HomeCostume in african artistic production: plural approaches

Costume in african artistic production: plural approaches

Le costume dans la production artistique africaine : approches plurielles

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Published on Tuesday, October 17, 2023

Abstract

Français English

This collective work project looks at costume in African artistic production through 4 axes: costume in visual creation in Africa; costume in African cinematographic and theatrical production; costume in the other arts in Africa (dance, choreography, literature, etc.); representations and uses of costume in African societies. Through a plural and multidisciplinary approach, the aim is to contribute to the documentation and improvement of knowledge on costume in artistic production in Africa; to question the quality of costume production, its functions, implications and social dynamics in African countries; and to consider the theoretical perspectives and uses of costume and related resources in artistic creation and African societies.

Announcement

Français English

Argument

A spelling variant of the word custom, costume refers to a set of garments that conform to the mores and customs prescribed by the customary tradtion to which it belongs. It is also a set of clothes typical of an era, region or country and linked thence to custom (Remaury & Kamitsis, 2004). Contemporary french, the term is also commonly used to designate a suit (a man's jacket and trousers, or a woman's jacket and skirt). In audiovisual media in general, and in theatre and film in particular, costume refers to a specific genre, corresponding to all the clothes, garments or clothing worn by characters on stage, regardless of style, gender or construction. In the present project, the use of the term costume is synonymous with garments, outfits or clothing of artistic, historical or symbolic interest. It includes accessories and para-apparel, and varies according to custom, region, country, artistic field, style and function.

In African societies, costume accompanies people on a daily basis. For aesthetic, functional, symbolic or distinctive reasons, it is often associated with protection of the body, embellishment of the body, communication or socio-cultural considerations (Fandio, 2023b). Paradoxically, research and publications on costume in Africa have so far remained the unloved or poor relation of scholarly or scientific discourse on artistic production. A number of reference publications on the history of costume either ignore the history of Africa or limit themselves to the costume of ancient Egypt or to an archetypal African costume (Boucher, 1965; Blanc, 1995; Grau, 1999; Fogg, 2013). African costume therefore appears either as unimportant material for study, or as an object of analysis that intimidates researchers.

While the history of art in Africa is best known from the perspective of the plastic arts in general and sculpture in particular    (Kerchache et al, 1988 ; Olderogge & Forman, 1969 ; Coquet, 1995; Einstein, 1922; Frank, 1990) there are still gaps in research into African costume and clothing, which are both  local creations and a human being's second skin (Pitombo Cidreira & Durpoix, 2017). The growing interest in African fashion, with its many uses in the clothing industry, cinema, theatre, everyday life, events and dance, is a significant indicator of the need to document, question and analyse African costumes.

Seen from this angle, it becomes legitimate, even imperative, to ask the following questions: How does costume manifest itself in artistic production in Africa? What are the forms and uses of costume in the arts in Africa? What are the images and imaginaries of costume in Africa? How do African artists view costume when they decide to show it in their work? What are the historical, aesthetic and symbolic changes in costume in Africa? Can we envisage a specificity or originality of costume in African artistic productions? How do the costumes of African artistic productions relate to their cultural heritage? Do African artists promote traditional costumes in their work or not? What are the conceptual, artistic and technical limits of costume in African art? Can we talk about the influence of costumes in artistic productions on fashion in society? How can we develop a strategy for the image, economy and promotion of made in Africa through costume? What do the public and critics think of costume in African artistic productions? What do costumes tell us about African art forms and societies?

This call for a collective work calls on researchers in the Arts, Social Sciences and Humanities interested in the subject to take a cross-disciplinary approach and look at costume in artistic creation in Africa.

Objectives of the work

This collective work has a number of objectives. They include: contributing to the documentation and improvement of knowledge about costume in artistic production in Africa; questioning the quality of costume production, its functions, implications and social dynamics in African countries; considering theoretical perspectives and the use of costume and related resources in artistic creation and African societies; fill a major gap in African art studies in general and film studies in particular.

