playing catch-up

Closing ALL the tabs today (a very haphazard collection):

• deepad: Un-unpadh gavaring
  
• inkstone linked to KORRA CASTING HOMG;
  
• colorblue linked to Junot Diaz's comments from the Jaipur Literary Festival;
  
• three_weeks_for_dw is coming back! :)
  
• yuri_challenge prompts list! (AND SHIKABANE HIME IS ON THE LIST, FUCK YES)
  
• starlady has links to short fiction & book giveaways;
  
• the_future_modernes posted excerpts from an awesome interview re: race, religion, and gender;
  
• A:TLA BENTO, AHAHAHAHAHA &hearts!!!
  
• Interview with Bryan & Mike
  
• eruthros posted a delicious-looking carrot cake recipe;
  
• bossymarmalade put up a music post for International Women's Day!
  
• coffeeandink posted a gorgeous review of Shaun Tan's The Red Tree. &hearts
  
• azuire: important things to know about india (you/snark = OTP, bb! ;D)
  
• from mercredigirl: OH NEIL GAIMAN NO. >:E
  
• 100K Kingdoms sigils!
  
• terajk wrote me a FABULOUS Shikabane Hime ficlet: And She is Truth. THANK YOU!! &hearts
  
• deepad: On Casting the Net of Imagination

-- and now, back to my backlog of things owed/too many thinky thoughts! o/

invoking art

From Gloria Anzaldúa's La Frontera/Borderlands: The New Mestiza, which I finished reading just the other day:

My "stories" are acts encapsulated in time, "enacted" every time they are spoken aloud or read silently. I like to think of them as performances and not as inert and "dead" objects (as the aesthetics of Western culture think of art works). Instead, the work has an identity; it is a "who" or a "what" and contains the presences of persons, that is, incarnations of gods or ancestors or natural and cosmic powers. The work manifests the same needs as a person, it needs to be "fed," la tengo que bañar y vestir.

...

The aesthetic of virtuosity, art typical of Western European cultures, attempts to manage the energies of its own internal system such as conflicts, harmonies, resolutions and balances. It bears the presences of qualities and internal meanings. It is dedicated to the validation of itself. Its task is to move humans by means of achieving mastery in content, technique, feeling. Western art is always whole and always "in power." It is individual (not communal). It is "psychological" in that it spins its energies between itself and its witness.

Western cultures behave differently toward works of art than do tribal cultures. The "sacrifices" Western cultures make are in housing their art works in the best structures designed by the best architects; and in servicing them with insurance, guards to protect them, conservators to maintain them, specialists to mount and display them, and the educated and upper classes to "view" them. Tribal cultures keep art works in honored and sacred places in the home and elsewhere. They attend them by making sacrifices of blood (goat or chicken), libations of wine. They bathe, feed, and clothe them. The works are treated not just as objects, but also as persons. The "witness" is a participant in the enactment of the work in a ritual, and not a member of the privileged classes.

Ethnocentrism is the tyranny of Western aesthetics. An Indian mask in an American museum is transposed into an alien aesthetic system where what is missing is the presence of power invoked through performance ritual. It has become a conquered thing, a dead "thing" separated from nature and, therefore, its power.

(I loved the entire book, my non-comprehension of Spanish notwithstanding, but this passage made an exceptional number of things go "ping!" in my head. Still attempting to sort them out.)