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| Exhibiting cultures (Minkisi, a case study in signification) | |||
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Dissertation for BA(Hons) Degree 2002 in Fine Art (Sculpture) Wimbledon School of Art
Abstract This dissertation investigates the part played by the ethnographic collection in the generation of racialist stereotypes of the African. It recognises the persistence of these ideas and challenges the current multi-cultural stance of ethnographic museums. The discussion considers the possible future of such collections and advocates that they adopt a radical self-reflexiveness. The discussion of the ethnographic museum is interwoven with an examination of the signification, through time, of a group of Congolese artefacts called nkisi nkondi.
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| Exhibiting cultures (Minkisi, a case study in signification) | |||
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Part I: The original social meanings of minkisi, their interpretation as icons of savage Africa, and the machinery for the creation of the African other |
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Section I: |
Minkisi in their original social context |
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Section II: |
The background to the reception of Minkisi in England |
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Section III: |
The exhibition of Mavungu at the Pitt Rivers Museum and the interpretation of nkisi nkondi |
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Section IV: |
The propagation of racialist attitudes towards the African |
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Section V: |
The culpability of anthropology/ethnography |
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Part II: The future of the ethnology museum |
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| Section I: |
Issues relating to the current paradigms of transcultural exhibition |
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Solutions and possible futures |
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Appendices |
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A |
Maps (not included in this version) |
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B |
Minkisi, the religious cosmology of the Congo and interactions with christianity and their display |
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C |
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D |
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E |
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F |
The Stanley and African Exhibition, at the Victoria Gallery, 1890 |
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G |
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H |
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