by Chris Spring
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"The richness of this book comes from the possibility of comparing the artistic production of different countries to each other and the ability to discern the differing ways that women produce their arts... Highly recommended."--L. E. Carranza, CHOICE "Folklorists will ... appreciate the essays that introduce aspects of belief systems that are fundamental to a critique of gender relations and also underlie the spiritual relationship of artists to their material and imagery... Many themes in this book suggest new directions for folk art scholarship in the twenty-first century... Crafting Gender is appropriate for courses on folk art, as well as on women and gender studies. It will stimulate further discussions on such topics as the variables of marketing art and cultural identity, sustainable village craft enterprises, and power plays among artists and local art collectives and government agencies."-- Suzanne MacAulay, Journal of American Folklore "For anyone interested in women's folk art in Latin American and the Caribbean, Bartra's volume is an invaluable resource, and it is a major contribution from the standpoint of students and scholars interested in art, the anthropology of work, gender and family studies, and international development. I share Bartra's hope that this anthology will be followed by many others that contribute to the discovery, understanding, and valuing of the incredibly rich creative world of women folk artists."-- Kimberley Grimes, American Ethnologist
Product Description
This volume initiates a gender-based framework for analyzing Latin American and Caribbean folk art. While folk art - which this collection defines broadly as the 'art of the people' and as having a primarily decorative, rather than utilitarian, purpose - is not solely the province of women, folk art by women in Latin America has received little sustained attention. "Crafting Gender" begins to redress this gap. From a feminist perspective, the contributors examine not only twentieth-century and contemporary art by women, but also its production, distribution, and consumption. Exploring the roles of women as artists and consumers in specific cultural contexts, they look at a range of artistic forms from across Latin America, including Colombian molas (textiles), Andean weavings, Mexican ceramics, Mayan hipiles (dresses). Art historians, anthropologists, and sociologists from Latin America, the Caribbean, and the United States, the contributors discuss artwork from Argentina, Chile, Colombia, Ecuador, Mexico, Panama, Puerto Rico, and Suriname. Many of the essays focus on indigenous artists. They highlight the complex webs of social relations from which folk art emerges. For instance, while several pieces describe the similar creative and technical processes of indigenous pottery-making communities of the Amazon and of mestiza potters in Mexico and Colombia, they also reveal the widely varying functions of the ceramics and meanings of the iconography. Integrating the many social, historical, political, geographical, and economic factors that shape folk art in Latin America and the Caribbean, Crafting Gender sheds much needed light on a rich body of art and the women who create it.
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First Sentence
The hard part-for me as much as for other students of African diaspora arts-is to fully grasp the pace and persistence of innovations. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
The hard part-for me as much as for other students of African diaspora arts-is to fully grasp the pace and persistence of innovations. Read the first page
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Concordance
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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