In an era of intensifying globalization and transnational connectivity, the dynamics of cultural production and the very notion of creativity is in transition. Exploring creative practices in various settings, the book does not only call attention to the spread of modernist discourses of creativity, from the colonial era to the current obsession with 'innovation' in neo-liberal capitalist cultural politics, but also to the less visible practices of copying, recycling and reproduction that occur as part and parcel of creative improvisation.
Arvustused
The editors and contributors point about the relative and collaborative nature of creativity is well made in the volume, and the ethnographic examples shine interesting light on diverse corners of culture while pinpointing a number of shared issues. Anthropology Review Database
This book is an important contribution to the growing literature on appropriation and the aesthetics of change. Conceiving creativity as process rather than outcome is the key argument of the book whose contributors discuss the argument in numerous ways and case studies. Peter Probst, Tufts University
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vii | |
| Acknowledgements |
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xii | |
| Introduction: Creativity and Innovation in a World of Movement |
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1 | (32) |
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1 African Lace: Agency and Transcontinental Interaction in Textile Design |
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33 | (28) |
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2 Heads Against Hands and Hierarchies of Creativity: Indian Luxury Embroidery Between Craft, Fashion Design and Art |
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61 | (25) |
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3 The Social Life of Kottan Baskets: Craft Production, Consumption and Circulation in Tamil Nadu, India |
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86 | (21) |
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4 Art and the Making of the Creative City of Chennai, India |
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107 | (24) |
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5 Approximation as Interpretive Appropriation: Guarani-Inspired Ceramics in Misiones, Argentina |
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131 | (27) |
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6 Positioned Creativity: Museums, Politics and Indigenous Art in British Columbia and Norway |
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158 | (27) |
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7 `We Paint Our Way and the Christian Way Together': Transforming Yolngu and Ngan'gi Art through Creative Ancestral-Christian Practice |
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185 | (33) |
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8 Undoing Absence through Things: Creative Appropriation and Effective Engagement in an Indian Transnational Setting |
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218 | (27) |
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9 `The Eye Likes It': National Identity and the Aesthetics of Attraction Among Sri Lankan Tamil Catholics and Hindus |
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245 | (22) |
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10 Narratives, Movements, Objects: Aesthetics and Power in Catholic Devotion to Our Lady of Aparecida, Brazil |
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267 | (23) |
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11 The Art of Imitation: The (Re)Production and Reception of Jesus Pictures in Ghana |
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290 | (22) |
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| Afterword: Creativity in Transition |
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312 | (7) |
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| Index |
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319 | |
Maruka Svaek is Professor of Anthropology at the School of History and Anthropology at Queens University, Belfast. Major publications include Mixed Emotions. Anthropology of Feeling (Berg 2005) Anthropology, Art and Cultural Production (Pluto 2007), Emotions and Human Mobility. Ethnographies of Movement (Routledge 2012), Moving Subjects, Moving Objects: Transnationalism, Cultural Production and Emotions (Berghahn 2012). She is co-editor of the Berghahn series Material Mediations: People and Things in a World of Movement.
