Glossary

4.3 The appropriation and commodification of African art by colonial powers

4 min read•august 13, 2024

Colonial powers took African art by force and trade, viewing it as primitive. They displayed it in , reinforcing stereotypes and cultural superiority. This appropriation ignored the art's true meaning and context.

The of African art turned cultural objects into marketable goods. This global trade exploited African artists and communities, leading to cultural erosion. These issues continue to impact contemporary art markets and cultural institutions.

Colonial Appropriation of African Art

Acquisition and Assertion of Cultural Superiority

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  • Colonial powers (France, Britain, Germany) engaged in large-scale acquisition of African art through military conquest, trade, and scientific expeditions
  • The collection of African art was driven by a desire to assert cultural superiority, with European colonizers viewing African art as primitive, exotic, and inferior to Western art traditions
  • Colonial administrators, missionaries, and anthropologists played a significant role in the collection and classification of African art, often using exploitative and disrespectful methods towards African communities

Eurocentric Classification and Display

  • The classification of African art by colonial powers was based on Eurocentric notions of art and aesthetics, leading to the imposition of Western categories and hierarchies on diverse African artistic traditions
  • African art was often displayed in , world fairs, and museums as curiosities or ethnographic artifacts, rather than as works of art in their own right
  • The display of African art in colonial contexts served to reinforce stereotypes and misconceptions about African cultures, while promoting the idea of European cultural supremacy
  • African art was frequently presented as static and unchanging, ignoring the dynamic and evolving nature of African artistic traditions
  • The display of African art in colonial contexts often involved the removal of art objects from their original cultural and spiritual contexts, leading to a loss of meaning and significance

Commodification of African Art

Transformation into Marketable Commodities

  • The commodification of African art by colonial powers transformed traditional African art objects into marketable commodities, leading to the development of a global trade in African art
  • The economic value of African art was often determined by Western collectors and art markets, rather than by the communities that created the art, leading to the of African artists and the undervaluing of their work
  • The global trade in African art was characterized by unequal power relations, with African artists and communities having little control over the production, distribution, and sale of their art

Cultural Erosion and Contemporary Issues

  • The commodification of African art contributed to the erosion of traditional cultural practices and the loss of cultural heritage in many African communities
  • The commodification of African art also led to the proliferation of forgeries and replicas, which further devalued and misrepresented African artistic traditions
  • The economic and cultural implications of the commodification of African art continue to be felt in contemporary art markets and cultural institutions, where issues of authenticity, ownership, and remain contentious
  • Contemporary African artists often struggle to assert their agency and cultural identity in the face of ongoing commodification and appropriation of African art by Western markets and institutions

Decontextualization of African Cultures

Removal from Cultural Contexts

  • The appropriation of African art by colonial powers often involved the removal of art objects from their original cultural contexts, leading to a loss of meaning and significance
  • African art was frequently presented in colonial contexts as primitive, exotic, and Other, reinforcing stereotypes and misconceptions about African cultures
  • The decontextualization of African art by colonial powers contributed to the erasure of the complex histories, beliefs, and practices associated with African artistic traditions

Imposition of Western Standards and Marginalization

  • The misrepresentation of African art by colonial powers often involved the imposition of Western aesthetic standards and interpretations, which failed to capture the diversity and complexity of African art forms
  • The appropriation of African art by colonial powers also contributed to the marginalization and suppression of African cultural identities, as African art was often used to justify colonial ideologies of cultural superiority and domination
  • The legacy of the decontextualization and misrepresentation of African art by colonial powers continues to shape contemporary understandings of African cultures and artistic traditions
  • Contemporary African artists and scholars are working to reclaim and recontextualize African art, challenging the colonial narratives and asserting the agency and diversity of African artistic traditions

Museums and the Colonial Legacy

Perpetuating Colonial Ideologies and Power Structures

  • Museums and art institutions in Europe and North America played a significant role in the collection, classification, and display of African art during the colonial period, often perpetuating colonial ideologies and power structures
  • The acquisition policies and practices of museums and collectors during the colonial period were often unethical and exploitative, involving the removal of art objects from African communities without proper consent or compensation
  • The display of African art in museums and art institutions during the colonial period often reinforced stereotypes and misconceptions about African cultures, presenting African art as primitive, exotic, and inferior to Western art traditions

Classification Systems and Contemporary Debates

  • The classification systems used by museums and art institutions to organize and interpret African art were often based on Eurocentric notions of art and aesthetics, failing to capture the diversity and complexity of African artistic traditions
  • The legacy of colonial-era museum practices and collecting policies continues to shape contemporary debates around the repatriation and restitution of African art objects
  • Museums and art institutions in the postcolonial era have a responsibility to critically examine their role in perpetuating the colonial legacy of African art appropriation and to develop new approaches to the collection, display, and interpretation of African art that prioritize the perspectives and experiences of African communities
  • Contemporary museums and art institutions are increasingly engaging in collaborative projects with African communities and artists to develop more culturally sensitive and inclusive approaches to the display and interpretation of African art

Key Terms to Review (17)

