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Chapter 14 - ANT2410
Creative Expression: Anthropology & the Arts
| Question | Answer |
|---|---|
| animation; usually refers to animation of manga/comic book graphic art | anime |
| anime is in __ __ of Japan | popular culture |
| forms of creative expression that are guided by aesthetic principles and involve imagination, skill, and style | arts |
| musical form that is mixing w/British pop music & reggae to become popular form of world music | bhangra |
| bhangra originated in folk music of __ in N. India & E. Pakistan | Punjab |
| marking and adorning the body as an expression of cultural and personal identity, or which serves other functions | body art |
| application of aesthetic principles to the production of utilitarian objects and activities | crafts |
| performances that are expressive forms of culture with functions similar to the other arts | deep play |
| drawings made by some Native American peoples to record personal and historical events | ledger drawings |
| Japanese comic book art | manga |
| scholarship and art generated by Europeans, representing their views of the Middle East | Orientalism |
| contemporary visual arts and cultural performances of non-Western peoples, as they are increasingly part of a capitalistic global art world that includes international collections, museum exhibits, and tourism | world art |
| incorporates different musical styles from cultures throughout the world | world music |
| art is a(n) __ aspect | universal |
| art is guided by __ __ involving imagination, beauty, skill, & style | aesthetic principles |
| painting, architecture, sculpture, carving, pottery, & weaving are considered __ & __ arts | graphic; plastic |
| application of aesthetic principles to produce utilitarian objects & activities as art | crafts |
| music, song, poetry, folklore, & myths are considered __ __ of sound as art | structured use |
| dance, sports, games, & play are __ of human body considered art | movements |
| in Japan, __ __ is considered an art form | tea drinking |
| in Spain, __ is considered art form | bullfighting |
| in China & Islamic Middle East, __ is considered art form | calligraphy |
| fundamental dimension of human species | artistic expression |
| tools manufactured according to aesthetic principles, embellishment of burial sites beyond practical, & sophisticated/complex cave paintings/sculptures of prehistoric human’s indicate __ __ between arts & being human | inherent connection |
| earliest group to artistically embellish their world; ritual burials w/flower, animal teeth/bone pendants, & shaped various ritual objects | Neanderthals |
| cultures where making living difficult & social structure fairly simple tend to exhibit __ __ skills, such as Inuit & aboriginal Australian groups | sophisticated artistic |
| characteristic of all art is __ of cultural themes | expression |
| understanding of art in relation to culture being represented | cultural themes |
| expression of art can be __ or __ | conscious; unconscious |
| creative expression __ to different aspects of culture | attaches |
| art is not produced or performed for sole purpose of giving __, but is __ from other activites | pleasure; inseparable |
| separation of art from other social behaviors & class of objects/acts labeled as art, is a dimension of __ __ of modern society | fragmented nature |
| art is embedded in almost all aspects of culture in __ societies | nonindustrial |
| highly developed artistic skill, no separate word for art, all artificial objects lumped together as “that which has been made” | Inuit |
| Inuit plastic art was traditionally applied to manufacture of objects w/primarily __ __, such as tools, amulets, & weapons | instrumental value |
| Inuit do not make distinction between __ & __, as is similar in other nonindustrial societies | artists; craftworkers |
| in West creative arts such as dance, weaving, singing, & playing of musical instruments are performed as a special __ __ __ called the arts | category of behavior |
| societies, other then West, dance, weaving, singing, & playing of musical instruments are connected with __ __ activities such as religion, exchange, or storytelling | other cultural |
| competence in artistic skills does not necessarily translate into __ __ of artist, in all societies | specialized role |
| Western emphasis has led to underestimating role of artist in societies where arts conforms more to cultural norms | originality |
| Western emphasis on __ & __ has led to conceptualizing artists’ as special people (deviants), working alone, & more likely in opposition to than in harmony w/society | innovation; difference |
