Rock Art In Crisis
Previous literature: the creation of a category
Paintings produced by San peoples (Bushmen) of southern Africa constitute one the best-understood rock art traditions in the world, owing to five decades of research into the symbolic context of their production. Erstwhile discussions of the art were that it was unlikely produced by the Bushmen at all (Breuil 1948: 11), or that it was produced as art-for art's-sake (Willcox 1978). These statements were largely prosaic and mercurial, vacillating to reflect various colonial perspectives and prejudices. Quantitative studies conducted in the Drakensberg mountains in the late 1960s and early 1970s (e.g. Vinnicombe 1967, 1972, 1976; Pager 1971, 1973; Lewis-Williams 1972, 1974, 1981), in conjunction
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Rock art interpretation was a vehicle to critique and deconstruct Eurocentric metanarratives and concepts of magic realism. Colin Campbell (1987) charged previous interpretations of rock art of being guilty of the colonial gaze adhering to Western ideology that "denigrates the Bushmen and reduces them to helpless victims of an immutable process" (Campbell 1987: 4). 'Art in Crisis: contact period rock art in the south-eastern mountains of South Africa' (Campbell 1987) used so-called contact imagery to re-imagine Bushman experiences in history. Influenced by Guenther's (1975a, 1975b, 1986) work on the Ghanzi Bushmen in Botswana, Campbell argued that contact rock art images reflected an overarching process of social negotiation between Bushmen and Bantu-speaking farmers. Far from being helpless victims of the whims of more powerful groups, he argued that ritual specialists employed their 'spiritual labour' (healing, rain-making and game control) (Lewis-Williams 1982) as a means to gain influence and material goods. Campbell (1987: 22) believed that "changes in the social and economic life of the artists must have influenced their ideology and therefore their art". Consequently, the history he produced was a structural Marxist one, one of power and prestige, but power and prestige couched in terms of process and group, rather than agency and
Summary Of The Book 'Rifles, Blankets, And Beads'
1232 Words | 5 Pages“Rifles, Blankets, and Beads” delivers an entertaining perspective on the Northern Athapaskan village of Tanacross. This book is an outstanding resource for anthropologists, students, and educators. In reviewing this book, the author brings a descriptive writing style when analyzing the Northern Athapaskan village of Tanacross culture and history with a focus on the potlatch giving us insight details how the potlatch celebrated among the Tanacross people. The author, William E. Simeone, is a great source for the Northern Athapaskan village of Tanacross because he lived there among the people. In addition to living there he also attended ceremonies in both Tanacross and surrounding villages, and participated in potlatches within the villages.
Analysis Of Grey Day In The Rangess By Margaret Preston
1021 Words | 5 PagesThese three things are combined in Preston’s artwork to create an overall message to convey to her audience. The main and significant message that this artwork represents is the possibilities of the fusion between various Aboriginal art forms and the possibilities of an indigenous revolution to come. This artwork expresses the importance of aboriginal art, culture and their way of life as this was a time in which Preston’s beliefs of the importance of Aboriginal art deepened. It was also at this time of significance to her where she developed a series of landscape paintings influenced by this idea. This artwork is also representative of her time living in Berowra where she was enthused by the seasonal display of native plants, in which she wanted to capture the essence of the Australian bush and its
Rifles, Blankets, And Beads Summary
1122 Words | 5 Pages“Rifles, Blankets, and Beads” delivers an entertaining perspective on the Northern Athapaskan village of Tanacross. This book is an outstanding resource to anthropologists, students, and educators. In reviewing this book, the author brings a descriptive writing style when analyzing the Northern Athapaskan village of Tanacross culture and history with a focus on the potlatch giving us insight details how the potlatch is seen and celebrated among the Tanacross people. The author, William E. Simeone, is a great source on the Northern Athapaskan village of Tanacross because he lived there among the people. In addition to living there he also attended ceremonies in both Tanacross and surrounding villages, and participated in potlatches within
Chuck Klosterman's Essay 'The Rock Lexicon'
535 Words | 3 PagesIn the essay “The Rock Lexicon” author Chuck Klosterman gives a lesson about the various forms of Rock and Roll along with the modern terms used in popular culture to describe them. Klosterman begins with a discussion he was having with his sister, while driving in a rental car. This discussion began with his sister’s statement, “I don’t read your magazine anymore because all you guys ever write about is emo, and I don’t get it” (Silverman). Klosterman uses this conversation, in which his sister essentially means is that she is not reading his articles anymore, because she can’t understand or interpret what she is reading when they use musical jargon. This conversation made Klosterman realize that his sister is probably not the only person
Summary Of George Catlin's Drinks The Juice Of The Stone
245 Words | 1 PagesIntroduction- Description of artwork (medium used) and themes presented in the artwork As you may know Native American invented the game, lacrosse and one of the most famous players of his time was known as Tul-lock-chish-ko. The artist, George Catlin depicts Tul-lock-chísh-ko, Drinks the Juice of the Stone on oil on a canvas Looking at the 29 x 24 inch portrait, you may be asking “ what are those things in his hands? , Could they be lacrosse sticks?” The Choctaw would play with no armor, no shirts, and no shoes. Tul-lock-chish-ko is adorned with red headdress representing his culture and his strength as a warrior.
