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El present article intenta evidenciar punts de convergència i divergència entre la representació dels nens en l'art africà i en la producció cinematogràfica de ficció del realitzador de Guinea Bissau Flora Gomes. En primer lloc, de manera molt sintètica, s'exposen aquelles tipologies plàstiques on apareix el nen (figuretes com a part de rituals iniciàtics, representació de les maternitats i parelles de bessons). A continuació, s'identifica on apareixen aquestes temàtiques, i com són abordades als films., This article intends to show points of convergence and divergence between children representation in African art and fiction feature film by Flora Gomes, filmmaker from Guinea Bissau. First, are displayed in general lines those African art typologies in which children are represented (some figurine used in initiation rituals, motherhood representation and couple of twins). Later are identified these topics in those films and how they are treated by the filmmaker., El presente artículo intenta evidenciar puntos de convergencia y divergencia entre la representación de los niños en el arte africano y en la producción cinematográfica de ficción del realizador de Guinea Bissau Flora Gomes. Primeramente, de manera muy resumida se exponen aquellas tipologías plásticas donde aparece el niño (figurillas como parte de rituales iniciáticos, representación de las maternidades y parejas de gemelos). A continuación se identifican dónde aparecen esas temáticas, y cómo son abordadas en los filmes.

Painting could be said to be well grounded in all cultures worldwide. This is underpinned by the vast record of cave art as globally represented, even though this phenomenon does not seamlessly continue into some ancient traditions that followed. In the face of the above however, to find the traditional period of a people one has to identify the geographical area of this group in order to consider the autochthonous art practice of the place so as to determine its cultural beginnings, extent, and forms of art explored. In the case of Ghana, one observes that, art historians usually site the beginning of painting at the time when colonial educational training of the arts was begun in Achimota from the 1900s. The study was conducted using historical review and analysis, unstructured interview guides as well as participant and non-participant observational techniques in a descriptive design at Sirigu, Ahwiaa and Ntonso, revealing the forms of painting that existed in the country before the introduction of formal training by the colonial masters. The result showed that Ghanaians traditionally practiced different kinds of painting, long before the colonial art training programme was introduced. We feel it should be of concern for any people to be able to tell, not only how, and why but also when they started doing the things that matter to their existence and cultural heritage.

À Dakar, au printemps 1966, s’ouvrait le premier Festival mondial des arts nègres, organisé par l’État sénégalais dirigé par Léopold Sédar Senghor. Quelques années après l’accès à l’indépendance de la plupart des pays africains, cet événement célébrait, pour la première fois en Afrique, la créativité et la diversité des arts et des pensées du continent et de ses diasporas. Sous l’étendard à la fois esthétique et idéologique de la négritude, dont la revue Présence Africaine était la plate-forme, ce projet s’inscrivait dans la continuité des Congrès des écrivains et artistes noirs de Paris (1956) et de Rome (1959). La compréhension des enjeux de ce dispositif de vaste envergure peut être éclairée par l’analyse de la grande exposition d’art africain traditionnel, rassemblant des pièces venues de collections du monde entier. In Dakar, in the spring of 1966, the first International Festival of Negro Art opened. It was organized by the Senegalese state led by Leopold Sedar Senghor. Several years after most African countries had gained their independence, this event celebrated for the first time in Africa the creativity and diversity of the African continent’s arts and thought, as well as its Diasporas. Under the esthetical and ideological flag of the negritude movement, with Présence Africaine as its platform, the project was the follow up of the Conference of black writers and artists in Paris (1956) and Rome (1959). We can further our understanding of the issues at stake in this vast operation through the analysis of the large exhibition of traditional African art, that brought together art works from collections from all over the world.

African art perception through WWW image searching.