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Introductory Issues | |
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In the Field: Mande Blacksmiths | |
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A Fieldworker Initiation: African Rhythm and African Sensibilty | |
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On Inter-cultural Translation | |
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Art and Artists in Kwoma Society | |
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The Functions of Art in Small-Scale Societies | |
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Shell Ornaments of Malaitia | |
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The Kites of Santiago Sacatepequez | |
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The Social Fabric: Micronesian Textile Patterns and Social Order | |
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Art and Political Process in the Cameroon Grassfields | |
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Symbolism | |
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Hierarchy in the Art of the Northern Tlingit | |
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The Loom as a Sacred Power Object in Huichol Culture | |
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Form and Meaning in Dogon Art | |
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Yekuana Myths of the Origins of Artifacts | |
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Humans and Animals in Benin Art | |
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Artists | |
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Learning to Be a Potter in Acatlan | |
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The Relationship Between the Mbira Player and the Mbira | |
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Artmanship in the Star Harbour Region | |
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The Romance of Resistance: Tracing Transformations of Power through Bedouin Women | |
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Navajo Sandpaintings: The Importance of Sex Roles in Craft Production | |
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Master Carpenters Daughters: Women Artists of the Northwest Coast | |
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Marginal Men: Male Artists Among the Shipibo Indians of Peru | |
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The Psychology and Philosophy of Art | |
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Artistic Expression and Creativity in Puerto Rican Possession Cults | |
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Baule Statuary Art: Meaning and Modernization | |
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Radiance from the Waters: Mende Feminine Beauty | |
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Some Aspects of Yoruba Aesthetics | |
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The Semiotical Geometry of Navajo Weaving | |
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Art in Transition | |
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Music and Dance of the Hawaiian and Hopi Peoples | |
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Modern Hopi Painting | |
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Round Houses: Mande-related Architecture in the Americas | |
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Visions and Revisions: Tarajo Culture and the Tourist Gaze | |
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Two Sorts of Aesthetic Contrast: Small-scale Versus Complex and Indigenous Versus Post-contact | |
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New Directions: The Beholder Share | |
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Artists in Liberia and the United States: A Comparative View | |
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Images from Bamum: German Colonial Photography in Cameroon | |
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Melville J. Herskovits and the Art of Ancient Dahomey | |
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Art that Really Matters | |