Last October 20 to 22, 2017, Apo Whang-Od Oggay was brought to Manila from Kalinga, for Manila FAME, a trade show on culture, designs, crafts, and brands with the help of the Philippine Air Force (Rey and Serafica). The original reason for her being brought to the trade fair was to nominate her for the Gawad sa Manlilikha ng Bayan (GAMABA), or the National Living Treasures Award, according to the executive director of the Department of Trade and Industry’s Center for International Trade Expositions and Missions, or DTI-CITEM (Rey, “Whang-od not 'exploited,' says Manila FAME organizers”). Whang-Od is known as one of the last Kalinga traditional tattoo artists, known as mambabatok, and is said to be 100 years old. The controversial issue regarding Whang-Od at Manila FAME started when a photo of her sleeping at a press conference where she was a panelist at went viral, as she looked very tired. From this photo, opinions started arising on as to whether or not she was exploited, whether or not she exercised agency during the event, whether culture was commodified, and the like. On one hand, several sources online insist that Apo Whang-Od was not exploited during the trade fair, as according to the organizers they did not get anything from the artist’s earnings during the fair, and that they only wanted to promote the pambabatok art …show more content…
We can’t put a value on their art because we don’t and can’t truly understand their culture since we aren’t from the Kalinga province. Of course, if Whang-Od and other mambabatoks wanted to share their culture themselves, it’s alright and we mustn’t shame them for being willing to do so, but we - as educated people - should know better and we should treat other cultures with respect. Of course, there are other ways to share their culture without
...e of the Kwakiutl rich culture which creates a hotbed for the talented Kwakiutl artist.
Queen Nzinga’s methodical rise to power was well justified and vindicative of her ensuing rule, contrary to the arguments of her opponents. As the daughter of a previous king and sister to the next heir to the throne, Nzinga had the correct hereditary history to rule, an important prerequisite for rule in Ndongo culture. To reinforce this, Nzinga held an election, in which qualified officials appointed her as queen (Thornton 37). She was not the first queen to take uimate power over Ndongo (although none were as influential as she), but her traditional minded critics refused to accept it, and considered it a sign of illegitimate rule (Thornton 37). To combat this, Nzinga expanded her gender identity and strived to be more “manly” by engaging in battles personally (Thornton 39). It also helped that she was deemed i...
The display of Benin art in museum and galleries reflect the attitudes and perceptions of Europeans towards non-western artefacts, especially African. Thus as European attitudes change towards non-western art since the discovery of Benin art in 1897, Benin art has been revaluated and re-categorised.
26 The painting named The White Robed Kannon is an example of his use of the doshakuga tradition of imagery.27 While Kao and Mokuan were less versatile then Mincho, they still left excellent ink figure pantings that also used the doshakuga tradition of art. 28 When it comes to both Kao and Mokuan there is a confusion abou the identity of the painter using the Kao and Ninga seals, and it has been suggested that Kao was professional Buddhist painter affiliated Takuma School of Artists, but judging by the work bearing the seals Kao was not a trained
People can have many different opinions depending on a topic, but what is truly difficult is getting a complete level of understanding from every opinion, or understanding the point of view of each opinion. Even accepting the points of view can be difficult for some people, who believe that their opinions are right. Luckily, people can learn about the other person’s frame of reference, and at the very least understand the topic or the person a little better. This particular topic is art, which is known for its multiple possible perceptions or its many different messages that it can send a person or group of people. In this way, people can learn more about the thought processes and feelings of others. Unfortunately, with differing opinions,
“In memory of the men and women who served in the Vietnam War and later died as a result of their service. We honor and remember their sacrifice”(“Vietnam War in Memory”). This simple inscription stands at the Vietnam Veterans Memorial in recognition of the names who are not able to join the walls with their fellow soldiers. The memorial as a whole contains the names of deceased Vietnam veterans, and stands tall for people to view and remember their friends and relatives who fought diligently in the war. However, Maya Lou’s Vietnam Veterans Memorial is a very controversial piece of art because of the public image towards the war, the making of the memorial and the powerful message represented in the work.
