As India consolidates an aggressive model of economic development, indigenous tribal people known as adivasis continue to be overrepresented among the country’s poor. Adivasis make up more than eight hundred communities in India, with a total population of more than 100 million people who speak more than three hundred different languages. Although their historical presence is acknowledged by the state and they are lauded as a part of India’s ethnic identity today, their poverty has been compounded by the suppression of their cultural heritage and lifestyle. In Adivasi Art and Activism, Alice Tilche draws on anthropological fieldwork conducted in rural western India to chart changes in adivasi aesthetics, home life, attire, food, and ideas of religiosity that have emerged from negotiation with the homogenizing forces of Hinduization, development, and globalization in the twenty-first century. She documents curatorial projects located not only in museums and art institutions, but in the realms of the home, the body, and the landscape. Adivasi Art and Activism raises vital questions about preservation and curation of indigenous material and provides an astute critique of the aesthetics and politics of Hindu nationalism.

This book explores the potential of specific photographic images for reflecting on experiences of mental disorders. Instead of looking at photographs of (people suffering from) mental disorders, this volume aspires to comprehend the complexities of such conditions through photographic lexicons, metaphors, and practices. For this book, a mental disorder is not to be seen as a dysfunction or impairment, but a state in which the sustaining balance of stable and unstable mind is unsettled, which may induce mental/bodily disturbances. The term “psychosomatic” refers to the interaction of the mind (psyche) with the body (soma); it refers to their co-dependence. By the term “Psychosomatic Imagery” this volume refers to a distinctive trope of photographic images that deal with the body-mind interaction during the states of mental disorders. This novel theoretical framework in photography theory instigates critical discussions about the experiences of mental disorders visualized as disturbed corporeal and mental perceptions of the world. While the introduction of the volume unpacks and assesses the applications of photography in mental disorder studies from theoretical and historical perspectives, the chapters focus on specific cases of Psychosomatic Imagery in contemporary photography. Those cases include, but are not limited to: PTSD, hysteria, paranoia, psychosis, bipolar disorder, and Hikikomori.

Museums and Social Responsibility examines inherent contradictions within and effecting museum practice in order to outline a museological theory of how museums are important cultural practices in themselves and how museums shape the socio-cultural dynamics of modern societies, especially our attitudes and understandings about human agency and creative potential. Museums are libraries of objects, presenting thematic justification that dominant concepts of normativity and speciality, as well as attitudes of cultural deprecation. By sorting culture into hierarchies of symbolic value, museums cloak themselves in supposed objectivity, delivered with the passion of connoisseurship and the surety of scholarly research. Ulterior motives pertaining to socio-economic class, racial and ethnic othering, and sexual subjugation, are shrouded by that false appearance of objectivity. This book highlights how the socially responsive practitioner can challenge and subvert taken-for-granted motivations by undertaking liberatory museum work that engages subaltern narratives, engages historically disadvantage populations, and co-creates with them dialogical practices of collecting, preserving, exhibiting and interpreting. It points to examples in Africa, Asia, Europe, and the Americas, not as self-contained entities but as practices within a global web of relationships, and as microcosms that define normality and abnormality, that engage users in critical dialogue, and that influence, are conditioned by, and disrupt taken-for-granted understandings and practices of class, ethnicity, sex, gender, thinking and being. Suitable for students, researchers, and museum professionals, Museums and Social Responsibility presents a comprehensive argument and proposes critical, reflective processes to the practitioner, so that their museum work may more effectively engage with and change their societies and the world.

In this first book-length study of Mumbai’s taxi industry and of the livelihoods that surround it, Tarini Bedi draws from the lives and voices of chillia taxi drivers who have sustained a hereditary trade for more than a century. Bedi considers the Bombay taxi in all its forms: a material object that is driven, an economic and political connection, an expression of kinship, an embodiment of urban time and technology, and more. She illustrates how the accumulation of capital in this masculinized and mobile trade depends on forms of fixed domestic labor and an ethics of care, and how connections among these factors impact the production and reshaping of working-class personhood and laboring subjects. From beginning to end, the world of Mumbai automobility unfolds through depiction of the sensory, embodied, and political domains of taxi drivers’ work. While most understandings of automobility remain tied to Western assumptions, patterns of driving, (sub)urbanization, and engagements with the road, realities in the Global South differ. Mumbai Taximen provides a correction to this imbalance from Mumbai through a timely exploration of South Asian social, material, political, labor, and technological histories and practices of motoring and automobility.

