Additional Information
Book Details
Abstract
This book reexamines the interconnectedness of culture and creativity in an increasingly hybrid world. They argue that while many of the old certainties about high culture and artistic canons may now be disintegrating, culture and creativity themselves are still very much a reflection of social processes involving power and the control of resources.
Case studies include youth subcultures in Europe; experimental theatre derived from the Brazilian candomblé dance; the role of memory in mythology among the Pukapukan of Polynesia; the evolution of football and polo in Argentina; gender relations in Algerian raï music; the notion of authenticity in artistic movements in Zanzibar; traditional and modern practices of the Lio in Indonesia; and kula exchange and social movements in the Trobriand Islands in the Pacific.
Table of Contents
| Section Title | Page | Action | Price |
|---|---|---|---|
| CONTENTS | v | ||
| Acknowledgements | vii | ||
| Introduction | 1 | ||
| MODERNITY,THE WORLD SYSTEM AND CREATIVITY | 3 | ||
| PART I: CREATIVITY IN ACTION AND ANALYSIS | 15 | ||
| 1. Creative Arguments of Images in Culture, and the Charnel House of Conventionality | 17 | ||
| CIVILIZED TIMES,THEIR CONVENTIONS,THEIR ‘JEU D ’ESPRIT ’ AND THEIR LANGUAGE GAMES | 17 | ||
| IF ‘CHEMISTS HAVE THE SOLUTIONS ’ WHO IS BEING CREATIVE HERE?? THE PLAY OF TROPES IN UNCONVENTIONAL CIRCUMSTANCES | 18 | ||
| WHERE CREATIVITY LIES:THE STRUCTURE OF CREATIVE METAPHOR AND THE DYNAMIC OF THE CATEGORICAL | 21 | ||
| AFRICAN SERMONIZERS:THE TRANSCENDENT (WORLD-SHAKING)\r IMPLICATIONS OF CREATIVE ARGUMENT | 24 | ||
| CREATIVE ANTHROPOLOGICAL ARGUMENT IN IMAGES OF CULTURE | 25 | ||
| CONCLUSION:THE LOCATIVE AND THE INTERLOCATIVE | 26 | ||
| NOTES | 28 | ||
| REFERENCES | 29 | ||
| 2. Othello's Dance: Cultural Creativity and Human Agency | 31 | ||
| 3. The Iron Cage of Creativity: An Exploration | 46 | ||
| WHY CREATIVITY? | 46 | ||
| WHAT ARE WE TALKING ABOUT? | 46 | ||
| STRUCTURE AND FORM | 48 | ||
| THE IRON CAGE:THE CONSTRAINTS ON CREATIVITY | 49 | ||
| CONJUNCTIVE EXPERIENCE AND THE ANTHROPOLOGY OF EXPERIENCE | 50 | ||
| STRUCTURALISM AND EXPERIENCE | 53 | ||
| GENERATIVITY AND EXISTENTIAL RESONANCE | 54 | ||
| HAWAIIAN BRICOLAGE | 55 | ||
| CONCLUSION | 59 | ||
| NOTES | 60 | ||
| REFERENCES | 60 | ||
| 4. Wondering about Wutu | 62 | ||
| CONCEPTUALIZING CREATIVITY | 63 | ||
| IMPLICIT KNOWING | 64 | ||
| THE POWER OF CONFORMITY | 67 | ||
| CONCLUSION | 68 | ||
| NOTES | 70 | ||
| REFERENCES | 70 | ||
| 5. Celebrating Creativity: On the Slanting of a Concept | 71 | ||
| THE AGE OF CREATIVITY? | 71 | ||
