Uganda

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

The Exploitation of African ArtsThe 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, Kimemia'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

Art by Muya, AlexPiece 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

Art by Walala, PeterPiece 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.

Jane Musoke-Nteyafas, poet/author/artist and playwright, was born in Moscow, Russia and currently resides in Toronto, Canada. She is the daughter of retired diplomats. By the time she was 19, she spoke French, English, Spanish, Danish, Luganda and some Russian and had lived in Russia, Uganda, France, Denmark, Cuba and Canada. She won the Miss Africanada beauty pageant 2000 in Toronto where she was also named ‘one of the new voices of Africa’ after reciting one of her poems. In 2004 she was published in T-Dot Griots-An Anthology of Toronto's Black storytellers and in February 2005 her art piece 'Namyenya' was featured as the poster piece for the Human Rights through Art-Black History Month Exhibition. She is the recipient of numerous awards for her poetry, art and playwriting and is becoming a household name in Toronto circles.
Please visit her website at nteyafas.com.

.: Article Courtesy of Bahiyah Woman Magazine :.

.: About Ya Afrika :.