African Art Research Articles

Jazz Cosmopolitanism In and Around Malawi: Musical Praxis in the Politics of Belonging

In this article I explore the notion of jazz cosmopolitanism in Malawi in an effort to examine the complexities of navigating transnational multicultural spaces. I am specifically interested in how this plays out in southern Africa, where the music industries are affected by ongoing influences from the Global North sedimented on top of a history of multiple types of colonialism. I outline some foundational works on music and cosmopolitanism in Africa before discussing the music and career of Malawian jazz guitarist and producer, Erik Paliani. Paliani stands apart from many Malawian musicians based on his career highlights, but also his commitment to jazz as an international and African art form as well as a means of navigating the world. I focus on two compositions as performed by him in order to explore creativity and positionality as they relate to the intersection of jazz and African musics. I also interrogate my own positioning as a foreign white male and frequent participant in the Malawian music industry since 1991. In doing so, I unpack some complexities to cultural representation in cosmopolitan African spaces articulating with discourses on mobility and privilege. My aim is to understand how reconciling individual expression and collective belonging may be accomplished through the praxis of Afro-jazz in southern Africa. I suggest that jazz cosmopolitanism, rooted in socio-musical practices in southern Africa and beyond, adds a crucial layer of expressive devices and referential frameworks that illustrates important stories of human experience in this region.

Transmission and Agreement: Reading and the Contemporary Northern Irish Novel

Transmission and Agreement: Reading and the Contemporary Northern Irish Novel. This paper evaluates the capacity of the contemporary Northern Irish novel to act as an agent of transmission for a ‘post-Troubles’ readership, one distanced by a generation from the 1998 Good Friday Agreement that symbolised the partial end of sectarian violence. The critic Liam Harte suggests that “no part of modern Europe (if not the world) has greater claim than Northern Ireland to the mantle of most-narrativized region”, but the transmissive function of fictional works in this context remain under-critiqued. Here, I assess the aspirations of novelistic narrative to cater for what Premesh Lalu has described, in the context of post-apartheid South African art forms, as ‘psychic repair’ (Undoing Apartheid, 2023). The essay engages the 2018 novel Milkman, by Northern Irish author Anna Burns, to ask how fictional narrative transmits the detail of the past across a generation first, in parallel to other literary and artistic genres, and second, in relation to an expanding archive of ongoing legal tribunals and government incentives directed towards the production of an ‘official history’ for Northern Ireland. Through attention to the self-conscious foregrounding of forensic reading practice by Burns and fellow writers, I show the necessary place of fictional recovery in the field of political and cultural memory. Keywords: Troubles, Northern Irish fiction, transmission, memory, generation

Symbols of a new nation: Ghanaian artists’ expression of cultural identity after independence

ABSTRACT The paper discusses the way Ghanaian visual artists Atta Kwami, Kane Kwei, and Saka Acquaye, used the art to express and narrate the cultural identity during the one decade of independence of Ghana (1957). Ghana was the first sub-Saharan African country which got independence from British colonialism. Besides, the nation wanted to promote the pan-Africanist dream of a new African people. But, the country faced a colonial and traditional dilemma. The research uses the archival method and visual discourse analysis as the main methodological instrument to examine the way artists used traditional symbols from African art, like Adinkra, to modern art by mixing plural personalities. The artworks they created were empowered themselves and allowed a collective story to be told of Ghanaian culture’s recovery, self-sufficiency, and the togetherness of the country. The study shows how these artists applied art as a significant catalyst in the process of nation-building and the creation of a new culture by getting rid of the misconceptions about the negative effects of colonialism on the cultural situation. Their art forms became semiotic kits for the beginning of cultural self-organization through the coherent state of Ghana.

Embodiments of conservation: conflictual agencies in and out of the museum

ABSTRACT This paper examines the ways in which conservation may shape, influence, or even manipulate the authenticity and materiality of cultural heritage, cultural identity, and value. In this regard, the application of the term “embodiment” encompasses the choice of conservation strategies and the values and goals attached to them. I argue that embodiments may carry and refer to historical, political, economic, and ethical contexts and controversies. Therefore, two case studies will be discussed: These are the conservation approach and program for the Shōsō-in, the eighth-century treasure house of the Tōdai-ji Temple in Nara, Japan, and the 2022 introduction of crypto-conservation by the Saar Historical Museum in Saarbrücken, Germany. The paper particularly highlights embodiments that perform the preservation of cultural heritage beyond Western practices. To this end, it also introduces the African artist initiatives Looty and Milele Museum, both of which expand the perspective towards conservation and restitution.