| THE MAKING OF A COUNTER-ARGUMENT | 72 | ||
| CREATIVE CULTURES | 74 | ||
| THE AESTHETICS OF EVERYDAY LIFE | 75 | ||
| LOCATING CREATIVITY | 76 | ||
| NOTES | 79 | ||
| REFERENCES | 79 | ||
| 6. The Construction of Authenticity: The Case of Subcultures | 81 | ||
| THE SEARCH FOR AUTHENTICITY | 81 | ||
| THE CASE OF SUBCULTURES | 84 | ||
| CONCLUSION | 87 | ||
| REFERENCES | 89 | ||
| PART II: LOCALIZED CREATIVE PROCESSES | 91 | ||
| 7. Nationalism, Football and Polo: Tradition and Creolization in the Making of Modern Argentina | 93 | ||
| DEFENDING TRADITION:THE LANGUAGE OF NATIONALISM | 94 | ||
| CREOLIZATION AND TRADITION IN THE SOCIAL WORLD OF FOOTBALL | 97 | ||
| TRADITION AND CREOLIZATION IN THE SOCIAL WORLD OF POLO | 100 | ||
| CONCLUSION | 102 | ||
| NOTES | 104 | ||
| REFERENCES | 104 | ||
| 8. The 'Playing' of Music in a State of Crisis: Gender and Raï Music in Algeria | 106 | ||
| INTRODUCTION | 106 | ||
| RAÏ HISTORY | 108 | ||
| THE FORM OF RAÏ AND ITS SPHERE OF ORIGIN | 109 | ||
| THE WEDDING PARTY | 111 | ||
| PLAYING THE GAME OF RAÏ – LISTENING TO RECORDED SONGS | 112 | ||
| PRIMARY SCENES OF REFERENCE | 112 | ||
| EXPLORING A WIDER ARENA: RAÏ POETICS | 113 | ||
| MUSIC IN RAÏ | 114 | ||
| CONCLUSION | 116 | ||
| NOTES | 116 | ||
| REFERENCES | 117 | ||
| 9. Creative Commoditization: The Social Life of Pharmaceuticals | 119 | ||
| THE SOCIAL LIFE OF PHARMACEUTICALS: AN EXPOSITION | 120 | ||
| THE MOTHER OF INVENTION: TOWARDS AN EXPLANATION | 125 | ||
| MISTRUST AND INGENUITY | 127 | ||
| WHOSE CREATIVITY? | 130 | ||
| REFERENCES | 131 | ||
| 10. Escaping Cultures: The Paradox of Cultural Creativity | 133 | ||
| IDENTIFYING THE PARADOX | 133 | ||
| THE ISLAMIC PROHIBITION ON THE REPRESENTATION OF LIVING THINGS: THE CASE OF ZANZIBAR | 136 | ||
| TWO GENRES OF ART IN ZANZIBAR | 139 | ||
| CONCLUSION | 142 | ||
| REFERENCES | 143 | ||
| 11. Recontextualizing Tradition: Religion, State and Tradition as Coexisting Modes of Sociality among the Northe | 144 | ||
| ‘RELIGION ’,‘TRADITION ’ AND ‘GOVERNMENT ’:CATEGORIES OF THE INDONESIAN NATION STATE | 145 | ||
| THE NORTHERN LIO | 147 | ||
| OUTSIDE FORCES 1: TACTICS OF ‘RELIGION ’ | 148 | ||
| OUTSIDE FORCES 2: TACTICS OF THE STATE | 152 | ||
| OUTSIDE FORCES 3: LIO STRATEGIES | 154 | ||
| CONCLUDING REMARKS | 155 | ||
| NOTES | 157 | ||
| REFERENCES | 157 | ||
| 12. Kula and Kabisawali: Contexts of Creativity in the Trobriand Islands | 159 | ||
| ACCOMMODATING TRADITION:THE KULA | 160 | ||
| WHEN CREATIVITY FAILS:THE KABISAWALI MOVEMENT | 163 | ||
| CONCLUSION | 168 | ||
| NOTES | 169 | ||
| REFERENCES | 170 | ||
| Contributors | 172 | ||
| Index | 173 | ||
| acculturation, | 7 |