Objects and Resources for High School Study On view April 11 through August 8, 2010 Objects and Resources for High School Study

What is the thesis of this exhibition? African art about Europeans and western culture offer powerful and incisive reflections on the ever-changing relationships between people living in Africa and the West. Teacher notes: All the art in the exhibition is made by Africans; all the art either depicts Europeans or shows Africans engaging Western culture (clothing, technology, behavior, etc.) All but the last gallery deals with Africa and Europe; the last gallery brings America into the story, including it in a larger understanding of the “other” as Westerner. By “powerful and incisive” we mean that the art can be biting in its commentary, as well as humorous (poking fun at Europeans); we hope students will be surprised at the range of responses different African artists had to different Europeans and, eventually, Americans An important theme of the exhibition is the “ever-changing” and dynamic nature of the African/European relationship. We try as much as possible in this exhibition to tell specific stories about particular African chiefs and particular Europeans. We hope students will understand that relationships between Africans and Europeans could involve fear, admiration, anger, humor, resistance and welcome – and everything in between. And that the same person or the same community could experience all these different reactions over time.

Through African Eyes… Europeans as Spirits and Strangers “When we heard that the man with the white flesh was journeying down the Lualaba River we were astonished. A man with white flesh—from the realm of the river-kingdom spirits! He will be one of our brothers. All life comes from the water, and in the water he has found life. Now he is coming back to us.” King Mojimba, 1870 Kongo culture Teacher notes: This quote is meant to help students imagine what it was like for Africans to encounter Europeans for the first time. It demonstrates that many people in Africa already had ideas associated with whiteness. These ideas influenced how they responded to these first encounters.

The map shows only the major culture/language groups and kingdoms in Africa prior to European colonization. There are over 2000 traditional culture groups in Africa. Major kingdoms and their territories are shown in purple.

Use the smaller map to highlight the enormous diversity within Africa, as well as its size.

Made of wood, pigment (paint) Unknown artist Yombe culture, Ancestor Figure, 1800s Made of wood, pigment (paint) Unknown artist Yombe culture, Democratic Republic of Congo Teacher notes: Ancestor Figure, 1800s (title and date when made, as best we know it; many African objects do not have precise dates) Made of wood, pigment (paint) Unknown artist (we don’t know the names of many African artists; they would have been well-known in their communities but their name as maker was not an usually important to pass on through generations; this is a difference between the way Africans and people in the West traditionally thought about art; ART, as we define it today, is a Western construct) Yombe culture, Democratic Republic of Congo (every label names the culture group of the artist—here, Yombe, pronounced YOM-bey—and the modern nation whose borders encompass that culture group’s original homeland—here, it’s the Democratic Republic of Congo) Content: Many different peoples of Africa associated whiteness with the spirit world well before European contact. Ancestral spirits were generally treated with great respect, and were feared because they had the power to affect the living in good and negative ways. Some Africans welcomed Europeans as ancestors; others saw their arrival as the fulfillment of a prophesy. This grave figure honors a specific ancestor who has moved on to the spirit world. The white chalk coating indicates is what tells us he represents a figure of the spirit world. In ceremonies honoring spirits, people would use the same kind of chalk on their bodies in ritual performances for the spirits. The figure’s filed (pointed) teeth and European coat indicate that he was a high status person in the Yombe (yom-bey) culture. Discussion: Think of examples where someone’s long-held ideas about fashion, hairstyles, or race effected that person’s behavior toward another in a first encounter.

Portuguese Musketeer, mid-1700s Bronze Unknown artist Edo culture, Benin (Ben-NEEN) kingdom, Nigeria AUDIOTOUR STOP Teacher notes: Note the aggressive stance with weapon pointed; the figure represents the intimidating power and strength of Europeans. The Benin people are known for bronze-casting expertise; note the fine detail in the helmet and clothing. This sculpture was fastened to an ancestral altar in king’s palace (see brackets on front corners of the base); liquid offerings were poured into hole between figure’s feet. This was done to honor ancestors. The figure is barefoot: all shoes and boots must be removed near the sacred ancestral altar, even on a sculpture. The Benin king’s ownership and use of this sculpture demonstrated to his subjects that he had a prestigious connection to the powerful Europeans. History: European weaponry gained through an alliance with the Portuguese made the Kingdom of Benin especially powerful in the 1500s; the kingdom was able to greatly expand its territory. There is a strong historical connection between the Benin and Portuguese. This was a rare alliance in early European/African relations. The Portuguese saw the Benin as attractive partners because the Benin kingdom was already large and powerful and controlled a lucrative trade network. Working with the Benin kingdom gave the Portuguese an economic advantage. When this sculpture was made, the Dutch—not the Portuguese—lived among the Benin people. But Benin artists did not depict what they saw: instead, they used Portuguese attributes to indicate any European. The Portuguese uniform and mannerism were seen as stereotypically “European.” Discussion: Look carefully at this figure – identify as many details as you can. Think about the messages this figure conveys about what the Benin identified with being European. Groups of people all over the world use stereotypes as a kind of “shorthand” for identifying other groups of people. Think about why portraying groups of people in stereoptype might be such a common experience. What purpose does it serve? How does it effect both the person doing the stereotyping and the person being stereotyped?