Camouflaging colonialism: a case study of a NeoColonial Museum

Museums are presented as institutions housing a society’s most outstanding artistic collective achievements. They are racialized organisations helping preserve white supremacist normativity in the racialized social system. We argue that museums are colonial projects that often camouflage colonialism. Museums’ hierarchal nature in prioritising Europe is blatantly apparent but rendered unseen unless you study its presence. Then, you discover differences through indifference. We used ethnographic observations and photography to explore how the Boston Museum of Fine Arts conceals colonialism. We find, for example, that the Art of Africa is demoted to two transitionary passageways. The pre-Columbian exhibit is relegated to the basement and camouflaged by other exhibitions. Additionally, Black bodies are subject to out-of-place sexualised portrayals. These findings reinforce our earlier argument that museums are white sanctuaries, safe spaces allowing whites to reaffirm their dominance in society.

Dress as the Agency of Power: Ozioma Onuzulike’s Ceramic Art

This study examines the ceramic works of a Nigerian artist, Ozioma Onuzulike, which vividly illustrate dress as an agency of power. His oeuvre features among other things the agbada, an extra-large clothing style prevalent in contemporary Nigeria, especially in elitist socio-political and cultural contexts. Over 25 years of Onuzulike’s ceramic art practice have consistently showcased modernist works that challenged conventional ceramic art and socio-political norms. His innovative use of clay and palm kernels to depict power dynamics in Nigeria has attracted some scholarly attention. This study employs compositional interpretation and contextual analysis to explore the visual, sociocultural, and political impact of Onuzulike’s hybrid ceramic art that depicts agbada. An iconological approach reveals the formal elements, historical, political, and social nuances embedded in the works. The concept of dress of power is used to unravel the multifaceted political significance of Onuzulike’s representations. Unpacking the visual vocabulary and metaphor of power in the works provides insights into the agbada as a status symbol in modern Nigeria. This artistic representation typifies a trend in contemporary African and diasporic art, where textile materials, forms, and ideas are central.

Everything Is Sampled: Digital and Print Mediations in African Arts and Letters by Akinwumi Adesokan (review)

Everything Is Sampled: Digital and Print Mediations in African Arts and Letters by Akinwumi Adesokan (review)

Integrating science on indigenous arts, culture, and law: A sine qua non for Africa’s true independence from colonialism and eurocentrism

Africa has been fighting against colonialism and Eurocentrism for a long time in an attempt to reverse the regime of oppression and socio-economic marginalization and exploitation, and take back control of its cultural identity and right to self-determination. This adventure requires the recognition and revitalisation of indigenous arts, culture, and law—all of which have been subjugated and ignored during colonial rule. Ironically, the situation has not improved much by the dominating presence of post-independent neo-colonial structures and perpetuated Eurocentric phenomenon that have been ingrained into the socio-cultural and economic fabrics of the African state. This research explores the critical need for integrating science on African indigenous arts, culture, and legal systems, as a way of globalizing as well as revitalizing these elements, towards the ultimate emancipation of the continent from the vestiges of colonialism and Eurocentricism. Relying on the postcolonial, and indigenous knowledge systems theoretical frameworks, the study engages the ethnographic, collaborative and interdisciplinary research approaches, subjecting data obtained to thematic analysis. Underscoring the profound interconnectedness of science, indigenous arts, and cultural heritage, the study argues that combining scientific methods with indigenous African epistemology provides a powerful framework for advancing Africa’s true independence from the protracted legacies of colonialism and Eurocentrism. The research concludes that a holistic integration of these elements therefore, is indispensable for fostering a decolonized and inclusive approach to knowledge production, self-determination and sustainable development, against the background of the rich insights and sustainable practices embedded within the African cultural traditions. Ultimately, the research recommends that embracing and integrating science on indigenous epistemologies can propel Africa towards an emancipated, truly independent, and culturally affirming future, transcending the enduring legacies of colonialism and Eurocentrism.

Coping within the interstices of the neoliberal sports market: Using de Certeau to analyse the migration of African mixed martial arts fighters in South Africa

This paper focuses on African migrant mixed martial arts (MMA) fighters enrolled in the Extreme Fighting Championship (EFC), a leading MMA organization established in 2009 in South Africa. It highlights their precarious work and living conditions, which are counterbalanced by the promise of real but rare career possibilities. Drawing from Michel de Certeau’s conceptual framework – notably his concepts of strategies, tactics and lieu propre (proper place) – we analyse what it is to struggle, cope and sometimes thrive, as a migrant fighter in South Africa. We rely on 61 semi-structured interviews with 35 professional EFC fighters from four Sub-Saharan countries who migrated to South Africa. Our results highlight the various tactics – which rely on social networks, their bodily stature, fighting skills and EFC media presence – that fighters mobilize to cope with the hardships of migratory status and unstable work conditions. We thus reveal the dialectic power relations that tie fighters to promoters and contribute to understanding migrants’ work conditions in the neoliberal sports market. Our research highlights the need to move away from migrant athletes’ caricatured representations as silent and passive victims unaware of the mechanisms of oppression to a more dynamic understanding of power relations that takes coping mechanisms and career trajectories into account.

