Sidney Littlefield Kasfir
Dados Biográficos
| ID | 82825 |
|---|---|
| NOME | Sidney Littlefield Kasfir |
| PRENOMES | Sidney Littlefield |
| SOBRENOME | Kasfir |
| ASSINATURA | KASFIR S L |
| AFILIAÇÕES | Emory University |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 61 |
| TOTAL DE CITAÇÕES | 233 |
| TOTAL COMO AUTOR | 61 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1969 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2019 |
| ÍNDICE H | 7 |
How Masks Travel
In the area described by the Lower Niger, the Benue, and the Cross Rivers, a unique combination of circumstances made possible the mobility of masquerades between 1700 and the present. Behind this mobility lay, in the Cross River region and near it, the sophisticated trade networks in (at various times) slaves, palm oil, salt, cloth and ivory developed and managed by both the Calabar and Niger Delta traders, and inland, the Arochukwu. Between the…
Igala's Royal Masks
all photos by the author except where otherwise notedIn contrast to the numerous small-scale gerontocracies found in the area we now know as eastern Nigeria, a strong centralized kingship grew up (or was imposed) sometime before the sixteenth century near the Niger-Benue Confluence, nexus of north-south and east-west riverine trade. Its present identity as “the Igala kingdom” glosses over a complex historical entity that has shifting claims of or…
Commentary on “The Art and Material Culture of the Eloyi (Afo) People, Nigeria 1969/70” by Anna Craven
Anna Craven has generously shared her knowledge of Afo/Eloyi1 art and history based in her 1969–1970 collecting activities and documentation for the National Museum at Jos, opened by Bernard Fagg in 1952. The style her contribution takes is in the form of an ethnographic report, rather than the typical African Arts article which offers description and commentary on a particular artist or group of artists and their practice. The advantage of the a…
Are Biennials the Solution or the Problem for African Art's Global Reach
Politically, the United States and Europe have become deeply polarized between the forces of globalism and a resurgent, antiglobal nationalism, while contemporary art, by contrast, appears to be riding the waves of globalization with little competition from nationalist holdouts.Biennials and other large-scale temporary exhibition projects have become the bellwethers of this globalism in the art world. But they have had many outcomes, foreclosing …
Visionary Africa
African Art and Agency in the Workshop
The economic, social, and cultural worlds of artists and objects
The Disappearing Study of the Premodern African Past
Visual Cultures
The first collectors of African art and artefacts were nineteenth-century explorers. The second were modern art collectors and dealers, fascinated by an art, primarily sculpture, which was in every way opposite to academic European teaching. As fieldwork expanded the knowledge base of African art and performance, masquerades became a major research subject and vehicle for both African history and social theory. However, African visual culture enc…
Up Close and Far Away
September 01 2012 Up Close and Far Away: Renarrating Buganda's Troubled Past Sidney Littlefield Kasfir Sidney Littlefield Kasfir Sidney Littlefield Kasfir conducts annual research in Uganda. She is currently transitioning from teaching at Emory University to fulltime research and writing on Uganda and Nigeria. Her most recent books are Central Nigeria Unmasked: Arts of the Benue River Valley, edited with Marla Berns and Richard Fardon (University…
Paris Primitive
The (Dis)placement of National Art in a Transnational Artworld
September 01 2008 The (Dis)placement of National Art in a Transnational Artworld Sidney Kasfir, Sidney Kasfir Sidney Kasfir is a professor of African art history at Emory University and Dialogue editor for African Arts. [email protected] Search for other works by this author on: This Site Google Scholar Delinda Collier, Delinda Collier Delinda Collier is a PhD student at Emory University studying Chokwe art, Angolan identity and the Trienal…
African Art and the Colonial Encounter
To help alter and broaden the meaning that some of her western professional colleagues associate with African objects, art historian and curator Kasfir (Emory Univ.) applies and draws lessons from certain anthropological practice from the 1980s and literary theory from the 1990s to two examples of African artifacts. "Sustained fieldwork" undergirds her study of the spears of the pastoralist Samburu of the Rift Valley, in Kenya, East Africa, and o…
Books
Narrating Trauma as Modernity
In Memoriam
Two Nigerian Mask Attributions
April 01 2004 Two Nigerian Mask Attributions Sidney L. Kasfir Sidney L. Kasfir Search for other works by this author on: This Site Google Scholar Author and Article Information Sidney L. Kasfir Online Issn: 1937-2108 Print Issn: 0001-9933 Copyright 2004 Regents of the University of California2004 African Arts (2004) 37 (1): 8. https://doi.org/10.1162/afar.2004.37.1.8a Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Vi…
Tourist Aesthetics in the Global Flow
In this article I bring together two strands of history, namely a longstanding Swahili Coast mercantilism seen in the context of a very permeable ocean frontier, and the much more recent experience of modernity, in some kind of mutual dialogue which engages both global and local outcomes. The broad topic I explore is the development of the Swahili Coast as a tourism "destination" in the late twentieth century. As an art historian, I am particular…
