Chap 15 EE Narrated Power Point

Raymond Hames Author

09/17/2017 Added

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Covers chapter 15 for ANTH 212

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[00:00:00.980]Chapter 15 in your textbook deals with the arts.
[00:00:04.150]So we're gonna focus on something very simple,
[00:00:06.786]beginning with body decoration and adornment,
[00:00:08.818]explaining variation in the arts,
[00:00:11.304]viewing the art of other cultures,
[00:00:13.314]and artistic change and culture contact.
[00:00:18.933]The earliest evidence of art that we have for humanity
[00:00:24.245]date back to 70,000 years ago, perhaps even earlier,
[00:00:28.721]in South Africa, very simple kind of incisions
[00:00:33.248]on stone artifacts.
[00:00:35.739]There may have been other kinds of art,
[00:00:37.556]but we really haven't recovered anything,
[00:00:40.129]but one of the things that's significant
[00:00:42.196]is that as we go back to about 70,000 years ago,
[00:00:47.349]we begin to find that humans,
[00:00:49.447]not only do they look like us,
[00:00:51.541]in fact, they looked like us for maybe 150,000 years ago,
[00:00:55.826]but they begin to have cultural attributes, such as art,
[00:00:59.460]that resembles humans of today.
[00:01:04.800]And here's some other kinds of art.
[00:01:08.051]These are shells, perforated,
[00:01:10.292]and they were essentially strung and they were necklaces.
[00:01:15.541]And then here we have pieces of ostrich egg shell,
[00:01:22.822]again, 60,000 years ago.
[00:01:24.693]For some reason, 60, 70, 80,000 years ago
[00:01:27.491]we really begin to find good evidence of art
[00:01:31.077]and an all sorts, in this case,
[00:01:33.062]on all sorts of different sorts of things,
[00:01:36.453]in this case, ostrich eggshells,
[00:01:38.950]which were important commodity in the desert
[00:01:42.642]for storing water.
[00:01:44.674]And then if we go to around 30,000 years ago,
[00:01:48.981]we see this wonderful cave art in Chauvet in France.
[00:01:53.730]We see bear, mammoths, horses, bison, et cetera.
[00:02:02.007]And over in Germany, we begin to see figurines.
[00:02:07.929]Here's a horse, here's a lion's head.
[00:02:10.831]Lion's did roam in Europe at that time.
[00:02:14.682]And these may be the oldest figurines
[00:02:17.669]that we've ever discovered.
[00:02:19.720]And then more on the Vogelherd figurines,
[00:02:23.031]this kind of curious leopard man, apparently,
[00:02:26.714]you know, a bipedal leopard, very interesting character.
[00:02:29.976]And, again, what these mean is difficult to say,
[00:02:33.803]except that animal life seemed to be
[00:02:37.531]a very kind of common thing that we find on cave walls,
[00:02:41.547]could emphasize an economic emphasis on hunting.
[00:02:45.766]That's a guess, a pretty good one,
[00:02:48.749]but really hard to test that kind of idea.
[00:02:52.906]And here in France, 20,000 years ago,
[00:02:58.211]somehow we got up to there,
[00:03:00.427]but here's what it looks like, kind of a black and white,
[00:03:04.957]with all the colors gone,
[00:03:06.791]but then a recreation of the colors
[00:03:09.288]shows a wonderful artistic sensitivity,
[00:03:12.747]a sense of design, balanced symmetry,
[00:03:15.464]coloration is very nice.
[00:03:18.256]And the odd thing about this is that
[00:03:21.014]this is regarded as a Shaman,
[00:03:23.639]because the eyes are facing forward
[00:03:25.293]as they were in a human, not side-to-side
[00:03:27.661]as they would be in an elk.
[00:03:31.261]So the arts seems to have several qualities
[00:03:36.584]beyond the necessities of being unique.
[00:03:39.083]It expresses as well as communicates,
[00:03:41.240]it stimulates the senses.
[00:03:43.549]It affects the emotions and evokes ideas.
[00:03:45.788]It is produced in culturally patterned ways and styles.
[00:03:49.415]And it has cultural meaning.
[00:03:51.257]So art could be really complex from the emotional
[00:03:54.925]to the intellectual, and our sense of beauty,
[00:04:00.445]all is encapsulated cross-culturally in the arts.
[00:04:07.393]Body decoration and adornment.
[00:04:09.027]All societies decorate or adorn the body,
[00:04:10.980]either temporarily or permanently.
[00:04:13.059]There is enormous cultural variation
[00:04:15.729]in the parts decorated and how.
[00:04:18.852]And to this we could add clothing,
[00:04:21.110]of course, today, tattooing is really common,
[00:04:25.061]even though it was pretty rare,
[00:04:26.933]at least in the United States 20 years ago,
[00:04:30.229]or something like that.