Europeans as Traders Teacher Notes: This map shows the major trade routes that involved Africa, Europe and North America from the year 800 to 1800. The text in pink/peach color shows the products going into Africa, while the yellow/green text shows the products taken out of Africa, including human captives. Europeans as Traders

Through African Eyes… Europeans as Traders of Enslaved Africans Absence, Silence, Shame and Disbelief Absence Of the roughly 100 objects in this exhibition, only four depict imagery related to the transatlantic slave trade. This is because very few known works in African art address the subject. Silence When Africans were kidnapped and enslaved, those remaining in African communities rarely knew what happened to their friends and relatives—only that they had disappeared. Note for teachers: The exhibition will feature an empty display case in this section of the exhibition. The purpose is to draw attention to the fact that there are very few works of art about slavery by African artists made during the period of the slave trade. These four words—absence, silence, shame, and disbelief—can be discussed as possible reactions which different Africans may have had with regard to the kidnapping and enslavement of other Africans. Historical background on slavery within Africa: Slavery existed in Africa before Europeans arrived. Generally, after a war between two African groups, the victor would take prisoners as slaves. Slaves were considered war booty, and were usually taken for political reasons. Such slaves could be assimilated into the ruling class culture; they could intermarry and eventually hold positions of power. The strategy of taking prisoners as slaves weakened enemies, and increased the population of the victorious group. Assimilating conquered people into their own communities also gave victors the advantage of increased genetic, intellectual, and cultural diversity. While intra-African slavery was generally political, the European and American trade in African slaves was conducted for economic reasons; with free labor, Europeans and American plantation owners built enormous fortunes.

Through African Eyes… Europeans as Traders of Enslaved Africans Shame Slavery existed in Africa before the arrival of Europeans. However, when Africans enslaved other Africans, victims could earn a change in status, intermarry, and become part of the community. But being a slave or having an ancestor who was a slave, even temporarily, was perceived as shameful. Most Africans didn’t want imagery about slavery. Disbelief “We have heard stories about white men who made the powerful guns and the strong drinks and took slaves away across the seas, but no one thought the stories were true.” from Things Fall Apart, by novelist Chinua Achebe Igbo culture, Nigerian Discussion: Have students consider these four possible reasons why Africans did not make many images depicting the slave trade. Are some more convincing than others? Are there other possible reasons? Have students consider the similarities and differences between the way the enslavement of Africans is thought of in Africa and the way it is thought of in the U.S. Do the students think there are many images of slavery in the U.S.? Do people talk about it in the U.S.? What words might be used to describe the attitudes about slavery in this country?

Elephant Tusk with Scenes of African Life, 1850-1860 Ivory Unknown artist Kongo culture (Vili), Democratic Republic of Congo Note to Teachers: A Kongo sculptor carved this elephant tusk for a European buyer during the mid-1800s. Among scenes of daily life, the artist depicts Europeans and some Africans profiting from the trade of human beings into slavery. African captives are represented among items to be sold, like redfish and ivory tusks, which can also be seen on the tusk. Invite students to look closely at facial expressions and body language; this is a rare example of African art made during the period of the trans-Atlantic slave trade that shows the shock, resignation, and fear of some Africans. (please note that Kongo with a “K” is the word for the Kongo kingdom and culture group; Congo with a “C” is used for the modern nation of the Democratic Republic of Congo; People are called Kongo, not Congolese or Kongolese – “he is Kongo” is correct usage); Vili is a sub-group culture within the Kongo culture.)

