Aesthetic Systems: Knowledge, Beauty, and Power | |
Accumulation: Power and Display in African Sculpture | |
An Aesthetic of the Cool | |
Melody, Drone, and Decoration: Underlying Structures and Surface Manifestations in Tongan Art and Society | |
The Beautiful and the Dangerous: Zuni Ritual and Cosmology as an Aesthetic System | |
The Artist as Individual | |
The Buli Master, and Other Hands | |
Talania and Nake, Master Carver and Apprentice: Two Woodcarvers from the Kilenge | |
Will the Real Charles Edensaw Please Stand Up?: The Problem of Attribution in Northwest Coast Indian Art | |
Art and Social Structure | |
Mask Makers and Myth in Western Liberia | |
Kuba Embroidered Cloth | |
Humans and Animals in Benin Art | |
Kinshape: The Design of Hawaiian Feather Cloak | |
The Weight of My Name Is a Mountain of Blankets: Potlatch Ceremonies | |
PASSAGES: Arts of Festival, Ritual, and Initiation | |
The Art of Festival in Ghana | |
Woman Power and Art in Senufo Village | |
Masking in Mende Sande Society Initiation Rituals | |
On Representing Ancestral Beings | |
Form, Function, and Interpretation of Mimbres Ceramic Hemispheric Vessels | |
Shelter as Symbol: Uses and Meanings of Architectural Space | |
The Dance of Death: Notes on the Architecture and Staging of Tamberma Funeral Performances | |
Dutch Galleons and South Nias Palaces | |
The Pueblo and the Hogan: A Cross-Cultural Comparison of Two Response to an Environment | |
Continuity and Change In Fourth World Arts | |
Purity and Pollution in Freetown Masked Performances | |
Tradition in Native American Art | |
Lakota Beaded Costumes of the Early Reservation Era | |
Straddling the Cultural Fence: The Conflict for Ethnic Artists within Pueblo Societies | |
Index | |
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