[00:04:33.173]And body decorations and adornments
[00:04:36.110]serve the following purposes:
[00:04:37.604]It delineates social position, rank, sex, occupation,
[00:04:42.275]local and ethnic identity, or religion,
[00:04:45.314]and sometimes for the youth, erotic significance.
[00:04:48.335]And this issue of ethnic identity is a really important
[00:04:53.606]dimension in that people try to mark
[00:04:57.554]what cultural group they belong to by having a
[00:05:01.530]artistic style of body adornment or dress
[00:05:05.593]that is specific to their group
[00:05:08.670]and separates them from all others.
[00:05:10.655]And, of course, when one dresses,
[00:05:13.976]one is kind of strategically thinking
[00:05:17.246]who they wanna be, who they wanna be seen as,
[00:05:20.078]who they wanna hang out with, et cetera, et cetera.
[00:05:23.506]So this is something that is very ancient in humans
[00:05:27.138]and has relevance today.
[00:05:28.894]Here's some examples of bodily adornment from
[00:05:34.214]your textbook.
[00:05:35.669]New Guinea males,
[00:05:36.918]they are much more dressed up than females.
[00:05:41.447]And if you look at this outfit this guy has on,
[00:05:44.945]it's really made of very difficult to acquire
[00:05:48.486]and expensive forms of body coloration.
[00:05:53.188]What we don't see here is this brilliant yellow chrome color
[00:05:58.378]that they can sometimes get.
[00:06:00.823]But, anyway, this essentially designates the person
[00:06:05.286]that is high status.
[00:06:06.470]And, here, we have these other forms of identification
[00:06:09.923]over there, the Pondo man in Tanzania,
[00:06:12.129]pretty much identify what ethnic group he belongs to.
[00:06:17.060]Here's some shots I took in the field
[00:06:20.151]of the kinds of decoration the Yanomamo have.
[00:06:24.517]Women, especially, decorate themselves with flowers
[00:06:28.377]and nose piercings and lower lip piercings.
[00:06:32.555]And, here, this young woman is getting dressed up
[00:06:35.632]for a festival that's going to be held.
[00:06:38.443]Here's a young girl with this kinda characteristic tattoo
[00:06:41.949]found in some parts of the Yanomamo distribution with beads.
[00:06:46.012]And, of course, the men also get dressed up as well.
[00:06:50.141]I would say both of them, men and women among the Yanomamo,
[00:06:54.125]get dressed up adorn their bodies
[00:06:58.551]to the same sort of degree, although,
[00:07:01.591]women a little bit more.
[00:07:02.983]Oh, that's a repeat. Sorry.
[00:07:05.768]Explain variation in the arts.
[00:07:08.280]Different cultures not only use
[00:07:09.429]or emphasize different materials
[00:07:11.055]and have different ideas of beauty,
[00:07:12.574]but they also have, may have characteristic styles
[00:07:17.835]and themes, and so it can vary according
[00:07:22.560]to interesting dimensions on visual art, music and folklore,
[00:07:27.994]which I'm gonna be talking about now
[00:07:30.125]for the next few slides.
[00:07:32.273]One sorta thing that we know about visual art,
[00:07:35.676]if we look at egalitarian societies that is banned,
[00:07:39.310]and tribal level societies,
[00:07:40.765]and compare them to stratified societies,
[00:07:43.070]such as chief (mumbles) states,
[00:07:44.793]we have repetition of simple elements
[00:07:46.926]and we give more complex integration of unlike elements,
[00:07:51.026]much empty or irrelevant space, little empty space,
[00:07:55.707]symmetrical design, asymmetrical designs,
[00:07:58.888]unenclosed figures and enclosed figures.
[00:08:01.170]And so we see this relationship.
[00:08:02.986]As societies get more complex,
[00:08:05.053]their artistic production gets more complex.
[00:08:08.557]And this is probably a consequence of superior technology
[00:08:13.192]in some cases, a larger population base
[00:08:15.823]from which ideas can flow, and artistic traditions can grow.
[00:08:21.676]And also the fact that there's quite a bit
[00:08:24.511]of social differentiation in stratified societies,
[00:08:27.448]and people will dress differently,
[00:08:29.724]decorate their bodies differently,
[00:08:31.116]and have different forms of art kind of denoting
[00:08:35.132]who they are in the social hierarchy.
[00:08:38.302]So these trends are pretty well-established and evident,
[00:08:41.995]cross-culturally, as they move from egalitarian societies
[00:08:45.340]to more complex, stratified societies.
[00:08:50.152]Music, there's a wide variation of musical styles
[00:08:52.586]and musical instruments from society to society.
[00:08:55.260]There have been relationships suggested between
[00:08:58.426]child-rearing practices, and certain rhythmic
[00:09:01.386]patterns, tonal ranges and voice quality.