Research areas and sub-areas

Contributions may focus on one of the following four main areas of research below:

Area 1: Costume in visual design in Africa

In visual design in Africa, costume (clothing, accessories) is produced for aesthetic, functional, social or psychological purposes. This theme focuses on two main areas of study: the costumes of African peoples, regions or countries, designed by local costume-makers or designers and worn in African societies within social, cultural, ritual, religious or political frameworks; and costumes in visual representations in Africa (in painting, sculpture, engraving, comic strips, decoration, etc.). Contributions may focus on history, critical and aesthetic analysis and the study of styles according to African peoples, regions or countries. How does costume manifest itself in artistic production in Africa? What does it represent? What are the trends, styles and typologies of costume in artistic productions? What contribution can fashion training structures make to the development of film costumes in Africa? What do costumes tell us about forms of artistic production and African societies?

Area 2: Costumes in African film and theatre production

Without making it a specific concern, some publications on cinema and theatre evoke costume in a general perspective of studies on history and analysis, the reception, economy or production mechanisms of cinematographic and theatrical works (Betton, 1983; Lever, 2005; Benghozi, 1989; Chabrol, C., & Guérif, F., 2003; Fauque, 2011; Pavis, 2016). However, it is one of the elements that are taken into account by those who finance film and theatre creations, those who produce them and those who consume them. While for many African filmmakers, costume is still a matter of ordinary clothing and everyday models, more and more directors are turning it into their own special creation. Costumes occupy an important place in the figurative universe of cinema and theatre (Dao & Yameogo, 2022; Betton, 1983). "It contributes to the visual identity, narrative construction and aesthetics of films" (Dao & Yameogo, 2022). Expected contributions may address costume, i.e. clothing and/or accessories in film or theatre production from historical, critical, aesthetic, semiotic, prospective and even receptive aspects. To what extent does costume, as an expressive resource, dress the characters and contribute to the development of the plot in African films and theatrical performances? How can costume help to improve the quality of films? In the context of African film or theatre production, are costume designers often taken into account in awards, just like actors, directors or stage managers? What role do costumes play in the production budgets of African film and theatre productions? Does the clothing industry benefit from the film industry?

Area 3: Costume in the other arts in Africa (dance, choreography, literature, etc.)

Costumes in Africa are used in dance, choreography and literature. It would be interesting to look at the dance and choreography costumes in use, the needs and the range of creations in relation to the technical or artistic specificities of these forms of artistic expression. Costumes in literature also offer an extension of the reflection on the dematerialisation of clothing and accessories. One of the first authors to theorise about clothing was Roland Barthes (1967), who proposed a taxonomic nomenclature for clothing: the written garment, the image garment and the real garment. In his book Système de la mode, Barthes examines written clothing using a body of literature (newspapers, books, fashion magazines, catalogues, etc.). Does African literature devote much space to costumes, and if so, how? What is the lexical field of costume in African literature? How can costume enrich and contribute to the originality of African literary productions?

Axis 4: Representations and uses of costume in African societies

Having identified and studied costume within artistic productions, it is important to question its representations and uses in African societies, taking into account the differences or convergences, dynamics, transformations and crises that Africa is going through. This theme looks at the forms of costume associated with artistic creation and the different ways in which they are used in African societies. Jean Claude Mbarga (2011), in Traité de sémiotique vestimentaire, offers elements of semiotic analysis of real clothing, as it is manipulated on a daily basis by human beings in the midst of social life. He concludes the results of which are that clothing incorporates various meanings as a sign of identification and social classification, of the assumption of misery, of social trickery, of theatricalisation and theatrocracy. It would be essential to know whether the theoretical tools proposed by the author are applicable to the costumes (creative object or creative subject) of African artistic productions, but also to test the validity of the results obtained. What do costumes represent? How can costume be a means of degradation, enslavement, resilience, national integration or sustainable development? How does the costume of artistic productions affect the public and society? Can we envisage an aesthetic or a philosophy of costume in African countries?

Research sub-areas

Through the above-mentioned axes and according to the fields of research, the contributors' chapters may focus on one of the following sub-axes, without being exhaustive:

  • Costume, history and African society;
  • History and current state of costume in Africa;
  • Critical and aesthetic analysis of costume in Africa;
  • Clothing, accessories and ornaments in Africa ;
  • Textiles and costumes in Africa ;
  • Textiles, ornaments and accessories: for an aesthetics of costume in Africa ;
  • Anthropology/Sociology of costume in African societies;
  • Heritage, heritage costumes and the prospects for their conservation, enhancement and reappropriation through film, fashion, digital arts, etc. ;
  • The costume designer in artistic productions in Africa;
  • Costume and economy in artistic productions in Africa (cinematographic, creative, plastic and literary industries);
  • Art schools under the impulse of a costume aesthetic for African cinema ;
  • Costumes, architecture and interior design ;
  • Costumes and architectural design perspectives;
  • Costumes and social dynamics ;
  • Costumes and representations of the social body;
  • For an anthropology of costume in Africa ;
  • Signs, symbols and meanings of African costumes ; 
  • Costume and representation or deconstruction of the human body ;
  • Costume in African society; 
  • The representations and functions of costume in religious art; 
  • Styles, representations and aesthetics of local costume creation in Africa (plastic, cinematographic, etc.); 
  • Costumes and African historiography; 
  • Images and/faces of costume;
  • Costume and reception;
  • Process, experimentation and creation of cinematographic costumes to improve the quality of improvement of the quality of African films;
  • African heritage costumes and cultural diplomacy ;
  • Costume in African artistic production and cultural diplomacy;
  • Perspectives of costume for African societies, current needs or film productions in Africa.

Submission procedures

Proposals for papers of 300 to 500 words written in French or English, accompanied by 5 key words, a brief biographical note and personal addresses (e-mail, telephone, Whatsapp number) should be sent simultaneously to the following addresses: fandioromeo@yahoo.fr ; paul_aim93@yahoo.fr

NB: Please specify the focus of your contribution before the title of the article.

Timetable

  • 10 October 2023: Broadcast of the call and start of receipt of abstracts
  • 28 February 2024: Deadline for submission of abstracts
  • january 2024 : Beginning of notification to authors after evaluation of abstract proposals and the style sheet made available
  • April 2024: Deadline for submission of the fully written article Deadline for submission of fully-written article
  • May-June-July 2024: Return of referee reports
  • 31 July 2024: Deadline for returning corrections to articles
  • August - October 2024: Final proofreading and correction of texts
  • January 2025: Publication of the work

Scientific Committee

  • Pr Annette Angoua Nguea (Université de Douala)
  • Pr Mbonji Edjenguèlé (Université de Yaoundé I)
  • Pr Cyrille Bienvenu Bela (Université de Yaoundé I)
  • Pr Jacques Raymond Fofie (Université de Yaoundé I)
  • Pr Sariette Batibonak (Université de Yaoundé I)
  • Pr Jean Claude Mbarga (Université de Yaoundé I)
  • Pr David Zeitlyn (University of Oxford)
  • Pr Alain Cyr Pangop (Université de Dschang)
  • Pr Amadou Traoré (Université de Ségou)
  • Pr Georges Madiba (Université de Douala)
  •  Pr Vincent Bouchard ( Indiana University- Bloomington)
  • Pr Vivien Meli Meli (Université de Dschang)
  • Pr Bouba Hamman (Université de Garoua)
  • Pr Cyrille Aymard Bekono (Université de Yaoundé I)
  • Pr Alexandre T. Djimeli (Université de Dschang)
  • Pr Paul Animbom Ngong (Université de Bamenda)
  • Pr Donatus Fai Tangem (Université de Yaoundé I)
  • Pr Emelda Samba (Université de Yaoundé I)
  • Pr Timothée Kombe(Université de Douala)
  • Pr Jesse Moba (Université de Douala)
  • Pr Idrissou Njoya (Université de Dschang)
  • Pr Vendelin Abouna Abouna (Université de Douala)
  • Pr Longin Colbert Eloundou (Université de Yaoundé I)
  • Pr Ibrahim Mougande (Université de Yaoundé I)
  • Pr Robert Tchamba (Université de Dschang)
  • Pr Guy Francis Tami Yoba (Université de Yaoundé I)
  • Dr Alexandre Mbome (Université de Douala)
  • Dr Daouda DAO (Centre universitaire de Banfora, Burkina Faso)
  • Dr Atimniraye Nyelade Richard (MINRES/ Université d'Ottawa, Canada)
  • Dr Jacques Merlin Bell Yembel (Université de Douala)
  • Dr Timma Olivier (Université de Dschang)
  • Dr Joseph Patrice Fouman (Université de Maroua)
  • Dr Chamba Nana Mirelle Flore (Université de Dschang
  • Dr Ruth Colette Afane Belinga (Université de Dschang)
  • Dr Rachel Mariembe (Université de Douala)
  • Dr Hassimi Sambo (Université de Garoua)