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
Western attitudes to African people and culture have always affected how their art was appreciated and this has also coloured the response to the art from Benin.
Cultures all around the world are multi-faceted, comprising the values, morals, and beliefs of vast groups of people. One component that is woven into all cultures some way or another is art. Whether the art form is music, theatre, or visual art, all cultures value these art forms in different ways. Because of this, there have been some drastically opposing views from two of the greatest minds throughout time. Leo Tolstoy (Russian author of one of the most central works of world literature War and Peace) wrote What Is Art? it states if art is universally understood then it is good and has reason to be appreciated. However, Mo Tzu (a well known Chinese philosopher who wrote and debated political and social philosophy) wrote Against Music which expresses that art is disruptive to work and a waste of taxpayer money. Though the reasonings are enormously different, both have validity in their arguments.
More in depth, the entire concept of art and what is art differs in the world of the nonliterate societies. This is the first rule that needs to be analyzed. In addition to, the objects westerners view as art is actually a small piece to a bigger puzzle. To the Natives, the overall puzzle or purpose is to created and stabilize the cosmic order in which they live in. It is through this process of rituals and sacred ceremonies to keep order that objects are created of beauty, but for bigger reason. Not to hang on a wall or leave behind a glass case; but rather, keeping order and doing away with chaos that could destroy their existence.
The Hopi Indians use art in their everyday life from woven rugs to clay pots. Art is a very important aspect of the tribe’s life and each piece is said to have a story behind it. The Hopi tribe even has dances said to bring luck and prosper to the community. They also have a very unique piece of art that ties directly to their religion, kachinas mask and dolls.
The first art that interested me was the art of Indonesia which in this exhibit depicted the culture, history and art of Indonesian people. For instance, Bali a small island in the Indonesia valued most of its art based on the rich resources they occupied such as most art was composed of gold, diamond and sapphires which people of Bali believed that it will resemble their higher standards in the society. Art of Bali amazed me the most when it came to their “King’s crown” and “Queen’s crown” which was completely “fashioned in pure gold with diamonds, rubies, and sapphires” (Bali). The king’s crown was much simpler compare to queen’s crown which contained many varied of gold decorative that looked like gold flowers, and all of its designs such as rubies or sapphires were perfectly horizontally lined to each other that sort of depicted as a shiny necklace. The Bali’s art that I observed was very interesting know about the society they lived in those centuries with representation of their upscale society (Bali).
In the slippery terrain created by globalization and cultural brokering, contemporary art made in Africa (and its diasporas) has enjoyed a steady growth in interest and appreciation by Western audiences during the last few decades (Kasfir, 2007). Several biennials, triennials, and scholarly works attest to that, with much of its impact owed to the figure of Okwui Enwezor. However, seamlessly uniting diverse African artists under the untrained Western gaze for the commercialism of the international art circuit – notwithstanding their different cultural contexts and the medium in which they work – is bound to create problems. Enwezor’s and other authors’ sophisticated publications and curatorial works show both the vitality and issues still to be addressed in this field of study (Ogbechie, 2010).
The first inhabitants of the Philippines arrived from the land bridge from Asia over 150,000 years ago. Throughout the years, migrants from Indonesia, Malaysia, and other parts of Asia made their way to the islands of this country. In the fourteenth century, the Arabs arrived and soon began a long tradition of Islam. Many Muslims are still living in the Philippines today.
Tibetan thanka[1] paintings are a wonderful example of the interconnectedness of religion and art. These images are “not meant to be the object of simple idolatry” (Jackson 11), but rather take on a more interactive role, which can be applied to nearly every facet of traditional Tibetan life. Tibetan Buddhism pervades all aspects of the creation and use of thanka paintings—in the training and requirements of the artists who create the paintings, in the physical creative process itself, in the iconography used, and in all the painting’s multiple functions. Tibetan thanka paintings, throughout their entire lifespan—from concept to consecrated image—help devotional religious activity for Tibetan Buddhism[2].