Dorothy Dunn on "Primitive Art"- Part I
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Dorothy Dunn on "Primitive Art"-Part I
Dorothy Dunn’s concept of primitive art yields a definition that adequately depicts the problems and ambiguities in the usage of the term “primitive.” She agrees with Boas’ observation that in the broadest sense, every age has its primitives, its own interpreters and seers, and the assignment of the term primitive to these individuals is relative to the point of view based upon the knowledge of the observer. At the same time, she also cites Ralph Linton who denounces the commonly accepted connotation of the term “primitive” as assigning all primitives to the “childhood of art,” but she seems to differ essentially from Linton’s assertion that the “primitive” in “primitive art” is a relative term. Relational perhaps, but relative only in the sense that each culture defines its primitives according to its own set of values. The relational aspect is that primitive art occurs in every culture as an event between the seers, and that set of symbols, signs or designs which are iconic to that particular culture as its own set of primitives. The relationship is complex and is manifest in every society. This relationship defines the absolute in “primitive art.” She summarizes this position in the statement that “Primitive is a relational term, conditioned by time and place, yet maintaining constant universal elements pertaining to frontiers.”
Dunn notes that “Indian painting is the first art in history to have sprung, full-fledged, from the primitive into the contemporary world at a time when it was peculiarly compatible with both. Although it has won recognition as modern art, a consideration of some facts and assumptions in regard to primitive art may evaluate certain qualities of modern Indian painting which place it in a position of being old and new, primitive and contemporary.” The reference to an absolute in primitive art is evident here, even though for the sake of communication she has to stumble over the common usage of the term “primitive” which she is trying to minimize.
In this regard Dunn states that the term “primitive art” calls for qualification. The qualification that Dunn employs is one that synthesizes the contrast between a diachronic and synchronic perspective of the term. In her usage of such terms as “time and place” and “frontiers” in contrasting the relative and universal aspects of primitive art she is indeed searching for a definition that would satisfy Fabian’s demand for “allochronic determinations.” If one were to isolate all instances of “time and place” diachronically (in linear, historical or temporal sequence) and apply them laterally, across cultural lines and the boundaries of possible worlds synchronically, and then abstract an intensive, characteristic notion of primitive as a universal concept, then one could have a definition that could be used comparatively at any given time and place, i.e. allochronically, and overcome any ethnocentricity a contemporary culture may have in its assessments and analysis of an object culture under study which lies at its frontier and depicts a different time and place.
The need for such qualification is summarized by Dunn in stating that “Anthropologists question certain implications of the expression” (primitive art) where a “consideration of tolerance” in the matter of “other civilizations” and “our own” may be comparatively based upon technical and material advancements, but overlook the fact that the lack of such advancements “might allow major emphasis upon esthetic and spiritual value.” Here Dunn is to a degree once again segregating the primitive in a unique aspect, as she does in stating that “In primitive society symbolism is a special system through which ideas as images can be conveyed understandably to an individual or group,” but her underlying supposition is that every culture in every age society has its primitives; seers or interpreters who are the gifted individuals that discern and depict this special system of symbols. It is an event, a one to one relationship between the subject as a primitive interpreting the primitive as objectivity, and the event is a primal act.
Copyright C. Staley 2005
Amerindian Arts, All Rights Reserved
Sept. 4-Nov. 13: "By Native Hands: Native American Basketry," Forsyth Center Galleries, Memorial Student Center, Texas A&M. 9 a.m.-8 p.m. Monday through Friday and noon-6 p.m. Saturday and Sunday.
First American in the Arts (FAITA). Led Zeppelin tribute band Black Dog performs to raise money for the FAITA Awards and Scholarship Fund, which supports Native American youth. Info: (805) 989-4208 or Firstamericans.org. Cinespace, 6356 Hollywood Bl, second level, Hollywood, (323) 817-3456. Mon at 7. $20.
Indian Market is Santa Fe's biggest single event and the largest show and sale of Native American art and craft in the world. There is no other gathering of Native American artists that offers the breadth of variety and depth of quality than this weekend in Santa Fe. This year marks the 84th annual Indian Market and will feature the work of 1,200 artists from all over North America. In addition to the actual market there are auctions, art shows, special gallery exhibits and artist receptions, musical events and festivities all over town leading up to the weekend show. For seasoned collectors and first-timers alike, Indian Market is a remarkable look at new and old art forms and one of Santa Fe's most memorable events, held this year on the Santa Fe Plaza, Aug. 20-21. Free admission. For information: (505) 983-7647; www.swaia.org.
October 30. Native American Fall Festival-Lenape Village. Churchville Nature Center. Churchville, PA. 215-357-4005. www.churchvillenaturecenter.org.
Native Americans from all over the country will dance, tell stories and sell handicrafts at the Thunder Mountain Lenape Nation Native American Festival. 10 a.m. to 6 p.m., AUG. 21st., 235 Skyline Drive, Saltsburg, Indiana County, PA. 724-639-3488 or
www.thundermtlenape.org.
