Art of the Baga
Art of the Baga: A Drama of Cultural Reinvention traces the art and cultural history of these very special African people from their legendary flight from the mystical highlands of the interior of Guinea to the coast, in their attempt to conserve their own religious ritual, to the eventual destruction of their traditions at mid century with the conversion to Islam and, with independence from France, the establishment of the Republic of Guinea under an iconoclastic Marxist regime. In the book, the Baga voice is heard prominently in the direct testimony of three Baga writers and forty Baga consultants of all ages and background experience, from ten-year-old boys to elders and ritual leaders of over 100 years of age. Artistic creation and reinvention form the core of issues raised throughout the art historical drama.
The Art of Africa
By focusing on forty works from the Metropolitan's collection, this educator's resource kit presents the rich and diverse artistic heritage of sub-Saharan Africa. Included are a brief introduction and history of the continent, an explanation of the role of visual expression in Africa, descriptions of the form and function of the works, lesson plans, class activities, map, bibliography, and glossary.
An African Journey Through Its Art
There were five. They came together for reasons that no one is even sure of anymore and cut a swath through the universe. Everyone knew their name, and the lined up to follow them. They knew their symbol, the snarling wolf. The warlords formed a following, an almost religion. And then it was over. Years later, and the followings of each of the original warriors have become clans. The clans have grown and trained new warriors over time, creating the driving force in all the universe. Here are four people now, training to follow in the ways of one particular wolf. The wolf that ended it all in the first place, the Blackwolf. This is the start of their journey, the beginning of their training. Gregor Holden, a Prince, who's sense of duty is equaled only by his lust for adventure. Candace Orthon, a legacy who's father is a Blackwolf, who's gradfather was a Blackwolf, and who will be a Blackwolf if it kills her. Ran Grastle, already an accomplished warrior in his own right. He's on the run for a committing a crime to exact justice and cares very little for the clan or anyone else. Xesca, a child of the last planet that the Blackwolf attacked. She has come to learn his ways, his style, so that no one can ever attack her planet again. "These four. If no one else, let these four progress."
Traditional African Art
The art of sub-Saharan Africa reveals the marvelous achievements of unknown artists over thousands of years. Their aesthetic ideal finds form in wood, ivory, fabric, bronze and iron. This illustrated study of traditional African art includes pieces from Western Sudan, the Congolese Basin, the Guinea coast, Gabon, the Democratic Republic of Congo and East and South Africa. Each piece is characterized by its own traditions and artistic forms. The earliest works date from the beginning of the first millennium, the most recent from the early 20th century. Unique and rare examples are documented, many heretofore virtually unknown.
Mangrove rice farming on West Africa's Rice Coast was the mirror image of tidewater rice plantations worked by enslaved Africans in 18th-century South Carolina and Georgia. This book reconstructs the development of rice-growing technology among the Baga and Nalu of coastal Guinea, beginning more than a millennium before the transatlantic slave trade. It reveals a picture of dynamic pre-colonial coastal societies, quite unlike the static, homogenous pre-modern Africa of previous scholarship. From its examination of inheritance, innovation, and borrowing, Deep Roots fashions a theory of cultural change that encompasses the diversity of communities, cultures, and forms of expression in Africa and the African diaspora.
Important African and Oceanic Art Auction
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On the Margins of Religion
Focusing on places, objects, bodies, narratives and ritual spaces where religion may be found or inscribed, the authors reveal the role of religion in contesting rights to places, to knowledge and to property, as well as access to resources. Through analyses of specific historical processes in terms of responses to socio-economic and political change, the chapters consider implicitly or explicitly the problematic relation between science (including social sciences and anthropology in particular) and religion, and how this connects to the new religious globalisation of the twenty-first century. Their ethnographies highlight the embodiment of religion and its location in landscapes, built spaces and religious sites which may be contested, physically or ideologically, or encased in memory and often in silence. Taken together, they show the importance of religion as a resource to the believers: a source of solace, spiritual comfort and self-willed submission.
The Mask of Art
Clyde Taylor exposes the concept of ÒartÓ as a tool of ethnocentricity and racial ideology. He challenges the history of aesthetics as a recent invention of privileged Western consumerism, and questions the myth of its ancient Greek origin. Aestheticism, he says is a party to the establishment of whiteness as cultural norm. ÒThe aesthetic experienceÓ is revealed to be the stylistic/structural contribution to the Western master narrative which dominates historical interpretation. Areas such as cinema studies, the avant garde, Marxist and feminist criticism are seen as seriously compromised by this aesthetic reasoning. Examining various texts including The Birth of a Nation, Taylor demonstrates how rationales of ÒartÓ are used to mask personal, class, and cultural biases. Taylor offers a Òcritique of representationÓ as one alternative to aestheticism. Imitation of Life, The Cotton Club, and The Marrow of Tradition are read as Òdoppelganger discoursesÓ where the values of one social group are mobilized as the narrative double of a more powerful group. TaylorÕs innovative analysis of the semantics of unequal power refers to these doublings as Òironies of discourse.Ó Novels and films by Chinua Achebe, Toni Morrison, Richard Wright, Ousmane Sembene, Spike Lee, Souleymanne Cisse, Victor Masayesva, and Julie Dash, and the Vietnam Memorial design of Maya Lin are scrutinized in terms of resistance to the reign of the dominant system of aesthetics. According to Taylor whatever was once gained through this narcissistic Òaesthetic gazeÓ has long since been exhausted. Liberation from its narrow assumptions will open richer resources to human imagination and creativity.
The word 'iconoclasm' is most often used in relation to sculpture, because it is sculptures that most visibly bear witness to physical damage. But damage can also be invisible, and the actions of iconoclasm can be subtle and varying. Iconoclastic acts include the addition of objects and accessories, as well as their removal, or may be represented in text or imagery that never materially affects the original object. This book brings together a collection of essays each of which fundamentally questions the meaning of the word iconoclasm as a descriptive category. Each contribution examines the impact of iconoclastic acts on different representational forms, and assesses the development and historical implications of these various destructive and transformative behaviours.
New York Magazine
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.