Haida Gwaii Compare And Contrast
957 Words | 4 PagesThe Spirit of Haida Gwaii is massive – 13 feet wide, 20 feet long, and weighing 11,000 pounds – it is a very permanent composition that resides outside the Canadian Embassy in Washington D.C. (“The Spirit”). The Chilkat blanket, however, is meant to be worn around the shoulders and danced with, even though many of the blankets do reside in museums (Hansen). This context for viewing each piece can dramatically influence the message it portrays. The movement of he Chilkat dancer allowed the images to come alive, while the figures in The Spirit of Haida Gwaii stare endlessly fixed in one direction.
How Does Bradbury Use Figurative Language In The Veldt
255 Words | 2 PagesThe descriptions of the land, such as, “The hot straw smell of lion grass, the cool green smell of the hidden water hole, the great rusty smell of animals-,” expresses the extreme sensories of Africa. These descriptions of the scenery suggest that… Following up, diction also plays a part on foreshadowing
Kiowa Six Analysis
449 Words | 2 PagesProfessor Tone-Pah-Hote argues that expressive culture played a central role in redefining Kiowa identity, particularly during the mid-twentieth century. In terms of crisis and resilience, the adaptation and evolution of the expressive culture allowed for Kiowa society to survive, avoiding “collapse.”
Indie Hyland Explain The Negative Effects On Indigenous People
741 Words | 3 PagesThis piece of art may have been made to document the unauthorised development and use of native lands following British colonisation. Elisha and William might've directed this artwork to bring awareness to how indigenous Australians and their land
Analysis Of John Misto's 'Shoe Horn Sonata'
1088 Words | 5 PagesUsing distinctively visual, sensory language and dramatic devices in texts allows the reader and audience to view as well as participate and relate to different emotions. In the fictional play “Shoe Horn Sonata” written by John Misto, 1995, Misto sets the scene by using dramatic devices to address the extremely confronting circumstances that the protagonists, Sheila and Bridie experience. Similarly, in the poem “Beach Burial” by Kenneth Slessor, 1944, Slessor too uses extremely strong visual language on the subject of war to overcome the gruesome realities of the subject matter. Misto’s play “Shoe Horn Sonata” shares the impacting journey two young women are forced to face, spending 1287 days in captivity in a Sumatran war camp, during world war two.
Propaganda And Art In The 20th Century
1144 Words | 5 PagesThe influence of propaganda on the development of art in the 20th century Europe of the 20th century underwent a number of important social, political and economical changes. In an age marked by the rise of nationalism and the two World Wars, by overwhelming scientifical and technological innovation, the arts were facing many challenges caused by the tensions and unrest characteristic for this period of time. With ideologies such as Communism in Russia, Fascism in Italy and Hitler 's Nazism in Germany spreading rapidly through Europe, their propaganda reached the world of art, having a great impact on both the artist and the artwork. This article takes a closer look at the relationship between propaganda and art in the context of a war dominated society, disclosing the diverse façades of ideological influence on the world of arts. Understanding the historical context is a vital condition for a deeper comprehension of the development of arts, when it is so closely tied to the social, political and economical factors.
Cultural Impact Of Rock And Roll
1132 Words | 5 PagesCultural Impact of Rock and Roll Amidst the 1960’s Jimi Hendrix formerly stated, “Music doesn’t lie. If there is something to be changed in this world, then it can only happen through music.” A generation which was earnestly devoted to peace, protest, and revolution, the counterculture amongst the 1960’s yearned for change. Rock and roll was far beyond just a genre of music; it influenced lifestyles, protests, and attitudes, thus, kindling an awakening in the youth of American culture. The distinction between parental and youth culture was a persistent root of concern, considering that teens throughout the world found a sense of belonging in this style of music.
Native American Colonialism Essay
1281 Words | 6 PagesEuropean colonialism in Africa was a violent process of exploitation and dominance in the political, social, and cultural sphere of native society. Pop culture music and dance are dynamic social products that provide insight into the shifting sociocultural formations of a society. Through this analysis of pop culture I will discuss the classist social hierarchies established by colonialism and defined power by proximity to whiteness. I will explore native actors’ response to colonial social hierarchies in their alliances or resistance to colonialism and their influence on music and dance styles. Finally, we will evaluate ways in which music and dance are forms of resistance that challenge the status quo in colonial societies.
Art History: The Nankani Compound In Ghana
1651 Words | 7 PagesThe lifestyle of the Nankani has a profound influence on the art that is produced. These influences include the physical environment, the agrarian customs and the general Nankani culture itself. Hence, the Nankani Compound in Sirigu, Ghana, in its art celebrates all that is important to their life and this is shown (the same) on their pottery, baskets, their homes and even on the skin thus cementing cultural identity. Each design is symbolic of some aspect of their culture. These mural decorations, function as an interpretational art piece of the community and is therefore, very highly
Materialist Art History And Marxist Analysis
1182 Words | 5 PagesTherefore, in the perspective of understanding materialist art history by the discussion focused on the labor of the production line, different forms of arts then no longer refer to the product labeled and produced by the so-called ‘artistic genius’, but a product of complex relationship between social, economic and political sphere. (Klingender, 1943) To be more specific, the relationship between materialist art history and Marxist art history is demonstrated with the practice of artwork in relation to society, economy or politics, with detailed and specific analysis in the context of social cultures and the idea of class in the capitalist society. (D’Alleva, 2005) In a particular cultural environment, we can realize the outgrowth of the interactions between patrons and artists in a more complicated way.
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