Gender Roles in The Royal Arts of Africa
Gender Roles in African Royal Art
Gender roles are defined by a community in terms of social constructs based on shared meaning. There are a number of ways in which to view gender relationships, among them are language (verbal and non-verbal), political access, employment differences and art, among others. Suzanne Preston Blier in her book, The Royal Arts of Africa: The Majesty of Form, analyses the roles of African Kings and explains a type of iconographical framework for Africa's royal arts. She provides an example of the beaded crown worn by a Yoruba king, Airowayoye I, and explains that the crown is the most important component of the King's regalia. The beaded fringe is meant ...
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mandated in much of sub-Saharan Africa" (Dahbany-Miraglia 83). As such, they are not the primary method by which gender roles should be addressed. The iconography of the royal arts, such as the crown of the Yoruba King, has gender specific significance in the role they play in advancing social relationships. The Yoruba culture mitigates gender roles in terms of balance, as opposed to the male-oriented power balance of Western culture.
Gender plays an enormous role in the social construct of cultural norms. Barbara J. Risman (1998) conceptualizes "gender as structure" that operates on three levels simultaneously: the individual level of gendered selves and gendered behavior, the interactional level of situational meaning and cultural accountability, and the institutional level of social organization and material constraints. As with any social influence there is a dichotomy of thought as to the benefits or restrictions that are placed on the individual (PG). Alfred Gell ...
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symbol of power and invincibility.
"In Yoruba mythology, royalty is a revered institution. The Oba who is described in various ways as Alase Ekeji Orisa (an authority and second-in-command to the deities) and Kabiyesi Alayeluwa (the supremo), among others, wields enormous powers and influence. In fact, the consensus is that the Oba is such a person whose authority must not be questioned" (Anonymous 2414). There are instances where Yoruba women have been "oba (ruler), omo (offspring), oko, aya, iya (mother) and alawo (diviner-priest) all in one body" (Oyewumi 12). The Yoruba language does not separate in terms of gender but, rather, seniority. Yoruba names are not gender identified. ...
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Gender Roles in The Royal Arts of Africa. (2016, March 31). Retrieved November 28, 2024, from http://www.essayworld.com/essays/Gender-Roles-in-Royal-Arts-Africa/105522
"Gender Roles in The Royal Arts of Africa." Essayworld.com. Essayworld.com, 31 Mar. 2016. Web. 28 Nov. 2024. <http://www.essayworld.com/essays/Gender-Roles-in-Royal-Arts-Africa/105522>
"Gender Roles in The Royal Arts of Africa." Essayworld.com. March 31, 2016. Accessed November 28, 2024. http://www.essayworld.com/essays/Gender-Roles-in-Royal-Arts-Africa/105522.
"Gender Roles in The Royal Arts of Africa." Essayworld.com. March 31, 2016. Accessed November 28, 2024. http://www.essayworld.com/essays/Gender-Roles-in-Royal-Arts-Africa/105522.
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