This introduction to the art of tribal peoples of North America, Africa, and the South Pacific does not briefly cover the hundreds of artistic traditions in these three vast areas but rather studies in depth thirty-six art styles within all three areas using the methods of art history, including stylistic analysis and iconographic interpretation. Emphasis is on the art in cultural context and as a system of visual communication within each tribal area. Where appropriate for a more complete understanding of the art, data from archaeology, ethnology, linguistics, religion, and other humanistic disciplines are included.Among the peoples and cultures whose art is studied are the Haida, Kwakiutl, and Tlingit; the Hohokam and Mongollon, the Anasazi and Hopi; the Dogon and Bamana of Mali; the Asante of Ghana; the Benin, Yoruba, and Ibo of Nigeria; the Fan, the Bamum, and the Kuba of Central Africa; Australian aboriginal and Island New Guinea art; Island Melanesia art; central and eastern Polynesia; Hawaii and the Maori in Marginal Polynesia.The format of the text and selected illustrations is based on seventeen years of teaching African, North American Indian, and South Pacific art to undergraduate and graduate students at Herbert H. Lehman College (CUNY), New York University, and Columbia University. The book is intended for art history and anthropology students and the interested lay reader or collector. The detailed notes at the end of the book are for further study, research, and understanding of the tribal art style under discussion.

Academic survey of the Pacific Islands. Includes maps, photographs, tables, diagrams, atlas, and detailed index.

Contributors explore the complex relations among Pacific artists, patrons, collectors, and museums over time, as well as the different meanings given to art objects by each.

American Anthropology in Micronesia: An Assessment evaluates how anthropological research in the Trust Territory has affected the Micronesian people, the U.S. colonial administration, and the discipline of anthropology itself. Contributors analyze the interplay between anthropology and history, in particular how American colonialism affected anthropologists' use of history, and examine the research that has been conducted by American anthropologists in specific topical areas of socio-cultural anthropology. Although concentrating largely on disciplinary concerns, the authors consider the connections between work done in the era of applied anthropology and that completed later when anthropology was pursued mainly for its own sake. The focus then returns to applied concerns in more recent years and issues pertaining to the relevance of anthropology for the world of practical affairs. It will be of essential interest to students and scholars of Pacific Islands studies and the history of anthropology.

“The great value of [this work] is the uniformly high quality of papers and their revelation of contemporary trends in Oceanic art research.” —Ethnoarts

Includes detailed chapters devoted to each of the five major cultural regions of the Pacific: Australia, Melanesia, Micronesia, Polynesia, and the islands of Southeast Asia.

Animals and their symbolism in diverse world cultures and different eras of human history are chronicled in this lovely volume.

For at least 20,000 years, masking has been a mark of cultural evolution and an indication of magical-religious sophistication in society. This book provides a comprehensive understanding of the mask as a powerful cultural phenomenon--a means by which human groupings attempted to communicate their dignity and sense of purpose, as well as establish a continuum between the natural and supernatural worlds. It addresses the distinctive environments within which masks flourished, and analyzes the mask as a manifestation of art, ethnology and anthropology.

Flexible in approach and full of colorful examples, this textbook provides a basic introduction to what art is and can be in the lives of people who do not necessarily think of themselves as "artists." You will be taught about a variety of art themes, genres, materials, and processes that appeal to novice art makers. The lessons are organized by themes of general subject matter or media. Options are available for work in mixed media, crafts, photography and digital media, as well as in traditional drawing or painting media. After picking a theme of particular interest to you, look next at the four strands of lessons presented in that thematic unit. Moving from left to right, select one lesson from each consecutive strand and complete that lesson. Because each lesson builds upon previously presented knowledge and developed skill, as you progress through four lessons, one from each strand, you should grow in your understanding of art concepts, meanings, and processes, while also improving your art making skills. Completing this course will help you develop a new appreciation for the power and possibilities of art learning, by understanding better the art others create, as well as making it yourself.