. Teacher notes: Monkey detail: Many Africans see monkeys as dirty, thieving creatures. Perhaps the Kongo artist included the monkey to describe all slave traders—European and African alike—as immoral and greedy. Or perhaps he was catering to his European client for whom the monkey may have represented racist stereotypes of Africans used to justify slavery. 2nd detail: A European trader holds keys, possibly to locks chaining captured Africans. 3rd detail: Two men attack a fellow African to be sold into the slave trade. Africans who participated in the slave trade generally took captive from neighboring or rival groups. 4th detail: A monkey sits below a table as a European or American trader to the left and a Kongo leader to the right record their business transaction. Discussion: This object presents African complicity with Europeans in the slave trade. Have students talk about instances of injustice that occur today. Have them think about who is complicit in the examples they bring up? Note that European slavery did not always rely on African complicity. Europeans gained slaves through: Trade deals with African leaders Giving firearms to select African groups while denying firearms to others; those with guns became more powerful and could provide an easy supply of slaves to the Europeans Direct kidnapping by Europeans

Through African Eyes…Europeans as Foreign Settlers During the early period of contact Europeans remained mysterious strangers to Europeans because they came and went during short trade visits. This changed as Europeans settled in Africa. Though Europeans lived in fortified enclaves apart from African communities, Africans still had opportunities to observe them closely.

European Couple Walking the Dog, 1935-1955 Wood, paint Thomas Ona Odulate Yoruba culture, Nigerian, active 1900-1950 Teacher notes: Sculpture was made by a Yoruba (pronounced yor-uh-buh) artist Odulate (Oh-duh-la-tey) who captured the prevailing stereotype of Europeans during British colonial rule. Think of this as a caricature. Blue eyes exaggerated; long, pointed noses Layered clothing Pith helmet is a symbol of British colonizer Arms around each other is a public display of affection; considered improper in Yoruba culture Implied criticism of the British: the dog leads the people in a leisure activity; dogs are hunters and protectors in Yoruba culture, so the Europeans seem to be engaging in a silly, unsophisticated activity. Suggests commonly held stereotype that Europeans love dogs more than people. Nigerian novelist Chinua Achebe’s Things Fall Apart offers similar kinds of descriptions of Europeans, exposing how they were seen from the African viewpoint. The artist carved this from pieces of thorn wood, a very difficult wood to carve; it is malleable and comes only in narrow pieces. The carving process is painstaking and requires great skill. Discussion: Compare this sculpture to political cartoons. Why do people make caricatures and political cartoons? What are such formats good at conveying? Why are they effective?

Democratic Republic of Congo Initiation Wall Panels, 1900-1950 Figure Group, mid-1800s Ivory Unknown artist Kongo culture (Vili), Democratic Republic of Congo Initiation Wall Panels, 1900-1950 Wood, pigment Unknown artist Nkanu culture, Democratic Republic of Congo Teacher note: EXPLICIT IMAGERY IN FIGURE GROUP (nude female); CONTENT ABOUT EROTICISM AND RAPE Figure group was made for European trade: this is an erotic fantasy for a European male patron. Two European men lock arms with a naked Vili woman; her highstyle and jewelry tell us she is of high status She smiles and has hands open, suggesting her willingness Supports the European stereotype of African women as primarily sexual objects. The Initiation Screen was used in ceremonies to initiate boys into adulthood; it is meant to warn young Nkanu (en-kah-nu) men to avoid treating women the way they saw some European men treating women. Note the European figure in the center. The diamond-shapes are symbolic of female genitalia, perhaps forcibly opened.

Through African Eyes…Europeans as Foreign Settlers African leaders also took on European symbols and clothing to increase their own prestige and influence.

Memorial Figure in Frock Coat (ntadi), 1800s Carved steatite (soapstone), pigments Unknown artist Kongo culture, Democratic Republic of Congo Teacher notes: Ntadi is pronounced en-tah-dee. This sculpture is a grave marker that honors the memory of an unknown Kongo chief. His cap is in a traditional Kongo style and is a symbol of his chiefly status. He wears a traditional Kongo loin wrapper and is bare chested and barefoot, as was customary. He wears a beaded necklace that indicates his leadership position. He also wears a European frock coat and carries a European briefcase. The figure blends traditional with European clothing to demonstrate his identity: he has the wealth and connections to acquire European clothing (European items were expensive and hard to get). He is cosmopolitan, and interested in the world outside of his own community. He is also someone who has not let go of ties to traditional power structures and traditions. QUESTIONS: Can you think of examples today where people mix clothing, music, or languages from different cultures? Why might people do this today? Do certain people “own” cultural styles? A recent example occurred in the Winter Olympics, when a Russian ice dancing pair wore costumes meant to suggest Native American attire. This was offensive to some, and the athletes met with First Nations leaders to show their respect.

Through African Eyes…Europeans and Spirituality Christian missionaries were some of the first Europeans encountered by Africans. Some Africans converted to Christianity; most incorporated Christian imagery and practice into existing belief systems. Teacher notes: Many Africans who did not convert to Christianity used Christian imagery to tap into the power of Christianity. In other words, they assimilated Christian imagery to increase the power of their own religious traditions.