Africa's Portrayal in African-American Writing

The depiction of Africa in African-American literature constitutes a nuanced and dynamic exploration, unveiling the intricate rapport between African-American writers and the African continent. Over centuries, Africa's portrayal has assumed myriad forms, serving as a symbolic homeland, a locus of struggle, and a wellspring of cultural inspiration. Imbued within these representations is a profound quest for identity and a yearning for belonging. Prestigious African-American authors, including Langston Hughes, Zora Neale Hurston, and Maya Angelou, adeptly interlace African culture, folklore, and history into the tapestry of their works. In so doing, they delve into themes of heritage, resilience, and cultural pride, presenting Africa not merely as a nostalgic ideal but as a vibrant tapestry of traditions intricately shaping the African-American experience. This representation transcends sentimentality, offering a palpable connection to ancestral roots and cultural heritage. Yet, the portrayal of Africa in African-American literature transcends idyllic visions of a distant homeland. Renowned authors such as Toni Morrison, Chinua Achebe, and Chimamanda Ngozi Adichie confront the harsh realities of colonization, slavery, and oppression in their narratives. In their hands, Africa becomes a complex terrain of struggle and resistance, where characters grapple with the enduring legacies of colonialism and the intricate dynamics of post-colonial identity. The representation of Africa in African-American literature reflects broader historical and political dynamics. During the Harlem Renaissance, there was a surge of interest in Pan-Africanism, as African-American writers actively sought connections with counterparts on the continent in the fight against racism and imperialism. This period witnessed an embrace of African art, literature, and culture, as writers sought to reclaim and celebrate their African heritage.

A Hack Into Nature: An Interview With James Webb

The interview focuses on South African artist James Webb’s ongoing series There’s No Place Called Home. In this intervention, Webb conceals an audio speaker in a local tree while broadcasting the calls of foreign birds into the public sphere. The artist has made this intervention in more than fifty locations worldwide, every time using a unique birdcall. The interview discusses different aspects of the series, such as site politics, power, listening, and human relations.

The Mundane and The Magical: An Interview with Usha Seejarim

The Mundane and the Magical, a sculpture by contemporary South African artist Usha Seejarim, was installed outside the Radisson Red Hotel in Rosebank, Johannesburg, in 2021. Five meters in height, the sculpture consists of two giant red wings constituted from the soleplates of domestic irons. In an interview on May 7, 2024, at her studio, Seejarim discussed the work’s development as well as the choice and treatment of its subject matter with Public Art Dialogue coeditor Brenda Schmahmann. Focusing on the domestic realm, a topic that had been the artist’s central focus since her exhibition Venus at Home (2012), The Mundane and the Magical was also particularly apt in the context of COVID-19, when the oppressiveness of home was often experienced with increased intensity.

African art as found object

In this article, Lisa Wainwright dates the direct incorporation of traditional African objects and three dimensional facsimiles into works of art by African American artists to the 1980s. Examining the work of Fred Wilson, David Hammons, Matthew Angelo Harrison, Nari Ward, Cauleen Smith and Theaster Gates, she discusses their respective approaches to liberating the African object from European Modernism’s historic hold.

Risks, Challenges, and Possibilities Building a Future in African Arts

Risks, Challenges, and Possibilities Building a Future in African Arts

Metaphoric visual expressions in African art: an iconographical analysis of selected artworks by contemporary visual artists

Contemporary African artworks in their diversity are rich carriers of cultural meaning and values. In African art, there is an evolution in the context of visual metaphors as artists create narratives that are cognisant of global aesthetic developments. This study examines the creation and interpretation of indigenous visual metaphors by four selected contemporary Zimbabwean visual artists. An interpretive research design was used and this informed the use of in-depth interviews with purposively selected artists, studio observations, and artwork analysis to generate data. The diversity of art genres, media, and the creation of metaphoric artworks determined the sampling of artists. Findings revealed that visual metaphoric creations were inspired by community experiences and other artists. Visual metaphors were pronounced as vehicles for transmitting community messages. This study recommends extending the creation and interpretation of indigenous visual metaphors to the art education curriculum to inform culturally relevant and diverse practices.

Review: Everything Is Sampled - Akin Adeṣọkan, Everything Is Sampled: Digital and Print Mediations in African Arts and Letters. Indiana University Press, 2023, 371 pp.

