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Abu-Lughod, Lila, 122 action theory, 219, 266n7 aesthetics, 2, 4, 31, 127–28; affect and, 5; African art and, 112; badenya and fadenya in relation to, 179–85; components of, 158–59; definitions of, 128–30, 153; everyday life and, 4–5, 10; form and, 147–54, 217–18; malo and, 41; meaning and, 252; mind and thought expanded through, 191–98; in performance protocol, 173–76; postmodern “anti-aesthetic,” 268n5, 269n7; singers’ performance and, 247; social and personal experience in relation to, 154; Western, 153, 268n2 affect, aesthetic, 1, 5, 158, 180, 192, 216; Mayimuna’s song performance and, 198–212; power of art and, 145–46; praise and, 197; stretching thought and, 191–98 African art, 2, 112, 129, 132–33 African societies, 111, 119, 259 Africanist scholarship, 114, 128–30, 269n9 age, significance in Mande culture, 39, 42, 43–46, 58, 175 agency, 114, 194, 266n6, 268n1; complex, 63, 117, 121, 196, 212, 237, 266n7; di (tastiness) and, 169; nyi (goodness) and, 165 amulets (sèbènw), 54–55, 77, 94, 174, 260; dangers of, 96; obscurity (dibi) and, 178; tere (luck) and, 171; travel for acquisition of, 230 ancestor spirits (bènbaw), 242 animals, 167, 201, 211 antelopes: duiker, 170; headdress representing , 112, 123, 152, 163; nyama of, 152; in praise songs, 141–42 anthropology, 219 Appadurai, Arjun, 226 archaeology, 119 architecture, 132, 267n12 Armstrong, Robert Plant, 129, 130, 131 Arnheim, Rudolf, 218 Arnoldi, Mary Jo, 42, 59, 69; on form in African art, 148; on Mali Kònò bird masquerade, 243; on Mande aesthetics , 139, 156; on puppet theater, 116, 123; on theater and Mande culture, 193; on verisimilitude, 160 art, 4, 97, 110; African art history, 112; atmospheres for artworks, 222–24, 272n9; beholder’s share in meaning of, 217–22; everyday life and, 191; as experience, 78–79; false divide of high and low arts, 216; human face of, 260–62; interior lives and, 123, 124; personal experiences with, 216–17; power of, 149; separation from life, 147, 153, 167. See also plates art history, 112, 114–16, 134, 216; aesthetics and, 129; artists as individuals and, 265n2; form and, 147, 148; popularity of aesthetic conceptions and, 159; study of mental processes in perception, 218 Index 290 Index audience, 4, 14, 24, 53–56, 76, 215; aesthetics and, 132, 134, 141, 156, 187; affect and, 145–46, 193, 196; anticipation of performance events, 34–35; artwork atmospheres and, 232–33; bird dance as physical experience, 150; blacksmiths in, 203, 212, 233; creation of meaning and, 219; dialogue with performers, 33, 146, 263n4; drumming and, 36, 42; interior dialogue and, 123, 124; jago (embellishment ) and, 163; Kònò in bleachers and, 16, 27–28; masquerader’s identity known to, 17; master of ceremonies (jamaladilala) and, 62; meaning and, 251; mystic power of artistry and, 72; performance protocols and, 175; praise directed toward, 197; praise from, 164–65, 209; reactions of, 27, 87, 136, 158; singers and, 247; social and personal analysis by, 166, 191–92; Sunjata epic and, 244; synergy of performance and, 64; unity with performers, 186, 251; Western audiences, 55 audio gesturing, 74 axioms, 2, 177, 232, 245 badenya (“mother-childness”), 101, 102, 179–85, 192; generosity and, 204; Sidi Ballo and, 103; singers’ use of, 247 Baga people, 2 Al-Bakri, Abu Ubayd, 120 Ballo, Sidi, pl.6, pl.21, 1, 2, 8–10, 13–14, 35, 106–107; aesthetics and, 127–28, 132, 136, 140, 141; affect and, 146; amulets worn by, 54, 178, 210, 259; apprentice of, 13, 16, 27, 62–63; audience interaction with, 55, 76, 81, 104, 153, 156, 158, 172, 175–76, 221–22; badenya and fadenya used by, 179–80, 185, 188, 189; biography, 81–86; as blacksmith, 42, 72, 75, 81, 82, 119, 209, 221; character and attributes of, 86–97, 116, 179–80; choreography, 164, 194; daliluw and, 77–78, 94, 95–97, 99, 128, 257, 259; dancing of, 72–75, 172; fototalaw and, 56–57; as hero, 100–104; hometown (Tègèdo), 5; image atmosphere of performance, 240–41; on importance of good singing , 196; individuality of, 5, 107, 115–16; international travels, 85; invisibility inside costume, 27, 172, 176, 178, 188; jèya-jago complementarity and, 161, 162, 164; Mande culture and, 131–32, 157, 194, 260; masquerade of, 3, 69–71, 223; Mayimuna Nyaaré and, 16, 68, 143–44, 175; mentor of, 87, 104, 196, 220; as most important performer, 52, 67; movements of, 33, 156, 165, 173...

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