The aesthetic and spiritual contexts of Giriama vigango in Kenya and their relationship to contemporary sculptural form
Bibliographic Data
| ID | 6041731 |
|---|---|
| Authors | Kate Parsons (0000-0001-8797-1720, corresponding author) |
| Year | 2000 |
| Volume | 35 |
| Issue | 1 |
| Pages | 226-230 |
| Publication date | 2000-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Azania Archaeological Research in Africa (JOURNAL) |
| Journal identifiers | ISSN: 0067-270X • E-ISSN: 1945-5534 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/00672700009511609 |
| OpenAlex | W2018583315 |
| Language | EN |
| References cited | 8 |
My research attempts to cross the boundaries of art and ethnography/anthropology in particular, but also those of art with craft, religion, or environment, with the result that the work overall subverts categorisation and deliberately creates ambiguity, often about its origins and intentions. Showing the work in differing contexts, can lead to its reinterpretation thereby emphasising that context becomes a determining factor for its meaning and intentions. By living in Africa as opposed to merely visiting it, this experience for me vecame all the more poignant for subsequent artwork. Paolozzi (1995) in Lost Magic Kingdoms suggested that in order to invent something new from ethnographic material in the West, it could be an advantage not to know too much about the cultural context of the artefact. However as a result of the field trip, I became much more aware of the physical, social, cultural and religious contexts of the vigango and the sense of the surrounding natural environment. Consequently, I belive that the context of production is more interesting an of greater relevance to an understanding of vigango, that their physical appearance
Aesthetics · Art · Sociology · Global Maritime and Colonial Histories
| Citation velocity | historical |
|---|---|
| Highly cited | No |