Review: <i>Everything Is Sampled</i> - Akin Adeṣọkan, Everything Is Sampled: Digital and Print Mediations in African Arts and Letters. Indiana University Press, 2023, 371 pp.

Generative transcription: The interview in post-World War 2 anglophone African literary culture

ABSTRACT This article discusses the ways in which the interview form was deployed in the 1960s and 1970s as a means to engender and critique a pan-African anglophone literary public within the context of decolonization. In so doing, it argues that the transcribed interview becomes a troublesome signifier of the legacies of colonialism while also offering a generative means by which to constitute literary publics and models of authorship across a number of newly decolonized countries. To do so, the article draws on three collections: broadcast interviews produced by the BBC’s English-language African service with host Edward Blishen; broadcast interviews produced by the London-based Transcription Centre, an organization dedicated to promoting anglophone African culture and funded by the Central Intelligence Agency-backed Congress for Cultural Freedom; and satirical interviews published over several issues of the leading little magazine of African arts and culture, Transition.

Imagining black feminist geographies of Johannesburg through Senzeni Marasela’s creative (un/re)mapping of Johannesburg’s mine slopes

ABSTRACT Part of the project of philosophy is to problematise how the world is known, including destabilising geography as one of the dominant imperialist discourses. In the Afropolis, legacies of colonialism and Apartheid still work to uphold spatial inequality within urban spaces in ways that are both racialised and gendered. Black feminist scholar, Katherine McKittrick, provides a fruitful theoretical foundation to consider postcolonial cities from a renewed epistemological perspective. In the 2006 book Demonic Grounds: Black Women and the Cartographies of Struggle, McKittrick works alongside and across traditional geographies through critical black geographies that centre a black feminist sense of place. In considering ‘a black sense of place’, McKittrick demonstrates how transatlantic slavery enforced and naturalised the connection between blackness and placelessness. She writes to document black women geographies and provides a narrative that locates and draws on black histories and black subjects to ‘make visible social lives which are often displaced, rendered ungeographic’. This paper places McKittrick in conversation with the work of South African artist Senzeni Marasela through their selected literary and artistic works to explore alternative feminist geographies of Johannesburg’s decommissioned mine slopes/dumps, and to emphasise the liberatory potential of a black feminist point of departure in relation to the mining–industrial complex. The argument is not merely that Johannesburg needs to become more inclusive to black feminist understandings of place, but rather that the centring of black feminist geographical knowledges has the subversive ability to reshape how the city is known in the first place. In doing so, this paper hopes to ‘raise questions about the ground beneath our feet, and how we are all implicated in the production of space’.

Masks Versus Cattle: The Ecology of an African Art Form

Masquerades form an important part of indigenous African religions, and headpieces of masks are found all over the world as an iconic African art form. Contrary to expectation, however, the geographical distribution of masking is very restricted, occurring only in three areas of the continent, mainly situated in the forested zones. I explain this peculiar distribution by tracing the ecological and historical parameters of the societies that harbor mask rituals. The main ecological factors are the absence of cattle and the type of horticulture, while a crucial historical element is the long history of slave raiding and trading to which the continent has been subjected. These factors have led to societies in which both gender and local power arrangements show a marked indeterminacy, operating as internal arenas between men and women, and between different groups of men. Crucial in the explanation of masquerades is the fact that masking is completely absent from societies that practice cattle husbandry with the Bos indicus species (zebu). Since sleeping sickness prohibits cattle husbandry, wherever the tsetse fly thrives, masks appear.

How to see the South African black people in Santu Mofokeng’s image-text archive?

South African artist Santu Mofokeng’s The Black Photo Album—Look at Me: 1890–1950 (1997) displays black people’s photographic portraits and text through a slide projection. For this archive project, he collected, restored, and re-contextualized the old portraits and added text. The presented figures depict the black South Africans who lived at the end of the nineteenth century. Most of them are well-dressed and take a pose in a European studio. Different from the well-prepared photographic representation, pieces of text include a disorder of alphabets, varied size of letters, inconsistent ground color, and misprinting effect. In a sense, the ambivalent mode of images and text seems to appeal the black people’s inner conflicts between being modernized versus colonized. In fact, Mofokeng once said that such a middle-class of black people did not exist in his education. Thus, this research analyzes the ways in which intertextuality of images and text in The Black Photo Album fills with the incomplete part of South African history. Reconsidering the functional limits of the TRC(Truth and Reconciliation Commission, 1995) in South Africa, this research argues that Mofokeng’s archive project delivers emotions of memories of the black people, which were not registered in the nation’s history.