By Joanna Grabski, Carol Magee
Joanna Grabski and Carol Magee compile a compelling assortment that indicates how interviews can be utilized to generate new that means and the way connecting with artists and their paintings can rework creative creation into cutting edge severe insights and information. The individuals to this quantity contain artists, museum curators, paintings historians, and anthropologists, who handle creative construction in quite a few destinations and media to query prior makes use of of interview and galvanize substitute understandings of art.
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Extra info for African Art, Interviews, Narratives: Bodies of Knowledge at Work (African Expressive Cultures)
People engaged with each other constitute a portal into the things they share or don’t share, and that weighs heavily on the nature of their interaction. Knowledge held in common and shared experiences of the world expand outward from the two people talking, like concentric circles of comprehension. Usually people from the same culture, the same society, the same community, the same activities and institutions, or the same family share the most and so have the most resources for understanding each other.
Many who knew him or knew of his performances would not have been surprised by the number he gave. Sidi also told me that at one performance he leaped into the branches of a large tree. Sorcerers tried to deploy their powers to destroy him in a crash to the ground, but his powers thwarted theirs and he descended gently instead. Such a statement will never be believed by many people in the West, and there are certainly Mande individuals who would doubt it. But the statement gives a strong indication of the potency ascribed to the sorcery side of Mande performance, which is embedded across a range of art from professional bards and semi-professional drum and balaphon orchestras to sculpture and masquerades both public and private.
For several years, I also corresponded by letter with Lods’s former Brazzaville colleague Roger Frey. 13. Lods was recruited from Brazzaville’s Poto-Poto School of Painting by President Senghor to help establish the École des Arts in Dakar in 1960. 14. Amadou Seck, interview by author, tape recording, Dakar, August 27, 1998. 15. See Harney, In Senghor’s Shadow; Snipe, Arts and Politics; Sylla, Arts plastiques. 16. Behar, An Island Called Home. Des Chene has also observed that documents encountered in the field are treated as a somewhat different category from those deposited elsewhere, such as in an archive.