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Impotance of benin culture
Benin culture: significance
Benin culture: significance
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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. The plaque under consideration, is of a forward facing man, with an aquiline nose, thin lips, neatly trimmed beard, wearing a sun hat with flaps and looking intently at the viewer. He is dressed in a typical 16th century Portuguese style, wearing a decorated tunic with padded shoulders and tight breeches with short boots. He has a business like manner, carrying in his right hand a brass manilla, the main item of exchange with Benin, and a walking cane in the other. It is significant that he is not armed, clearly indicating he is safe in foreign surroundings. The background is pleasingly stylised with clusters of petals set against a stippled ground imbuing a secure feeling. It seems probable that Fernao Gomes, a Portuguese 'merchant adventurer' discovered the kingdom of Benin in 1474 (Wood, K. 2008, p. 8), seeking trading opportunities and looking for gold. The... ... middle of paper ... ...best case for the retention of the British Benin sculptures is to accord them the unique status they deserve as exceptional artworks and exhibit them appropriately in a prestigious national art gallery, for everyone to appreciate fully. Works Cited Flinders, P. and Holman, K. and others, (2012) AA100 'Tutorial Forum Book 3, Weeks, 1 and 2' – Benin , online at http://learn.open.ac.uk/mod/forum/discuss.php?d=900850, accessed between 4 and 17 February, 2015. Loftus, D. and Wood, P. (2008), 'The Art of Benin: Changing Relations Between Europe and Africa II' in Brown, R. D. (ed.) Cultural Encounters (AA100 Book 3), Milton Keynes, The Open University, pp. 43-87. The Art of Benin, (2009), AA100 DVD ROM, Milton Keynes, The Open University. The Open University, (2008), AA100 Illustration Book (Plates for Books 3 and 4), Milton Keynes, The Open University.
Jenkins, Ian. “The 1930’s Cleaning of the Parthenon Sculptures in the British Museum,” The British Museum (2001): http://www.thebritishmuseum.ac.uk/parthenon/
In the first segment of his film series, Different but Equal, Basil Davidson sets out to disprove the fictitious and degrading assumptions about African civilization made by various Western scholars and explorers. Whether it is the notion that Africans are “savage and crude in nature” or the presumed inability of Africans to advance technologically, these stereotypes are damaging to the image and history of Africa. Although European Renaissance art depicts the races of white and black in equal dignity, there was a drastic shift of European attitudes toward Africa that placed Africans in a much lower standing than people of any other culture. The continent of Africa quickly became ravished by the inhuman slave trade and any traditional civilization
There was also a Kingdom called Mali that broke off from the Ghana Empire. At this time they had embraced the religion of Islam and had been under the great rule of Mansa Musa. This empire had the job of protecting the caravans or shipments carrying the goods, so that they can trade. They helped towards the function of trade so that both the importer and exporter gained something. In document 3 it explains how their wealth was great because of their trade. The document also talks about the fact that they had exhibited the characteristics of an advanced divination like sufficient food to feed its people, a strong army equipped with advanced weapons and income derived from taxes. Even though the Mali Empire had wealth there was very little corruption if there was with the ruler. He did not go mad with power but he was generous. In document four it states they there was no person who did not receive a sum of gold from him.
The first step to understanding the response of the Benin people to this arrival is to look to their conception of their own identity. The Benin call themselves, their capital, and their language Edo, and some Edo can rightfully claim to have lived in the region for a thousand years. When speaking of Benin, the idea of a "traditional" culture is not wholly erroneous - their ancestry is older and on a more direct line than most Europeans can imagine. But the ancient kingdom of Benin did not encompass all Edo-speaking people and it was also not restricted to them, as it included ethnic groups such as the Yoruba, Igbo, Ijaw, and Itsekiri (Duchateau 9). The amount of racial cohesion in this "traditional culture" should no...
Once again the theme of support, unity, and strength is further represented in the artist choice of mass and volume. Even though the piece of art shows two individual figures, the sculpture is made out of one solid black sandstone. This lets the sculpture appear more robust and compact, signs of strength. However, when observing the relief sculpture in profile it appears that the Queen is slightly tilted back and held up by the sandstone itself which adds a notion of support to the view’s perspective.
The debate was how such a barbaric society could produce such sophisticated artwork. The quality of the Benin bronzes, based on...
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.
“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 middle of the 15th century, Portuguese explorers began to establish trading outposts along the western coast of Africa, thus beginning the first steps toward imperialism by European nations. It is estimated that the first trading of Africans as slaves by the Portuguese began in 1444. The West African kingdom of Benin, however, still suc...
The Benin pendant mask helps us understand imperialism through the British invasion in 1897. During the invasion many sculptures were taken away without permission because the British believed they were superior and had the power. It shows how the Edo people were forcefully taken away their lands and riches because they were inferior to the British.
http://www.arm.arc.co.uk/britishBenin.html Negritude http://www.nigerdeltadirectory.com/websiteseminars/negritude.html http://www.culturekiosque.com/calendar/item14966.html http://plato.stanford.edu/entries/negritude/ (Accessed 14.02.11). African Art http://www.jpanafrican.com/ (Accessed 14.02.11). Benin Massacre http://www.dawodu.com/igbinedion3.htm http://www.arm.arc.co.uk/britishBenin.html http://www.nigeriavillagesquare.com/articles/anthony-okosun/the-glory-of-benin-kingdom-and-the-shame-of-the-british-empire.html. http://books.google.co.uk (Benin Diplomatic Handbook By USA International Business Publications).
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.
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...
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.
The objective of this report is to give understanding on the culture of Nigeria, the diversity of its people and the overwhelming struggles that exist. It also discusses the movements of the people, and how kingdoms arose and grew, and the expansions in their industries, in petroleum and their rural contributions, also the demographic features of the population of Nigeria, including population density, ethnicity, economic status, religious affiliations and added aspects of the population, and how Nigeria incorporates a more complete range of climate settings, and the environmental dangers the lands face, with corrosion, and the campaigns local and national, that fight to protect land from industrial development. The country's land that varies greatly, with lowlands in the south, hills and plateaus in the central region and plains in the north, with coastal swamps and tropical forests take over the southern lands, while the north is mostly savannah and semi-desert.