| usually absent in art production in non-Western societies | Western perception of artist |
| interaction w/audience is central importance because much art aimed at conveying message through its content, & important function in community life | art in Africa |
| contemporary Western identification of art w/originality, when imposed on other cultures, is | ethnocentric |
| evidence indicates making of art in all cultures recognized as a(n) __ __, although not necessarily innovative process | creative process |
| creation of something entirely new | originality |
| improvisation more highly valued than artistic originality & creativity expressed in creating interesting & endless __ on already established __ themes | variations; artistic |
| believe only one right way to sing a song; improvisation not valued, foreign music dangerous & not for __ | Navajo |
| in other Navajo arts, weaving styles __ __ but innovation permitted & traders may encourage innovation to increase sales where marketing is motive | remain stable |
| arts are a means of __ __ through images & marking real world __ | interpreting world; symbolically |
| art expresses basic __, __ & __ of reality in ways that are culturally meaningful | themes; values; perceptions |
| art is a __ of cultural values & patterns & at same time __ experience of these cultural values | reflection; intensifies |
| much of power of the arts comes from its __ __which leaves production/performance open to __ of interpretations | symbolic nature; variety |
| artistic production/performance may convey | basic cultural theme |
| artistic production/performance may | combine several themes |
| cultural themes in artistic production/performance may be in opposition to | one another |
| important anthropological perspective on arts is to understand surface & deep __ __ through which arts __ & __ responses from participants/audience | symbolic structures; communicate; elicit |
| image that stands for something else | symbolic art |
| paintings, masks, sculptures, sounds or movements | art products or performances |
| in some cultures, art products/performances are believes not merely to __ but to partake of the __ of the thing visualized | represent; spirit |
| under specific ritual conditions, in some cultures, the __ travels into the mask, painting, or dancer, which itself becomes __ | spirit; powerful |
| when objects, dances, songs, or other artistic forms are believed to be __ they are often created strictly guided by __ __ and resistant to variation/change | powerful; traditional processes |
| relationship between __ & __ is an important cultural factor that may limit range of variation on an artists’ displays | art; religion |
| where art & religion are combined there tends to be more __ in creation of images | stability |
| experimentation, innovation, & real change in artistic style are more likely to occur in cultures where religion/art have become __ | separated |
| religious groups may attempt to __ __ on art they consider __ | impose limits; sacrilegious |
| 1999 Rudolph Giuliani w/backing of Catholic Church made unsuccessful attempt to close down exhibit featuring painting of __ __ that incorporated elephant dung | Black Madonna |
| religious leaders in US put pressure on media to exclude showing portion of __ 2000 concert in Rome incorporating __ __ | Madonna’s; mock crucifixion |
| artistic forms are powerful means of symbolic __, conveying __ & provoking interpretation & emotions that have both individual & cultural __ | communication; knowledge; dimensions |
| each culture has specific __ __ __ that stand for things/events in nature/human society or are associated with particular __ | traditional artistic symbols; emotions |
| one of important contributions of anthropological perspective on art is ability to convey the __ __ symbolic elements to outsiders | culturally specific |
| uses minor scale to convey emotion of sadness | Western music |
| important in evoking emotion because people in that culture have been taught the association | traditional element |
| knowledge of traditional elements sets stage for audience to respond __ in certain ways | emotionally |
| each artistic endeavor __ an artistic style | embodies |
| refers to characteristic manner of expression & different cultures/artists have different ones | artistic style |
| __ principles are often very stable | aesthetic |
| indicates that artistic styles of many cultures changed very slowly over time | archaeological evidence |
| artistic styles are often used by archaeologists to characterize different __ __ in a culture | chronological periods |
| artistic styles are often used by archaeologists to __ different cultures in region from each other | differentiate |
