http://journals.jozacpublishers.com/jahca/issue/feed Journal of African History, Culture and Arts 2024-01-11T19:52:28+00:00 Dr. Dickson Adom jahca@jozacpublishers.com Open Journal Systems <p><strong>Journal of African History, Culture and Arts (JAHCA)</strong> is an interdisciplinary and quality peer-reviewed open-access journal. All papers submitted to JAHCA are double-blinded peer-reviewed by experts in the field of Culture, History, Anthropology, and Arts. JAHCA only accepts and publishes original articles which are not under consideration or review in any journal.</p> <p>No <strong>Publication Fees </strong>or <strong>Article Processing Charges (APCs)</strong> for manuscript submission, processing, and publication.</p> <p><strong>ISSN: </strong>2789-8903 (Print) | 2790-1106 (Online) </p> http://journals.jozacpublishers.com/jahca/article/view/568 Indie film entitled Pugon: Reflecting the experiences of the modern Indio in the current formulation of Philippine society 2023-12-21T06:54:40+00:00 Arman Jay Velasquez armanjayvelasquez@davaodoctors.edu.ph Julie Ann Orobia f.julieann.orobia@cmu.edu.ph <p>This study introduces the indie film titled "Pugon: Reflecting the Experiences of the Modern Indio in the Current Formulation of Philippine Society." It investigates the nuanced experiences of contemporary Indios within the evolving landscape of Philippine society, offering a profound exploration of their challenges, endeavors, and triumphs in the quest for identity amid societal transformations. The researchers aim to provide a deep and meaningful examination of the struggles, aspirations, and accomplishments of the Indios as they navigate their personal battles, dreams, and the realities they face as individuals in society. Employing qualitative research methods, the film emphasizes the intricate experiences of the Indios, showcasing personal narratives, dreams, and the societal formulations that pose challenges and limitations to their progress and the pursuit of their aspirations. The findings encapsulate the multifaceted stories and characters representing the modern Indio, fostering a profound understanding of the social, cultural, and personal issues they grapple with in contemporary times. The film serves as a testament to the capability of indie cinema as a powerful instrument for broadening understanding and discourse on the social, cultural, and personal experiences of the Indios. In conclusion, "Pugon" stands as a unique indie film, serving as both a mirror and a spokesperson for the experiences, efforts, and hopes of the modern Indio in present-day Philippine society. It values its identity, aiming to open doors for deeper comprehension and appreciation of films that celebrate the culture, society, and individuals of the Philippines. The study suggests avenues for further exploration in the realm of cultural identity, discrimination, and the challenges faced by the Indios in Philippine society.</p> 2024-02-20T00:00:00+00:00 Copyright (c) 2024 Arman Jay Velasquez, Julie Ann Orobia http://journals.jozacpublishers.com/jahca/article/view/598 Monni Adam’s ‘African visual art from an art historical perspective’: A book review 2024-01-11T19:52:28+00:00 Samuel Prophask Asamoah prophask1@gmail.com Babaaradio Kombui babaaradio@gmail.om Dickson Adom dickson.adom@knust.edu.gh <p>The purpose of this study was to conduct a comprehensive and critical review of the book ‘African Visual Art from an Art Historical Perspective’ authored by Monni Adams published in 1989. The book is focused on the study of artworks from Sub-Saharan indigenous societies based on the perspectives of Art Historians in the United States. The book has been an indispensable teaching and research resource for practitioners, teachers, researchers, and students of art history as well as all those who are interested in acquiring in-depth knowledge in the history of the visual arts of the African continent, especially sub-Sahara Africa. However, 35 years since it was written, there has not been any academic rigorous review of the book although it is still used as a theoretical bedrock in the African art history discipline. Hence, this critical and comprehensive review of the book scholarly discusses the context of the book within its scope of African visual art history while intelligently appraising and critiquing its contents and/or arguments while shedding light on its strengths and weaknesses.</p> 2024-01-12T00:00:00+00:00 Copyright (c) 2024 Samuel Prophask Asamoah, Babaaradio Kombui, Dickson Adom http://journals.jozacpublishers.com/jahca/article/view/523 Sartorial commemoration of Princess Yennenga through Wiyaala’s War Costume Mimicry 2023-10-11T18:09:50+00:00 Nyamawero Navei nnavei47@gmail.com <p>History is an invaluable reflective resource for progressive national development. In Africa, various studies have delved into the memory lane to identify and commemorate past heroic or iconic figures for their diverse contributions to shaping the destinies of societies and nations. However, such commemorative studies are inexhaustive, as many unsung heroic or iconic figures still abound. One such unsung heroic figure is Princess Yennenga. The current study sets out to sartorially commemorate Princess Yennenga’s iconography by delving into Wiyaala mimicry of Princess Yennenga’s war costume regalia for a teaser movie shot by Mothertongue in Ghana. It adopted the methodological blueprint of qualitative historical design, with Wiyaala as the principal and homogeneous respondent purposively sampled and interviewed. An in-depth historical and thematic analysis of primary and secondary data found Princess Yennenga to be a warrioress of northern Ghanaian origin and the emblematic founding mother of the Mossi Kingdom in Burkina Faso. It was also established that the materiality, accessories, and props that constituted Wiyaala’s dramatic mimicry of Yennenga’s war costume were locally self-constructed. The study concludes that the wild, dramatic character projected by Wiyaala through her self-constructed war costume symbolically reimaged Princess Yennenga’s warrioress identity and thereby contributes to commemorating Yennenga’s heroic legacies in the historical development of the Dagomba and Mossi Kingdoms of Ghana and Burkina Faso, respectively. It will, therefore, be plausible if similar sartorial commemorative studies are conducted on other unsung heroic/iconic figures to highlight the instrumentality of costume art in heroic and iconic identity construction.</p> 2024-01-11T00:00:00+00:00 Copyright (c) 2024 Nyamawero Navei