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Essays on benin culture
Benin culture: significance
Benin arts and its relevance to the society
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The location and ownership of the art of Benin is a highly contested area that provokes strong arguments even to this day on whether or not these artworks should be returned to their place of origin. Forcibly removed during the punitive expedition of Benin in 1987. Not only do the bronzes serve as an important aspect in the oral culture of Benin but by removing the sculptures from their natural homeland it is argued that they cannot be accurately be understood out of that context (Dalton-Johnson, K ‘Cultural Encounters’ 2008, DVD Rom; see transcript p.7). Whilst others argue that displaying Benin Art in Western museums is the best way to enlighten people on the history of the Benin Kingdom and refute damaging and stereotypical images of Africa prevalent in western culture to this day (Spring, C ‘Cultural Encounters’ 2008, DVD Rom; see transcript p.9). Through an analysis
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The discovery of a large selection of artworks and artefacts in Benin City following the punitive expedition in 1897 had huge implications and prompted a challenge to racist attitudes held in the west towards Africa and the nation of Benin at the time. (REFERENCE!!!).
These works of art, a mixture of carved ivory and bronze and brass sculptures ranged from the fifteenth to nineteenth centuries and some two thousand, four hundred artworks were taken to England and sold to museums, art historians, private collectors and scholars across Europe and America to pay for the expedition (Loftus, Wood, 2008 p.45). The three hundred pieces that made their way to the British Museum sparked much interest amongst Charles Hercules Read and Ormonde Maddock Dalton both noted ethnographers of the time. They were astounded by the technical brilliance and...
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...nd lack of a written record within Benin society lead to further controversy surrounding the location and ownership of the Benin artwork, as they were an important aspect in understanding Benin history. Benin oral tradition supports the notion that bronze castings would have been commissioned to commemorate former rulers or used in ceremonies (Woods, Mackie, 2008, p.12). As well as being used as mnemonic devices when relating their oral history (Woods, Mackie, 2008, p.18).
The ownership of Benin art is still a greatly contested area, and there are a number of opinions which should be looked at, on whether or not they should be returned to their place of origin. It is important to note that there has been a change in the relationship between Europe and Africa, From when Benin’s artefacts were first forcibly removed after the British invasion of Benin in 1897.
Merryman, John Henry. Thinking about the Elgin Marbles: Critical Essays on Cultural Property, Art, and Law. London: Kluwer Law International Ltd, 2000.
With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.
South University Online. (2013). HUM 1002: History of Art from the Middle Ages to Modern Times: Week 4: Art of the Americas: 14th Century to the Present. Retrieved from myeclassonline.com
The Benin palace was the center of ritual activity that concentrated on the abundance and expansion of the Edo people. Every year the king of Benin participated in rituals, where he honored his ancestors to increase the good fortunes of his people. An important ceremony was when the Oba’s main purpose was to push away any evil forces. The Oba would sit in a red pavilion, which resembled a threatening color to force evil away. Then he would dance an ivory gong, striking it to repel evil forces.
Nash, Susan. Oxford History of Art: Norther Renaissance Art. 2nd. New York: Oxford University Press, 2009. 30-65. eBook.
“Different but Equal” is a video in which Basil Davidson, the narrator, attempts to expand and heighten the understanding that Western civilization has about Africa. Often thought of as underdeveloped or uncivilized, Basil focuses mainly on the accomplishments of Africans throughout the years and uses them to contrast the surprisingly popular belief of African inferiority. Just a few of the main issues being brought up are how Europeans routinely discredited African accomplishments, the often disputed race of the Egyptians and their society, and why the thought that Africans are ‘uncivilized’ isn’t accurate. The video uses science, archaeology and history combined with the input of well-known researchers to give a more accurate depiction of
In summary, Davidson successful traces Africa’s earliest origins and demonstrates that this is a civilization far from having no arts, technology, sophistication and unique culture. Culture and civilization as we know it today can be traced back to Africa, and modern science has verified the early perceptions of Europeans to be wrong. He provides more than adequate evidence of Africa having a history complete with vast and rich civilization, including archaeological finds and specialized interviews with distinguished scholars and philosophers. Despite the fact that society possesses a more positive attitude towards African civilization today in terms of recognition, equality, and acceptance than in the past, negative stereotypes are still acknowledged and modern day racism unfortunately exists. I believe that the existence of Davidson’s work and videos such as Different but Equal are crucial to challenging these stereotypes and discrimination in order to create a more accurate image of Africa and its history. Overall, Davidson proves that the continent of Africa is home to a history that is just as meaningful, comprehensive, and progressive as that of any other civilization in the
In sub-Saharan Africa, thousands of languages, cultures, and geographical regions helped influence our African society. The ways in which we produce our artwork, spiritual ideals, and ritual performances are organic and raw. From the tropical regions of Congo and Ghana, to the arid regions of Mali; I pass through the global gateway into a domain where the Western world lost its roots and artistic imagination and grandeur. Africa appeals most to me for its ability to create a realm where the living, dead, and artistic ideals come into a single unit of tranquil philosophy.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
Achebe opens his lecture, "An Image of Africa," with the story of a student who sent him a letter saying how he was "particularly happy to learn about the customs and superstitions of an African tribe," not realizing that "the life of his own tribesmen in Yonkers, New York, is full of odd customs and superstitions" as well (1784). Western thou...
New African Vol. 1.492 (2010): 14. History Reference Center -. 2010 - EBSCO Industries, Inc. Web.
In “Whose Culture Is It, Anyway? ”, Kwame Anthony Appiah begins by pointing out that some of the museums of the world, particularly in the West, have large collections of artefacts and objects which were robbed from developing and poor countries. He then raises a question: who owns these cultural patrimony and properties? Our first answer may be that since they make up the cultural heritage of a people, they belong to the people and culture from whom they were taken. Appiah has doubt about this and argues that if some cultural artefacts are potentially valuable to all human beings, they should belong to all of humanity. He thinks that when they make contribution to world culture, they should be protected by being made available to those who would benefit from experiencing them and put into trusteeship of humanity.
Ogbechie, S. O. (2010) The Curator as Culture Broker: A Critique of the Curatorial Regime of Okwui Enwezor in the Discourse of Contemporary African Art. [Internet]. Available at: http://www.africancolours.com/african-art-news/550/international/the_curator_as_culture_broker_a_critique_of_the_curatorial_regime_of_okwui_enwezor_in_the_discourse_of_contemporary_african_art.htm [Accessed 24 October 2011].
The subject of art conservation and restoration has long been debated in the art world. Experts and historians have never agreed that all art must be salvaged at any cost. This paper will examine what art conservation and restoration is, what is involved in these endeavors, and what has been done over the centuries to many of history’s cherished art pieces.
...’s depictions of both traditional and modern beliefs in varying degrees illustrate the importance of both in contemporary Nigerian culture, as well as the greater Africa as a whole, and how both are intertwined and cannot exist without the other. In effect, she skillfully subverts stereotypes or single perceptions of Africa as backward and traditional, proving instead, the multifaceted culture of Africa. She further illustrates that neither traditional African nor western culture is necessarily detrimental. It is the stark contrast of the fundamental cultures that inevitably leads to clashes and disagreements. In the end, what holds African countries such as Nigeria together is their shared pride. Modern, western influences can bring positive changes to society, but new cultures cannot completely eradicate the foundational cultures to which a society is founded on.