| artistic styles are often used by archaeologists to trace out connections between different __ __ | prehistoric cultures |
| artistic styles are often used by archaeologists to speculate about __ & __ __ in ancient cultures who either had no writing systems or writing systems are not understood | life; social structures |
| cultures also differ in their artistic __ | emphasis |
| in some cultures __ & __ are most important media for expression of aesthetic values & technical skills | masks; paintings |
| in some cultures, __ __ are more important, reflected in wealth of myths, folktales, & word games | verbal skills |
| writing is one of defining attributes of civilization & key source of cultural identity & unity | China |
| in China, writing was __ __ of legitimacy & appeared on state monuments & documents | ruler’s instrument |
| calligraphy most respected of graphic arts because of visual representation of Koran | Islam |
| Islamic cultures influenced by religious prohibitions of Persia, has led to emphasis on __ __ & __ in much Islamic Arabic art | geometric design; calligraphy |
| where cultures seem to have similar __ of artistic form, the __ __ may be very different | emphasis; cultural meaning |
| art functions in society to express symbolic element in __ | ritual |
| art functions in society to __ cultural themes | display |
| art functions in society by confirming __ __ by making visible power of __ or government __ | social hierarchy; state; elite |
| art functions in society to __ __ by giving expression to voices from margins | resist authority |
| art functions in society to express personal & social __ | identities |
| sometimes rules for creation & display of artistic endeavors are determined by __ in ways that confirm & extend __ | elites; domination |
| allow only people in certain social statuses to wear certain material goods | sumptuary laws |
| example of art used to resist domination of the state | graffiti |
| art is used to intensify ideas of __ | nationhood |
| art is used to express & record ethnic __ & __ | identities; histories |
| art is used to make __ statements | political |
| artistic expression using __ __ & __ is powerful way of communicating with & attempting to control natural/supernatural worlds | ritual acts; objects |
| dance movements that imitate movements of animals are believed to exert control over those animals; dependence on nature leads to perception of it as an active/personal force to which people must appeal in order to survive | hunting & gathering cultures |
| artistic expressions may represent ritual restoration to nature of animals that are killed | contemporary hunting societies |
| among most spectacular remains left by early Homo sapiens & provides understanding of connections between art & ritual | Paleolithic cave art |
| about 32,00 years old | earliest save paintings |
| about 10,000 years old | most recent cave paintings |
| caves in Europe, which were area that supported abundant & varied animal/plant species | best-known Paleolithic cave art sites |
| Altamira caves in Spain & Grottle Chauvet caves in France are sites of __ __ save paintings | most elaborate |
| cave artists used naturally occurring __ & __ in rock to make animal portrayals more realistic | bulges; dips |
| cave artists __ __ rock in low relief, to make work more dramatic | partially sculpted |
| Paleolithic artists made __ pieces & __ | costume; jewelry |
| Paleolithic artists __ & __ human figures & ritual & ceremonial objects | carved; engraved |
| Paleolithic artists placed elaborate __ __ in burial sites | grave goods |
| Paleolithic artists made __ __ that may indicate some for of record keeping | patterned notations |
| Paleolithic artists made systems of __ & __ in addition to their paintings | signs; symbols |
| many images by Ice Age artists indicate __ & __ characteristics or behavior of various animal species | sexual; seasonal |
| Ice Age art were not simply __, but symbols that stood for __ in nature | illustrations; processes |
| Ice Age cave art also contains frequent markings of __ __ | human hands |
| theories about implications of cave art speculate that a hunter drew image of animal kill in sacred spot in order to __ its __ to nature | restore; essence |
| arts can heighten feeling of belonging to particular group by generating __ __ | intense emotions |
| art forms are not merely a(n) | mirror of culture |
| by displaying & conforming values of members of society hold in common, art heightens social & cultural __ | integration |
| death, pride, gender relations are | universal themes in art |
| universal themes expressed through powerful artistic symbols are culturally __ & therefore culturally __ | particular; compelling |