Songye culture, Democratic Republic of Congo Kifwebe Society Mask, 1900-1950 Wood, pigment Unknown artist Songye culture, Democratic Republic of Congo Name of mask is pronounced kif-whey-bey. The mask portrays Jesus wearing the crown of thorns associated with his crucifixion. (The Christian gospels teach that Jesus was tortured and nailed to a cross until he died, as public punishment for political and social insurrection. The gospels teach that Jesus miraculously rose from the dead three days later.) The streak on his cheek represents a tear or blood, suggesting the pain and difficulty of Jesus’ ordeal. The mask was worn during traditional (not Christian) rituals where boys in the Songye (san-jay) culture group were initiated into manhood. The Songye initiation is physically difficult and includes the pain of circumcision. The use of this mask suggests similarities between Jesus’s painful death and rebirth and a Songye boy’s painful initiation and rebirth as a man during traditional coming-of-age ceremonies. Masks like these were carved by young Songye artists trained by missionaries in local, European-led workshops, to depict Christian imagery. Use of Christian images in non-Christian practices suggests the Songye may have had subversive intentions, meant to undermine the missionaries attempts to impose Christianity. Discussion: The Songye “borrowed” this image of Jesus to use in a way that the Christian missionaries probably did not intend. Can you think of other instances where one culture group borrows something from another and uses it in a different way? How do such “borrowings” effect the relationship between the two culture groups? This is a great object for pointing out how all cultures change over time, as they absorb influences from others.

Through African Eyes…Europeans and Technology Africans often saw European technology as magical, mysterious and welcome. “I asked how the vessel could go. There were cloths put upon the masts and the vessel went on. And the white man had some spell of magic on the water to stop the vessel. I was exceedingly amazed and really thought [the white men] were spirits.” Olaudah Equiano, 1756 Igbo culture Teacher notes: The quote is from and autobiography by Olaudah Equiano (1745-1797). According to his own account, Equiano was born in what is now Nigeria and was enslaved as an 11-year old child in Africa. He was sent to the West Indies and was purchased by a sea captain and traveled widely. He received some education and was able to earn money while enslaved, eventually buying his freedom. His autobiography, written in 1789, was extremely popular in both Europe and the United States, and was influential in the growing abolitionist movement. It may be important for you to note that though many Africans admired Europeans’ advanced technology, many also thought of the European social structure and interpersonal behavior as unsophisticated and crude in comparison to their own.

Woman with Radio (Untitled #851), 1956/1957 Seydou Keita Malian, 1921-2001 This portrait is the result of a collaboration between the photographer and the sitter who posed for this image. It is meant to communicate the young woman’s urban, cosmopolitan outlook. She leans possessively on a radio, an important source of information during the early twentieth century, when nationalism was on the rise and colonial period was ending. (She uses European technology to keep in touch with Africans seeking to overthrow European colonialism—an example of subversion.) The woman also wears a wristwatch, a sign of her appreciation for the western ways of keeping time, and all that it suggested (industriousness, timeliness, modern technology). She also wears a carefully and intricately tied head scarf, wide bracelet and elaborate earrings which indicate her sophisticated style and status within the community of African urban elite. (Perhaps point out that Africa has had large, urban centers for more than 1000 years. They were easy targets for consolidating colonial power.) Her dress is made of colorful (though you can’t see in the b/w photo) fabrics made in European textile mills and imported to Africa. Discussion: Have students look carefully at the details here. After providing them with some context, invite them to talk about what this portrait is meant to communicate about the woman. What does she want people to think about her? What are ways that we communicate our identity, interests or values to others today? What about technology today? How do the ways students use technology today to communicate their identity? Activity: Have students choose images of people from the mass media. Have them examine the details of the images and discuss what the images are meant to communicate. Are there trends that they find in mass media?

Through African Eyes…Europeans and Technology “The white man had led us to believe that they had guns and steamships and skyscrapers…because the white God was more powerful. White men had accredited their own brilliant inventions to their God…to enhance God’s power. As though God needed an alarm clock to be great!” Prince Modupe, 1957 Guinea Teacher note: Modupe (moh-du-pay) is referring to the common practice of Europeans claiming their technology was a sign of their Christian God’s power, and that this God privileged Europeans for believing in him. Europeans used these ideas as they tried to convert Africans to Christianity. The quote is meant to show that Prince Modupe would not be tricked by this ploy. He believed he had a more sophisticated understanding of God than Europeans did, and that God did not need the wonders of technology (like an alarm clock) to show his power. Modupe is making fun of Europeans because he thinks they lack understanding about the true nature of God. Does this quote also show admiration for the white man’s technology? Are there two messages here?

