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November 18, 2008


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Wirndzerem G. Barfee

This reconceptualization of corporal/epidermal frames as media of expression has more to with a kind of archetypal streak that has always streamed in humanity through space and time. The differences has always been the cultural determinants of such practices. In older societies it denominated a kind of ritual/communal identifiers as you rightly see with the transafrican henna body painting and other totemic scarifications comparable with today's tattoo signifiers. Body arts today, exemplified by the significance it took with feminist writers and theorists, as medium and symbol of independence and emancipation has abetted avant-guardist exploration of this radical publicisation of a very intimate/private medium, that has hitherto been restrained by our socialization on topics and connections between nudity and impudence/pornography. But today this negative education has been discredited by new schools that encourage our harmonious relationship with natural and the natural, the beauty of the pristine, symbolic identification of nudity with virtue (truth, purity, unhypocritical, emancipation etc), positive dedevelopment (reduction of industrial growth which harms the ecosystem: industrial garment making and consumerism are some of the greatest sources of ecodegradation). Ecritically speaking, exploration of the symbols of your showcased body painting, the thematics of birds (non human life)and our(human) interrelationship/interdependency indicates a deep ecological experience of harmony and respect that is worth emphasizing. In another breathe, under the modern aspect of apparent individualism in corporal arts ( urban tatoo culture), there has also an indication at the same time of a valued celebration difference.

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