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In this book, Suzanne Preston Blier examines the intersection of art, risk and creativity in early African arts from the Yoruba center of Ife and the striking ways that ancient Ife artworks inform society, politics, history and religion. Yoruba art offers a unique lens into one of Africa's most important and least understood early civilizations, one whose historic arts have long been of interest to local residents and Westerners alike because of their tour-de-force visual power and technical complexity. Among the complementary subjects explored are questions of art making, art viewing and aesthetics in the famed ancient Nigerian city-state, as well as the attendant risks and danger assumed by artists, patrons and viewers alike in certain forms of subject matter and modes of portrayal, including unique genres of body marking, portraiture, animal symbolism and regalia. This volume celebrates art, history and the shared passion and skill with which the remarkable artists of early Ife sought to define their past for generations of viewers.

Art, Yoruba --- Art and society --- Creative ability in technology --- Technical creativity --- Technology --- Art --- Art and sociology --- Society and art --- Sociology and art --- Art, Yoruba (African people) --- Yoruba art --- History. --- Political aspects. --- Social aspects --- Ife (Nigeria) --- Ile-Ife (Nigeria) --- Antiquities. --- Civilization.

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Africa --- Art --- Art, Black --- Art, Yoruba --- Private collections --- Catalogs. --- Catalogs --- Black art --- Negro art --- Art, Yoruba (African people) --- Yoruba art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Private collections&delete& --- Doetsch-Amberger, Ellen --- Amberger, Ellen Doetsch --- -Doetsch, Ellen --- Art collections --- Art, Primitive

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Focusing on the problems and conflicts of doing African diaspora research from various disciplinary perspectives, these essays situate, describe, and reflect on the current practice of diaspora scholarship. Tejumola Olaniyan, James H. Sweet, and the international group of contributors assembled here seek to enlarge understanding of how the diaspora is conceived and explore possibilities for the future of its study. With the aim of initiating interdisciplinary dialogue on the practice of African diaspora studies, they emphasize learning from new perspectives that take advantage of intersections between disciplines. Ultimately, they advocate a fuller sense of what it means to study the African diaspora in a truly global way.

Culture and globalization --- Cultural property --- Art, Yoruba --- Art and society --- Art --- Art and sociology --- Society and art --- Sociology and art --- Art, Yoruba (African people) --- Yoruba art --- Globalization and culture --- Globalization --- Cultural heritage --- Cultural patrimony --- Cultural resources --- Heritage property --- National heritage --- National patrimony --- National treasure --- Patrimony, Cultural --- Treasure, National --- Property --- World Heritage areas --- Protection --- Social aspects --- Motion pictures --- Fathers and sons in motion pictures. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History --- History and criticism --- Fathers and sons in motion pictures --- Motion pictures -- Russia (Federation) -- History -- 20th century --- Film --- Music, Dance, Drama & Film --- E-books --- African diaspora --- Black diaspora --- Diaspora, African --- Human geography --- Africans --- Transatlantic slave trade --- Study and teaching (Higher) --- Migrations --- Sociology of the family. Sociology of sexuality --- Russia --- Diasporas --- Africains --- Étude et enseignement (supérieur) --- À l'étranger --- Étude et enseignement (supérieur) --- À l'étranger