| art makes __ __ __ visible, tangible, & thus more emotionally compelling | dominant cultural themes |
| cultural themes & values, & psychological foundations of a culture may be __ expressed, but art also expresses the __ | explicitly; unconscious |
| in art a repressed aspect of a culture is considered | unconscious expression |
| phenomenon analyzed in terms of how provides particularly direct view of repressed unconscious of a culture, incl. creators, consumers & broader culture/society itself | pop culture |
| nerd or geek, obsession w/themes of war & violence, incl nuclear catastrophes, mutant monsters, robots, & sci-fi, sometimes joined w/kawaii | otaku |
| cuteness; display of images of Lolita-like preadolescent, seemingly innocent, schoolgirls, who also convey sexual knowingness the belies their innocence | kawaii |
| cuteness image from Japan; big-eyes, beribboned, expressionless pussycat character w/out a mouth to express emotion | Hello Kitty |
| awakened from eons of submarine sleep by hydrogen bomb explosion; exhibits radiation-induced physical deformities & engages in nightly attacks on Tokyo reducing city & people to ashes | Godzilla |
| interprets contemp. Pop culture of anime/manga/otaku subculture growing out of repercussions of Japanese defeat by US & dropping on A-bomb, & post-war society dominated by American-imposed democratization & demilitarization | Takashi Murakami |
| Murakami emphasize that Japan has not really examined its __ for events in WWII & post-WWII | responsibility |
| Murakami emphasizes denying WWII event traumas created __ __ such as anxiety, shame, & pervasive sense of impotence which find their outlets in pop culture | displaced emotions |
| Murakami reinforces view that Japan’s postwar dependence on US has kept it from __ __ | growing up |
| reflected in popular fascination in Japan w/fantasies of violence & power, frequently used in anime | infantilism |
| infantilism & sense of powerlessness also shows up in Japan’s __ __ with cuteness | opposite obsession |
| cross-cultural fertilization in anime including elements of __ culture | African-American |
| new combination of hip-hop & Japanese anime, w/athletic black teenager break-dancing across titles | Tenjho Tenge |
| new anime series with hip-hop soundtrack | Infinite Ryvius |
| one of main characters uses break-dance spins & flips in place of martial arts moves | Samurai Champloo |
| for fashion-conscious Japanese teenagers, __ __ __ now is “cool, black, and American” | height of fashion |
| new phenomenon, small groups of Japanese & American anime fans digitally record Japanese animated TV shows, translate dialogue, add subtitles, & make available for free online | fansubbing |
| emphasizes potential for anthropological & ethnographic research exploring cultural context of Japanese pop cultures & global interactions of its participants | Ian Condry |
| calls performances deep play; cockfighting, falcon hunting, football, & bullfighting are examples | Clifford Geertz |
| deep play are __ __of culture that heighten emotions, display compelling aspects of social structure/culture, & reinforce cultural identity | expressive forms |
| consuming passion of Balinese; competition for prestige among men; intense identification w/animals w/much time spent caring, discussing, & looking at them | cockfighting |
| in identifying w/his animal, Balinese man identifying with his __ __ __ | ideal masculine self |
| in identifying w/his animal, Balinese man identifying with what he most fears, hates & fascinated by __ __ __ that animal represents | powers of darkness |
| cockfight embodies opposition of __ & __ | man; beast |
| cockfight embodies __ __ of aroused masculinity | creative power |
| cockfight embodies __ __ of loosened animality | destructive power |
| central to Balinese cockfighting & basic part of competition for prestige that forms deep play aspect | gambling |
| Balinese cockfighting, money is tied with esteem, honor & dignity; money risked is taking public risk with one’s __ __ | own masculinity |
| driving force in Balinese society & central driving force of cockfight, transforming it into “status bloodbath” | prestige |
| refer to as “playing with fire without getting burned” in Balinese cockfighting | status concerns |
| cockfighting activates village & kin group __ & __ in “play” | rivalries; hostilities |
| expression of open interpersonal & intergroup __ almost never happens in course of __ Balinese life | aggression; ordinary |
| bullfighting is a(n) __ __ | aesthetic ritual |
| culturally compelled not to show any sign of anger/aggression | bullfighter |
| involve complex & elaborate process of ritualized violence that makes it not only acceptable but beautiful | bullfighting |
