Sentences with phrase «african cultural context»

Future research within the South African cultural context might build on these findings by adapting and testing school - or family - based prevention or intervention programs that include modules on emotion regulation.

Not exact matches

Similarly, Latina, African and Asian women have taken up the challenge of understanding the ways in which the practices of reading and interpreting the Bible serve to constrain or to emancipate women in their particular social and cultural contexts.

The son of Salvation Army Officers from the northern suburbs of Melbourne, Peter Norman grew up in an Australian cultural context similar to that of South African Apartheid.

He also explores key African ingredients that are popular in Caribbean and Southern dishes — like okra — tracing their history and giving them cultural context.

Here you'll find documented recipes for everything from iconic Cuban sandwiches to rich stews with Spanish accents and African ingredients, accompanied by details about historical context and insight into cultural nuances.

I have lived in two continents, in four different cultural contexts, and married an African Muslim with whom I lived with for 12 years, and as a result, we spent extensive amounts of time in Africa.

«The greater pressure to conform to gender roles that North African French boys feel may be a response to contrasting messages about social status they are exposed to - one from their ethnic and cultural groups that says masculinity has greater power and prestige, the other from the broader social context that says their ethnic and cultural groups have lower status and are discriminated against.»

He continued to research cultural adaptation of social - emotional learning programs and investigate ways in which the AYLE program could better fit the East African context.

Most people consider the claim that blacks are inherently more criminal than whites, based on that raw data, to be pretty darn racist as it ignores the social, economic and legal context of crime and instead ascribes it to some imagined genetic or cultural flaw among African Americans.

When first conceiving the work, I was thinking of the South / Southern African context in particular: the histories of indigenous African women's bodies, African spiritual and cultural practices, particular rituals and games.

The fifth instalment in our yearlong, monthly survey in which artists, curators and cultural commentators explore the question of what African art (of the contemporary flavour) does or can do within various local contexts across the continent.

What is valuable to understand in this context, however, is the history of New Orleans; a city that has, historically, depended on the vital influence of its African American citizens in order to create its cultural identity.

The artists examine universally relevant cultural concepts of tradition, spirituality, family and the environment, within the context of modern African experiences and daily life.

The Short Century presents a cultural context in which the intense politics of African freedom movements are displayed: from the initial struggles for independence following the Second World War, to the collapse of apartheid in South Africa and the establishment of democratic governments in the nations of Africa.

These exhibitions emphasize historical, cultural, social and artistic contributions, providing a broader context for the lives of African American Marylanders explored in the permanent exhibition.

And that has a kind of African context too in that the African artists or the medicine men and others who were involved with creating things — cultural icons and other things — would determine the value of something and place it in a different context; such as the use of objects from nature.

The first instalment in our yearlong survey in which artists, curators and cultural commentators explore the question of what African art (of the contemporary flavour) does or can do within various local contexts across the continent.

Stacey Gillian Abe's installation at 1 - 54 Contemporary African Art Fair, which runs May 4 through 6 at Pioneer Works, the cultural center in the borough's Red Hook neighborhood, would be provocative in any context, but given the patriarchal traditions of her native Uganda, its subject matter is all the more challenging: the objectification of women, and the sexual satisfactions of women.

I'm particularly drawn to Kiwanga's use in this installation of shade cloth as a material — especially since textiles are so often associated with the body and, in an African context, cultural appropriation.

Collection, Cornell Fine Arts Museum, Orlando, FL Commemorating 30 Years (1976 — 2007): Part Three (1991 — 2007), Rhona Hoffman Gallery, Chicago, IL The Blake Byrne Collection, The Nasher Museum of Contemporary Art, Duke University, Durham, NC 2006 Do Not Stack, Roberts & Tilton, Los Angeles, CA Black Alphabet: ConTEXTS of Contemporary African - American Art, Zacheta, National Gallery of Art, Warsaw, Poland Down By Law, Wrong Gallery at the Sondra Gilman Gallery, Whitney Museum, New York, NY Hangar — 7 Edition 4, Salzburg Airport, Salzburg, Austria Redefined: Modern and Contemporary Art from the Collection, Corcoran Gallery of Art, Washington, D.C. Relics and Remnants, Jamaica Center for Arts and Learning, Jamaica, NY 2005 Maximum Flavor, ACA Gallery, Atlanta College of Art, Atlanta, GA Neo-Baroque, Tema Celeste, Verona, Italy Neovernacular, Turner Gallery, Los Angeles, CA Kehinde Wiley / Sabeen Raja: New Paintings, Conner Contemporary Art, Washington, D.C. 2004 Eye of the Needle, Roberts & Tilton, Los Angeles, CA Glory, Glamour & Gold, The Proposition, New York, NY She's Come Undone, Greenberg Van Doren, New York, NY The New York Mets and Our National Pastime, Queens Museum of Art, Queens, NY Beauty, Kravets + Wehby, New York, NY African American Artists in Los Angeles, A Survey Exhibition: Fade, City of Los Angeles Cultural Affairs Department, Los Angeles, CA 2003 Peripheries Become the Center, Prague Biennale 1, Galleria Nazionale Veletrzni Palac Dukelskych Hrdinu 47, Prague, Czech Republic Superreal, Marella, Milan, Italy New Wave, Kravets Wehby Gallery, New York, NY Re: Figure, College of DuPage, The Guhlberg Gallery, Glen Ellyn, IL 2002 Painting as Paradox, Artists Space, New York, NY Mass Appeal, Gallery 101, Ottawa, Canada Ironic / Iconic, The Studio Museum of Harlem, New York, NY Black Romantic, The Studio Museum of Harlem, New York, NY 2001 It's Bigger Than Hip Hop, Rush Arts, New York, NY

His primary interests are in rewriting South African cultural history with a view to greater equity and representation in the context of colonial and apartheid marginalization.

Gathered under the same conceptual banner, these African contemporary artists will examine universally relevant cultural concepts of tradition, spirituality, family and the environment while maintaining the context of modern African experiences and the continent's daily life.

The programme highlights how the deployment of new and innovative materials and technologies, as well as shifting cultural and social attitudes is affording alternative frameworks and understandings about contemporary experience, from educational models and street culture to collectively designing museums for African contexts.

Making African - American art and artists visible and addressing the cultural and social context out of which their works arise without making the art secondary to race itself is no small challenge.

That exhibition showed, like Lynch Fragments, his interest in working within and against the boundaries of abstraction and minimalism, using materials with immense cultural and personal resonance, particularly in the context of the African - American experience.

Motley (1891 - 1981) was born in New Orleans and lived in Chicago, where he painted the cultural life of the city's African American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context.

Motley (1891 - 1981) was born in New Orleans and lived in Chicago, where he painted the cultural life of the city's African - American neighborhood known as Bronzeville, portraying it with an eye for calibrations of class and race, and with a sense of his own conflicted position within its context.