Northeastern Native American Fine Arts Show. A new exhibit at the Mashantucket Pequot Museum features an array of art, which runs through Sept. 5 at the museum's gallery, shows off the artistic skills of American Indians from the Northeast. Thirty-four artists with connections to tribes of the Northeast were chosen for the show, which includes sculpture, carvings, oils, acrylic and mixed media.
Totems to Turquoise: Native American Jewelry Arts of the Northwest and Southwest, Fernbank Museum-Atlanta. Opening on October 1, are two exhibitions that allow visitors to further explore the history and peoples of the region featured in Grand Canyon. The special exhibition, celebrates the traditional beauty, power and symbolism of Native American arts through a historic and contemporary collection of jewelry and artifacts. The gallery exhibition, Sacred Places of the Southwest features black and white photographs from Claus Mroczynski, which capture the mystical beauty of early Native American dwellings found throughout the landscapes of the Southwest.
The Jewelry of Joe Quintana, Museum of Indian Arts and Culture: works by the Cochiti silversmith, through Sept. 1; "Beauty Within," historical objects from the collection, through Oct. 23; "IconoClash," symbols of American Indian culture, through Jan. 15; "The Pottery of Santa Ana Pueblo," through Feb. 19. 708 Camino Lejo, Santa Fe. Admission and hours: (505) 476-1250.
Plains Art Museum: "Between Two Cultures: The Art of Star Wallowing Bull," opens Sept. 24; "Contemporary Native American Artists - Reflections After Lewis and Clark," opens July 21, (701) 232-3821.
AEQ Book Review of
Making Dictionaries: Preserving Indigenous Languages of the Americas .
Frawley, William, Kenneth C. Hill, and Pamela Munro, eds. Berkeley: University of California Press, 2002. 450 pp. ISBN 0520229967, $34.95.
© 2004 American Anthropological Association Book Review
of Making Dictionaries: Preserving Indigenous Languages of the Americas .
Reviewed for the Anthropology & Education Quarterly by Catherine S. Fowler
University of Nevada
csfowler@unr.nevada.edu
To Order this book
W. Tussinger has written his first novel which was released in December, 2004. The title of the book is THE FOURTH WORLD.
W. Tussinger is a member of the Wyandotte Nation of Oklahoma and has lived on several reservations including the Yuroks of Northern California and the Yakamas of Washington State where he attended college.
THE FOURTH WORLD
Spiritual Views and Traditions of the Cherokee
As reported by Rev. Buttrick and John Howard Payne in 1835
The world was created at the time of the first new moon in autumn, with the fruits all ripe. The first new moon in autumn is therefore the great new moon, or nu-ta-te-qua and with it the year commences, as regards the feasts of new moons, though the first new moon is spring begins the year with regard to the feast of first fruits, etc., because then the fruits begin to come forward.
INFORMANT: Yu-wi-yo-ka
Alexander Longe's Cherokee informant. in 1725, stated that the Green Corn Ceremony MUST take place, and MUST observe the sacrifice of the first fruits, and the priests' prayer to God, for if we do not remember him in thanksgiving, he will not remember us.
*Note: Cultural information may vary from clan to clan, location to location, family to family, and from differing opinions and experiences. Information provided here are not 'etched in stone'.
From Blue Panther Keeper of Stories.
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By Sara Wright
Communing with Bears is the story of a joyful encounter between one woman and a black bear.
Web Sites:
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Indigenous Peoples Literature
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Wisdom of the Old People
By David Whitney
Hero, Hawk, and Open Hand
Hero, Hawk, and Open Hand, The Book
Early tribal artifacts put in spotlight
"Hero, Hawk, and Open Hand" is scheduled to be shown at the Smithsonian National Museum of
Natural History from early July to late September.
National Association of Tribal Historic Preservation
Inuit film to tell story of last great shaman
Petition in Support of the Winnemem Wintu Tribe
My Two Beads Worth: Indigenous News Online
Northern California Indian Development Council
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Literacy in Indigenous Communities by L. David van Broekhuizen, Ph.D. (2000)
HTML Format (70K)
PDF Format(117K)
Literacy in first languages in indigenous communities is a complex
topic that generates lively discussion. This research synthesis
explores the notions of national, mother-tongue, multiple, and
biliteracies. It presents important information pertaining to
threatened languages, language shift, and language loss. Examples of
culturally relevant uses of literacy in indigenous communities and
issues related to first-language literacy instruction are also
provided.
Essay on the Zuni World View
Excerpt(Complete article is available in PDF)
Cushing also cited an
incidence where he showed a pole that accompanies a theodolite to an old Zuni
man and asked him what he thought the name of it was. In response the old man inquired as to the
use
of the
item. After briefly describing the
implementation of the device the old man provided a rather lengthy
sentence-word that Cushing translated as "heights of the world progressively
measuring stick". The next day Cushing
took the pole to the extreme corner of the pueblo and began "to flourish it
around" until a middle-aged man relented to curiosity and asked what it
was. Cushing then provided the Zuni
name he had learned the day before and the man promptly requested, "Can they
actually tell how far up and down journeying the world is?"
[105].
posted by Amerindian Arts at 5:10 PM
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