| point of a bullfight is __, __, & __ of bullfighter that is critical | skill; grace; courage |
| bullfighting embodies values of male __ in defense of mal __ of honor | competition; self-image |
| symbolizes role of honorable male in bullfight; does not initiate violence; skilled, self-controlled, & calm; able to master situation w/out becoming violent himself | matador |
| for the audience, in a bullfight, __ __of honor is in physical shakedown, in public, between two men | maximum vindication |
| matador who performs a “sloppy” kill is called | murder |
| for Spanish, bullfight is not example of indulging in __ __ __ | man’s animal nature |
| for Spanish, bullfight is a performance that allows man to transcend his animal nature of violence & aggression & to display all of elegance, poise, & self-control that distinguishes man of __ from man of __ | honor; anger |
| power embodied in ruler/state represented through graphic, oral, or architectural/performing arts | politically complex & hierarchical societies |
| reiterate/legitimate divine/other source of ruler’s power & political structure through which society is governed | artistic display |
| art that reflect/send powerful message about importance of social hierarchy in Native American on NW coast of N America | totem poles |
| example of art legitimate social hierarchy & power, contributing to stability, especially in transitional times | paintings of colonial Peru |
| in order to keep alive memory of rulers for those claiming royal descent & noble status, indigenous artists commissioned to paint portraits of __ __, after Spanish conquest of Peru | Inca kings |
| asserted claims to high status & power in colonial hierarchy by depicting their own forebears in paintings | upper-class natives of Peru |
| visual language of European culture | paintings |
| Chinese believe only those w/knowledge of past could have vision of __ | future |
| essential imperial Chinese courts possess historical __ & __ to display knowledge | writings; paintings |
| life-size portraits of emperor had to incorporate (2) main Chinese ideals of __ __ | imperial rule |
| moral authority & power of emperor’s central role in a control bureaucratic administration are the (2) main __ ideals of imperial rule | Chinese |
| paintings of Chinese emperor had to show him with __ __ representing humanistic Confucian values of compassion & virtue whole conveying imposing demeanor of absolute ruler | individualized features |
| Chinese imposing demeanor of absolute ruler, the __ of __ | Son; Heaven |
| displaying paintings of Chinese cultural heroes demonstrated emperor’s identification with __ past & his rightful place in lineage of __ __ | mythological; Confucian rulers |
| resistance to prevailing social structure is important dimension in __ & other __ __ | folktales; oral traditions |
| may reverse, ridicule, or question social order & in doing so may provide satisfactory solutions to conflicts that arise out of domination & control | oral traditions |
| commonly contain figure of trickster who is smaller/weaker than opponent but triumphs through wits rather than through force | African-American oral traditions |
| obvious relation to slavery in pre-Civil Rights South; represents social structure based on race; message about how to overcome system & provide outlet for anger | Br’er Rabbit |
| Br’er Rabbit stories are direct descendent of __ __ of W Africa & were also possibly responses to those local hierarchies | Anansi stories |
| openly displays his arrogance & virility, supplementing trickster; image diffused into blaxoploitation films of 1970s & into gangsta figure in hip-hop & gangsta rap | badman |
| one of most important artistic efforts & performances are those representing __ & continuity of __ __ | ancestors; group identity |
| artistic efforts & performances display cultural identity & history in ways that are visible, tangible, & emotionally compelling, of particular importance to __ cultures | illiterate |
| ledger drawing of some Native American groups are example of use of art to __ history & __ cultural identity | record; preserve |
| practice of carving a record of their chiefs into canes | Iroquois |
| many of __ __ told by Native American groups demonstrate resilience of people who have experienced great hardship | old stories |
| Native American ledge drawings provide a __ __ record, way for people to __ themselves in history beyond myths & legends | readable historical; anchor |
| ledger art got its name from the ledger books obtained from __ __ in which Native Americans drew their records | trading posts |
| ledger drawings were made only by __ and initially served mainly to record lost life of __, __ & __ | men; warfare; hunting; tribal identity |