[00:09:04.618]There is some relationship.
[00:09:06.634]I think the relationship is fairly weak
[00:09:09.131]and may not necessarily have much to do with
[00:09:11.863]child rearing practices,
[00:09:14.510]but, again, this is an interest of the authors
[00:09:17.550]of your textbook.
[00:09:20.034]I think, much more interesting is Ellen Lomax's research
[00:09:26.685]that the global jukebox, essentially,
[00:09:29.114]a companion of about 3200 different songs and musical styles
[00:09:33.972]you find around the world.
[00:09:35.184]And, again, songs in complex societies
[00:09:37.664]tend to have loss of words and clear enunciation.
[00:09:40.003]I'll give you an example.
[00:09:42.046]A lot of the songs in simple societies
[00:09:44.145]as described in your textbook,
[00:09:45.584]are things like tra-la-la, et cetera,
[00:09:48.861]things of that nature.
[00:09:50.065]They really are nonsensical in terms of meaning,
[00:09:55.108]although they have a rhythmic and artistic dimensions to it
[00:10:00.738]in terms of the pitch and emphasis of the various syllables,
[00:10:05.381]the nonsense syllables.
[00:10:06.773]Talks about a plethany in interlocking styles,
[00:10:11.118]as relating to certain artistic traditions.
[00:10:16.878]You should take a look at that.
[00:10:18.800]Then the elaboration of song parts
[00:10:20.415]associated with cultural complexities,
[00:10:21.828]from interlocked styles to leader with call and response
[00:10:26.915]to soloist backed by a chorus.
[00:10:29.621]And you know what we find,
[00:10:31.127]especially into soloist backed by a chorus,
[00:10:34.820]is a kind of hierarchal relationship
[00:10:38.945]in that the soloist is the main performer,
[00:10:41.814]commands the stage and is kind of backed up by
[00:10:44.538]a chorus, whereas the kind of call and response
[00:10:50.940]is a more kind of integrated, holistic,
[00:10:53.622]kind of sense of social organization when these songs
[00:10:57.430]are sung, because people are kind of
[00:11:01.096]calling upon one another to participate.
[00:11:05.771]Explaining variation in folklore
[00:11:07.580]includes all the myths, legends, folk tales,
[00:11:10.031]ballads, riddles, proverbs and superstitions
[00:11:12.540]of a cultural group.
[00:11:14.635]They use a term superstition in the book.
[00:11:16.986]I don't much like the term superstition.
[00:11:20.296]But, anyway, here we're essentially talking about spoken
[00:11:26.508]forms of art and myths, legends, folk tales,
[00:11:31.259]ballads, riddles, proverbs, you know,
[00:11:34.633]these are all kind of verbal things.
[00:11:36.054]They're all part of the artistic tradition
[00:11:38.139]of any group.
[00:11:42.249]And they're found all over the world.
[00:11:46.481]Viewing art of other cultures.
[00:11:48.749]And this is kind of an interesting section.
[00:11:51.977]Art from less complex cultures
[00:11:53.941]tend to be treated as nameless, primitive art and timeless.
[00:11:57.332]Well, it's not timeless.
[00:11:58.354]It may be primitive,
[00:12:01.086]but it's really just means simple.
[00:12:02.714]There's no pejorative dimension should be put in that.
[00:12:07.692]Some simple things are very elegant and beautiful
[00:12:10.040]and compelling pieces of art.
[00:12:12.525]I think of some of the work of someone like Picasso.
[00:12:15.901]It's very primitive, if you will,
[00:12:19.131]because it's very simple.
[00:12:20.826]There's a market for primitive art,
[00:12:23.391]our tourist and the discussion between tourist
[00:12:26.757]and fine arts.
[00:12:27.757]The thing about so-called primitive art, or traditional art,
[00:12:31.363]is that it gains value in terms of being identified
[00:12:36.755]with a particular group and made by members of that group.
[00:12:41.585]However, if you look at the markets around the world,
[00:12:45.974]if you go to, let's say, various parts of the world,
[00:12:50.246]you get to see some tribal art.
[00:12:52.975]A lot of is cheaply made, because it's made
[00:12:56.690]for the tourist trade.
[00:12:58.048]And, in fact, it may even be tweaked
[00:13:01.058]in terms of its design to appeal to the taste
[00:13:03.876]of tourists,
[00:13:07.142]and, again, you know, we tend to contrast this
[00:13:11.751]with fine arts.
[00:13:12.757]But the fine arts is really interesting
[00:13:15.758]in terms of what goes on in Milan, Paris, New York,
[00:13:20.099]et cetera, et cetera.
[00:13:21.436]A lot of these artists gain a notoriety
[00:13:25.022]through the manipulation of the art market.
