How have imperialism and its after-effects impacted patterns of cultural exchange, artistic creativity and historical/curatorial interpretation? World Art and the Legacies of Colonial Violence - comprised of ten essays by an international roster of art historians, curators, and anthropologists - forges innovative approaches to post-colonial studies, Indigenous studies, critical heritage studies, and the new museology. This volume probes the degree to which global histories of conflict, coercion and occupation have shaped art historical approaches to intercultural knowledge and representation. These debates are relevant to contemporary artists and scholars of visual, material and museological culture in their attempts to negotiate imperial and colonial legacies. Confronting the aesthetics of Abolition, Fascism and Filipino independence, and re-thinking relationships between colonised and coloniser in Cameroon, North America and East Timor, the collection brings together new readings of Primitivism and Aboriginal art as well. It features discussions of touring exhibitions, popular media, modernist paintings and sculptures, historic photographs, human remains and art installations. In addition to the critical application of phenomenology in a fresh and contemporary manner, the volume's 'world art' perspective nurtures the possibility that intercultural ethics are relevant to the study of art, power and modernity.

Since the 1990s, the Indigenous movement worldwide has become increasingly relevant to research in India, re-shaping the terms of engagement with Adivasi (Indigenous/tribal) peoples and their pasts. This book responds to the growing need for an inter-disciplinary re-assessment of Tribal studies in postcolonial India and defines a new agenda for Adivasi studies. It considers the existing conceptual and historical parameters of Tribal studies, as a means of addressing new approaches to histories of de-colonization and patterns of identity-formation that have become visible since national independence. Contributors address a number of important concerns, including the meaning of Indigenous studies in the context of globalised academic and political imaginaries, and the possibilities and pitfalls of constructions of indigeneity as both a foundational and a relational concept. A series of short editorial essays provide theoretical clarity to issues of representation, resistance, agency, recognition and marginality. The book is an essential read for students and scholars of Indian Sociology, Anthropology, History, Cultural Studies and Indigenous studies.

How have imperialism and its after-effects impacted patterns of cultural exchange, artistic creativity and historical/curatorial interpretation? World Art and the Legacies of Colonial Violence - comprised of ten essays by an international roster of art historians, curators, and anthropologists - forges innovative approaches to post-colonial studies, Indigenous studies, critical heritage studies, and the new museology. This volume probes the degree to which global histories of conflict, coercion and occupation have shaped art historical approaches to intercultural knowledge and representation. These debates are relevant to contemporary artists and scholars of visual, material and museological culture in their attempts to negotiate imperial and colonial legacies. Confronting the aesthetics of Abolition, Fascism and Filipino independence, and re-thinking relationships between colonised and coloniser in Cameroon, North America and East Timor, the collection brings together new readings of Primitivism and Aboriginal art as well. It features discussions of touring exhibitions, popular media, modernist paintings and sculptures, historic photographs, human remains and art installations. In addition to the critical application of phenomenology in a fresh and contemporary manner, the volume's 'world art' perspective nurtures the possibility that intercultural ethics are relevant to the study of art, power and modernity.

Since the 1990s, the Indigenous movement worldwide has become increasingly relevant to research in India, re-shaping the terms of engagement with Adivasi (Indigenous/tribal) peoples and their pasts. This book responds to the growing need for an inter-disciplinary re-assessment of Tribal studies in postcolonial India and defines a new agenda for Adivasi studies. It considers the existing conceptual and historical parameters of Tribal studies, as a means of addressing new approaches to histories of de-colonization and patterns of identity-formation that have become visible since national independence. Contributors address a number of important concerns, including the meaning of Indigenous studies in the context of globalised academic and political imaginaries, and the possibilities and pitfalls of constructions of indigeneity as both a foundational and a relational concept. A series of short editorial essays provide theoretical clarity to issues of representation, resistance, agency, recognition and marginality. The book is an essential read for students and scholars of Indian Sociology, Anthropology, History, Cultural Studies and Indigenous studies.