The New Figuratism

  • Bennetta Jules-Rosette
Part of the Topics in Contemporary Semiotics book series (TICSE, volume 4)


During the early 1970s when copper prices were on the rise, Zambia’s economy began to boom. Lusaka attracted more tourists, and souvenir art became a thriving outlet for small entrepreneurs. Craftspeople and traders from neighboring countries considered Lusaka a key distribution point from which to market their wares. Among them were Kamba commercial carvers from Kenya, Makonde artists and traders from Tanzania, Sénégalese middlemen, and artisans, ivory workers, and painters from Zaire. The climate of expansion for artists and craftspeople migrating from other countries and from Zambia’s rural areas was enhanced by an initial lack of official concern about regulation of the tourist art market.’ For several years, these migrant artists and their middlemen dominated Lusaka’s street trade in curios.


Social Commentary Image Creator Abstract Painting Peasant Woman Tourist Trade 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


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Copyright information

© Springer Science+Business Media New York 1984

Authors and Affiliations

  • Bennetta Jules-Rosette
    • 1
  1. 1.University of California, San DiegoLa JollaUSA

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