Art and Politics: From Javanese Court Dance to Indonesian Art

Hughes-Freeland, Felicia

doi:10.2307/3034763

Cited by 20 publications

(13 citation statements)

References 13 publications

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“…Many other social contexts for the appreciation of form can be found in the anthropological literature. Hughes‐Freeland (1997) discusses the politicization of aesthetics in Java in relation to the impact of colonialism. The Lega of Central Africa consider objects made of ivory and well‐polished wood to be the most important because they are associated with the most skilled and experienced leaders.…”

Section: What Is Wrong With Existing Workmentioning

confidence: 99%

Art and Agency: A Reassessment

Layton

2003

Royal Anthropological Inst

110

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In his book, Art and agency, Alfred Gell presents a theory of art based neither on aesthetics nor on visual communication. Art is defined by the distinctive function it performs in advancing social relationships through 'the abduction of agency'. Art objects are indexes of the artist's or model's agency. This article examines Gell's use of agency, particularly in relation to the ritual art that is central to his argument. Focusing on Gell's employment of Peirce's term 'index' (out of his triad of index, icon, and symbol), I note that Peirce's approach deflects attention from signification towards the link between art works and the things to which they refer. I consider what Peirce meant by abduction, and conclude that while Gell makes a good case for the agency of art objects he does not explain the distinctive ways in which art objects extend their maker's or user's agency. Gell lacked the time to make detailed revisions before publication and I acknowledge that, given more time, he might have revised some parts of the book.

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Section: What Is Wrong With Existing Workmentioning

confidence: 99%

Art and Agency: A Reassessment

Layton

2003

Royal Anthropological Inst

110

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“…The kasar-ness of sound is traced to the dominant role of gendang, a kind of drum made of animal skin, and soronen, a short wooden flute. 'Javanese' dance movements are construed as conditioned equally by the temperament of 'Javanese' personhood (see Brakel-Papenhuysen 1995;Hughes-Freeland 1997). 'Javanese dance is full of movements that show indecision for sifat Jawa is reserved (malu) and thinks a lot before acting ( fikir panjang),' Pak Priyono added.…”

Section: Sensory Distinctionsmentioning

confidence: 97%

The Power Of The Senses: Ethnicity, History and Embodiment in East Java, Indonesia

Retsikas¹

2007

Indonesia and the Malay World

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“…Another of the anthropologists I have interviewed; Felicia Hughes‐Freeland (1997a, 1997b, 2001) has specialized in the study of dance in Indonesia. To dance became central.…”

Section: The Labouring Body: Skills Recognizedmentioning

confidence: 99%

Fieldwork Embodied

Okely¹

2007

The Sociological Review

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Participation entails bodily engagement. Participant observation has been integral to anthropological fieldwork. Although cross-cultural ideas of the body have been elaborated theoretically in social anthropology, the Cartesian mind/body dichotomy has privileged the cerebral in the understanding of fieldwork practice and the bodily experience of the fieldworker has been under-scrutinized. In seeking to rectify this situation, this chapter draws on extensive dialogues with leading anthropologists about their fieldwork. Examples are selected from Africa, Iran, Afghanistan, India, Malaysia and Europe. The anthropologists' conscious and hitherto unarticulated bodily adaptations are disentangled, and research is examined as a process of physical labour, bodily interaction and sensory learning which constitutes a foundation for the production of written texts.

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Art and Politics: From Javanese Court Dance to Indonesian Art

Cited by 20 publications

References 13 publications

Art and Agency: A Reassessment

Art and Agency: A Reassessment

The Power Of The Senses: Ethnicity, History and Embodiment in East Java, Indonesia

Fieldwork Embodied

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