Primitivism and Exoticism

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Modernist art has the most diverse attributes which preceding arts did not contained. The most exact reason to this statement is the persistence of modernist primitivism.


If an entity is being adopted or being infiltrated in the other culture then the entity becomes foreign for that specific culture. Exoticism deals with the exotic adoptions in arts from diverse and previous cultures and incorporates it in the modern era of art. It demonstrates that “Exoticism is to space what Primitivism is to time”. However, Primitivism and Exoticism in the modern music congealed the preceded understanding of these two schools of thought in the modern art. Exoticism and primitivism in music do not only deal with foreign or previous contents and contexts but also utilized the developed outcomes of those contexts in the modern manner. This paper is aimed to discuss the association of Exoticism and Primitivism to the music in the era of modernism and it will be discussed in the light of chapter seven of the book Modernism and Music: Anthology of Sources by Daniel Albright. Primitivism The side of modern music which is embarked in the ideology of Primitivism is contained with some distinct traits which are not usually found in the conventional ideals of primitivism in other modern art forms like paintings. It can be understood by contrasting the two art forms in the domain of Primitivism. Primitivism in the art is accepted to be consisting on three major factors. These major factors are intensely separate in their realistic sense and concepts. However the modern primitivism does incorporate all three of these distinct factors which are fascination, the factor of disgust and a significant proportion of terror. Modern primitive art is formulated by the compilation of these three factors in which the pessimistic account is more illuminated than the optimistic shade of the demonstration. ...
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