Thinking about artworlds in a global flow
This article will argue that the differences between art history and the anthropology of art not just due to discipline-driven methodologies, though these are certainly a factor, but also occur because art historians and anthropologists are usually asking rather different questions, and finding the answers in quite different places within the culture. As a starting point I will demonstrate these differences of both approach and result, using two …
Museums and Contemporary African Art
Katarikawe Dreaming
The Ethnographer's Eye
Slam-Dunking and the Last Noble Savage
Prior to the 1970s few Westerners came into contact with the cattle and camel-herding pastoralists living in the then-closed Northern Frontier District of Kenya. The Maa-speaking Samburu were known to their allies and rivals, the Rendille, Turkana, Borana and Pokot, and by a few district administrators. Their recent representation in feature films and some of the ways the Samburu have learned through this experience to trade on their own objectif…
Contemporary African Art
New genres - inventing African popular culture transforming the workshop patrons and mediators art and commodity the African artist - shifting identities in the postcolonial world the idea of a national culture - decolonizing African art migration and displacement
Teaching the Contemporary
Sidney L. Kasfir, Kate Ezra, Babatunde Lawal, Raymond A. Silverman, Christopher D. Roy, Teaching the Contemporary: Disjunctures and Accommodations, African Arts, Vol. 34, No. 3 (Autumn, 2001), pp. 10+88-90
Artists' Reputations
A partir de l'exemple des sculpteurs idoma du Nigeria, l'A. se propose de contribuer au debat actuel sur le statut et l'autorite d'auteur de l'artiste africain. Contestant certaines interpretations qui tendent a minimiser la visibilite et le pouvoir de l'artiste, le reduisant ainsi, dans la hierarchie des valeurs locales, au statut d'artisan ou de technicien, il suggere que le cadre conceptuel de la relation patron-artiste est trop reducteur pour…
African Art and Authenticity
One Tribe, One Style? Paradigms in the Historiography of African Art
While the historiography of art as an academic discipline can hardly be construed as a science, it is nevertheless governed by certain dominant paradigms in both of the senses that Thomas Kuhn intended. First, at any point in time there is a constellation of beliefs, values, and techniques shared by the community of scholars who comprise the discipline known as art history. This can be further broken down, altered, and refined for the various sub…
The Ethnographer's Eye
Art History in Africa
Tourist Aesthetics in the Global Flow
In this article I bring together two strands of history, namely a longstanding Swahili Coast mercantilism seen in the context of a very permeable ocean frontier, and the much more recent experience of modernity, in some kind of mutual dialogue which engages both global and local outcomes. The broad topic I explore is the development of the Swahili Coast as a tourism "destination" in the late twentieth century. As an art historian, I am particular…
Moving with the Face of the Devil
Radiance from the Waters
The Sande Society of the Mende people of Sierra Leone is a secret female regulatory society that both guards and transmits the ideals of feminine beauty so fundamental to the aesthetic criteria in Mende culture. In this eloquent and moving book, Sylvia Ardyn Boone describes the Society, its rituals and organization, and the mask worn by its members. Her book is an evocative account of Mende life and philosophy as well as a unique contribution to …
The Disappearing Study of the Premodern African Past
Patronage and Maconde Carvers
L'organisation du commerce des sculptures sur bois executees par les sculpteurs Maconde du Mozambique emigres au Tanganyka, dans la ville de Dar es Salaam. Les rapports du sculpteur avec le marchand qui ecoule sa production
Elephant Women, Furious and Majestic
Sidney Littlefield Kasfir, Elephant Women, Furious and Majestic: Women's Masquerades in Africa and the Diaspora, African Arts, Vol. 31, No. 2, Special Issue: Women's Masquerades in Africa and the Diaspora (Spring, 1998), pp. 18-27+92
West African Masks and Cultural Systems
The (Dis)placement of National Art in a Transnational Artworld
September 01 2008 The (Dis)placement of National Art in a Transnational Artworld Sidney Kasfir, Sidney Kasfir Sidney Kasfir is a professor of African art history at Emory University and Dialogue editor for African Arts. [email protected] Search for other works by this author on: This Site Google Scholar Delinda Collier, Delinda Collier Delinda Collier is a PhD student at Emory University studying Chokwe art, Angolan identity and the Trienal…
Slam-Dunking and the Last Noble Savage
Prior to the 1970s few Westerners came into contact with the cattle and camel-herding pastoralists living in the then-closed Northern Frontier District of Kenya. The Maa-speaking Samburu were known to their allies and rivals, the Rendille, Turkana, Borana and Pokot, and by a few district administrators. Their recent representation in feature films and some of the ways the Samburu have learned through this experience to trade on their own objectif…
Cast, Miscast
Are Biennials the Solution or the Problem for African Art's Global Reach
