Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
617
result(s) for
"Indigenous peoples Material culture."
Sort by:
Ownership and nurture
The first book to address the classic anthropological theme of property through the ethnography of Amazonia, Ownership and Nurture sets new and challenging terms for anthropological debates about the region and about property in general. Property and ownership have special significance and carry specific meanings in Amazonia, which has been portrayed as the antithesis of Western, property-based, civilization. Through carefully constructed studies of land ownership, slavery, shamanism, spirit mastery, aesthetics, and intellectual property, this volume demonstrates that property relations are of central importance in Amazonia, and that the ownership of persons plays an especially significant role in native cosmology.
eBook
Sovereign Screens
While Indigenous media have gained increasing prominence around the world, the vibrant Aboriginal media world on the Canadian West Coast has received little scholarly attention. As the first ethnography of the Aboriginal media community in Vancouver,Sovereign Screensreveals the various social forces shaping Aboriginal media production including community media organizations and avant-garde art centers, as well as the national spaces of cultural policy and media institutions.
Kristin L. Dowell uses the concept of visual sovereignty to examine the practices, forms, and meanings through which Aboriginal filmmakers tell their individual stories and those of their Aboriginal nations and the intertribal urban communities in which they work. She explores the ongoing debates within the community about what constitutes Aboriginal media, how this work intervenes in the national Canadian mediascape, and how filmmakers use technology in a wide range of genres-including experimental media-to recuperate cultural traditions and reimagine Aboriginal kinship and sociality. Analyzing the interactive relations between this social community and the media forms it produces,Sovereign Screensoffers new insights into the on-screen and off-screen impacts of Aboriginal media.
eBook
Adivasi art and activism : curation in a nationalist age
\"As India consolidates an aggressive model of economic development, indigenous tribal people known as adivasis continue to be overrepresented among the country's poor. Adivasis make up more than eight hundred communities in India, with a total population of more than 100 million people who speak more than three hundred different languages. Although their historical presence is acknowledged by the state and they are lauded as a part of India's ethnic identity today, their poverty has been compounded by the suppression of their cultural heritage and lifestyle. In Adivasi Art and Activism, Alice Tilche draws on anthropological fieldwork conducted in rural western India to chart changes in adivasi aesthetics, home life, attire, food, and ideas of religiosity that have emerged from negotiation with the homogenizing forces of Hinduization, development, and globalization in the twenty-first century. She documents curatorial projects located not only in museums and art institutions, but in the realms of the home, the body, and the landscape. Adivasi Art and Activism raises vital questions about preservation and curation of indigenous material and provides an astute critique of the aesthetics and politics of Hindu nationalism\"-- Provided by publisher
BOOK
Protection of first nations cultural heritage : laws, policy, and reform
Indigenous peoples around the world are seeking greater control over tangible and intangible cultural heritage.In Canada, issues concerning repatriation and trade of material culture, heritage site protection, treatment of ancestral remains, and control over intangible heritage are governed by a complex legal and policy environment.
eBook
The archaeology of art in the American Southwest
Archaeologists seldom study ancient art, even though art is fundamental to the human experience. The Archaeology of Art in the American Southwest argues that archaeologists should study ancient artifacts as artwork, as applying the term \"art\" to the past raises new questions about artists, audiences, and the works of art themselves. Munson proposes that studies of ancient artwork be based on standard archaeological approaches to material culture, framed by theoretical insights of disciplines such as art history, visual studies, and psychology. Using examples drawn from the American Southwest, The Archaeology of Art in the American Southwest discusses artistic practice in ancestral Pueblo and Mimbres ceramics and the implications of context and accessibility for the audiences of painted murals and rock art. Studies of Hohokam figurines and rock art illustrate methods for studying ancient images, while the aesthetics of ancient art are suggested by work on ceramics and kivas from Chaco Canyon. This book will be of interest to archaeologists working in the Southwest who want to broaden their perspective on the past. It will also appeal to archaeologists in other parts of the world and to anthropologists, art historians, and those who are intrigued by the material world, aesthetics, and the visual.
eBook
Collecting Across Cultures
In the early modern age more people traveled farther than at any earlier time in human history. Many returned home with stories of distant lands and at least some of the objects they collected during their journeys. And those who did not travel eagerly acquired wondrous materials that arrived from faraway places. Objects traveled various routes-personal, imperial, missionary, or trade-and moved not only across space but also across cultures. Histories of the early modern global culture of collecting have focused for the most part on EuropeanWunderkammern, or \"cabinets of curiosities.\" But the passion for acquiring unfamiliar items rippled across many lands. The court in Java marveled at, collected, and displayed myriad goods brought through its halls. African princes traded captured members of other African groups so they could get the newest kinds of cloth produced in Europe. Native Americans sought colored glass beads made in Europe, often trading them to other indigenous groups. Items changed hands and crossed cultural boundaries frequently, often gaining new and valuable meanings in the process. An object that might have seemed mundane in some cultures could become a target of veneration in another. The fourteen essays inCollecting Across Culturesrepresent work by an international group of historians, art historians, and historians of science. Each author explores a specific aspect of the cross-cultural history of collecting and display from the dawn of the sixteenth century to the early decades of the nineteenth century. As the essays attest, an examination of early modern collecting in cross-cultural contexts sheds light on the creative and complicated ways in which objects in collections served to create knowledge-some factual, some fictional-about distant peoples in an increasingly transnational world.
eBook
Re-theorising mobility and the formation of culture and language among the Corded Ware Culture in Europe
Recent genetic, isotopic and linguistic research has dramatically changed our understanding of how the Corded Ware Culture in Europe was formed. Here the authors explain it in terms of local adaptations and interactions between migrant Yamnaya people from the Pontic-Caspian steppe and indigenous North European Neolithic cultures. The original herding economy of the Yamnaya migrants gradually gave way to new practices of crop cultivation, which led to the adoption of new words for those crops. The result of this hybridisation process was the formation of a new material culture, the Corded Ware Culture, and of a new dialect, Proto-Germanic. Despite a degree of hostility between expanding Corded Ware groups and indigenous Neolithic groups, stable isotope data suggest that exogamy provided a mechanism facilitating their integration. This article should be read in conjunction with that by Heyd (2017, in this issue).
Journal Article
Who Owns Culture?
It is not uncommon for white suburban youths to perform rap music, for New York fashion designers to ransack the world's closets for inspiration, or for Euro-American authors to adopt the voice of a geisha or shaman. But who really owns these art forms? Is it the community in which they were originally generated, or the culture that has absorbed them?While claims of authenticity or quality may prompt some consumers to seek cultural products at their source, the communities of origin are generally unable to exclude copyists through legal action. Like other works of unincorporated group authorship, cultural products lack protection under our system of intellectual property law. But is this legal vacuum an injustice, the lifeblood of American culture, a historical oversight, a result of administrative incapacity, or all of the above?Who Owns Culture?offers the first comprehensive analysis of cultural authorship and appropriation within American law. From indigenous art to Linux, Susan Scafidi takes the reader on a tour of the no-man's-land between law and culture, pausing to ask: What prompts us to offer legal protection to works of literature, but not folklore? What does it mean for a creation to belong to a community, especially a diffuse or fractured one? And is our national culture the product of Yankee ingenuity or cultural kleptomania?Providing new insights to communal authorship, cultural appropriation, intellectual property law, and the formation of American culture, this innovative and accessible guide greatly enriches future legal understanding of cultural production.
eBook