A -Sessions, Emerging Scholars Seminars, and Special Session The Sessions (item G), Emerging Scholars Seminars (item H), and Special Session (item I) are detailed below (original) (raw)
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The document outlines the organization of a Congress featuring Sessions, Emerging Scholars Seminars, and Special Sessions, aimed at promoting inclusivity in scholarly participation from various geographical and cultural backgrounds. It details the application process for potential participants, including required documentation such as abstracts and biographical information, while encouraging submissions that explore diverse topics within the field of art history. The text emphasizes the importance of transcultural approaches and the impacts of migration, ethnicity, and cultural diversity on art practices, as well as the role of media arts in contemporary discussions.
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ART AS MATERIAL CULTURE (session 706) 24th EAA Meeting (Barcelona 5th-8th September)
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Qualitative Sociology Review, 2022
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How do anthropologists study art differently from other social scientists? The differences lie in both form (the reliance on ethnographic method) and content (the focus on marginalized and exotic societies). Anthropologists almost invariably use ethnography as a research methodology. This means they generate much of their primary data through direct, personal, in-depth observations of normal life and interaction with respondents who inform them about the mundane details of their everyday life. When the dis-cipline developed in the first part of the twentieth century, anthropologists studied poor, exotic, non-Western cultures, often as the result of a coloni-alist encounter. Much of the discipline’s current identity derives from the archetypical experience of being the first Westerner to study in these distant places. The anthropologist was necessarily a generalist, recording informa-tion about language, environment, economy, religion, family life, govern-ance and so on, since this i...
"PRESERVATION OF TRADITIONAL ARTS IN ASIA"
This paper outlines a few practical observations concerning: " Preservation of the Traditional Arts " , based on experience working with tradition in the field of design. Initially it should be pointed out that in the traditional framework there was no distinction between " Arts " and " Crafts ". " Art " in traditional cultures was always linked to excellence in the design and fabrication of artefacts for practical usage. When one visits museums and admires the " traditional arts " from past generations, one is looking at artefacts with a function; the idea of " art for art's sake " is entirely foreign to a traditional perspective. Therefore when we discuss the " Preservation of Traditional Arts " , implicitly we are simultaneously discussing the preservation of the traditional crafts. It has been said that traditionally " …art was limited to either objects of ritual use or working tools and household objects, but even such tools and objects were, like the activities they implied, eminently symbolical and so connected with the realm of the sacred. " 1 Thus the traditional arts essentially fall within the realm of " Sacred Art ". This stands in stark contrast to the spirit underlying modern art, where the artist is generally driven by a desire for personal expression, for novelty – or what is falsely termed 'originality'. Consequently if one is concerned with their preservation, one must understand and respect the spirit underlying the traditional arts and crafts, from a technical, spiritual and intellectual point of view. The rules and principles that dictate traditional art were in the past safeguarded by a structure which protected their integrity and guaranteed their preservation. In traditional societies each distinct branch of the crafts was represented by a guild, which was the channel though which the artist or craftsman learnt his skill. These organizations were conscious of the sacred nature of the heritage that had come down to them from the past, and their role in preserving it and passing it on to future generations. In the absence of such institutions in the present age, academic institutions of higher learning have an important role to play in the preservation of the traditional arts – and this is indeed a matter of urgency, as we now live in an age in which industrial production and modern attitudes towards design threaten to force the traditional arts and crafts into extinction.
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