Added by: Hans MaesSummary: Argues that the introduction of photography did not significantly interfere with, or terminate, the àkó legacy of portraiture. Shows instead that the stylistic elements of the àkó life-size burial effigy – a sculpted portrait that attempts to capture the physical likeness, identity, character, social status of a deceased parent – informed the photographic traditional formal portrait in Òwò, Nigeria.
Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Mamah, Carved, life-size, fully dressed second-burial effigy for Madam Aládé, EÌpelè- Òwò, Nigeria (1972)
Striking example of the practice. Demonstrates how the àkó tradition appears to have influenced the way elderly people posed for photographs.Export citation in BibTeX formatExport text citationView this text on PhilPapersExport citation in Reference Manager formatExport citation in EndNote formatExport citation in Zotero format
Abíódún, Rowland. Àkó-graphy: Òwò Portraits
2013, in: John Peffer and Elisabeth L. Cameron (eds.), Portraiture & Photography in Africa, Bloomington and Indianapolis: Indiana University Press, pp. 287-312.
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