Reading Committee and Technical Secretariat

  • Dr Roméo Fandio Ngahane (Université de Douala)
  • Dr Paul Aimé Ekoumbamaka (Université de Douala)
  • Dr Achille Komguem Kamsu (Université de Maroua)
  • Dr Cyrille Zeh (Université de Maroua)
  • Dr Bertrand Ondobo (Université de Yaoundé I)
  • Dr Victor Ngitir Bayena (Université de Douala)
  • Dr Christophe Nkuina (Université de Douala)
  • Dr Marcel Nkouandou Njiemessa (Université de Douala)
  • Dr Guy Grégoire Awono Zinga (Université de Douala)
  • Dr Arlette Bessomo (Université de Douala)
  • Dr Bienvenue Guy Kédé Eloundou (Université de Garoua)
  • Dr Ferdinang Onana Nga (Université de Douala)
  • Dr Zacharie Duflot Tatuebu (Université de Maroua)
  • Dr Visi Sumbom Tubuo (Université de Bamenda)
  • Dr Bertrang Dongmo Temgoua (Université de Douala)
  • Dr Jean Kamanda (Université de Douala)
  • Dr Jacques Serge Kouadjovi Kaledjé 2 (Université de Douala)
  • Dr Ntsama Patrick Roland (Université de Douala)
  • Dr Nina Nokam Motio (Université de Douala)
  • Dr Joël Sagne Moumbe (Université de Douala)
  • Dr Bouye Saturnin (Université de Douala)
  • M. Serges Ebwa Ebwa (Université de Douala)
  • M. Yves Heungap (Université de Douala)
  • M. Mbiedop Wandji Ines (Université de Dschang)
  • Mme Axelle Bassa A Kpolom (Université de Douala)
  • Mme Anaelle Azebaze (Université de Yaoundé I)

Editorial committee

  • Supervision: Annette Angoua Nguea (University of Douala), Pr Cyrille Bienvenu Bela (University of Yaoundé I), Pr Amadou Traoré (University of Ségou), Pr Sariette Batibonak (University of Yaoundé I), Pr David Zeitlyn (University of Oxford), Pr Jean Claude Mbarga (University of Yaoundé I), Pr Alain Cyr Pangop (University of Dschang), Pr Vincent Bouchard (Indiana University- Bloomington).
  • Supervisor: Dr Roméo Fandio Ngahane (fandioromeo@yahoo.fr), Department of Visual Arts and History of Art, Fine Arts Institute of the University of Douala at Nkongsamba, University of Douala, Cameroon & Dr Paul Aimé Ekoumbamaka (paul_aim93@yahoo.fr), Department of Cinema and Audiovisual, Fine Arts Institute of the University of Douala at Nkongsamba, University of Douala, Cameroon.

