Chuu Krydz Ikwuemesi
Biographic Data
| ID | 6003951 |
|---|---|
| NAME | Chuu Krydz Ikwuemesi |
| GIVEN NAMES | Chuu Krydz |
| FAMILY NAME | Ikwuemesi |
| SIGNATURE | IKWUEMESI C K |
| AFFILIATIONS | University of Nigeria |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Primitives or Classicists? A Critical Look at the Work of Uli Women Painters of Nri
Uli is the body and wall painting tradition of the Igbo of Southeastern Nigeria. It was popular and common across Igbo villages until recently. The decline of uli like many other such cultural resources results from nescience and devaluation of autochthonous cultural expressions that do not measure up to prescribed Western ideas of art in the postcolonial experience. As part of efforts to save uli from possible extinction, artists of Nsukka Schoo…
Problems and Prospects of Uli Art Idiom and the Igbo Heritage Crisis
In their various books on Igbo culture, Simon Ottenberg, Adiele Afigbo, P-J Ezeh, Herbert Cole and Chike Aniakor make references to ‘Igbo receptivity’, the ‘resurgence of Igbo arts’, and ‘Igbo cultural self-hate’, in an attempt to capture the wandering of Igbo cultural attitudes from one level of experience to another. While ‘receptivity’ and ‘resurgence’ are positive characterisations and paint a picture of resilience, ‘self-hate’ depicts a post…
Excerpt and Artwork | A Romance with Vultures
Excerpt from “A Romance with Vultures”Artwork included: On the Road to Golgotha (1998); The “Convultural” Conference (1994); The Trial of UNN (1997); Letter to my Countrymen (1993); No One But Me (1998); The Drowning of the General Oracle (1994); Professor, the Miserable Egghead (1997)
Creativity in calamity
Death, transition, translation and other related terms are used by various human societies to communicate the ending of all formal functions and processes in the life of a living organism. When the human individual dies, most societies consider the experience demise, loss and therefore a calamity. The Igbo of South-eastern Nigeria while mourning the dead also celebrate death as a way station to the ancestral life of spirituality. In the funeral r…
Art as a tool for cross-cultural conversation
This paper examines the concepts and perceptions of art among the Igbo people of Nigeria and the Ainu people of Japan. From a practical point of view, it assesses each group’s notion of art and how it has fared in the postcolonial experience. It grapples with the the “lingering after-effects” of colonialism in the guises of postcolonialism and how they are manifested in the arts of the two groups. Since the postcolonial thrives on hybridity and c…
Eziafo Okaro
The over 200 ethnicities in Nigeria are known for their distinct cultures and heritages. For the Igbo of eastern Nigeria, their heritage cannot be fully discussed without a look at the almost extinct uli body and wall painting practiced by Igbo women. Uli is the Igbo name for the indigo dye obtained from several species of plants and used to draw cosmetically on the human body. It is also the name of the traditional mural painted by Igbo women wi…
Creativity in calamity
Death, transition, translation and other related terms are used by various human societies to communicate the ending of all formal functions and processes in the life of a living organism. When the human individual dies, most societies consider the experience demise, loss and therefore a calamity. The Igbo of South-eastern Nigeria while mourning the dead also celebrate death as a way station to the ancestral life of spirituality. In the funeral r…
Art as a tool for cross-cultural conversation
This paper examines the concepts and perceptions of art among the Igbo people of Nigeria and the Ainu people of Japan. From a practical point of view, it assesses each group’s notion of art and how it has fared in the postcolonial experience. It grapples with the the “lingering after-effects” of colonialism in the guises of postcolonialism and how they are manifested in the arts of the two groups. Since the postcolonial thrives on hybridity and c…
Eziafo Okaro
The over 200 ethnicities in Nigeria are known for their distinct cultures and heritages. For the Igbo of eastern Nigeria, their heritage cannot be fully discussed without a look at the almost extinct uli body and wall painting practiced by Igbo women. Uli is the Igbo name for the indigo dye obtained from several species of plants and used to draw cosmetically on the human body. It is also the name of the traditional mural painted by Igbo women wi…
Creativity in calamity
Death, transition, translation and other related terms are used by various human societies to communicate the ending of all formal functions and processes in the life of a living organism. When the human individual dies, most societies consider the experience demise, loss and therefore a calamity. The Igbo of South-eastern Nigeria while mourning the dead also celebrate death as a way station to the ancestral life of spirituality. In the funeral r…
Excerpt and Artwork | A Romance with Vultures
Excerpt from “A Romance with Vultures”Artwork included: On the Road to Golgotha (1998); The “Convultural” Conference (1994); The Trial of UNN (1997); Letter to my Countrymen (1993); No One But Me (1998); The Drowning of the General Oracle (1994); Professor, the Miserable Egghead (1997)
Problems and Prospects of Uli Art Idiom and the Igbo Heritage Crisis
In their various books on Igbo culture, Simon Ottenberg, Adiele Afigbo, P-J Ezeh, Herbert Cole and Chike Aniakor make references to ‘Igbo receptivity’, the ‘resurgence of Igbo arts’, and ‘Igbo cultural self-hate’, in an attempt to capture the wandering of Igbo cultural attitudes from one level of experience to another. While ‘receptivity’ and ‘resurgence’ are positive characterisations and paint a picture of resilience, ‘self-hate’ depicts a post…
Primitives or Classicists? A Critical Look at the Work of Uli Women Painters of Nri
Uli is the body and wall painting tradition of the Igbo of Southeastern Nigeria. It was popular and common across Igbo villages until recently. The decline of uli like many other such cultural resources results from nescience and devaluation of autochthonous cultural expressions that do not measure up to prescribed Western ideas of art in the postcolonial experience. As part of efforts to save uli from possible extinction, artists of Nsukka Schoo…
Art (6 works) · Sociology (6 works) · Aesthetics (5 works) · Igbo (5 works) · Anthropology (4 works) · Linguistics (4 works) · Philosophy (4 works) · History (3 works) · Law (3 works) · Political science (3 works)