A World of Faces


Book Description

This book is devoted to a thorough explication of the techniques of Northwest Coast Indian mask-making, and the role of the artist and masks in the society.




Masks of Conquest


Book Description

A classic work in postcolonial studies, Masks of Conquest describes the introduction of English studies in India under British rule and illuminates the discipline's transcontinental movements and derivations, showing that the origins of English studies are as diverse and diffuse as its future shape. In her new preface, Gauri Viswanathan argues forcefully that the curricular study of English can no longer be understood innocently of or inattentively to the imperial contexts in which the discipline first articulated its mission.




World of Other Faces


Book Description




Anthropology, Art, and Aesthetics


Book Description

The anthropology of art is a fast-developing area of intellectual debate and academic study. This beautifully illustrated volume is a unique survey of the current state of anthropological thinking on art and aesthetics. The distinguished contributors draw on contemporary anthropological theory and on classic anthropological topics such as myth and ritual to deepen our understanding of particular aesthetic traditions in their socio-cultural and historical contexts. Many of the essays present new findings based on recent field research in Australia, New Guinea, Indonesia, and Mexico; while others draw on classical anthropological accounts of the Trobriand Islanders of Melanesia and the Nuer of the Southern Sudan to form new arguments and conclusions. The introductory overview of the history of the anthropology of art, by Sir Raymond Firth, makes this volume especially useful for those interested in learning what anthropology has to contribute to our understanding of art and aesthetics in general.




Masked Ritual and Performance in South India


Book Description

"Throughout South India, masks are related to the presence of divine beings and, as such, induce transformation in the awareness of both performers and audience. Masked performance may also be powerfully linked to rituals of healing, which aim at freeing the self from states of blockage, isolation, and possession. Taken together, the essays offer an initial grammar of South Indian masking as the culture-specific formation of visible surfaces in which primary issues of identity, self-knowledge, and perception are brought into play. Masking thus implies meta-psychological perspectives on the notions of self, face, and maturation and on the internal economy of the mind in cultures far removed from standard Western psychological paradigms."--BOOK JACKET.




World Theatrical Masks


Book Description

WORLD THEATRICAL MASKS The Many Faces of Expression: Art, Culture & Masks Step into a realm where each mask is a gateway to a different culture and tradition. This episode takes you on an enthralling journey from the ancient masks of Greece to the Dharmaraj masks representing death in Indian theater. Uncover the diverse roles and meanings that masks hold across various global cultures. Immerse yourself in the symbolism, purpose, and artistry that define each mask. This episode is enriched with captivating visual aids and offers an interactive quiz to test your newfound knowledge. Ideal for art enthusiasts, history aficionados, and anyone curious about the cultural significance of masks across the world.




Red Skin, White Masks


Book Description

WINNER OF: Frantz Fanon Outstanding Book from the Caribbean Philosophical Association Canadian Political Science Association’s C.B. MacPherson Prize Studies in Political Economy Book Prize Over the past forty years, recognition has become the dominant mode of negotiation and decolonization between the nation-state and Indigenous nations in North America. The term “recognition” shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples’ right to benefit from the development of their lands and resources. In a work of critically engaged political theory, Glen Sean Coulthard challenges recognition as a method of organizing difference and identity in liberal politics, questioning the assumption that contemporary difference and past histories of destructive colonialism between the state and Indigenous peoples can be reconciled through a process of acknowledgment. Beyond this, Coulthard examines an alternative politics—one that seeks to revalue, reconstruct, and redeploy Indigenous cultural practices based on self-recognition rather than on seeking appreciation from the very agents of colonialism. Coulthard demonstrates how a “place-based” modification of Karl Marx’s theory of “primitive accumulation” throws light on Indigenous–state relations in settler-colonial contexts and how Frantz Fanon’s critique of colonial recognition shows that this relationship reproduces itself over time. This framework strengthens his exploration of the ways that the politics of recognition has come to serve the interests of settler-colonial power. In addressing the core tenets of Indigenous resistance movements, like Red Power and Idle No More, Coulthard offers fresh insights into the politics of active decolonization.




Masks of Mexico


Book Description

This is a state-by-state guide for collectors and general folk art enthusiasts to learn about the types of masked dances still carried out in Mexico's Indian and mestizo communities today. Close to one hundred color photographs of authenticated masks from the collection of the Museum of International Folk Art are presented, including finely carved pieces from the nineteenth century to simple face coverings made in the past ten years. The masked ceremonies are brought to life with documentary photographs showing masqueraders acting out their roles. --Amazon.




The Encoded Cirebon Mask


Book Description

In The Encoded Cirebon Mask: Materiality, Flow, and Meaning along Java’s Islamic Northwest Coast, Laurie Margot Ross situates masks and masked dancing in the Cirebon region of Java (Indonesia) as an original expression of Islam. This is a different view from that of many scholars, who argue that canonical prohibitions on fashioning idols and imagery prove that masks are mere relics of indigenous beliefs that Muslim travelers could not eradicate. Making use of archives, oral histories, and the performing objects themselves, Ross traces the mask’s trajectory from a popular entertainment in Cirebon—once a portal of global exchange—to a stimulus for establishing a deeper connection to God in late colonial Java, and eventual links to nationalism in post-independence Indonesia.