Investigates how a rural town became a site of community-making, mobility, and identity formation In 2002 widespread communal violence tore apart hundreds of towns and villages in rural parts of Gujarat, India. In the aftermath, many Muslims living in Hindu-majority villages sought safety in the small town of Anand, some relocating with the financial assistance of their relatives overseas. Following such dramatic displacement and disorientation, Anand emerged as a site of opportunity and hope. For its residents and transnational visitors, Anand’s Muslim area is not just a site of marginalization; it has become an important focal point and regional center from which they can participate in the wider community of Gujarat and reimagine society in more inclusive terms. This compelling ethnography shows how in Anand the experience of residential segregation led not to estrangement or closure but to distinctive practices of mobility and exchange that embed Muslim residents in a variety of social networks. In doing so, New Lives in Anand moves beyond established notions of ghettoization to foreground the places, practices, and narratives that are significant to the people of Anand. It asks how people get on with their lives after an episode of violence to create new spaces and societies and to reconfigure their sense of belonging. New Lives in Anand is available in an open access edition through the Sustainable History Monograph Pilot, thanks to the generous support of the Andrew W. Mellon Foundation.

A distinctly Indigenous form of landscape representation is emerging in the creations of contemporary Indigenous artists from North America. For centuries, landscape painting in European art typically used representational strategies such as single-point perspective to lure viewers--and settlers--into the territories of the old and new worlds. In the twentieth century, abstract expressionism transformed painting to encompass something beyond the visual world, and later, minimalism and the Land Art movement broadened the genre of landscape art to include sculptural forms and site-specific installations. In Shifting Grounds, art historian Kate Morris argues that Indigenous artists are expanding, reconceptualizing, and remaking the forms of the genre still further, expressing Indigenous attitudes toward land and belonging even as they draw upon mainstream art practices. The resulting works are rarely if ever primarily visual representations, but instead evoke all five senses: from the overt sensuality of Kay WalkingStick's tactile paintings to the eerie soundscapes of Alan Michelson's videos and Postcommodity's installations to the immersive environments of Kent Monkman's dioramas, this landscape art resonates with a fully embodied and embedded subjectivity. In the works of these and many other Native artists, Shifting Grounds explores themes of presence and absence, connection and dislocation, survival and vulnerability, memory and commemoration, and power and resistance, illuminating the artists' sustained engagement not only with land and landscape but also with the history of representation itself. A Helen Marie Ryan Wyman Book Art History Publication Initiative. For more information, visit http: //arthistorypi.org/books/shifting-grounds

Throughout the world religious organizations are exploring and implementing into action ideas about the relevance of religion and spirituality in dealing with a growing multitude of environmental issues and problems. Religion and spirituality have the potential to be extremely influential for the better at many levels and in many ways through their intellectual, emotional, and activist components. This collection focuses on providing a set of captivating essays on the specifics of concrete cases of environmental activism involving most of the main Asian religions from several countries. Particular case studies are drawn from the religions of Animism, Buddhism, Daoism, Hinduism, Islam, and Jainism. They are from the countries of Bhutan, China, India, Indonesia, and Thailand. Thereby this set of case studies offers a very substantial and rich sampling of religious environmental activism in Asia. They are grounded in years of original field research on the subjects covered. Collectively these case studies reveal a fascinating and significant movement of environmental initiatives in engaged practical spiritual ecology in Asia. Accordingly, this collection should be of special interest to a diversity of scientists, academics, instructors, and students as well as communities and leaders from a wide variety of religions, environmentalism, and conservation.

The 50th anniversary edition of this classic work on the art of Northwest Coast Indians now offers color illustrations for a new generation of readers along with reflections from contemporary Northwest Coast artists about the impact of this book. The masterworks of Northwest Coast Native artists are admired today as among the great achievements of the world’s artists. The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories. In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published Northwest Coast Indian Art: An Analysis of Form. This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists’ styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration. The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field. Replaces ISBN 9780295951027

The dynamics, politics, and richness of knowledge production in social movements and social activist contexts are often overlooked. This book contends that some of the most radical critiques and understandings about dominant ideologies and power structures, and visions of social change, have emerged from those spaces.

Taking South Asia as its focus, this wide-ranging collection probes the general reluctance of the cultural anthropology to engage with contemporary visual art and artists, including painting, sculpture, performance art and installation. Through case studies engaged equally in anthropology and visual studies, contributors examine art and artistic production in India, Sri Lanka, Pakistan, Bangladesh, and Nepal to bring the social and political complexities of artistic practice to the fore. Demonstrating the potential of the visual as a means to understand a society, its values, and its politics, this volume ranges across discourses of anthropology, sociology, biography, memory, art history, and contemporary practices of visual art. Ultimately, Intersections of Contemporary Art, Anthropology and Art History in South Asia simultaneously expands and challenges the disciplinary foci of two fields: it demonstrates to art criticism and art history the necessity of anthropological and sociological methodologies and theories, while at the same time challenging the “iconophobia” of social sciences.