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