| turn of 19th century Native Americans using drawings on skin shirts, robes & teepee covers to record __ __ | personal histories |
| by 1860s ledger art became more elaborate, colored & carefully composed, & original materials of warded expanded to include | social customs & communal history |
| ledger drawings flourished as __ __ from 1870s-1920s | art form |
| when 70 Native Americans (S Cheyenne) imprisoned at Ft Marion in St Augustine scores of ledger drawings produced, which was a time of __ __ __ | profound cultural trauma |
| body art & adornments serves to announce identification with __ __ or mark their __ __ in society | particular group; social position |
| body tattooing indicates social status | Polynesia |
| body tattoos developed as form of decoration identifying men on margins of society, such a criminals | Japan |
| people who get tattoos are often in military, motorcycle group, college students | Western societies |
| popularity of piercing/tattooing indicates that these forms of body decoration are now part of __ | mainstream |
| in many cultures body art associated with enhancing beauty, thus related to | gender |
| orange-red dye made from leaves of small shrub | henna |
| henna used to dye fingernails & other parts of hands/feet to enhance woman’s beauty, especially on ceremonial occasions such as religious holidays/marriage | India & Middle East |
| young girl 1st decorated w/henna 3-4 in prep for Muslim holiday of Ramadan | Morocco |
| cultural importance of henna primarily related to __ & marks __ of girl to woman | marriage; transition |
| first night in 3-day marriage celebration | night of henna |
| girl decorated w/henna toward end of pregnancy; viewed as way of preventing illness/misfortune by placating malevolent spirits call jinn | henna party |
| Muslim New Year is another occasion for decorating married women with henna | month of Muharram |
| art depicting any figures/forms found in nature/culture | representational art |
| henna parties are occasions where women are __ __ __ | center of attention |
| personal identity deeply connected to artist’s body work, & art critics/historians often try to link artist’s personal identity with their art | European-based cultures |
| profoundly influenced by Mexican Revolution; married to Diego Rivera | Frida Kahlo |
| great Mexican muralist | Diego Rivera |
| votive painting of Christian saints & martyrs; Frida Kahlo | retablos |
| archetypical, sexually voracious predator & evil woman who stands in contrast to saintly wife/mother | Mexican folklore image La Llorona |
| indigenous Mexican Tehuana costume of long embroidered skirt & blouse expressed Frida Kahlo’s __ w/peasants & poor of Mexico | solidarity |
| Kahlo’s paintings evidenced dualistic principles of dark/light & day/night which have origin in | pre-Columbian myth |
| examined imbalance of power between Mexico & US, images of her broken body reflect shattered dreams of Mexican Revolution | Kahlo |
| combined historical images w/abstract expressionism & pop art of Native American life | Scholder |
| generated outraged responses among both native & non-native viewers because it broke taboo on talking about ways alcoholism devastated so many Indian lives | Indian with Beer Can |
| differences in museum exhibits of Western & non-Western art implicitly distinguishes between __ us of West and non-Western __ other | civilized; primitive |
| Europeans most often responded to encounters w/other peoples by creating categories of __ & __ | us; them |
| art depicts not only the __, that is the cultural in-group, but also the __, the alien/foreigner/outsider | we; other |
| artistic products may reflect subjects of art but are also source of insight into __ of artist, reflecting cultural __ one group entertains about another | insight; fantasies |
| artistic images of __ may be useful as historical document, portraying details of behavior/costume | outsiders |
| unknown aspects of foreigners invites imagination in which reality of __ becomes subordinate to fantasies of __ | observed; observers |
| N Africa, Arabia, Levant, Ottoman Empire in 19th century; viewed as despotic, statis, & irrational; land of mystery, fairy tales, exotic beauty | Orient |
| by mid-19th century __ __ had become part of French cultural spirit in style called Orientalism | Egyptian experience |
| Europeans saw __ __ as threatening because perceived it as __ European civilization | Oriental other; opposite |
| emphasized exoticism & glamour of Oriental markets, camel caravans, & snake charmers | Orientalist paintings |
| captured not in its religious experience but in architecture of its mosques & practice of prayer, all portrayed in lavish, opulent detail | Islam in Orientalist paintings |
