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When Zulu women potters innovate or move to a more urban setting,
they are asked why they have abandoned tradition. Yet when they
continue to follow convention or choose to stay in rural areas, art
historians speak of their work as unchanging symbols of the past.
Burnished rejects both stereotypes, acknowledging the agency of
rural women as innovative artists and complex individuals
negotiating a biased set of power structures. Featuring 90 color
images, Burnished engages directly with individual artists and
specific vessels, fracturing assumptions that Zulu ceramicists are
resistant to rural transformation and insulated from urban
realities. Elizabeth Perrill shares compelling narratives of women
ceramic artists and the sophisticated beer pots they create—their
aesthetic choices, audiences, production, and artistic lives.
Simultaneously, Perrill documents the manner in which and reasons
why ceramic arts, and at times the artists themselves, capitalize
upon bucolic stereotypes of rural womanhood, are constrained by
artistic methods, or chafe against definitions of what qualifies as
a Zulu pot. Revealing how white South Africans and global art
gatekeepers have continually twisted the designation of Zulu
ceramics before, during, and after apartheid, Burnished provides an
engaging look at the artistry of entrepreneurial Black women too
often erased from historical records.
When Zulu women potters innovate or move to a more urban setting,
they are asked why they have abandoned tradition. Yet when they
continue to follow convention or choose to stay in rural areas, art
historians speak of their work as unchanging symbols of the past.
Burnished rejects both stereotypes, acknowledging the agency of
rural women as innovative artists and complex individuals
negotiating a biased set of power structures. Featuring 90 color
images, Burnished engages directly with individual artists and
specific vessels, fracturing assumptions that Zulu ceramicists are
resistant to rural transformation and insulated from urban
realities. Elizabeth Perrill shares compelling narratives of women
ceramic artists and the sophisticated beer pots they create-their
aesthetic choices, audiences, production, and artistic lives.
Simultaneously, Perrill documents the manner in which and reasons
why ceramic arts, and at times the artists themselves, capitalize
upon bucolic stereotypes of rural womanhood, are constrained by
artistic methods, or chafe against definitions of what qualifies as
a Zulu pot. Revealing how white South Africans and global art
gatekeepers have continually twisted the designation of Zulu
ceramics before, during, and after apartheid, Burnished provides an
engaging look at the artistry of entrepreneurial Black women too
often erased from historical records.
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