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EVC
Mission Statement
Who we are
What we do
Patronage
Partners
Funding
Authors
Objects
Activities
News
Archive
Publications
CONTENT
Definitions
Working Documents
EVC and Sustainable Development
Tutorial
EVC-Lab
‘Gender’ in Transcultural Perspectives
World Maps - World Views
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Jacaranda mimosifolia in full bloom
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Rorke’s Drift Pottery
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Two Cities -Two Economies
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South African Flag
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El Anatsui, Rising Sea
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Remember Marikana
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Decolonizing self
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Titus Matiyane World Map
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Man Ray, Noire et Blanche
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Little Mermaid
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The Day Rhodes Fell
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A German bowl inscribed in Africa
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Red Ghanaian Soil
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The National Theatre Building of Ghana
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Stowe Landscape Gardens
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Muslim Towers on a German Church?
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Selfie #FeesMustFall
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Adinkra Symbols in Ghana
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Logo University Yaounde
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FUNTUMFUNEFU
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(A) Male Ruler in European History: The Example of Louis XIV of France
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Footprints on the Ocean Beach
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Broken Utopia and the Return of Humanity
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Building Social Cohesion through Sport
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The "Monumento al Doge Giovanni Pesaro"
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Senzeni Mthwakazi Marasela, Waiting for Gebane
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Decoloniality and nomad bodies: Diane Victor’s Perpetrator I.
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Djaoulérou
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Social Inclusiveness, Gender Equity, Quality Education in a School Crest
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Senzeni Marasela: Covering Sarah I-V
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The Akan Colour Reference Scheme
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Hong Kong State Theatre
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Mandela Statue
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In Praise of ‘Ghana Freedom’
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Left Behind - Land after Mineral Extraction
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Katsushika Hokusai, "Nami-ura" (The Backside of the Wave)
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William Kentridge, The refusal of time
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The Nefertiti-Hack
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South African Struggle: T-Shirts as Sites of Resistance
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Expanding the Canon of Art in the Global North
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Moulding Tradition
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Searching for a New South African Identity
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Dansinkran Hairstyle
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Vilakazi Street: Experiencing Soweto and Mandela House
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Christine de Pizan
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Tragic Magic Carpets
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How public are public statues?
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