Constructing African Art Histories for the Lagoons of Côte d'Ivoire is an investigation of the methods employed by art historians who study creative production in Africa. While providing insights into the rich visual arts of the Lagoon Peoples of southeastern Côte d'Ivoire, this study is one of the few attempts by an Africanist to situate local and regional artistic practices in the context of the global art market, and to trace the varied receptions an African art work is given as it leaves a local context and enters an international one. Drawing on her three seasons of fieldwork among Akan populations in Côte d'Ivoire, Monica Blackmun Visonà provides a comprehensive account of a major art-producing region of Africa, and explores such topics as gender roles in performance, the role of sculpture in divination, and the interchange of arts and ideas across ethnic boundaries. The book also addresses issues inherent in research practices, such as connoisseurship and participant observation, and examines theoretical positions that have had an impact on the discipline of African art history.
Constructing African Art Histories for the Lagoons of C?d'Ivoire is an investigation of the methods employed by art historians who study creative production in Africa. While providing insights into the rich visual arts of the Lagoon Peoples of southeastern C?d'Ivoire, this study is one of the few attempts by an Africanist to situate local and regional artistic practices in the context of the global art market, and to trace the varied receptions an African art work is given as it leaves a local context and enters an international one. Drawing on her three seasons of fieldwork among Akan populations in C?d'Ivoire, Monica Blackmun Vison?rovides a comprehensive account of a major art-producing region of Africa, and explores such topics as gender roles in performance, the role of sculpture in divination, and the interchange of arts and ideas across ethnic boundaries. The book also addresses issues inherent in research practices, such as connoisseurship and participant observation, and examines theoretical positions that have had an impact on the discipline of African art history.
Constructing African Art Histories for the Lagoons of C?d'Ivoire is an investigation of the methods employed by art historians who study creative production in Africa. While providing insights into the rich visual arts of the Lagoon Peoples of southeastern C?d'Ivoire, this study is one of the few attempts by an Africanist to situate local and regional artistic practices in the context of the global art market, and to trace the varied receptions an African art work is given as it leaves a local context and enters an international one. Drawing on her three seasons of fieldwork among Akan populations in C?d'Ivoire, Monica Blackmun Vison?rovides a comprehensive account of a major art-producing region of Africa, and explores such topics as gender roles in performance, the role of sculpture in divination, and the interchange of arts and ideas across ethnic boundaries. The book also addresses issues inherent in research practices, such as connoisseurship and participant observation, and examines theoretical positions that have had an impact on the discipline of African art history.
Offering a wealth of perspectives on African modern and Modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as exploring broader themes such as discoveries of new technologies and globalization. A pioneering continent-based assessment of modern art and modernity across Africa Includes original and previously unpublished fieldwork-based material Features new and complex theoretical arguments about the nature of modernity and Modernism Addresses a widely acknowledged gap in the literature on African Art
From the 1880s to 1940, French colonial officials, businessmen and soldiers, returning from overseas postings, brought home wooden masks and figures from Africa. This imperial and cultural power-play is the jumping-off point for a story that travels from sub-Saharan Africa to Parisian art galleries; from the pages of fashion magazines, through the doors of the Louvre, to world fairs and international auction rooms; into the apartments of avant-garde critics and poets; to the streets of Harlem, and then full-circle back to colonial museums and schools in Dakar, Bamako, and Abidjan. John Warne Monroe guides us on this journey, one that goes far beyond the world of Picasso, Matisse, and Braque, to show how the Modernist avant-garde and the European colonial project influenced each other in profound and unexpected ways. Metropolitan Fetish reveals the complex trajectory of African material culture in the West and provides a map of that passage, tracing the interaction of cultural and imperial power. A broad and far-reaching history of the French reception of African art, it brings to life an era in which the aesthetic category of "primitive art" was invented.
By the late eighteenth century, the ever-increasing British need for local labour in West Africa based on malarial, climatic, and manpower concerns led to a willingness of the British and Kru (West African labourers from Liberia) to experiment with free wage labour contracts. The Kru’s familiarity with European trade on the Kru Coast (modern Liberia) from at least the sixteenth century played a fundamental role in their decision to expand their wage earning opportunities under contract with the British. The establishment of Freetown in 1792 enabled the Kru to engage in systematized work for British merchants, ship captains, and naval officers. Kru workers increased their migration to Freetown establishing what appears to be their first permanent labouring community beyond their homeland on the Kru Coast. Their community in Freetown known as Krutown provided a readily available labour pool and ensured their regular employment on board British commercial ships and Royal Navy vessels circumnavigating the Atlantic and beyond. In the process, the Kru established a network of Krutowns and community settlements in many Atlantic ports including Cape Coast, Fernando Po, Ascension Island, Cape of Good Hope, and in the British Caribbean in Demerara and Port of Spain. Outsourcing African Labour in the Nineteenth Century: Kru Migratory Workers in Global Ports, Estates and Battlefields structures the fragmented history of Kru workers into a coherent global framework. The migration of Kru workers in the Atlantic, Indian and Pacific Oceans, in commercial and military contexts represents a movement of free wage labour that transformed the Kru Coast into a homeland that nurtured diasporas and staffed a vast network of workplaces. As the Kru formed permanent and transient working communities around the Atlantic and in the British Caribbean, they underwent several phases of social, political, and economic innovation, which ultimately overcame a decline in employment in their homeland on the Kru Coast by the end of the nineteenth century by increasing employment in their diaspora. There were unique features of the Kru migrant labour force that characterized all phases of its expansion. The migration was virtually entirely male, and at a time when slavery was widespread and the slave trade was subjected to the abolition campaign of the British Navy, Kru workers were free with an expertise in manning seaborne craft and porterage. Kru carried letters from previous captains as testimonies of their reliability and work ethic or they worked under the supervision of experienced workers who effectively served as references for employment. They worked for contractual periods of between six months and five years for which they were paid wages. The Kru thereby stand out as an anomaly in the history of Atlantic trade when compared with the much larger diasporas of enslaved Africans.
Throughout West African societies, at times of social crises, postmenopausal women—the Mothers—make a ritual appeal to their innate moral authority. The seat of this power is the female genitalia. Wielding branches or pestles, they strip naked and slap their genitals and bare breasts to curse and expel the forces of evil. In An Intimate Rebuke Laura S. Grillo draws on fieldwork in Côte d’Ivoire that spans three decades to illustrate how these rituals of Female Genital Power (FGP) constitute religious and political responses to abuses of power. When deployed in secret, FGP operates as spiritual warfare against witchcraft; in public, it serves as a political activism. During Côte d’Ivoire’s civil wars FGP challenged the immoral forces of both rebels and the state. Grillo shows how the ritual potency of the Mothers’ nudity and the conjuration of their sex embodies a moral power that has been foundational to West African civilization. Highlighting the remarkable continuity of the practice across centuries while foregrounding the timeliness of FGP in contemporary political resistance, Grillo shifts perspectives on West African history, ethnography, comparative religious studies, and postcolonial studies.
Offering a wealth of perspectives on African modern and Modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as exploring broader themes such as discoveries of new technologies and globalization. A pioneering continent-based assessment of modern art and modernity across Africa Includes original and previously unpublished fieldwork-based material Features new and complex theoretical arguments about the nature of modernity and Modernism Addresses a widely acknowledged gap in the literature on African Art
