Solway - Chapter 10 | eBooks | Non-Fiction

Solway - Chapter 10

Solway - Chapter 10 SolwayPolitics_10 Instant Download Price
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I like to paint because I like to show other people the customs and the manners of life of my own people. I like to go forward and to show other people that they [the San] might do something on their own.
Thamae Setshogo, D'Kar, June 15, 1995

The San believe that their cultural practices form the backbone of a healthy and socially intact community. Injustices such as land and resource dispossession are so disruptive that affected communities are often unable to uphold their traditional consensual decision-making processes. But the memory of once-strong and unified communities keeps alive the longing for the revival and reconstruction of culture and identity.
Kxao Moses =Oma and Axel Thoma, 2002

An exciting development on the cultural front of contemporary San1 has been the production of a body of easel art and prints, by over a dozen artists at two centers in southern Africa. The art is of the type of non-Western, Fourth World, "tribal" art that Nelson Graburn would call "assimilated fine art"2 — that is, its aesthetic sources, its epistemology, materials and techniques, and its intended audience are all external to the culture and community of the artists (Graburn, 1976: 8).

I like to paint because I like to show other people the customs and the manners of life of my own people. I like to go forward and to show other people that they [the San] might do something on their own. Thamae Setshogo, D'Kar, June 15, 1995
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