ISBN:
9783839424568
Language:
English
Pages:
1 Online-Ressource (266 pages)
,
illustrations (some color), portraits
Series Statement:
Image volume 60
DDC:
306.47096762
Keywords:
Portrait photography Philosophy
;
Portrait photography Social aspects
;
Portrait photography Religious aspects
;
Portrait photography Philosophy
;
Portrait photography Social aspects
;
Portrait photography Religious aspects
;
Islam and art
;
Portrait photography ; Social aspects
;
Islam and art
;
Africa, East
;
Kenya
Abstract:
Frontmatter --Contents --Preface / Acknowledgements --Chapter 1 Introduction --Chapter 2 Providing the Context: The East African Coast --Chapter 3 Polemic Encounters: Photography as a Medium and Object of Ethnographic Research --Chapter 4 Textiles and Images: Photography as Unveiling --Chapter 5 Creating Spectacles: Studio Photographers of the Indian Diaspora --Chapter 6 Ambulant Photographers --Chapter 7 The Bakor Studio and the "Aesthetics of Withdrawal" --Chapter 8 Weddings, Photography, and the Aura of Modernity --Chapter 9 Withdrawal of Life: Photography and Death --Chapter 10 Iconoclastic Spirits --Chapter 11 "Killer Panics" and Digital Photography --Bibliography.
Abstract:
Since the introduction of photography by commercial studio photographers and the colonial state in Kenya, this global medium has been intensely debated and contested among Muslims on the cosmopolitan East African coast. This book does not only explore the making, circulation, and consumption of popular photographs, but also the other side, their rejection and obliteration, an essential aspect of a medium's history that should not be neglected. It deals with various "social spaces of refusal" in the local Muslim milieu and in that of "traditional" spirit mediums in which (gendered) visibility was (and is) contested in various and creative ways. It focuses on the "aesthetics of withdrawal": the various ways and techniques that process the photographic act as well as the photographic image to theatricalize the surface of the image in new ways by veiling, masking, and concealing. In a fragmented historical perspective, Heike Behrend seeks to complement, decenter, and counter the history of photography as it has been told by the West and to narrate another history beginning with preceding local media such as textiles and spirit possession
Note:
Includes bibliographical references
,
In English
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