Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Present Pasts of Colonial Modernity: Embroideries by Lucie Kamuswekera

Present Pasts of Colonial Modernity: Embroideries by Lucie Kamuswekera Present Pasts of Colonial Modernity Embroideries by Lucie Kamuswekera Bogumil Jewsiewicki and Maartin Hendriks Being a historian does not mean knowing “ how xp erience whose intergenerational transmission was disrupted things really happened.” It means seizing a memory b,y three decades of armed conflict in the Kivu provinces. As a as it arises at the moment of danger w . idow and grandmother, she fully assumes the role of guarantee - —Walter Benjamin (2000: 431) ing generational continuity that her society grants to women. She inscribes her art in a dynamic continuity of sharing memories A songwriter doesn’t care about what’s truthful. W in i ham t ages and words. She uses embroidery, a technique learned he cares about is what should’ve happened, wha a tt t he colonial school, to actualize male pictorial discourses on could’ve happened. That’s its own kind of truth. experiences lived during the second half of the twentieth century. —Bob Dylan (2012, quoted in Wilentz 2021) She devotes part of the income from the sale of her embroideries to running a workshop where she shelters and trains four orphans ucie Kamuswekera’s embroideries are not popular (three girls and one boy), formerly street children, because http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png African Arts MIT Press

Present Pasts of Colonial Modernity: Embroideries by Lucie Kamuswekera

African Arts , Volume 56 (2): 18 – Jun 1, 2023

Loading next page...
 
/lp/mit-press/present-pasts-of-colonial-modernity-embroideries-by-lucie-kamuswekera-1NTaG5bw3D

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
MIT Press
Copyright
© 2023 by the Regents of the University of California
ISSN
0001-9933
eISSN
1937-2108
DOI
10.1162/afar_a_00708
Publisher site
See Article on Publisher Site

Abstract

Present Pasts of Colonial Modernity Embroideries by Lucie Kamuswekera Bogumil Jewsiewicki and Maartin Hendriks Being a historian does not mean knowing “ how xp erience whose intergenerational transmission was disrupted things really happened.” It means seizing a memory b,y three decades of armed conflict in the Kivu provinces. As a as it arises at the moment of danger w . idow and grandmother, she fully assumes the role of guarantee - —Walter Benjamin (2000: 431) ing generational continuity that her society grants to women. She inscribes her art in a dynamic continuity of sharing memories A songwriter doesn’t care about what’s truthful. W in i ham t ages and words. She uses embroidery, a technique learned he cares about is what should’ve happened, wha a tt t he colonial school, to actualize male pictorial discourses on could’ve happened. That’s its own kind of truth. experiences lived during the second half of the twentieth century. —Bob Dylan (2012, quoted in Wilentz 2021) She devotes part of the income from the sale of her embroideries to running a workshop where she shelters and trains four orphans ucie Kamuswekera’s embroideries are not popular (three girls and one boy), formerly street children, because

Journal

African ArtsMIT Press

Published: Jun 1, 2023

There are no references for this article.