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It is often assumed that the verbal and visual languages of
Indigenous people had little influence upon the classification of
scientific, legal, and artistic objects in the metropolises and
museums of nineteenth-century colonial powers. However colonized
locals did more than merely collect material for interested
colonizers. In developing the concept of anachronism for the
analysis of colonial material this book writes the complex
biographies for five key objects that exemplify, embody, and
refract the tensions of nineteenth-century history. Through an
analysis of particular language notations and drawings hidden in
colonial documents and a reexamination of cross-cultural
communication, the book writes biographies for five objects that
exemplify the tensions of nineteenth-century history. The author
also draws on fieldwork done in communities today, such as the
group of Koorie women whose re-enactments of tradition illustrate
the first chapter's potted history of indigenous mediums and
debates. The second case study explores British colonial history
through the biography of the proclamation boards produced under
George Arthur (1784-1854), Governor of British Honduras, Tasmania,
British Columbia, and India. The third case study looks at the maps
of the German explorer of indigenous taxonomy Wilhelm von
Blandowski (1822-1878), and the fourth looks at a multi-authored
encyclopaedia in which Blandowski had taken into account indigenous
knowledge such as that in the work of Kwat-Kwat artist Yakaduna,
whose hundreds of drawings (1862-1901) are the material basis for
the fifth and final case study. Through these three characters'
histories Art in the Time of Colony demonstrates the political
importance of material culture by using objects to revisit the
much-contested nineteenth-century colonial period, in which the
colonial nations as a cultural and legal-political system were
brought into being.
It is often assumed that the verbal and visual languages of
Indigenous people had little influence upon the classification of
scientific, legal, and artistic objects in the metropolises and
museums of nineteenth-century colonial powers. However colonized
locals did more than merely collect material for interested
colonizers. In developing the concept of anachronism for the
analysis of colonial material this book writes the complex
biographies for five key objects that exemplify, embody, and
refract the tensions of nineteenth-century history. Through an
analysis of particular language notations and drawings hidden in
colonial documents and a reexamination of cross-cultural
communication, the book writes biographies for five objects that
exemplify the tensions of nineteenth-century history. The author
also draws on fieldwork done in communities today, such as the
group of Koorie women whose re-enactments of tradition illustrate
the first chapter's potted history of indigenous mediums and
debates. The second case study explores British colonial history
through the biography of the proclamation boards produced under
George Arthur (1784-1854), Governor of British Honduras, Tasmania,
British Columbia, and India. The third case study looks at the maps
of the German explorer of indigenous taxonomy Wilhelm von
Blandowski (1822-1878), and the fourth looks at a multi-authored
encyclopaedia in which Blandowski had taken into account indigenous
knowledge such as that in the work of Kwat-Kwat artist Yakaduna,
whose hundreds of drawings (1862-1901) are the material basis for
the fifth and final case study. Through these three characters'
histories Art in the Time of Colony demonstrates the political
importance of material culture by using objects to revisit the
much-contested nineteenth-century colonial period, in which the
colonial nations as a cultural and legal-political system were
brought into being.
Following conflicting desires for an Aztec crown, this book
explores the possibilities of repatriation. In The Contested Crown,
Khadija von Zinnenburg Carroll meditates on the case of a
spectacular feather headdress believed to have belonged to
Montezuma, the last emperor of the Aztecs. This crown has long been
the center of political and cultural power struggles, and it is one
of the most contested museum claims between Europe and the
Americas. Taken to Europe during the conquest of Mexico, it was
placed at Ambras Castle, the Habsburg residence of the author's
ancestors, and is now in Vienna's Welt Museum. Mexico has long
requested to have it back, but the Welt Museum uses science to
insist it is too fragile to travel. Both the biography of a
cultural object and a history of collecting and colonizing, this
book offers an artist's perspective on the creative potentials of
repatriation. Carroll compares Holocaust and colonial ethical
claims, and she considers relationships between indigenous people,
international law and the museums that amass global treasures, the
significance of copies, and how conservation science shapes
collections. Illustrated with diagrams and rare archival material,
this book brings together global history, European history, and
material culture around this fascinating object and the debates
about repatriation.
Centring priest and navigator Tupaia and Pacific worldviews, this
richly illustrated volume weaves a new set of cultural histories in
the Pacific, between local islanders and the crew of the Endeavour
on James Cook’s first ‘voyage of discovery’ (1768-1771).
Contributors consider material collections brought back from the
voyage, paying particular attention to Tupaia's drawings, maps,
cloth and clothes, and the attending narratives that framed
Britain’s engagement with Pacific peoples. Bringing together
indigenous and Pacific-based artists, scholars, historians,
theorists and tailors, this book presents a cross-cultural
conversation around the concepts of acquired and curated artefacts
that traversed oceans and entwined cultures. Each chapter draws
attention to a particular material, object or process to reveal
fresh insights on the voyage, the societies it brought together and
the histories it transformed. Authors also explore animal
iconography, instruments and ethnomusicology, and performances and
rituals. This work challenges colonial museum collections and
celebrations of Cook’s voyages, using materials old and new to
make connections between past and present, whilst reinforcing
Tupaia’s agency as both a historical figure and a contemporary
muse. Tracing overlapping folds of symbolism, this book draws
together a picture of the diverse materials and people at the
centre of cultural exchange.
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Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
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