Notes
- Dele Jegede, Art for life's sake: African art as a reflection of an Afrocentric cosmology’, in Kariamu Welsh-Asante (ed.), The African Aesthetic, Westport, Connecticut: Greenwood Press, 1993, p.237.
- Paul Oskar Kristeller, “The modern system of the arts’, in Susan Feagin and Patrick Maynard (eds), Aesthetics, New York: Oxford University Press, 1997, p.91.
- Walter Benjamin, ‘The work of art in the age of mechanical reproduction’, Illuminations, New York: Schocken, p.223.
- H.W. Janson, History of Art, (1962), New York: Harry N. Abrams Inc., 1995.
- ibid, p.26.
- ibid, p.25.
- Hilton Kramer, ‘The “primitivism” conundrum’, New Criterion, vol.3, no.4, December 1984, p.2.
- William Rubin, ‘Modernist primitivism: an introduction’, in William Rubin (ed.), ‘Primitivism’ in Twentieth Century Art: Affinity of the Tribal and the Modern, New York: Museum of Modern Art, 1984, p.1.
- Rubin, ‘Modernist primitivism…’, p.35.
- Hal Foster, “The “primitive” unconscious of modern art’, October, vol.34, Fall 1985, pp.45–70.
- Thomas McEvilley, Art and Otherness: Crisis in Cultural Identity, Kingston, N.Y.: Documentext/McPherson, c.1992, p.47.
- Jegede, ‘Art for life’ sake…’, p.245.
- Robert Farris Thompson, African Art in Motion: Icon and Art in the Collection of Katherine Coryton White, Los Angeles: University of California, 1974.
- Steven M. Friedson, Dancing Prophets: Musical Experience in Tumbuka Healing, Chicago: University of Chicago Press, 1996.
- ibid, pp.5–6.
- John Miller Chernoff, African Rhythm and African Sensibility, Chicago: University of Chicago Press, 1979, p.66.
- ibid, p.143.
- ibid.
- Michelle Kisliuk, Seize the Dance!, Oxford: Oxford University Press, 1998. Toward the end of Kisliuk's book, there is a fascinating discussion of the attempts of Christian missionaries to convert the ‘savage pygmies’. The religious fervor of one such missionary, Barbara, was such that she took videotaped ‘reenactments’ of the crucifixion into BaAka villages, where—in spite of not speaking the language—she interpreted the startled responses to the tape as suggesting shame. On a return trip to Dzanga, a BaAka village, in 1992 Kisliuk notes that several hymns that Barbara had introduced to the BaAka were now being danced. Dancing is not allowed in the religious practices of Barbara and her fellow missionaries. The BaAka, however, used the hymns to instigate a new type of dancing, thus perpetuating the fusion of music and dance in spite of the European styled separation (p.181).
- ibid, p.101.
- Jegede, ‘Art for life's sake…’, p.244.
- ibid, p.241.