Ethnographic Arms & Armour - View Single Post - A Kris-Tanto or hybridation as an answer

Antonio Cejunior · 10th September 2007, 05:42 AM

David,

Just an exceptional post to clarify a couple of things. I chose you to reply to, but my answer was not directed at you personally.

This being said, and having gone out and come back, I had the time to think about other associations in art, since what differs is my way of expression along with my interaction with Paolo Abrera.
I disagree about the forced hybridization that you mention for various number of reasons which I'll fundament.
1. I had the biggest opportunity to see a large number of swords of all kinds at the HOS exhibition and do allow me the right to be able to assimilate. I did not do it without seeing the real thing. Actually the original design was enriched by Paolo's input. I do know what is the reason for the baca-baca.

2. Cultural hybridization nowadays take much less time with the information society, otherwise any American smith who is doing a Japanese style sword would be subject to your invalidation. Cultural appropriations are, therefore, today of a different level and time.
3. No one objected to the incorporation of distant Japanese culture in paintings by the Impressionists nor organic shapes of Art Nouveau are exempt of Orientalist or even pseudo orientalistic influences. There was no direct contact.
4. Pablo Picasso was never in Africa, but it wasn't less legitimate of him to "take possession" of African masks shapes in his Demoiselles D'Avignon that led to Cubism.

Actually you are obviously entitled to like it or not. I did in fact anticipate what I just wrote above when I said that in the webpage that Then, slowly, hybridation as a cultural process of appropriation, viewed exogenously so as not to be bound by traditions, as too often, too much knowledge becomes to restrictive of creative freedom.

This was already written before the knife was finished.

I understand that once you say I have very little interest in custom knife making as a modern art form you have already blocked any possibility of liking anything because you already carry with you a parti pris.

I do remain open to both ancient and new experimentations. That is why I decided not to discuss. Because there is no discussion possible

Cheers

10th September 2007, 05:42 AM	#24
Antonio Cejunior Member Join Date: Mar 2005 Location: Macau Posts: 294	David, Just an exceptional post to clarify a couple of things. I chose you to reply to, but my answer was not directed at you personally. This being said, and having gone out and come back, I had the time to think about other associations in art, since what differs is my way of expression along with my interaction with Paolo Abrera. I disagree about the forced hybridization that you mention for various number of reasons which I'll fundament. 1. I had the biggest opportunity to see a large number of swords of all kinds at the HOS exhibition and do allow me the right to be able to assimilate. I did not do it without seeing the real thing. Actually the original design was enriched by Paolo's input. I do know what is the reason for the baca-baca. 2. Cultural hybridization nowadays take much less time with the information society, otherwise any American smith who is doing a Japanese style sword would be subject to your invalidation. Cultural appropriations are, therefore, today of a different level and time. 3. No one objected to the incorporation of distant Japanese culture in paintings by the Impressionists nor organic shapes of Art Nouveau are exempt of Orientalist or even pseudo orientalistic influences. There was no direct contact. 4. Pablo Picasso was never in Africa, but it wasn't less legitimate of him to "take possession" of African masks shapes in his Demoiselles D'Avignon that led to Cubism. Actually you are obviously entitled to like it or not. I did in fact anticipate what I just wrote above when I said that in the webpage that *Then, slowly, hybridation as a cultural process of appropriation, viewed exogenously so as not to be bound by traditions, as too often, too much knowledge becomes to restrictive of creative freedom.* This was already written before the knife was finished. I understand that once you say I have very little interest in custom knife making as a modern art form you have already blocked any possibility of liking anything because you already carry with you a parti pris. I do remain open to both ancient and new experimentations. That is why I decided not to discuss. Because there is no discussion possible Cheers