Politically, the United States and Europe have become deeply polarized between the forces of globalism and a resurgent, antiglobal nationalism, while contemporary art, by contrast, appears to be riding the waves of globalization with little competition from nationalist holdouts.Biennials and other large-scale temporary exhibition projects have become the bellwethers of this globalism in the art world. But they have had many outcomes, foreclosing …
Narrating Trauma as Modernity
Field Notes
Anjenu
Valley. The anjenu cult can be seen as a convergence, in both time and space, of three sets of interrelated beliefs held by nearby peoples and the subsequent adaptation of these to the requirements of Idoma life. These are, first, the wellknown Hausa spirit possession cult known as bori; second, cults centered upon other nature spirits such as the Igala alijenu and Abakwariga2 aljanu, widely spread through the Nigerian Middle Belt; and third, the…
Nnaggenda
L'artiste experimental peut-il avoir un futur en Afrique de l'Est aujourd'hui. Sera-t-il mene par une deprimante absence d'aide materielle a choisir entre l'exportation de ses oeuvres et les exigences des demandes du marche d'art local. Pour Francis Nnaggenda, sculpteur de l'Uganda, la question est vitale et penible. Les oeuvres de ce sculpteur representent un art qui ressort definitivement a sa culture africaine, mais aussi un art nouveau qui es…
How Masks Travel
In the area described by the Lower Niger, the Benue, and the Cross Rivers, a unique combination of circumstances made possible the mobility of masquerades between 1700 and the present. Behind this mobility lay, in the Cross River region and near it, the sophisticated trade networks in (at various times) slaves, palm oil, salt, cloth and ivory developed and managed by both the Calabar and Niger Delta traders, and inland, the Arochukwu. Between the…
Paris Primitive
Mammy Water
"On "Africa Explores
"More on "African Art and Authenticity
Philip L. Ravenhill, V. Y. Mudimbe, Henry John Drewal, Sidney Littlefield Kasfir, More on "African Art and Authenticity", African Arts, Vol. 25, No. 4, 100th Issue (Oct., 1992), pp. 18+20+22+24+26-28+30+100-103+107-108
A Life-Sized Anthropomorphic Figure from Northern Nigeria
Nnaggenda
L'artiste experimental peut-il avoir un futur en Afrique de l'Est aujourd'hui. Sera-t-il mene par une deprimante absence d'aide materielle a choisir entre l'exportation de ses oeuvres et les exigences des demandes du marche d'art local. Pour Francis Nnaggenda, sculpteur de l'Uganda, la question est vitale et penible. Les oeuvres de ce sculpteur representent un art qui ressort definitivement a sa culture africaine, mais aussi un art nouveau qui es…
Richard Ndabagoye Kampala Printmaker
Patronage and Maconde Carvers
L'organisation du commerce des sculptures sur bois executees par les sculpteurs Maconde du Mozambique emigres au Tanganyka, dans la ville de Dar es Salaam. Les rapports du sculpteur avec le marchand qui ecoule sa production
Art from Africa
Anjenu
Valley. The anjenu cult can be seen as a convergence, in both time and space, of three sets of interrelated beliefs held by nearby peoples and the subsequent adaptation of these to the requirements of Idoma life. These are, first, the wellknown Hausa spirit possession cult known as bori; second, cults centered upon other nature spirits such as the Igala alijenu and Abakwariga2 aljanu, widely spread through the Nigerian Middle Belt; and third, the…
Cultural Atlas of Africa
The Cambridge Encyclopedia of Africa
Sogow, Bambara Masks . 1983. Produced by Catherine De Clippel and directed by Jean‐Paul Colleyn
One Tribe, One Style? Paradigms in the Historiography of African Art
While the historiography of art as an academic discipline can hardly be construed as a science, it is nevertheless governed by certain dominant paradigms in both of the senses that Thomas Kuhn intended. First, at any point in time there is a constellation of beliefs, values, and techniques shared by the community of scholars who comprise the discipline known as art history. This can be further broken down, altered, and refined for the various sub…
A Life-Sized Anthropomorphic Figure from Northern Nigeria
Gelede
Akan Transformations
Art History in Africa
Diary of a Maasai Village . 1984. 5 videotapes produced and directed by Chris Curling and Melissa Llewelyn‐Davies
Moving with the Face of the Devil
Radiance from the Waters
The Sande Society of the Mende people of Sierra Leone is a secret female regulatory society that both guards and transmits the ideals of feminine beauty so fundamental to the aesthetic criteria in Mende culture. In this eloquent and moving book, Sylvia Ardyn Boone describes the Society, its rituals and organization, and the mask worn by its members. Her book is an evocative account of Mende life and philosophy as well as a unique contribution to …
On Patronage
West African Masks and Cultural Systems
Tabourets Asante/Asante Stools
Man and His Vision
West African Masks and Cultural Systems
"More on "African Art and Authenticity
Philip L. Ravenhill, V. Y. Mudimbe, Henry John Drewal, Sidney Littlefield Kasfir, More on "African Art and Authenticity", African Arts, Vol. 25, No. 4, 100th Issue (Oct., 1992), pp. 18+20+22+24+26-28+30+100-103+107-108
African Art and Authenticity
"On "Africa Explores
Mammy Water
Art (43 obras) · African history and culture studies (26 obras) · History (23 obras) · Geography (21 obras) · Sociology (21 obras) · Visual arts (17 obras) · Global Maritime and Colonial Histories (10 obras) · Cultural Industries and Urban Development (9 obras) · Political science (9 obras) · History (8 obras)