In our society it has long been believed that art serves very little social purpose. Evolutionary anthropologists, however, are examining a potential role for art in human evolution. Kathryn Coe looks to the visual arts of traditional societies for clues. Because they are passed down from previous generations, traditional art forms such as body decoration, funeral ornaments, and ancestral paintings offer ways to promote social relationships among kin and codescendants of a common ancestor. Mothers used art forms to anchor themselves and their kin to the father and his kin, and to promote the survival and reproductive success of kin and descendants. Individuals who abided by this strategy, accompanied by its strict codes of cooperation, left more descendants than did individuals who did not. Over time, given this reproductive success, large numbers of individuals would be identified as codescendants of a common ancestor and would cooperate as if they were close kin. These cooperative codescendants were more likely to survive and leave descendants. With each new generation these clans propagated not only their genes but also their behavioral strategy, the replication or presence of “art.” The book concludes by examining the changing characteristics of visual art—including a higher value on creativity, competition, and cost—when traditional constraints on social behavior disappear.

The Ancestress Hypothesis: Visual Art as Adaptation (The Rutgers Series in Human Evolution)

Politics & Social Sciences

Coe, Kathryn

Social Sciences

Rutgers University Press

<p>In our society it has long been believed that art serves very little social purpose. Evolutionary anthropologists, however, are examining a potential role for art in human evolution. Kathryn Coe looks to the visual arts of traditional societies for clues. Because they are passed down from previous generations, traditional art forms such as body decoration, funeral ornaments, and ancestral paintings offer ways to promote social relationships among kin and codescendants of a common ancestor. Mothers used art forms to anchor themselves and their kin to the father and his kin, and to promote the survival and reproductive success of kin and descendants. Individuals who abided by this strategy, accompanied by its strict codes of cooperation, left more descendants than did individuals who did not. Over time, given this reproductive success, large numbers of individuals would be identified as codescendants of a common ancestor and would cooperate as if they were close kin. These cooperative codescendants were more likely to survive and leave descendants. With each new generation these clans propagated not only their genes but also their behavioral strategy, the replication or presence of “art.” The book concludes by examining the changing characteristics of visual art—including a higher value on creativity, competition, and cost—when traditional constraints on social behavior disappear.</p>

The Ancestress Hypothesis: Visual Art as Adaptation (Rutgers Series on Human Evolution)

<p>This book serves as an indispensable resource for students and scholars interested in storytelling and in multicultural approaches to the arts. By taking an evolutionary approach, this book begins with a discussion of origin stories and continues through history to stories of the 21st century. The text not only engages the stories themselves, it also explains how individuals from all disciplines, from doctors and lawyers to priests and journalists, use stories to focus their readers' and listeners' attention and influence them.\nThis text addresses stories and storytelling across both time (thousands of years) and geography, including in-depth descriptions of storytelling practices occurring in more than 40 different cultures around the world. Part I consists of thematic essays, exploring such topics as the history of storytelling, common elements across cultures, different media, lessons stories teach us, and storytelling today. Part II looks at more than 40 different cultures, with entries following the same outline: Overview, Storytellers: Who Tell the Stories, and When, Creation Mythologies, Teaching Tales and Values, and Cultural Preservation. Several tales/tale excerpts accompany each entry.</p>

Storytelling around the World: Folktales, Narrative Rituals, and Oral Traditions

Literature & Fiction

Čvorović, Jelena

History & Criticism

ABC-CLIO

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