Artistic appropriation: Artistic appropriation is the practice of taking or borrowing elements from one culture's artistic traditions to incorporate into another's artwork. This process can involve a complex interplay of admiration, critique, and power dynamics, especially when one culture appropriates the artistic expressions of another, often marginalized culture. The implications can lead to commodification, where original meanings are stripped away and works are commercialized without proper acknowledgment.
Baule Masks: Baule masks are traditional wooden masks created by the Baule people of Côte d'Ivoire, known for their intricate carvings and vibrant decorations. These masks hold significant cultural value, often used in rituals and ceremonies to connect the spiritual world with the living. Their artistic significance and unique designs have attracted the attention of colonial powers, leading to issues of appropriation and commodification in the context of African art.
Berthe Morisot: Berthe Morisot was a pioneering French painter and a key figure in the Impressionist movement, known for her delicate brushwork and ability to capture the nuances of light and atmosphere. As one of the few prominent female artists of her time, she not only contributed significantly to the development of Impressionism but also challenged traditional gender roles within the art world, pushing for greater recognition of women's perspectives in artistic expression.
Colonial exhibitions: Colonial exhibitions were large-scale public displays held primarily in Europe during the 19th and early 20th centuries, showcasing the cultures, resources, and achievements of colonized regions. These events served to promote colonial ideologies by emphasizing the perceived superiority of European civilization while simultaneously commodifying and appropriating indigenous cultures and art forms.
Commercialization: Commercialization refers to the process of turning goods, services, or ideas into marketable products that can be sold for profit. This term connects deeply with the appropriation and commodification of cultural expressions, especially when examining how colonial powers extracted and transformed African art into commercial entities for European consumers.
Commodification: Commodification is the process of transforming goods, services, or ideas into commodities that can be bought, sold, or traded in the market. This concept highlights how cultural artifacts, such as art, can lose their original meaning and significance when they are commercialized and objectified. In the context of African art, this means that colonial powers often appropriated these works for profit, stripping them of their cultural context and reducing them to mere products.
Cultural Appropriation: Cultural appropriation refers to the unacknowledged or inappropriate adoption of the customs, practices, or symbols of one culture by members of another culture, often without permission and typically involving a power imbalance. This concept highlights how dominant cultures exploit marginalized cultures, especially in the context of colonialism and its ongoing effects on art and cultural expression.
Cultural erasure: Cultural erasure refers to the systematic removal or destruction of a culture's identity, traditions, and practices, often as a result of colonization or oppression. This term highlights the effects of colonial powers imposing their own culture while disregarding or actively eliminating the cultural expressions of the colonized. Cultural erasure can lead to the loss of traditional art forms, languages, and spiritual practices, diminishing the heritage and identity of affected communities.
Decolonial Aesthetics: Decolonial aesthetics refers to the critical examination and reimagining of artistic practices and visual culture that arise in response to the historical and ongoing impacts of colonialism. This approach seeks to challenge Eurocentric perspectives, reclaim marginalized voices, and promote the representation of diverse cultural identities through art.
Dogon sculptures: Dogon sculptures are intricate wooden carvings created by the Dogon people of Mali, known for their unique forms and cultural significance. These sculptures often reflect the Dogon's religious beliefs, ancestral veneration, and connections to the cosmos, playing a crucial role in their rituals and ceremonies. They have gained attention for their aesthetic beauty and are often appropriated and commodified by colonial powers and collectors.
Exploitation: Exploitation refers to the act of taking unfair advantage of a person or group, often for economic gain. In the context of art, particularly African art, exploitation involves the appropriation and commodification of cultural artifacts by colonial powers, stripping them of their original significance and reducing them to mere products in a market. This dynamic highlights a power imbalance, where the cultural expressions of colonized peoples are appropriated without acknowledgment or benefit to their creators.
Hegemony: Hegemony refers to the dominance of one group over others, often maintained through cultural, ideological, or economic means rather than direct coercion. This concept is crucial for understanding how power operates in society, especially in colonial contexts where dominant cultures assert their values and beliefs over marginalized groups, shaping perceptions and representations of the 'Other', and influencing art and visual culture.
Identity formation: Identity formation refers to the process through which individuals or groups develop a distinct sense of self and belonging, influenced by various social, cultural, and historical factors. This concept is crucial in understanding how individuals navigate their identities in relation to their cultural heritage, particularly in contexts where their art and cultural expressions have been appropriated or commodified by external powers. The way that identity is shaped can reflect the ongoing negotiation between indigenous cultural expressions and outside influences.
Museums: Museums are institutions that collect, preserve, and display artifacts and artworks for public education and enjoyment. They play a significant role in shaping cultural narratives, often reflecting and influencing societal views on history, identity, and heritage. In the context of art and colonialism, museums not only showcase artistic achievements but also serve as sites where power dynamics surrounding colonialism and imperialism are negotiated, particularly regarding the representation and ownership of cultural artifacts from colonized regions.
Pablo Picasso: Pablo Picasso was a Spanish painter, sculptor, printmaker, and one of the most influential artists of the 20th century, known for co-founding the Cubist movement and for his diverse styles throughout his career. His work often reflects the impacts of colonialism on art, particularly through the appropriation of African forms and motifs, which reshaped European aesthetics and attitudes toward other cultures.
Postcolonial theory: Postcolonial theory is an intellectual framework that examines the effects and ongoing impacts of colonialism on cultures, societies, and identities after the colonial period. It addresses issues of power dynamics, representation, and the ways in which colonial histories shape contemporary experiences, especially in art and visual culture.
Scramble for Africa: The Scramble for Africa refers to the rapid invasion, colonization, and division of African territory by European powers during the late 19th century, particularly between 1881 and 1914. This period significantly reshaped the political and cultural landscape of Africa, impacting art production, architecture, and the representation of African identities in the context of colonialism.
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