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Research Publications (Arts and Design)

Permanent URI for this collectionhttp://ir-dev.dut.ac.za/handle/10321/214

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Author: search.filters.author.Adewumi, Kehinde ChristopherStart date: 2022

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Now showing 1 - 6 of 6
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    Demystifying the mainstream : moving from theories to stories
    (UJ Press, 2023-11-01) Adewumi, Kehinde Christopher; Fomunyam, K.G.
    Africa, as we have it today, is a direct implication of the researches of the past. Likewise, the future of Africa depends on the quality and relevance of current researches and innovations in education and society. However, in recent years, researchers such as Clegg (2012), Hammond (2018) and Wood, Phan and Wright (2018) have problematized the contemporary relevance and usage of theories in researches. Oftentimes, the impact and understandability of an idea are sacrificed at the altar of theorizing. In such cases, theories and structures are given more attention than the potential impact and contribution of the researcher’s idea. Are theories truly problematic? How do we reconcile the place of theory in contemporary researches and education? How can theorizing be rid of its abstractive tendencies? How can theorizing be decolonized? What are the alternatives to the mainstream approach to theorizing? All these are the questions this chapter seeks to raise and attempt to answer. The argument in this chapter shall be based on Chimamanda Ngozi Adichie’s ideas on storytelling and Sir Ken Robinson’s ideas on seeking creativity as an alternative to rigid adherence to a standardized curriculum.
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    Contemporary Nigerian artists' response to postmodernist trends and its implications for effective artistic growth
    (Durban University of Technology, 2023) Duniya, Giles; Adewumi, Kehinde Christopher
    The arguably retrogressive development of infrastructures, socio-political systems and technology in most African states casts a shadow of doubt on Africa’s claim to modernity and by extension, postmodernity. Within the context of the arts, the argument of this paper is premised on two questions: Why do some Nigerian artists claim to be post-modern? What is the viability of such a claim, in a country that, one is wondering whether it is even a modern society? To proffer answers to these questions, the paper enunciates a historical overview of contemporary African art and artists vis-à-vis the generalized concept of post-modernity, from the subjective view that its conceptualization and understanding, have a direct influence on contemporary artistic practice and expression. The paper then interrogates certain arts, within the context of their postmodern trend. The paper's conceptual framework is premised on Peroziosi’s (2009) postulation that artworks are reflective of their original time, place, and production circumstances. The authors conclude that contemporary artists’ responses to and their manifestation of postmodernist trends are such that can be categorised into three: Those who aspire faithfully to postmodernist principles; those who are inspired by postmodernism but want to progress their society by socio-political and economic reflections, criticism and advocacies as well as those who ordinarily would not have been artists perhaps, if not for the freedom provided by postmodernism.
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    Reflecting on the Covid-19 pandemic : awareness and survival through the arts
    (CJEAS LTD, 2023-08-03) Adewumi, Kehinde Christopher
    The unprecedented pandemic, which swept across the world in 2020, came with an avalanche of public health confusion and complexities. Every sector had to restructure its operational strategies in response to the ‘new normal’. The creative sector also had its fair share of pandemic chaos. This paper argues that art was a major tool for combating mental, social, and financial difficulties during the pandemic. Adopting a qualitative approach to data gathering and interpretation, this paper purposively selects some groups and organisations within Nigeria that employed the creativity of the arts in combating the complexities of the pandemic. The paper highlights the strategies employed by these groups and organisations in achieving their specific aims during the initial spread of the COVID-19 pandemic. The paper concludes that the arts should be recognised as a key contributor to the maintenance of social and psychological balance during the pandemic. As such, the arts should not be ignored as the world rebuilds.
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    Petals of activism : elucidating notions of feminism in the works of Helen Nzete
    (Informa UK Limited, 2023-12-31) Adewumi, Kehinde Christopher
    The ongoing patriarchal hegemony in African societies and other parts of the world has fostered diverse feminist reactions both verbally and visually. This paper considers the works of Helen Nzete, a contemporary female artist who employs her mixed-media creations in confronting the patriarchal strongholds of her society, Nigeria. Helen’s second solo exhibition titled “V is for . . . ” tells a story of the female existence without rights in African societies. Thus, she aligns her thoughts and agitations with several other female artists such as Zanele Muholi, and the Guerrilla Girls in protesting against the socio-political imbalance that exists in their societies. To properly understand the form, content and context of Helen’s V is for . . . , this paper employs the visual semiotic theory as a tool to deconstruct the symbolic paradigms of the artist’s works. The paper establishes that Helen’s works were created as a form of feminist activism against unfair structures in society which promote the commodification, objectification and dehumanization of the female. Her works (re)present the woman as a figure of beauty, influence and power
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    Contemplating art workshops as a vehicle for border crossing and creative tourism
    (2022-05-31) Adewumi, Kehinde Christopher; Oparinde, Kunle Musbaudeen
    This paper explores the history of artistic migrations, focusing specifically on art workshops and their capacity to facilitate African artists’ cross-border tourism. Drawing from constructivist approaches to border studies and a historical approach to qualitative enquiry, this paper identifies three pivotal events in history that led to the establishment and use of art workshops as tools to facilitate migration and cross-cultural engagements amongst artists. Colonisation in Africa is one of such events. The second is the creation of the Triangle Network of workshops in New York in 1982 by Sir Anthony Caro and Robert Loder. The third is the Grenzganger (Border Crossing) Initiative which came after the fall of the iron curtain in 1991. The paper argues that in addition to art workshops being a space for creative stimulation, art workshops can also facilitate legal cross-border tourism, migration and the exchange of ideas between artists through cross-cultural and transnational engagements. The paper established that as artists cross borders, their creative skills and cultural histories also relocate and intermingle with the cultures and histories of other artists and artistic productions across the world. This implies that art and artists serve as vehicles for the transference and cross-fertilisation of experiences, histories, creativities, ideas, and skills across borders.
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    If bronze, why not wood? a case for the repatriation of the Yoruba Ere Ibeji
    (Durban University of Technology, 2022) Adewumi, Kehinde Christopher
    In light of the current trend of repatriation of illegally acquired African art which are scattered all over galleries and museums in Europe and the Americas, consideration should also be given to the Ere Ibeji of the Yoruba. These figures are not mere objects of curiosity for Western fascination, but they are strongly tied to the birth and death of twins in Yoruba culture. This paper seeks to revisit this tradition based on literature, in line with its resultant art forms in a bid to contribute to the gamut of existing knowledge on the Yoruba twin tradition, as well as to (re)generate contemporary understanding(s) of the subject matter. Perhaps, this will aid the understanding of the significance of Ere Ibeji to the Yoruba; thereby contributing to the call for their return. The paper recommends that local preparation for the return of these artefacts should include training and re-training of the museum custodians of the cultural objects, construction, and renovation of structures to house the artefacts, and the reinforcement of legal frameworks to protect the cultural objects from illegal displacement. The paper concludes with a note that the return of looted artefacts should not begin and end with the bronzes of Benin and Ife alone, these wooden effigies from the western part of Nigeria also matter.