| cultural themes in Orientalist paintings were | gender roles & relationships |
| most common symbol of Oriental masculinity, painted in more relaxed poses, drinking coffee, or smoking hookah | Arab warriors |
| central to European fantasies of period of Orientalism | women |
| women were portrayed as Orient’s __ __ whether hidden behind veil or revealed in harem | greatest temptation |
| painted for male patrons by male artists, offered convenient way of feeding European lust by displaying dominant men & vulnerable women of another culture | harems & slave markets |
| comic strip of colonial morality; reveal preoccupation of Europeans w/veiled female body | postcards |
| Oriental female, more tempting because she is behind the veil in forbidden harem, represented French fantasy of __ | inaccessibility |
| connects Orientalist fantasies to colonial reality, noting that raiding of women has always been dream & obsession of total victor | Alloula |
| reflected long-standing conflict between Christian Europeans & Middle Eastern Muslims | Orientalist representations of women |
| in global context, boundaries between “high” & “low” arts & __ concepts of “primitive” & “tribal” art are increasingly __ | stereotyped; contrasted |
| concept of world art incorporates examination of Western & international art worlds, in which arts of __ __ are increasingly circulated | indigenous peoples |
| quite willing to manipulate both art objects & info about their production to meet demands of Western buyers | art middlemen in W Africa |
| has now become important factor in both understanding & marketing their arts | identification of tribal artists |
| importance of artist in N American societies contrasts w/more general emphasis of __ __ in indigenous society | anonymous artist |
| Anglo-American interest in developing & marketing indigenous arts in US helped create __ of artist where it did not previously exist | status |
| star in pueblo pottery revival; romanticized image of Native American woman potter | Maria Martinez |
| arts have always been important in __ cultural boundaries | marketing |
| promoted by popular Western TV shows about non-Western cultures, worldwide sale of ethnic art, traveling museum shows, circulation of tribal arts among Western collectors, & tourism | linking of arts to cultural identity |
| artistic objects/performance that have origins in ritual/social life may become, through __, core around which modern cultural identities are constructed & important source of __ | tourism; income |
| often debases indigenous, culturally authentic, & creative art into mass-produced souvenirs of low quality, lacking any cultural meaning | tourism |
| tourism can __ & __ cultural identities by revising respect for traditional art forms | support; reaffirm |
| interest of tourism in cultural performances given such an event an economic boost & allowed local troupes to buy new instruments for gamelan orchestras & new costumes | Bali |
| ritually & socially significant cultural elements change __ as they become part of staged performances for tourists or move from original cultural context into world art market | meaning |
| more recent anthropological interests in art are ways in which artworks of nonindustrialized societies have become __ in process of globalization | commodities |
| more recent anthropological interests in art are ways in which artworks of nonindustrialized societies have become re-conceptualized __ & __ to meet worldwide demand | functionally; stylistically |
| traditional gate keepers of Western concepts of art; claim great art measured & responded to in terms of universal intrinsic artistic qualities | art historians |
| emphasize art is culturally mediated perspective through which art is not only produced but viewed | anthropologists |
| one’s education, social status, knowledge about reputation of artist, commercial value of art, & Western perceptions of nonindustrial cultures | cultural factors viewer brings to art |
| major point of contact between Western viewers & art of indigenous cultures | museum exhibits |
| museums originated as national __ __, scientific institutions, preservers of disappearing cultures, & __ collections | treasure houses; ethnographic |
| trying to understand what art contributed to functioning of society | functionalist view of art |
| primitive art in civilized places | Sally Price |
| objects taken from original cultural contexts & found way into Western museums & art collections | life histories |
| category indicated ethnocentric limitations of Western world view; very construction of category called “primitive art” was example of | cultural imperialism |
