[MSN] The Exploitation of African Art

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The Exploitation of African Art
An article by Jane Musoke-Nteyafas (Toronto, Canada)

Formatted text and images available at:
http://uganda.africancolours.net/content/11459

The origin of African art has existed long before recorded history. African
art is colorful, vibrant and often depicts nature, people's culture and
traditions. It is the foundation of many art forms, including Native
American Indian art. This is not very surprising when considering the fact
Africans were sailing the seas long before Columbus sailed out on his maiden
voyage. There is substantial evidence that supports that there was contact
between the Native Indians and the Africans. For example, the first recorded
black man to arrive in Canada was Mathieu DaCosta, who arrived on the
Canadian coast in 1608. He acted as a translator and interpreter between the
Micmac and the French under Samuel Champlain on their trip to Nova Scotia.
African visual arts have survived looting by the colonialists and will
continue to survive in the future. However, it continues to be exploited on
the international scene where many African artists have not been able to
reach beyond the status of starving artists. This is despite the fact their
art pieces colourfully line the walls of many wealthy European and American
patron's homes. There is obviously an economic disconnection in the process
of buying art where the middle man seems to be raking in a lot of money,
while the creator of the art pieces themselves languish in poverty until
their last days. 

In the past, visual artists in African societies were physically integrated
in the African way of life as part of the education and socialization of
these communities, drawing their creative strength from economic growth and
trends. Through their art, they were able pass on their culture and history
to the next generation with tangible evidences of mostly painted, textile,
sculpted, beaded, metallic and wooden artistic excellence. However, due to
the breakdown of African communities caused by colonial intervention,
slavery and racism many of the African educational, artistic cultural values
have been lost. 

HOW COLONIALISM AFFECTED AFRICAN VISUAL ARTS
'Wandering in the night' by Kimemia, Sam
Through the auspices of colonialism, Africans have been taught to not
appreciate their own artists; bamboozled into thinking that their own visual
arts are inferior to European art. This is an attitude that has permeated
many of the entire African scene as well as the Diaspora today, so much so
that if one were to enter many African American, African and Caribbean
homes, one is more likely to find European figurines and European
renaissance paintings on their walls than any black art. Unfortunately, this
has affected the livelihood of many African artists while the colonialists
themselves were siphoning valuable African pieces into their countries and
placing them in museums and in their homes.

To understand the effects of colonialism on the African scenes and how it
has detrimentally affected the artistic scene today, one has to understand
how the colonialists operated. It should be noted the disintegration of the
African way of life was because of denigration and denunciation of the
various African art forms mainly through Christianity and colonialism in
order to prepare for the success of the colonial power. For example, the
common African artistic style of carving out African masks was vilified and
referred to as a portal for demons, scaring many people from purchasing
them. 

The colonial administration also introduced their own colonial education to
replace the ages old African education system breaking down the roles of
visual artists even more. Meanwhile international companies and associations
also slowly replaced the ownership of African resources, which sustained the
raping and exploitation of African art pieces behind closed doors.
Unfortunately, the place of the African artists of all genres has been
replaced by Western colonial culture, which is sustained today by modern
television programs, aggressive advertising, music programs, and cinemas
that display foreign films, pornography, misogynist lyrics, crime and drugs.
Granted, they offer entertaining diversion but it is at the disadvantage of
African artists.

One of the most heinous crimes that have ever been committed against the
African visual arts is the cheap imitation of African arts that are sold in
North American stores at ten times the price of the original copy, hence
capitalizing on the exploitation of African-influenced visual arts.
Westerners seem to place qualitative judgements on African arts, minimizing
them as inferior art and yet selling it at atrocious rates to their rich
customers. These businessmen travel to Africa and buy them at lower than
wholesale rates and sell them off in the Western market at more than a 100
percent profit rate, to the detriment of the artists. They milk their source
so to speak and the artists never see a cent. There are even some
unscrupulous, shady businessmen who even go further and obtain art pieces
for free with promises of commissions to the artists who never hear from
them again once they have left their countries.

CHALLENGES OF AFRICAN ARTISTS

Piece by Muya, Alex.
One of the biggest challenges for many African artists is the lack of
exposure combined with lack of distribution and government support. It is
realized by many that no matter how talented and gifted they may be, visual
artists need some kind of exposure in order to sell their pieces to the
market that will buy it-which is mostly the bourgeoisie of the Western
world. This would compliment and enhance their talent and develop there own
identity form of art. This is when the media comes into the picture.

Distribution has always been a major problem - in Africa itself as well as
internationally. However, problems in access do not diminish the quality of
the art. Africa does not lack the artistic talent, but this talent often
languishes and dies due to poor infrastructure, distribution and the
disinterest of national governments in promoting it to those that have the
purchasing power to own the art. African art has had a tremendous influence
on the entire world. The question should not be whether African art has a
future, but how to successfully promote and market it to the rest of the
world.

African countries should view visual artists as cultural ambassadors of
their nation's heritage, but this is not the case. Their traditional and
their modern artists add value to their home countries. Nevertheless, if
anything they take the concept of "starving artist" to another level,
stifling their own, home-grown creative talent. Visual art is hardly ever
considered a worthy livelihood; in fact, it is considered a luxury of people
that have nothing better to do. Younger generations are discouraged from
becoming true connoisseurs of our rich African artistry. Many African
governments are more focused on civil wars than the creative arts. The
visual arts in many African countries are underfunded and underdeveloped.
Many of the Pre-civil war governments rarely provided subsidies or funding
for art projects. The concept of Arts is currently and quite unfortunately
non-existent. These governments need to wake up and treasure the continent's
gifts before they get buried and lost forever.

The African visual artists have therefore suffered a triple blow; that of,
being denied the natural growth and development of an artist, through
government support, that of few distribution outlets and that of very little
exposure on the international scene. On top of that, there is the
disadvantage of being condemned by both the foreigner and his own people who
often regard African forms as not quite up to the international standards
for an African visual artist to make it within his own community.

Very few Africans can afford to contemplate buying visual arts because they
are focusing on survival and where the next meal will come from. Because
they have no food, visual arts are not even a priority. They may admire it,
but in their eyes it is a luxury that they will never afford. There is also
a general perception of visual artists as people with no ambition and it is
generally seen as a passing hobby that will never make any money.

It has become important for contemporary African artists to leave the
continent of Africa in order to expand their creative energies in the
Western world. There needs to be a proper platform for artists from Africa
to sell their work and find a place on the international art scene. In
addition, more dealers in African art, more critics, collectors, galleries
or even a Museum of Modern African Art dedicated to artwork of Africa.
Famous auction houses like Christies and Sotheby's could support these
artists.


HOPE IN THE HORIZON FOR THE VISUAL ARTIST
Piece by Walala, Peter.
Many African artists tired of being played like stringed instruments by
middle men are retaliating, challenging the status quo, and taking matters
into their own hands. Ya Afrika Art Group, a Nairobi-based art group, which
comprises of about 20 members, is bringing together disenfranchised artists
and sculptors. Solely inspired by a common goal to pool their individual
creative resources, the artists primarily also seek to express independent
muses within confines of a friendly environment. They are all committed to a
binding vision: a smoldering purpose to manage themselves by selling art
works on their own rather than sell pieces through intermediaries or art
brokers.
Africa's distinct visual arts will not disappear from the international
stage. They will maintain their influence music around the world. Africa
will continue its vibrancy of artistic culture with or without help from
governments. They have been exploited and yet this does not hinder their
creative input. Do not underestimate the resiliency of Africans and their
culture.