[00:13:27.452]And it's not that their art
[00:13:29.295]is better than anybody else's art,
[00:13:32.368]but it's essentially manipulated by
[00:13:35.824]people who fancy themselves
[00:13:37.756]as experts from galleries, things of that nature.
[00:13:40.461]So there's a nice discussion of that in the textbook.
[00:13:44.700]Some societies do appear to be more communal than others
[00:13:47.613]in their art and style,
[00:13:49.303]in that some of the art, you know,
[00:13:53.533]talks about us as a group, versus me as an artist.
[00:13:58.318]And that, again, this is another kind of interesting
[00:14:00.813]dimension of art as it varies cross-culturally.
[00:14:05.538]Artistic change and culture contact.
[00:14:08.084]Recent culture contact has had a profound effect
[00:14:11.670]on art in various parts of the world.
[00:14:13.738]And here we're largely talking about musical art,
[00:14:17.590]the spread of forms, let's say, from the United States,
[00:14:22.006]whether we're talking about rock and roll, blues, jazz,
[00:14:26.279]et cetera, et cetera, has had enormous influence
[00:14:30.024]around the world.
[00:14:31.701]But, at the same time, people are interested in world music,
[00:14:35.029]which are the indigenous artistic
[00:14:41.401]musical forms found all over the world
[00:14:44.732]and they kind of move into the United States.
[00:14:47.039]And, also when you look at kind of indigenous forms
[00:14:50.050]in the parts of the world,
[00:14:51.234]how they're influenced by, let's say, again,
[00:14:55.170]the leading example, American musical form.
[00:14:59.314]There's this kind of really interesting blending
[00:15:01.782]that occurs in the artistic production.
[00:15:07.062]The decimation of any indigenous population
[00:15:10.210]has led to a loss of many artistic traditions.
[00:15:13.252]And this is very true.
[00:15:15.446]The indigenous people tend to live at a lower level.
[00:15:22.615]Their language is despised, their religious is also,
[00:15:26.789]their art regarded as second class.
[00:15:28.712]And so you have this situation where you have this
[00:15:33.590]kind of almost artistic genocide, if you will,
[00:15:38.004]and the loss of this kind of artistic tradition
[00:15:42.439]that is sad, but that's the way the world works.
[00:15:48.697]Some terms and concepts.
[00:15:52.139]The highlights on rock art, spread of pop music,
[00:15:55.320]mask and emotion, I forgot to mention that.
[00:15:57.582]If you look at mask, it's in a section early on
[00:16:01.531]in this chapter.
[00:16:02.573]There are emotions, you know, in the mask
[00:16:06.593]that are those kind of basic facial expressions
[00:16:11.806]and emotions such as fear, happiness, surprise,
[00:16:15.089]that we talked about earlier in, I think probably
[00:16:19.712]chapter three or four.
[00:16:21.007]And so take a look at that section, it's very interesting.
[00:16:25.597]The earliest art, art is one of the things
[00:16:28.722]that distinguishes us as a species.
[00:16:31.693]It's something that represents human uniqueness.
[00:16:35.566]Art and facial expressions and emotion, again,
[00:16:38.973]as I mentioned, cultural and artistic complexity.
[00:16:42.497]Again, we were at that table where
[00:16:44.615]more complex societies have more kind of complex art forms.
[00:16:48.690]Doesn't mean these forms are better
[00:16:50.188]or more aesthetically pleasing,
[00:16:51.916]it just means that they're different.
[00:16:53.549]And then also if you look at the section on myths,
[00:16:57.102]there seems to be essentially five sorts of things
[00:17:01.740]that myths focus on, disasters, incest, monster slaying,
[00:17:06.381]sibling rivalry end even castration.
[00:17:12.036]And so these things kind of crop up again and again
[00:17:15.242]no matter where we look.
[00:17:16.667]This is not what all myth or all folk tales focus on,
[00:17:22.766]but these things seems to crop up very, very frequently
[00:17:28.300]in these folk tales.
[00:17:30.045]And then, finally, on the commercialization
[00:17:32.620]of traditional art, in many ways,
[00:17:34.619]native peoples have an art that appeals,
[00:17:38.877]that's interesting to a Western market,
[00:17:41.516]is the only kind of a way
[00:17:43.115]in which they can make a good living.
[00:17:45.191]And so whether we're talking about Hopi or Navajo art
[00:17:49.047]in the American Southwest, with their ceramics
[00:17:52.615]or with their blankets,
[00:17:54.491]or art in another part of the world,
[00:17:57.591]it's a way that tradition people have kind of captured
[00:18:01.752]the imagination of wealthy people
[00:18:04.631]who are willing to pay for their art.
[00:18:07.905]So that's it on art.

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Chap 15 EE Narrated Power Point

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