Daughters of Seclusion
The Revelation of the Ibibio «Fattened Bride» as the Icon of Beauty and Power
«Imo Nse Imeh comes from blooded stock. His mother is an Ibibio. He is an Ibibio. With double-barrel authenticity he hits some of the most important aesthetic expressions of the women of Ibibioland who live in the southeast of Nigeria. His eye is sharp and discerning and his command of the sources, both vocal and literary, is nonpareil. This book is destined to become a classic of our field starting with the first page that you turn. An unbelievably rich achievement.» (Robert Farris Thompson, Author of ‘Tango: The Art History of Love’)
«Imo Nse Imeh has written a most insightful examination of a women’s initiation procedure in Nigeria from a perspective unlike any other – his own people, his own family, and the initiate herself. The ritual, among the Ibibio people, has long been misunderstood. Imeh’s lucid writing gives us an intimate look into attitudes about the body and its maturity as a personally crafted process of art.» (Frederick John Lamp, Curator of African Art, Yale University Art Gallery; Author of ‘See the Music, Hear the Dance: Rethinking African Art at the Baltimore Museum of Art’)»
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Daughters of Seclusion
Detaljer
- Forlag
- Peter Lang Publishing Inc
- Innbinding
- Innbundet
- Språk
- Engelsk
- Sider
- 312
- ISBN
- 9781433115325
- Utgivelsesår
- 2012
- Format
- 23 x 16 cm
Anmeldelser
«Imo Nse Imeh comes from blooded stock. His mother is an Ibibio. He is an Ibibio. With double-barrel authenticity he hits some of the most important aesthetic expressions of the women of Ibibioland who live in the southeast of Nigeria. His eye is sharp and discerning and his command of the sources, both vocal and literary, is nonpareil. This book is destined to become a classic of our field starting with the first page that you turn. An unbelievably rich achievement.» (Robert Farris Thompson, Author of ‘Tango: The Art History of Love’)
«Imo Nse Imeh has written a most insightful examination of a women’s initiation procedure in Nigeria from a perspective unlike any other – his own people, his own family, and the initiate herself. The ritual, among the Ibibio people, has long been misunderstood. Imeh’s lucid writing gives us an intimate look into attitudes about the body and its maturity as a personally crafted process of art.» (Frederick John Lamp, Curator of African Art, Yale University Art Gallery; Author of ‘See the Music, Hear the Dance: Rethinking African Art at the Baltimore Museum of Art’)»
«Imo Nse Imeh comes from blooded stock. His mother is an Ibibio. He is an Ibibio. With double-barrel authenticity he hits some of the most important aesthetic expressions of the women of Ibibioland who live in the southeast of Nigeria. His eye is sharp and discerning and his command of the sources, both vocal and literary, is nonpareil. This book is destined to become a classic of our field starting with the first page that you turn. An unbelievably rich achievement.» (Robert Farris Thompson, Author of ‘Tango: The Art History of Love’)
«Imo Nse Imeh has written a most insightful examination of a women’s initiation procedure in Nigeria from a perspective unlike any other – his own people, his own family, and the initiate herself. The ritual, among the Ibibio people, has long been misunderstood. Imeh’s lucid writing gives us an intimate look into attitudes about the body and its maturity as a personally crafted process of art.» (Frederick John Lamp, Curator of African Art, Yale University Art Gallery; Author of ‘See the Music, Hear the Dance: Rethinking African Art at the Baltimore Museum of Art’)»