African Art and Authenticity: A Text with a Shadow

Kasfir, Sidney Littlefield

doi:10.2307/3337059

Cited by 129 publications

(21 citation statements)

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“…Thus, the specificities of African cinema are converted into lack and negatively construed as the reason for its lack of Á w ide-appeal© . African cinema, it bears underscoring, is not Á hot© merely because of its Á difference© but due to the radically am bivalent structures of desire which largely define W estern ap p reciation of African art (see Kasfir, 1992). As Gaston Kabore has argued (1995: 70), Á It is the congenital fragility of the African cinema which, paradoxically, is responsible for its extraordinary success outside the continen t© .…”

Section: Provincesmentioning

confidence: 93%

Survival Instincts: Resistance, Accommodation and Contemporary African Cinema

Akudinobi¹

1997

Social Identities

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A B ST RA CT: This overview of contemporary Sub-Saharan African cinem a identifies Á survival© and Á universalism© as conceptual categories through which its overtures to the Euro-American market are articulated. W hile the current orientation is not prem ised on any rigid or aesthetic markers, it appears that, generally, the film s seek to establish Á appeal© not in relation to essential cultural Á norm s© , as was the case earlier, but with the transformation of those Á norms© through cultural contestation and negotiation. Thus, while the constitutive features of contemporary African cinem a, more than ever, are linked to Á com mercialism© , questions and tensions abound since those features are situated am idst com plex registers that are theoretical, cultural and representational. In examining the ambiguities and conflictual precepts emanating from the current shift in representational sensibilities, this paper interrogates the prospects for the com mercial developm ent of Sub-Saharan African cinem a.

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Section: Provincesmentioning

confidence: 93%

Survival Instincts: Resistance, Accommodation and Contemporary African Cinema

Akudinobi¹

1997

Social Identities

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“…Art historians Sidney Kasfir and Carolyn Dean (Dean 2006;Kasfir 1992) maintain that such artefacts are strictly speaking not art, given that the communities in which they arose, did not have 'our' concept of art. In their view, calling such artefacts art often entails cultural appropriation.…”

Section: Borderline Cases Of Art: Examplesmentioning

confidence: 96%

Borderline Cases and the Project of Defining Art

Monseré

2016

Acta Anal

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Most philosophers of art assume that there are three categories with regard to arthood, namely 'art', 'artful' and 'non-art' and that, therefore, a definition must be able to account for 'artful items', also called 'borderline cases of art'. This article, however, defends the thesis that, since there is no agreement over which items fall under the category 'artful', the ability to account for borderline cases of art should not be used as a criterion for evaluating definitions of art. The defended thesis is important not merely because it reveals that virtually all alleged descriptive definitions of art have strong recommendatory consequences but also because the thesis has implications for the (many) artefacts that are considered to be borderline cases of art.

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“…Tourist art communicates hybrid identities and histories (Jules-Rosette 1986;Silver 1979;Kasfir 1992;Steiner 1994). Tourist art is an anti-category.…”

Section: Sepik River Tourist Artmentioning

confidence: 98%

High art as tourist art, tourist art as high art: Comparing the New Guinea Sculpture Garden at Stanford University and Sepik River tourist art

Silverman

2003

Int. J. Anthropol.

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African Art and Authenticity: A Text with a Shadow

Cited by 129 publications

References 0 publications

Survival Instincts: Resistance, Accommodation and Contemporary African Cinema

Survival Instincts: Resistance, Accommodation and Contemporary African Cinema

Borderline Cases and the Project of Defining Art

High art as tourist art, tourist art as high art: Comparing the New Guinea Sculpture Garden at Stanford University and Sepik River tourist art

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