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This prodigiously diverse and living culture has for its spiritual source a single traditional vision central to which is the fact that the world belongs not to the living, but to the ancestors. In Vanuatu art we have the construction of canoes and of standing slit-drums, the inventiveness apparent in the masks and mats, the aesthetics of dress, the raising of tusker pigs, the sharing out of sea-turtle meat, the symbol of the hawk representing the outward sign of the possession of the world through the eyes of the departed. This art, sacred in inspiration, takes root in the magic of each place and shore. Arts of Vanuatu is the first major contemporary anthropology work covering such a range of topics. It is also the first work covering the traditional art of the former South Pacific island colony of the New Hebrides.
This book showcases a unique collection of the National Gallery of Australia. During the early 1970s an impressive array of traditional arts through a program of field collecting on the Islands of Ambrym and Malakula. Central to many traditional practices, better known as 'Kastom', are masked performances and displays of sculpture including iconic upright slit drums.
In Vanuatu, commoditization and revitalization of culture and the arts do not necessarily work against each other; both revolve around value formation and the authentication of things. This book investigates the meaning and value of (art) objects as commodities in differing states of transit and transition: in the local place, on the market, in the museum. It provides an ethnographic account of commoditization in a context of revitalization of culture and the arts in Vanuatu, and the issues this generates, such as authentication of actions and things, indigenized copyright, and kastom disputes over ownership and the nature of kastom itself.
Originally published in German in 1923, this work records much of Vanuatu's early material culture. It is the result of two years of field work by Swiss anthropologist Felix Speiser between 1910 and 1912. Speiser attempted to collect everything that could still be obtained of the objects constituting Vanuatu's native culture. Ethnology of Vanuatu presents culturally and historically significant photographs and drawings by Speiser assembled during the expedition, along with color photos taken in the Basel Museum, which, taken together, represent the Speiser collection. Through the use of Speiser's collection of cultural photographs and illustrations, it has been possible to revive certain art forms thought to have already vanished.
People communicate by speaking words in over seven thousand languages around the world. They also sing, dance, paint, preach, dramatize, and design communication that enlivens heart, soul, mind, and strength. God gave every community unique gifts of artistic expression to enable its members to proclaim the Truth and to bring healing, hope, and joy to others in the fallen world in which we live. Community Arts for God's Purposes highlights the CLAT (Creating Local Arts Together) method, a seven-step process that inspires artistic creativity and collaboration with local musicians, dancers, storytellers, actors, and visual artists. In this manual, the arts are treated as special kinds of communication systems, connected to specific times, places, and social contexts. As local communities use the creative gifts developed in their particular culture to worship God and extend his kingdom, a beautiful example of the Lord’s complex artistry emerges. This book helps communities draw on examples and insights from over two thousand years of church history to understand and improve the present. It motivates people by painting a vivid picture of a better future: the kingdom of Heaven. Contributors also apply expertise from multiple academic disciplines, such as ethnomusicology, performance studies, anthropology, biblical studies, and missiology. Experiment with this manual. Adapt it to your setting. Let it be an aid in creating astounding bits of artistry on earth that you’ll recognize in Heaven.
"Brings artists, academics, museum curators and gallery owners together to discuss the production and promotion of contemporary Pacific arts in the global art world" BOOK JACKET.
"A new Bislama dictionary is a substantially updated version of the first edition, which reflects the ever-changing vocabulary of Bislama, the national language of Vanuatu."--Back cover.
When Diana quit her job and followed her husband to Manila, she believed the move would work for both of them: Jay would finally have his dream job, and she would take time off from her accounting career to start a family. Four years later, however, she’s still not pregnant. Her fertility doctor advises her to relax—an undertaking that is easier said than done in one of the noisiest, most crowded cities in the world. Nevertheless, Diana tries. She takes up yoga and meditation. She buys goldfish. Then one day, while Jay is away on business, a violent coup d’etat erupts. The rebels bomb the presidential palace and occupy parts of the city. Clearly, Diana decides, something needs to change. Determined to have a baby while she’s still young enough, she convinces Jay to transfer to the small South Pacific nation of Vanuatu, said to be “the most relaxing place on earth.” It isn’t long before she realizes that the island’s tropical beauty hides dangers and disappointments that will test her courage, her marriage, and her ability to open herself up to new possibilities.
This is a treatise on what makes art art, told in graphic novel form. What is “Art”? It’s widely accepted that art serves an important function in society. But the concept falls under such an absurdly large umbrella and can manifest in so many different ways. Art can be self indulgent, goofy, serious, altruistic, evil, or expressive, or any number of other things. But how can it truly make lasting, positive change? In Why Art?, acclaimed graphic novelist Eleanor Davis (How To Be Happy) unpacks some of these concepts in ways both critical and positive, in an attempt to illuminate the highest possible potential an artwork might hope to achieve. A work of art unto itself, Davis leavens her exploration with a sense of humor and a thirst for challenging preconceptions of art worth of Magritte, instantly drawing the reader in as a willing accomplice in her quest.