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Recommended: Studymode the art of benin
Benin is a country in west Africa from 15th century until now. Benin has been renowned for brass sculpture production and there is a sort of encounter did happen between the Europeans and Benin .there were many of the positive and negatives to this type of encounter between Benin and European ,such as ,their encounter had artistic consequences in terms of the supply of raw materials for sculpture ,and Benin craftsmen developed their forms and subject matter to suit their new clients ,this was one of the positive aspect ,also there was the British occupation of Benin , so I will talk about five elements in this essay ,firstly what is the concept of cultural encounter , particularly of Benin art , how the art is encountered shapes how understood, …show more content…
Most of the art works of Benin, Which has stolen was Sold. Museums, collectors, historians and also scholars of America and Europe competed to get the best pieces of Benin art. Specialized knowledge of antiquities, Noted the brutality of Benin, But refer to the technical perfection of the Bronze. described as ‘fantastic' and ‘strange’ But mainly it is seen as ‘surprising evidences’ of Skills and craftsmanship or Benin. such Negro craftsmanship was unexpected by scholars , Artistic works of Benin arrived in Britain at a time of great interest in the British empire , The history of humanity And the importance of race in community development. The British Museum is getting its growth with the study of Anthropology and ethnography and ethnological is study the Customs and Traditions of particular groups of people and how they development from savagery to civilization . It has been said that the Benin skills emerged after contact with the Portuguese in the 16th century . This source is not considered very good for studying African history ,but it provides valuable information about Africa and Africans was produced and communicated in Britain at that time .Intellectuals and writers such as Edward Wilmot worked …show more content…
The artworks of Benin arrived in Britain at time of great interest in the British empire .The British museum first opened in 1759 , and Soon became famous in the antiques exhibits from all around the world , then in the 19th country, The British Museum is getting its growth with the study of Anthropology and ethnography and ethnological is study the Customs and Traditions of particular groups of people and how they development from savagery to civilization . the anthropologist and museum curator Henry Ling Roth he thinks this artifacts are very important to British museum for study of anthropology ,and such as this study may help the imperial government of Britain to show its superiority. And Joyce has written about how the art of Benin displayed in the encyclopedia and how was the progress and the evolution of the negro physically and mentally ,and how the anatomic study science shows the progress the mind of Negros . the crafts produced only by the influence of the Europeans ,that shows inferiority of negro, but Benin saw their crafts and plates are things just for sale. This is due to the difference in artistic taste and opinions of culture from one country to another , and
The Portuguese arrived in Benin, in modern Nigeria, between 1472 and 1486 to find an established and ancient kingdom with remarkable social and ritual complexity, with art that was comparatively naturalistic, and with a political system that was, on the surface, recognizable to the Europeans: monarchy. Even more importantly, they found a land rich in pepper, cloth, ivory, and slaves, and immediately set out to establish trade (Ben-Amos 35-6). Though we often imagine "first contacts" between Europeans and Africans as clashes of epochal proportions, leaving Europeans free to manipulate and coerce the flabbergasted and paralyzed Africans, this misjudges the resilience and indeed, preparedness, of the Benin people. The Benin were able to draw on their cultural, political, and religious traditions to fit the European arrival in an understandable context. Indeed, as the great brass plaques of the Benin palace demonstrate, the arrival was in fact manipulated by the Benin to strengthen, not diminish, indigenous royal power.
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
“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.
This essay deals with the nature of a cross cultural encounter between the Benin people and Portuguese traders in the 15th and 16th centuries, which resulted in the depiction of Portuguese figures in Benin brass plaques. It will propose that this contact between people with different cultures was on the basis of 'mutual regard' (Woods, K. 2008, p. 16), and although the Portuguese had qualms about idolatry in Benin it will show that assumptions by Europeans up to the 20th century of the primitive nature of tribal African societies was inaccurate with regard to the Benin people, who had a society based on the succession of the King or 'Oba', a Royal Family and Nobility. The essay will finally suggest that Benin’s increase in wealth following the arrival of the Portuguese led to a resurgence in bronze sculptures and the introduction of a new form, the rectilinear plaque.
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
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.
Baxandall specified his discussion about the problem by supposing that the displays of the gallery were permanent and conservative, which means that the main artifact served for inspection laid in the center of the galley around with additional elements. He also assumed that the viewers were educational members of a developed society, who both enjoyed the expected interesting object view and the functional purpose of the artifacts. After illustrating the assumption, he raised up the main question that different viewers with different cultural background may have different ideas about the artifact. This complicating position was not only the result from the viewers, but also from the object itself and the arrangers of the exhibition. The assumption is strong and will be discussed later.
At the time of the Atlantic slave trade, Africa was an area that had far-flung interests based on agriculture, industry, and commerce (Curtin 54). Complex stratified societies based on settled village agriculture were developed throughout the continent. “Essentially agricultural, the peoples of Africa displayed a remarkable degree of specialization within this ancient economic pursuit,” writes John Hope Franklin, the author of From Slavery to Freedom: A History of African Americans (p. 18). In addition to agriculture, artistry was a significant area of economic community. Even less complex communities included some with various skills.
Toyin, Falola. “The Power of African Cultures.” Woodbridge, Suffolk, United Kingdom: University of Rochester Press, 2003. Print
The questionable influence and dominance of western culture is at the forefront of a new form of seemingly ephemeral diplomatic history that is termed ‘new internationalism’. Internationalism itself is not really a new concept, and is basically a system based on equality for all people and cultures on a global scale. In the global art world ‘new internationalism’ is an active topic and was the focus of a 1994 INIVA Symposium entitled, A New International Symposium. The topics discussed included: Recording the International; Art, History and the Modern Museum; Beyond Diversity and Difference; Curatorship and International Exhibitions.1 During his lecture at the symposium, sculptor, essayist and poet Jimmie Durham puts forth the idea that, “…Europeans seem to think that, as art is their invention, effective art is within a developed vocabulary and accent…”2 This kind of statement emphasizes the enormous task of disuniting ‘actual’ art history from that recorded under the influence of western culture, and it demonstrates the long-standing influence of imperial thinking.
Nigeria contains more historic cultures and empires than any other country in Africa. People were first known to inhabit Nigeria as early as 5 B.C. They first constructed a kingdom in the center of Nigeria, which is named Jos Plateau. This was the first of many widespread kingdoms of that region, but two centuries later it would extend to Bornu, which is located on the western region of Nigeria (Gascoigne 1). Nigeria was made up of mostly kingdoms until British colonized in the 1800’s. The Soko Jotojhad and Yotruba wars encouraged slave trade at the time the British were trying to abolish the slave trade. Slaves were normally traded for European goods such as guns and gun powder. At this time, the British encouraged trading palm oil over trading slaves. Many of the slaves that were exported to Britain were intercepted by naval ships and shipped to Sierra Leone to collect palm oil. Some Nigerians began to migrate back from Sierra Leone in search of their homes and trade. British missionaries were invited to follow the slaves back, and in the 1840’s they wer...
Kasfir, S. L. (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press.
I have chosen to describe the artwork Song of the Picks by Gerard Sekoto. I will look at what defines a work as modern and discuss Sekoto's background to fully understand his work and to prove whether it is modern. Several people influenced, supported and encouraged Sekoto and I will briefly discuss them. I will give a brief history of European modernity and its influence on Africa in order to understand African modernity.
Despite all this deliberations, the consultation undertaken has not generated any agreement. In the contrary they have emphasized the continental perceived notion of the superiority of the creative writing only exploring the African so called metaphysical landscape in one way or the other focusing on an African realization. The Africa-metaphysical-landscape conditi...