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Art of benin essay
EUROPEAN IMPERIALISM and Africa
The european imperialism in africa
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The display of Benin art in museum and galleries reflect the attitudes and perceptions of Europeans towards non-western artefacts, especially African. Thus as European attitudes change towards non-western art since the discovery of Benin art in 1897, Benin art has been revaluated and re-categorised. Initially there was a great deal of debate about Benin art and its display, as it did not equate with the perceptions then held about Africa. Until the British conquest of Benin in 1897, little was known about Benin and its culture apart from brief interaction with other Europeans in the sixteenth century. The perception of Africa was of a primitive, savage and uncivilised land, full of ‘abuses and fetishes and idolatries’, (Hodgkin, 1975, p33). Therefore, when the British invaded Benin they treated any artefacts they found as ‘war booty’ (Woods, 2008, p30) and sold anything of any value to pay for the expedition. They removed artefacts and artwork without recording any contextual evidence of form or function. These ideas are evident in the photographs in figures 1.10 on page 31, 2.2 on page 50 in Cultural Encounters (AA100, Book 3) and Plate 3.1.14 in the Illustration Book: Plates for Book 3 and 4 where artefacts are bundled into piles with centralised white figures suggesting only British triumph (Loftus, 2008). The ‘clever workmanship’ (Gallewey, 1893b, p37) and ‘delicacy of detail’ (Bacon, 1897, p39) attest to the quality of the artwork and the subsequent bidding by rival museums and galleries for the pieces did not prevent the perception that Africa, and thus Benin, as being barbaric and primitive. The debate was how such a barbaric society could produce such sophisticated artwork. The quality of the Benin bronzes, based on... ... middle of paper ... ... Milton Keynes, The Open University, pp. 45-58 Mackie, R. (2008), ‘The Art of the Benin: Changing Relations between Europe and Africa I: The conquest of the Benin in the 1890’s’, in Brown, R (ed.), Cultural Encounters (AA100 Book3), Milton Keynes, The Open University, pp. 16-32 Pike, J. (2008), ‘Cultural Encounters and Cultural Exemptions’, in Brown, R (ed.), Cultural Encounters (AA100 Book3), Milton Keynes, The Open University, pp. 90-122 Wood, P (2008), ‘The Art of the Benin: Changing Relations between Europe and Africa II: The Benin bronzes and Modern Art’, in Brown, R (ed.), Cultural Encounters (AA100 Book3), Milton Keynes, The Open University, pp.58-78 Woods, K (2008), ‘The Art of the Benin: Changing Relations between Europe and Africa I: The Art of the Benin’, in Brown, R (ed.), Cultural Encounters (AA100 Book3), Milton Keynes, The Open University, pp.4-16
“Caravans of Gold”, a video by Basil Davison discovers and highlights numerous assets about gold and its prominent role in Africa. Additionally, the video examines some of the past and influential empires and their achievements. Davison discusses the history of Africa before the arrival of Europeans to demonstrate how Africa was already a well-flourished continent. “Caravans of Gold” also discusses many topics such as the Mali Empire, trading systems, and the use of gold which shows the audience of the video of how Africa was. In the long run, the aim of the video is to give the audience of the video an understanding of how the empires in Africa used its resource of gold to flourish.
In the essay “Why Africa? Why Art?” by Kwame Anthony Appiah, he talks about basically how Africa is thought to be an uncivilized barren and that’s the stereotypical thing that comes to most people’s mind when thinking about this continent. African art has to look a certain way to be able to be called “African.” It has to be made by a tribe, not just one person which is why he says that most African pieces are signed with a tribe name, not just one name. Appiah gives an example of these Asante gold weights that his mother had a collection of. Their use value was to weigh gold dust, which used to be the method of currency. They were made as a utilitarian product, not for art, but many people started to recognize the aesthetic value. He says, “…in appreciating and collecting these weights as art, we are doing something new with them…” These days art is defined to be a certain way and look a certain way. It can’t just be anything, it has to have an aesthetic value to be considered art and to fall into the “guidelines”.
Europe, in the late 1800’s, was starting a land grab on the African continent. Around 1878, most of Africa was unexplored, but by 1914, most of Africa, with the lucky exception of Liberia and Ethiopia, was carved up between European powers. There were countless motivations that spurred the European powers to carve Africa, like economic, political, and socio–cultural, and there were countless attitudes towards this expansion into Africa, some of approval and some of condemnation. Europe in this period was a world of competing countries. Britain had a global empire to lead, France had competition with Britain for wealth and so did other nations like Germany and Russia.
