Word: africanism
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Dates: during 1950-1959
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...African side, the captain quick-changes into dove-grey flannels and a snap-brim felt, darts to a waiting taxi and heads, by way of the flower shop, for a glassily sinful flat in one of the tonier hotels. There he is passionately greeted by wife No. 2, a sexy, black-haired baggage (Yvonne de Carlo) who throws the cootch around in nightclubs, guzzles champagne, and takes moonlight plunges in the Mediterranean...
Actress Gardner, cast as a sort of one-girl Friendship Club, arrives at Gable's African animal farm to keep a date with a maharaja. When she finds that her potentate has gone back to the Punjab, Ava companionably moves in with Gable, only to have her idyl interrupted by the arrival of a British anthropologist (Donald Sinden) and his aristocratic, susceptible wife (Grace Kelly). On safari, the camera keeps one travelogue eye on natives, chest-thumping gorillas and the lush African landscape, but concentrates mainly on a heavy-breathing triangle involving Ava, Gable and Grace. After 116 minutes...
...widow Margaret. Africanist William Fagg supplied a foreword to the exhibition catalogue that could also be taken as a friendly warning to visitors. To see the show clearly, said Fagg, it is necessary to forget all about naturalism, which sprang from Greek art and survived in the photographic age. "African art is an art not of analysis but of synthesis: the artist does not begin from the natural form of, say, the human body ... He begins from a germinal concept which grows into the finished work, developing, so to speak, from the inside out and not from the outside...
...Africans' extraordinary freedom in making shapes was what appealed most to the modern artists who first put African sculpture on the map. Painters Braque and Picasso and Sculptors Brancusi and Epstein were inspired to savage experimentation by African art. But moderns, for the most part, have imitated the forms of African sculpture, divorced from the spirit inside them. By civilized standards, that spirit is nightmarishly superstitious. Harmony and order-as much a part of the classical art heritage as realism-are sacrificed to demoniac fervor. But African sculpture has an intensity greater than any that modern...
Where was Mavis to go? She no longer belonged to the Zulus; in just two short weeks away from the kraal, she was taking on the ways of South African civilization. When the Bothas took her back to the kraal for a visit, her old Zulu "mother" called her "Missie" (Mistress) and kissed her. Mavis carefully wiped her lips with a handkerchief and turned away, saying angrily: "I am white, not black like this old woman. Take me away from here." Dr. Botha said desperately: "We are medically positive the child is pure white. Her eyes, hair, cuticles, gums...