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Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
SCIENCE AND EMPIRES: FROM THE INTERNATIONAL COLLOQUIUM TO THE BOOK Patrick PETITJEAN, Catherine JAMI and Anne Marie MOULIN The International Colloquium "Science and Empires - Historical Studies about Scientific De velopment and European Expansion" is the product of an International Colloquium, "Sciences and Empires - A Comparative History of Scien tific Exchanges: European Expansion and Scientific Development in Asian, African, American and Oceanian Countries". Organized by the REHSEIS group (Research on Epistemology and History of Exact Sciences and Scientific Institutions) of CNRS (National Center for Scientific Research), the colloquium was held from 3 to 6 April 1990 in the UNESCO building in Paris. This colloquium was an idea of Professor Roshdi Rashed who initiated this field of studies in France some years ago, and proposed "Sciences and Empires" as one of the main research programmes for the The project to organize such a colloquium was a bit REHSEIS group. of a gamble. Its subject, reflected in the title "Sciences and Empires", is not a currently-accepted sub-discipline of the history of science; rather, it refers to a set of questions which found autonomy only recently. The terminology was strongly debated by the participants and, as is frequently suggested in this book, awaits fuller clarification.
As more parts of the world outside Europe became accessible =– and in the wake of social and technological developments in the 18th century – a growing number of exotic artefacts entered European markets. The markets for such objects thrived, while a collecting culture and museums emerged. This book provides insights into the methods and places of exchange, networks, prices, expertise, and valuation concepts, as well as the transfer and transport of these artefacts over 300 years and across four continents. The contributions are from international experts, including Ting Chang, Nélia Dias, Noëmie Etienne, Jonathan Fine, Philip Jones, Sylvester Okwunodu Ogbechie, Léa Saint-Raymond, and Masako Yamamoto.
In October 1860, at the culmination of the Second Opium War, British and French troops looted and destroyed one of the most important palace complexes in imperial China—the Yuanmingyuan. Known in the West as the "Summer Palace," this site consisted of thousands of buildings housing a vast art collection. It is estimated that over a million objects may have been taken from the palaces in the Yuanmingyuan—and many of these are now scattered around the world, in private collections and public museums. With contributions from leading specialists, this is the first book to focus on the collecting and display of "Summer Palace" material over the past 150 years in museums in Britain and France. It examines the way museums placed their own cultural, political and aesthetic concerns upon Yuanmingyuan material, and how displays—especially those at the Royal Engineers Museum in Kent, the National Museum of Scotland and the Musée Chinois at the Château of Fontainebleau—tell us more about European representations and images of China, than they do about the Yuanmingyuan itself.