Osogbo and the Art of Heritage Osogbo and the Art of Heritage
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Home > Art, Film & Photography > Art treatments & subjects > History of art > Osogbo and the Art of Heritage Osogbo and the Art of Heritage: Monuments, Deities, and Money Monuments, Deities, and Money(African Expressive Cultures)
Osogbo and the Art of Heritage Osogbo and the Art of Heritage: Monuments, Deities, and Money Monuments, Deities, and Money(African Expressive Cultures)

Osogbo and the Art of Heritage Osogbo and the Art of Heritage: Monuments, Deities, and Money Monuments, Deities, and Money(African Expressive Cultures)


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About the Book

Why has the home of a Yoruba river goddess become a UNESCO World Heritage site and a global attraction? Every year, tens of thousands of people from around the world visit the sacred grove of Osun, Osogbo's guardian deity, to attend her festival. Peter Probst takes readers on a riveting journey to Osogbo. He explores the history of the Osogbo School, which helped introduce one style of African modern art to the West, and investigates its intimate connection with Osun, the role of art and religion in the changing world of Osogbo, and its prominence in the global arena.

About the Author :
Peter Probst is Professor of Art and Art History at Tufts University.

Review :
"A layered, rich exploration of the many and varied changes that have taken place in this significant Nigerian town." Robin Poynor, University of Florida--Robin Poynor, University of Florida" "Illustrates global issues with a very detailed and perceptive analysis." Henry John Drewal, University of Wisconsin, Madison--Henry John Drewal, University of Wisconsin, Madison" Art historian Probst (Tufts Univ.) examines the concept of heritage, specifically in the context of Osogbo, a city in southwestern Nigeria renowned for its ancient Osun Grove--an area of trees, shrines, and the Osun River, the home of the Yoruba deity Osun--and for its gifted artists who constituted, in the 1960s, what is known as the Oshogbo School. The Osogbo Osun Grove was designated as a World Heritage Site by the UNESCO World Heritage Committee in 2005, which, as the author explains, has had consequences for the global extension of the postcolonial Yoruba religion. In his introduction, Probst considers the significance of this process from Oshogbo art to heritage from the perspective of art historians, anthropologists, and social theorists. However, his main interest is in explaining what heritage means to the residents of Osogbo--as history, as revitalization, as a project, a style, and a spectacle. In his discussion of the spectacular annual Osun Festival, he astutely considers the contested and competing interpretations of this event. He also addresses heritage as memory, captured by photographs that are subsequently used by Oshogbo leaders to mediate the Osun Grove's meanings to international audiences. Summing Up: Recommended. Upper-division undergraduates and above. --Choice E. P. Renne, University of Michigan, March 2012 A layered, rich exploration of the many and varied changes that have taken place in this significant Nigerian town.--Robin Poynor, University of Florida Illustrates global issues with a very detailed and perceptive analysis.--Henry John Drewal, University of Wisconsin, Madison


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Product Details
  • ISBN-13: 9780253001672
  • Publisher: Indiana University Press
  • Publisher Imprint: Indiana University Press
  • Language: English
  • Returnable: N
  • Sub Title: Monuments, Deities, and Money Monuments, Deities, and Money
  • ISBN-10: 0253001676
  • Publisher Date: 14 May 2014
  • Binding: Digital (delivered electronically)
  • No of Pages: 225
  • Series Title: African Expressive Cultures


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