African art and the colonial encounter : inventing a global commodity /
Focusing on the theme of warriorhood, Sidney Littlefield Kasfir weaves a complex history of how colonial influence forever changed artistic practice, objects, and their meaning. Looking at two widely diverse cultures, the Idoma in Nigeria and the Samburu in Kenya, Kasfir makes a bold statement about...
| Váldodahkki: | |
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| Materiálatiipa: | Licensed eBooks |
| Giella: | eaŋgalasgiella |
| Almmustuhtton: |
Bloomington :
Indiana University Press
[2007]
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| Ráidu: | African expressive cultures.
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| Liŋkkat: | https://www.jstor.org/stable/10.2307/j.ctt18z4h82 |
Sisdoallologahallan:
- Introduction: colonial power and aesthetic practice
- Part 1. Warriors. Maa warriorhood and British colonial discource.
- Idoma warriorhood and the Pax Britannica
- Part 2. Sculptors and smiths. Colonial rupture and innovation: the colonizer as inadvertent patron
- Samburu smiths, Idoma maskmakers: power at a distance
- Part 3. Masks, spears, the body. Mask and spear: art, thing, commodity
- Warrior theatre and the ritualized body
- Part 4. Commodities. Idoma sculpture: colonialism and the market for African art
- Samburu encounters with modernity: spears as tourist souvenirs
- Samburu warriors in Hollywood films: cinematic commodities
- Reprise: the three C's: colonialism, commidities, and complex representations
- Coda: from spears to guns in the North Rift.