| repression of ethnographic context, meaning & intention in exhibition of indigenous art made “primitives” seem less than __ & consolidated Western feelings of __ | human; superiority |
| claimed art museum exhibits of decontextualized non-Western art emphasizing antique, pure, & authentic, ignored actual values of those who made art & placed art within Western capitalist culture, as commodities | James Clifford |
| museum exhibits themselves have become subject of __ __ due to postmodernism influence | ethnographic inquiry |
| museums __ & __ our perceptions of other culture | reflect; influence |
| mainly subsistence cultivators; two artistic products of tongkonan & tau-tau | Toraja |
| ancestral house; linked to family prestige because visual symbol of one’s descent group; ranked according to age & illustriousness of founding family | tongkonan |
| wooden effigies of nobles carved in connection w/mortuary ritual; carved only for wealthiest nobility; important symbol of aristocratic status | tau-tau |
| ethnographer of Toraja; tau-tau & tongkonan are key elements in cultural, political & economic struggle to define many cultural identities | Kathleen Adams |
| Toraja, tau-tau & tongkonan are key elements in cultural, political & economic struggle to define cultural identity in their __ social hierarchy | local |
| Toraja, tau-tau & tongkonan are key elements in cultural, political & economic struggle to define cultural identity in relation to a __ __ social hierarchy | regional multiethnic |
| Toraja, tau-tau & tongkonan are key elements in cultural, political & economic struggle to define cultural identity in larger __ state | Indonesian |
| Toraja, tau-tau & tongkonan are key elements in cultural, political & economic struggle to define cultural identity in __ __ | wider world |
| because of emotional power of material objects, in particular art, Toraja’s tau-tau & tongkonan become important arena for __ & __ social hierarchy | embodying; challenging |
| a descent identity, or __ __, in Toraja is central to social structure | social rank |
| nobles in Toraja society | big people |
| non-nobles in Toraja society | ordinary people |
| __ __ of tongkonan communicates status of its members | visual aspect |
| tongkonan of __ are fully carved & adorned w/intricate patterns | nobility |
| tongkonan of ordinary people traditionally restricted to carving __ __ of their houses | small portions |
| tongkonan of slaves were __ from decorating houses | prohibited |
| relationship between tongkonan, family prestige & power is reinforced by __ in public rituals | consecration |
| public rituals of tongkonan invoke glorious members of one’s ancestral kin & boost __ __ __ | one’s own prestige |
| Indonesian government’s use of tongkonan imagery on __ & __ give Toraja important identity as part of Indonesian state | currency; stamps |
| because of tourist interest in tongkonan Toraja were __ by Indonesian officials to alter them | forbidden |
| Torajan art also define Toraja in context of regional ethnic __ | politics |
| two important Muslim ethnic groups among Toraja | Bugis & Makassarese |
| tau-tau are commissioned by __ __ __ & every step of carving surrounded by ritual | family of deceased |
| when __ __ tau-tau adorned with finely woven clothing, betel nut bag filled w/silver & bamboo utensils, head dressing, gold jewelry, & sacred knife | funeral begins |
| tau-tau is supposed to __ deceased & it makes their __ __ | resemble; soul visible |
| due to Christian influence tau-tau are now viewed as __ __ of dead person | realistic portrait |
| in Toraja, tourism began process by which __ __ objects have been transformed into __ __ of economic significance | ritually significant; art objects |
| for Toraja, theft of tau-tau is equivalent to __ __, and loss must be readdressed by ritual propitiation | ancestor abduction |
| world music is based on __ musical traditions, produced for __ occasions, in __ languages | local; local; local |
| traditional musicians, in world music, have frequently adopted Western __ & __ | instruments; styles |
| African & New World music have traded ideas from shared foundations in __ & __ | call-and-response; polyrhythm |
| preserved by slaves & adapted into sacred & secular music of New World | music of African religious ceremonies |
| bhangra is music of __ but means different things to different __ | identity; communities |
| bhangra often music of resistance to young, urban __ __ __ | British-born South Asians |
| bhangra lyrics articulated problems of S Asians living in Britain, especially __ & balancing of __ & __ | racism; tradition; modernity |
| elders consider bhangra Western __ of their traditions | pollution |
Created by:
lfrancois
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