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