Traditional Artist in African Societies.

Aus der Arbeitsbibliothek von Hans-Joachim Koloss, Kurator der Afrika-Abteilung des Museums f�r V�lkerkunde Berlin. Ganz vereinzelt dezente Bleistiftanstreichungen aber insgesamt sehr gut erhalten. - From the library of Hans-Joachim Koloss, curat of the African collection of the Berlin Ethnological Museum. A few pencil notes. but overall very good. - ONTENTS -- NOTE ON CONTRIBUTORS XV -- PREFACE XIX -- INTRODUCTION 1 -- I: On African Artists -- yoruba artistic criticism Robert Farris Thompson 19 -- The context of criticism 19. Cross-cultural identification of the critic 22. Character and contribution of Yoruba art critics 24. The collapse of �primitive art� 24. Selection and profession of critics 26. The artist as self-critic 27. Yoruba aesthetic criteria 29. Art as use 30. Qualitative criteria 31: mimesis 31; hypermimesis 32; excessive abstraction 33; visibility 33; shining smoothness 37; emotional proportion 42; positioning 45; composition 45; delicacy 46; roundness 49; protrusions 51; nonpleasing protrusions 51; sinister bulges 51; pleasing angularity 52; straightness 53; symmetry 55; skill 56; ephebism 56. Concluding comments 58. Notes 59. -- A YORUBA MASTER CARVER: DUCA OF MEKO William BaSCOm 62 The study of individual artists 62. The diversity of Yoruba arts 64. Selection and training of carvers 68. The master carver, Duga 70. Materials and tools 70. Apprenticeship 74. The making of a Shango staff 74. Homage to Duga 77. Notes 78. -- the musician in akan society J. H. Kwabena Nketia 79 Approaches to the study of art 79. Music as a part of society 80. Evaluation of musicians 83. Musical training 87. Musicial associations 90. Solo musicians 94. Musical resources and style 96. Summary and conclusions 100. -- THE ROLE OF THE CARVER IN ANANG SOCIETY -- John C. Messenger 101 -- The Anang 101. Woodcarving as an occupation 102. Training 104. Religious aspects of carving 105. Process of carving 108. Types of carvings 109. Materials and tools no. The making of a mask 111. Use of carved objects 114. The mfsn tkpo and idiok tkpo masks 121. Aesthetic evaluation 123. Modem guilds 126. Notes 127. -- A SOCIOCULTURAL VIEW OF HAUSA MUSICAL ACTIVITY -- David W. Ames 128 -- The cultural context 128. Occupational diversity 129. The professionalization of music 130. The nomenclature of Hausa music 131. The range of musical activity and professionalization 132. Nonprofessionals 132. Professionals 134: musicians of craft groups 135; musicians in political life 136; musicians of recreational music 138; musician-entertainers 141. Aesthetic expression other than music 142. Artistry in musical production 144. Some Hausa definitions of artistry 145. Professional values and attitudes 151. Training of musicians 152. Social visibility and social distance 154. Socio-economic status and rank 155. Functions of music 158. Notes 160. -- a^KYAGU AS ARTISTS IN MARGHI SOCIETY -- James H. Vaughan, Jr. 162 -- The neglected study of smiths in Africa 162. Blacksmithing as artistry 163. Marghi concept of art 164. The wkyagu in Marghi society 166. The smith caste and political structure 168. Iron production: smelting 171; smithing 175. Products of smiths 177. Stylistic variation 178. Nonmetal products 182. Becoming an a^kyagu 183. Marghi aesthetics 184. Conclusions 189. Notes 192. -- THE EXPOSITION AND IMPOSITION OF ORDER: ARTISTIC EXPRESSION in fang culture James Fernandez 194 -- An approach to anthropological aesthetics 194. Fang belief in cosmic order 196. Carving 197. Four Fang carvers 200. Art criticism 203. Carving style as exposition of order 204. Imposition of social order through art 206. Palabras 207. The Bwiti cult 209. Local cults as artistic creations 210. Visions and the creative process 212. Moral order and aesthetic values 214. Conclusions 215. Notes 217. -- AESTHETIC VALUE AND PROFESSIONALISM IN AFRICAN ART: -- THREE CASES FROM THE KATANGA CHOKWE -- Daniel J. Crowley 221 -- Some resources for the study of Chokwe arts 221. Methodology of the field-project 223. The range of expression of aesthetic value 226. The masks of the mukanda rites 229. Techniques 231. Training 232. Three professional artists 235. Fonnal values 245. Stereotypy and innovation 247. -- the bala musician Alan P. Merriam 250 -- The Basongye 250. Music instruments 252. Classes of Bala musicians 256. Professionalism 257. The musicians of Lupupa Ngye 259. Training 260. Concepts of talent 261. Social status and role 266. The Bala concept of music 272. The problem of art and aesthetics 257. Notes 281. -- sources of gola artistry Warren L. d�Azevedo 282 -- Some cross-cultural considerations 282. The regional setting 284. Vocational specialization 286. Status of specialists 289. Talent, virtuosity, and genius 291. Identification of Gola artistic and aesthetic values 299. Qualities of aesthetic-expressive roles 304. The vocations of artistry 308: singing 311; dancing 313; musicianship 313; storytelling and oratory 315; legerdemain and acrobatics 316; blacksmithing and related crafts 320; woodcarving 322; weaving and other crafts 326. The Gola artist: Some "TurtheFcoHsiderations 329. Notes 338. -- II: Commentaries -- ON THE SPHERE OF SOCIAL VALIDITY IN AFRICAN ART: -- SOCIOLOGICAL REFLECTIONS ON ETHNOGRAPHIC DATA -- K. Peter Etzkorn 343 -- Sociology�s neglect of aesthetic behavior 343. Art and sociology 347. Art as a social variable 351. Th�ture of artistic communication 357. A sociological look at African art 359. Native views on aesthetics and art 362. Artistic socialization of artists and audiences 367. On social control processes of African art 369. On sources of change and innovation 371. Some comparative reflections 373. Concluding remarks 375. Notes 377. -- ART AND THE ANTHROPOLOGICAL LENS George Mills -- Experiencing a work of art 379. The experience of art and understanding a culture: An analogy 383. The anthropological lens 385. Experiencing alien values 394. The complex of art 404. Art and cultural coherence 405. Understanding the work of art 407. Tire artist and cultural coherence 409. Anthropological uses of aesthetics 412. -- CONCEPTUAL PROBLEMS RELATING TO THE COMPARATIVE -- study of art John Ladd 417 -- Is art universal? 417. Aesthetic, ethical, and scientific concepts 418. Anthropological investigations of art 421. Descriptive aesthetics 421. Die art connoisseur 422. The social anthropological viewpoint 423. -- approaches to non-western art Roy Sieber 425 -- The problem of definitions 425. Aesthetic response 427. Audiences, critics, and informants 429. The artist 430. Historical aspects 431. Open-textured definitions 432. -- bibliography 435. ISBN 9780253399014