The Shattered Gourd uses the lens of visual art to examine connections between the United States and the Yoruba region of western Nigeria. In Yoruba legend, the sacred Calabash of Being contained the Water of Life; when the gourd was shattered, its fragments were scattered over the ground, death invaded the world, and imperfection crept into human affairs. In more modern times, the shattered gourd has symbolized the warfare and enslavement that culminated in the black diasporas. The "re-membering" of the gourd is represented by the survival of people of African origin all over the Americas, and, in this volume, by their rediscovery of African art forms on the diaspora soil of the United States. Twentieth-century African American artists employing Yoruba images in their work have gone from protest art to the exploration and celebration of the self and the community. But because the social, economic, and political context of African art forms differs markedly from that of American culture, critical contradictions between form and meaning often appear in African American works that use African forms. In this book -- the first to treat Yoruba forms while transcending the conventional emphasis on them as folk art, focusing instead on the high art tradition -- Moyo Okediji uses nearly four dozen works to illustrate a broad thematic treatment combined with a detailed approach to individual African and African American artists. Incorporating works by such artists as Meta Warrick Fuller, Hale Woodruff, Aaron Douglas, Elizabeth Catlett, Ademola Olugebefola, Paul Keene, Jeff Donaldson, Howardena Pindell, Muneer Bahauddeen, Michelle Turner, Michael Harris, Winnie Owens-Hart, and John Biggers, the author invites the reader to envision what he describes as "the immense possibilities of the future, as the twenty-first century embraces the twentieth in a primal dance of the diasporas," a future that heralds the advent of the global as a distinct movement in art, beyond postmodernism.

This book covers the development of modern and contemporary art in Indonesia, from the colonial period in the 1930s to the present time of globalization. Each chapter is based on important historical moments that changed the course of the art world. Special attention is paid to individual artists who invented new concepts, styles, and techniques. The Indonesian art world is divided over several geographic centers that are far away from each other (Jakarta, Bandung, Yogyakarta, and Bali). For an outsider, it is not that easy to discover the places where modern and contemporary art can be found, but this book gives us insight into those worlds.

This remarkable study explores the use of the visual and performing arts to promote nonviolence and social harmony in sub-Saharan Africa. It focuses on Gelede, a popular community festival of masquerade, dance, and song, held several times a year by the Yoruba of Southwestern Nigeria and the Republic of Benin. Babatunde Lawal, an art historian and African scholar who has taught in Nigeria, Brazil, and the United States, is himself a Yoruba and has taken an active part in Gelede. He writes from the perspective of an informed participant/observer of his own culture. Lawal bases his book on extensive field research--observations and interviews--conducted over more than two decades as well as on numerous published and unpublished scholarly sources. He casts significant new light on many previously obscure aspects of Gelede, and he demonstrates a useful methodological approach to the study of non-Western art. The book systematically covers the major aspects of the Gelede spectacle, presenting its cultural background and historical origins as preface to a vivid and detailed description of an actual performance. This is followed by a discussion of the iconography and aesthetics of costume, and an examination of the sculpted images on the masks. The book concludes with a discussion of the moral and aesthetic philosophy of Gelede and its responsiveness to technological and social change. The Gelede Spectacle is illustrated in color and black-and-white with over 100 field and museum photographs, including a rare sequence on the dressing of a masquerader. It offers, in addition, more than 60 Gelede song texts, proverbs, and divination verses, each in the original Yoruba as well as in translation. Lawal's interpretations of these pieces indicate the rich complexities of metaphor and analogy inherent in the Yoruba language and art.

Offers a new interpretation of the history of colonial India and a critical contribution to the understanding of environmental history and the tropical world. Arnold considers the ways in which India’s material environment became increasingly subject to the colonial understanding of landscape and nature, and to the scientific scrutiny of itinerant naturalists.

""Studies land erosion and the islanders' vulnerability and displacement in the disaster-prone Sundarbans in east India"--Provided by publisher"--

"Set in the high-altitude Himalayan region of Ladakh, in northwest India, Caring for Glaciers looks at the causes and consequences of a transformation in people's relationship with the environment. It illuminates how relations of care and reciprocity-learned through everyday life and work in the mountains with the animals, glaciers, and deities that form Ladakh's sacred geography-shape and nurture an ethics of care for non-humans. The geopolitical context that has reconfigured Ladakh into a strategic border area in postcolonial India has transformed the fabric of everyday life. Simultaneously, the landscape of Ladakh is also being transformed by climate change. Ladakhi elders perceive this as a changing moral order, in which environmental depletion and social fragmentation are inextricably intertwined. As Glaciers Vanish contributes to the anthropology of ethics by examining the moral order that develops through the embodied experience of life and work in the Himalayas. While not divorced from Buddhist beliefs, this emerges not from religious doctrine but from beliefs and practices through which people engage with the environment. This book will be of interest to researchers in a variety of fields, including anthropology, geography, and sociology of religion. It will also appeal to scholars of Tibetan Buddhism and of borderland studies, to social scientists studying climate change, and to area studies specialists of India, South Asia, and the Himalayas"--

Only fifty years ago, Tibetan medicine, now seen in China as a vibrant aspect of Tibetan culture, was considered a feudal vestige to be eliminated through government-led social transformation. Medicine and Memory in Tibet examines medical revivalism on the geographic and sociopolitical margins both of China and of Tibet�s medical establishment in Lhasa, exploring the work of medical practitioners, or amchi, and of Medical Houses in the west-central region of Tsang. Due to difficult research access and the power of state institutions in the writing of history, the perspectives of more marginal amchi have been absent from most accounts of Tibetan medicine. Theresia Hofer breaks new ground both theoretically and ethnographically, in ways that would be impossible in today�s more restrictive political climate that severely limits access for researchers. She illuminates how medical practitioners safeguarded their professional heritage through great adversity and personal hardship.