“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
Many African cultures see life as a cycle we are born, we grow and mature, enter adulthood, and one day we will eventually die but the cycle continues long after death. In Africa art is used as a way to express many things in their society, in this paper I will focus on different ways traditional African art are used to describe the cycle of one’s life. Since Africa is such a large continent it is important to keep in mind that every country and tribe has different rituals and views when it comes to the cycle of life. It is estimated to be well over a thousand different ethnic groups and cultures in Africa today. Thousands of cultures in Africa see the stages of life bound together in a continuous cycle; a cycle of birth, growth, maturity,
Western attitudes to African people and culture have always affected how their art was appreciated and this has also coloured the response to the art from Benin. Over time, concepts of ‘Race’, defined as a distinct group with a common lineage, and ‘Primitive’ which pertains to the beginning or origin,, have been inextricably linked with the perception of Africa. The confusion of the two in the minds of people at the end of the 19th century, and some of the 20th, caused a sense of superiority amongst the ‘White Races’ that affected every aspect of their interaction with ‘the Black’. The ‘Civilisation’ of Africa by conquest and force is justified by these views.
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
The "DBQ Project" What Is the Driving Force Behind European Imperialism in Africa? (2012): 257. pp. 177-177. Print.
Currently, Benin has a democratic government with an elected legislative body and president, which both serve five-year terms. The slavery that came from colonization also has had a harsh negative effect on Benin’s development. After slave trade was abolished, there were few resources left prepared for Benin to trade within the global economy.So, the country shifted to relying upon its agriculture. The end of slave trade in the Nineteenth Century left Benin with many scars, along with the other African states; most of them were battered and most Africans were left with their traditional ways of life completely disrupted due to living in fear for so long. European attitude towards Africans changed as well, having forgotten that Africans were humans too. Benin’s social caste system also has its roots in the precolonial kingdoms. Although the power of traditional rulers was broken by colonization, the social status of Benin is still partially determined by a person’s family roots along with wealth. Despite all of the harsh negative impacts of colonization and slavery, Benin pushes on and a country, facing problems as they come along. As a man named Huzaifah Mahmood says in an article he wrote:
Someone pulled a strand of her curly dark brown and red hair from behind. “Hey!” she exclaimed, but she already knew it was her best friend, Adaro. She shut and locked her locker and turned around. Adaro had hazel green eyes and long red-dirty blonde hair that was almost
Seemingly non-artistic creations such as shovels, or things that others might not see as having true artistic merit like finger paintings can yield powerful emotional and spiritual reactions. Such reactions are the core of traditional African art. The study of and response to African Art by artists at the beginning of the twentieth century created an explosion of interest in the abstraction, organization and reorganization of forms and the exploration of emotional and psychological areas unseen by Western Renaissance art. With the influence of traditional African art, art in the west ceased to be merely and primarily aesthetic, but became a true medium for philosophic and intellectual discourse. Overall, thanks to the discovery and influence of African art on such prominent figures as Pablo Picasso, Jørn Utzon, and Paul Rudolph, art in the west has become more truly and profoundly aesthetic than ever before, and continues to inspire and give people profound emotional and spiritual
Kasfir, S. L. (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press.
African Art has played a significant role in shaping the culture and history of the world around us. Stokstad describes the belief that Africa is the cradle of history of mankind and how that belief is quite unshakeable. Origins of African art date back long before recorded history, and is many centuries old. The basic subject within African art is the human figure. The art aspect of this culture deals with strong formal qualities which were exhibited with the strong design features that create balance and harmony, as seen in almost all pieces of work from this time. There are quite a few subgenres to African Art, which Stokstad demonstrates as the chapter progresses, and the earliest art form in Africa goes by the title of Rock Art1. Africa contains the oldest and greatest amount of Rock Art on Earth. The Saharan Rock art is located in central Sahara contains images that span a period of thousands of years. The earliest
Almost every civilization or culture all at least has their own forms of traditional art, doesn’t matter if the art was influenced, taken, or created. Art includes almost everything to anything, from physical things to things you can only hear or even feel, for example: painting, music, sculptures, dance, architecture, literature, movies, plays, and much more. Art is also very important because it contains meaning and expression behind it. This all includes the Igbo culture, a civilization found in Nigeria, Africa. The Igbo culture reflects many types of traditional arts such as dances for various occasions, masks and maiden masks, various musical instruments, and architecture.
middle of paper ... ... ’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.