By Fritz Kramer
Kramer units out to teach that African pictures of Europeans—in sculpture, masquerades and particularly spirit possession—are the opposite and in addition the counterpart of ecu photos of the opposite as savage, no matter if noble or ignoble. In methods which can echo 19th-century ecu realism, they exhibit the ability of the element: a feather, a automobile, or the eponymous pink fez which runs like a leitmotif via spirit ownership cults of the early colonial interval. “The pink Fez” demonstrates not just the startling likenesses to ourselves and our tradition, but in addition reflections of types of wisdom which this civilization has submerged.
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