and rom Cameroon, wo în addîtîon to creatîng compeîng work, ave kîndy sared teîr îe-storîes and teîr însîgts. You ave opened a new word or me! My dear rîend Caudîa Sorage as been my cosest reader and înterocutor în tîs project. ï am umbed by er generosîty and amazed by er art-îstorîca and crîtîca acumen. ï am aso grateu to te academîcs Joacîm Oesner-Adam, Domînîque Maaquaîs, Kerstîn Pînter, Mîcaea Oberoer and Pau-Henrî Souvenîr Assako Assako or teîr benevoent înterest, expertîse and crîtîca eedback. ï am partîcuary îndebted to my PD advîsor Tobîas Wend, wo took te tîme to careuy read and ofer constructîve advîce on my drats. Hîs antropoogîcay înormed perspectîve added an împortant dîmensîon to my researc process, as dîd te dynamîc and exceptîonay open-mînded debates tat ï partîcîpated în durîng te Irst years o te newy-ounded Department or te Art o Arîca at Free Unîversîty Berîn. ït remaîns to be mentîoned tat tîs study woud not ave been possîbe wîtout te Esa-Neumann-Stîpendîum, a researc grant by te and Berîn. My rîends, my amîy, my usband Pau and my daugter îo eped me to keep ît a în perspectîve. hank you or bearîng wît me.
Tabe o Contents
Foreword
Capter 1. Introductionïmportant Terms and heorîesDîsmantîng te Myt o te Autodîdact ArtîstScoarsîp to DateMetodoogîca ReLectîonsOrganîsatîon o Capters
Capter 2. Antecedents: he Emergence o Modern Art in Cameroonïbraîm Njoya and te Bamum DrawîngsEngebert Mveng, an Artîst/Curator în Cassockearnîng Art te Non-orma Way în te s: he Case o Martîn AbossooBeîng an Art Academîc Ater ïndependence: he Case o Gaspar Gománhe Quest or an “Autentîc” Natîona Cuture în te PubîcDîscourse and îts ïmpact on Vîsua Arthe ïnstîtutîona Voîd
Capter 3. Coective Action and Intergenerationa Soidarity among Artists (1976-1991)Presîdent Pau Bîya îs te New Amadou Aîdjo: he Poîtîca ContextA Sît în Agency: New Organîsatîons by Art Amateurs and Artîstshe Système de Grands Frères A Medîator between Art and Academîa:  he Grand Frère Pasca Kenack he Boemîan Koko Komegné as Grand Frère
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