By A. Schneider
This ebook makes a big contribution to the present debate on globalization, and extra accurately to the query of ways the "traffic in tradition" is practiced, rationalized and skilled through visible artists. The ebook specializes in creative practices within the appropriation of indigenous cultures, and the development of latest Latin American identities. Appropriation is the elemental theoretical suggestion constructed to appreciate those methods.
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Additional resources for Appropriation as Practice: Art and Identity in Argentina (Studies of the Americas)
19 Appropriation as Hermeneutic Procedure The point here is not to revive the antiquated theories of acculturation and culture change of the early twentieth century, but to reconnect with the interest in appropriation, and focus on individual practices, that mediate or broker between different cultural levels in the process of globalization. For anthropology, it is important to develop a proper concept of appropriation, one that takes into account (a) the “original”20 context of an artefact and its producers; (b) the artefact itself; and (c) the appropriating person, or agent.
The topic is less than secondary, it was tertiary for all the different governments we had here. I have not seen even a minimal effort in developing an interest in these cultures, and finding a way to promote research on this topic. To the contrary, here one always looked to Europe, or in recent years, to the United States—regarding culture, mainly to Europe. In my primary and secondary school studies they only mentioned the Inca. We studied the Romans, the Egyptians, and everything about European culture—much more than we learned about the culture of our America (nuestra América).
Also our discussion in chapter 3; and Telesca 2000: 202–203). For art critics and writers, as for other comparable professions, economic stability and a fixed rate of exchange against the Dollar also implied that their fees were paid in hard currency and, more often than in the past, on time. As one critic expressed it in a conversation with me, “money was circulating,” and the “chain of payments” was functioning. The cultural developments during the Menem years (1989–1999) are complex and no attempt is made here to treat them comprehensively.
Appropriation as Practice: Art and Identity in Argentina (Studies of the Americas) by A. Schneider