Indicative bibliography

  • Aumont, J. (2003). Analyse filmique. Annuaire de l’EHESS. Comptes rendus des cours et conférences, pp. 654-656.
  • Aumont, J., & Marie, M. (2020). L'analyse des films, 4e éd, Armand Colin.
  • Aumont, J., Bergala, A., Marie, M., & Vernet, M. (2008). Esthétique du film, Armand Colin.
  • Autant-Lara, C. (1949). « Le costumier de cinéma doit habiller des caractères », in La Revue du Cinéma, n° 19-20, pp. 87-113.
  • Barral, I., Altet X. (1989). Histoire de l'art. (No Title). 
  • Barthes, R. (1967). Système de la mode, Paris, Seuil.
  • Barthes, R. (1964). «Les maladies du costume de théâtre », in Essais critiques, Paris, Seuil pp. 56-65.
  • Betton, G. (1983). Esthétique du cinéma, Paris, PUF.
  • Bruzzi, S. (1997). Undressing Cinema : Clothing and Identity in the Movies, Londres, Routledge.
  • Chabrol, C., & Guérif, F. (2003). Comment faire un film. Éditions Payot & Rivages.
  • Cherabi, N. (2017). « Le Cinéma et l'analyse filmique », Mars, 109, Revue des Sciences Humaines-Université Mohamed Khider Biskra, no 46, pp. 109-122.
  • Dao, D., & Yameogo, A. (2022). Analyse des fonctions du costume dans le cinéma Burkinbè, Djiboul, n°004, Vol.1.
  • Devoucoux, D. (2015). « L’Élisabeth Ire de Shekhar Kapur ou le rôle du costume de cour au cinéma », Apparence (s), (6).
  • Fandio Ngahane, R. (2023). « Les costumes patrimoniaux du Cameroun: expressions de la diversité culturelle et perspectives de valorisation », in Nguéa, A. A. Arts et multiculturalisme dans un monde en mutation: Quelles voies pour la valorisation du patrimoine culturel africain ?, pp.115-134.
  • Gili, J. (1978). « Films historiques et films en costumes dans le cinéma italien de l'époque fasciste », Cahiers de la Méditerranée, 16 (1), pp.125-142.
  • Gombrich, E. H., Combe, J., & Lauriol, C. (2006). Histoire de l'art, Phaidon.
  • Hayward, S. (2004). « Signoret's star persona and redressing the costume cinema: 
  • Jacques Becker's Casque d'Or (1952) », Studies in French Cinema, 4 (1).
  • Heinich, N. (1998). Le triple jeu de l'art contemporain: sociologie des arts plastiques, Les Éditions de Minuit, Coll. Paradoxe.
  • Heinich, N. (1999). « Pour en finir avec la querelle de l’art contemporain », Le Débat, (2), pp.106-115.
  • Heinich, N. (2002). « Sociologie de l'art contemporain: questions de méthode », Espace-Temps, 78(1), pp.133-141.
  • Heinich, N., & Ténédos, J. (2006). « La sociologie à l'épreuve de l'art », Première partie, Lectures, Les livres.
  • Lever, Y. (2005). L'analyse filmique, Montréal, Éditions du Boréal.
  • Maclntyre, J. (1992). Costumes and Scripts in the Elisabethan Theatres, Alberta, The University of Alberta Press.
  • Marvier, M. (2001). « Le scénario et... la couturière. », in Synopsis, n° 15, pp. 120121.
  • Mbarga, J. C. (2011). Traité de sémiotique vestimentaire, Paris, L'Harmattan.
  • Molinier-Arbo, A. (2014). « Le costume en Afrique à l’époque sévérienne: réalités et symboles dans le De Pallio de Tertullien », Vita Latina, 189 (1), pp.158-180.
  • Monk, C., & Sargeant, A. (Eds.). (2002) British historical cinema: the history, heritage and costume film. Psychology Press.
  • Nguéa, A. A. (2012). Repenser la production cinématographique au Cameroun. Editions L'Harmattan.
  • Paresys, I. (2018). « Le costume historique de cinéma, recréation visuelle de la Renaissance ».
  • Pendergast, S., & Pendergast, T. (2004). Fashion, Costume and Culture: Clothing, headwear, body décorations and footwear through the ages, Thompson Gale, New York.
  • Pierre-Jean, B. (1989). Le cinéma, entre l’art et l’argent. Paris, L'Harmattan.
  • Remaury, B., & Kamitsis, L., & Coleno, N. (2004). Dictionnaire international de la mode. Editions du Regard, Paris.
  • Street, S. (2001). Costumes and cinema: Dress codes in popular film, London, Wallflower.
  • McDonald, T. J. (2010). Hollywood Catwalk: Exploring Costume and Transformation in American Film, Bloomsbury Publishing.
  • Vanoye, F., & Goliot-Lété, A. (2009). Précis d'analyse filmique, Armand Colin.
  • Viviani, C. (2012). Le costume, no144, pp. 163-p ?, Editions Charles Corlet.
  • Zarka, S. (2022). « L'équipe costume au cinéma: de la négociation des conditions d'emploi au genre de la qualification », Création Collective au Cinéma, (6), pp.13-33.

Places

  • Nkongsamba, Cameroon

Event attendance modalities

Hybrid event (on site and online)


Date(s)

  • Monday, January 15, 2024

Keywords

  • costume, africain, production, artistique, création, vestimentaire, Afrique, histoire, art, vêtement, cinéma,

Contact(s)

  • Paul Aimé Ekoumbamaka
    courriel : paul_aim93 [at] yahoo [dot] fr

Information source

  • Roméo Fandio Ngahane
    courriel : fandioromeo [at] yahoo [dot] fr

License

CC0-1.0 This announcement is licensed under the terms of Creative Commons CC0 1.0 Universal.

To cite this announcement

« Costume in african artistic production: plural approaches », Call for papers, Calenda, Published on Tuesday, October 17, 2023, https://doi.org/10.58079/1bze

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