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Document Type:Latin Dissertation
Language of Document:English
Record Number:53517
Doc. No:TL23471
Call number:‭3467946‬
Main Entry:Abayomi Ola
Title & Author:Critical lines: The parodies of power in Yoruba artAbayomi Ola
College:The University of Iowa
Date:2009
Degree:Ph.D.
student score:2009
Page No:255
Abstract:This research investigates how visual arts are used to engage dictatorial and ineffectual governments. It examines the traditional and contemporary manifestations of parody of power in Yoruba art from the pre-colonial to the postcolonial period of Nigerian history. It argues that parody and satire in the Yoruba masking traditions and in some of Olowe Ise's sculptures provided a necessary foundation for series of visual commentary in the Nigerian popular press in the decades before, during and after the country's political independence. Between 1893 and 1960, most Yoruba as part of Nigeria were under British imperial rule. Prior to the arrival of the British, there were manifestations of parody and satire in Yoruba art. By the 1940s, Yoruba artists began to use editorial cartooning and, later, photography as tools of social and political criticism. This dissertation examines visual colonial commentaries by Akinola Lasekan and postcolonial satires on a succession of brutal military dictators and corrupt civilian leaders by Kenny Adamson, Josy Ajiboye, Bisi Ogunbadejo, dele jegede, Boye Gbenro and Tayo Fatunla. In the final segment, this study explores the triad of identity, power and parody in the postmodern photographs and installations of Rotimi Fani-Kayode and Yinka Shonibare, two London-based Yoruba artists. This research addresses the following questions: What are the various visual manifestations of parody and satire in Yoruba art? What are the different visual and textual styles employed by these artists? How do images and/or texts in their commentaries function to produce meaning, humor and political or social criticism? Finally, are the contemporary visual commentaries manifestations of a tendency to satirize power, which is rooted in a visual culture past? To answer these questions, my study proceeds from the basic assumption that a visual commentary--whether in the mold of a satirical mask, an editorial cartoon, a photograph or an installation--is a culturally constructed artwork, which represents a dimension of the human agency.
Subject:Communication and the arts; Social sciences; Art and representation; African art; Political cartooning; Newspapers; Satire; Parody; Yoruba; Visual commentary; Nigeria; Cartooning; Photography; African Studies; African history; Art history; Journalism; Political science; 0615:Political science; 0293:African Studies; 0391:Journalism; 0377:Art history; 0331:African history
Added Entry:C. Roy
Added Entry:The University of Iowa