This article criticises primitivist caricatures of the Baining in Melanesia as a society that lacks exegesis, symbolic logics, religion, structures of power and control, and even an interest in play. The mytho‐poetics of gender and procreation in Mali Baining society are documented by focusing on how art and sexuality are traced onto each other. The formative power of painting, barkcloth, dancing masks, netbags and music are merged with the formative power of women. Art and sexuality are made to inform each other's generative potential, and even each other's aesthetic charm. These fertile mytho‐poetic practices also underpin Mali political practices. Mali indigenous identity is celebrated as local control over the original powers of creation, which continue to reside in the earth, in the local landscape and, above all, in that which underpins all creation, women's procreative bodies with their creative potential to bring forth something new. The Mali localise creative processes so as to empower and revalue themselves within a culture of resistance to the hegemony of colonialism, modernity, settlers and regional ethnic elites.

中文翻译：

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重新分析拜宁：种族，性别和艺术的神话诗学

本文批评了美拉尼西亚拜宁的原始主义讽刺漫画，因为它缺乏阐释，符号逻辑，宗教，权力和控制结构，甚至缺乏对游戏的兴趣。马里·白宁社会关于性别与生殖的神话学是通过关注如何将艺术与性行为相互追溯来记录的。绘画，树皮，舞蹈面具，网袋和音乐的形成力与女性的形成力融合在一起。通过艺术和性行为来传达彼此的生成潜能，甚至彼此的审美魅力。这些丰富的神话般的实践也为马里的政治实践奠定了基础。庆祝马里土著身份是对当地原始创造力的控制权，这些创造力继续存在于地球，当地景观中，最重要的是，在所有创作的基础上，妇女生殖机构具有创造新事物的创造潜力。马里对创意过程进行了本地化，以便在抵制殖民主义，现代性，定居者和地方民族精英霸权的文化中赋予自己权力和重新估价。