In this lucid, witty, and forceful book, Shelly Errington argues that Primitive Art was invented as a new type of art object at the beginning of the twentieth century but that now, at the century's end, it has died a double but contradictory death. Authenticity and primitivism, both attacked by cultural critics, have died as concepts. At the same time, the penetration of nation-states, the tourist industry, and transnational corporations into regions that formerly produced these artifacts has severely reduced supplies of "primitive art," bringing about a second "death." Errington argues...
In this lucid, witty, and forceful book, Shelly Errington argues that Primitive Art was invented as a new type of art object at the beginning of the t...
The ruler in the Indic States of Southeast Asia was seen not as the "head of state" but as the center or navel of the world. Like polities, persons and houses were and are viewed as centered spaces (locations) where spiritual potency can gather. Shelly Errington explores the politics of constituting and maintaining such centered socio-political spaces in a former Indic State called Luwu, which lies in South Sulawesi (Celebes), Indonesia. The meaning of political life and the ways its cultural forms were and are sustained depend on locally construed ideas of "power" or spiritual potency and...
The ruler in the Indic States of Southeast Asia was seen not as the "head of state" but as the center or navel of the world. Like polities, persons...