Through African Eyes…Europeans and Knowledge For centuries, African cultures used sophisticated oral traditions to share knowledge and pass historical information on to succeeding generations. With European settlement and colonization, Africans also became exposed to or learned the European system of education, which was based on reading and writing. Have students consider the positive and negative aspects of each type of knowledge system. What kinds of skills are required for each? For example: Written history: Must go through a lengthy process of learning to read and write Books can be printed and stories can be more easily spread People read and write alone; usually a solitary activity Only one person’s perspective is captured until someone writes an alternative account Oral tradition: Requires interaction between people; inherently social Requires great skills of retention and memory Speaker can vary details according to a perspective and the situation If the language isn’t understood, the history can be lost If the holder of the story dies, is the story lost? Discussion: Ask students how they use both kinds of knowledge today. For example, do they have a baby book with pictures and written descriptions, as well as oral stories about their first years? Invite them to recall stories or knowledge told to them by older people. Is one type of knowledge system more desirable? More reliable?

Figure of a European Missionary Reading to an African, 1850-1900 Wood, pigment Unknown artist Kongo culture, Democratic Republic of Congo This sculpture depicts a European missionary (note his collar) with a book (probably a bible), perched high on a chair. A much smaller African, at his left, peers up to see the book. Missionaries were the first western educators in Africa. They often used the bible to teach Africans to read. The size disparity may 1) suggest the superiority of European education or 2) expose the way some Europeans used written texts in the late 1800s to enforce their notions that Africans were racially inferior. When people learn the language, customs and systems of those who oppress them, that knowledge often becomes an effective tool in efforts to correct injustices. Sometimes, however, this is portrayed as “selling out.” Identifying someone as inferior based on race, gender, or sexual orientation is a tactic often used by those groups seeking to exercise power over another group. It was used to justify slavery in the United States, the Holocaust in Europe, and European control of the African continent during the colonial period, as examples. Discussion: Have students think about why one figure is so much larger than the other. What messages does this portrayal suggest about the relationship between the two figures?

Teacher notes: During a conference in Berlin in 1884-5, the continent of Africa was claimed and divided among European powers. There were no African representatives at the conference. The yello lines on the map show the borders negotiated by the European powers for themselves. The borders were determined by European interests in Africa’s natural resources; as a result, traditional kingdoms and culture groups were often abritrarily divided between European powers. Discussion: Use this map to discuss how borders might seem clear and logical to one group, but arbitrary and nonsensical to another.

European Trader in a Hammock, 1800s Wood, pigment Unknown artist Bembe, Congo-Brazzaville Teachers note: The sculpture depicts a European riding in a hammock carried on the backs of Africans. Have students notice the details: the European is relaxed and makes no effort, his eyes are half-closed, he holds a gun in his lap, and a dog sleeps between his legs. Perhaps have students recall the stereotypes of Europeans and their dogs from the earlier Yoruba sculpture. Forcing Africans to carry a dog in this manner—a manner usually reserved for kings and chiefs—was extremely insulting, even de-humanizing. The gun suggests the European’s power over the African laborers. The African men have tears on their faces as they carry the European. Discussion: Have students consider this image as a metaphor for European colonization and exploitation of resources during the period of colonial rule. The Africans did much of the physical labor (mining, working in the fields, acting as servants), often without choice, while the European nations reaped enormous financial profit. The profits from colonial enterprises often left the colonies and ended up creating infrastructure and “modernizing” European nations. Consider the stereotypes of developed and underdeveloped nations. Is there a relationship to colonialism?

Through African Eyes…Looking Back on European Rule European colonial rule ended in various parts of Africa during the 1950s and 1960s, when Africans throughout the continent claimed freedom from colonial rule and set up independent nations. Since then, many African artists have created art that looks back on the colonial period, often with critical commentary.

Fiberglass, Dutch wax-printed cotton, leather, wool and steel Sarah Hewitt on Stilts, 2005 Fiberglass, Dutch wax-printed cotton, leather, wool and steel Yinka Shonibare (shon-ih-bar-ay) Nigerian-British, born 1962 Sarah Hewitt was a wealthy, white American who traveled to Africa as a tourist in the early 1880s. She’s on stilts, which were sometimes used by dancers wearing masks in traditional African ceremonies. The stilts here may suggest Hewitt is separated from people she visits during her travels; perhaps she is looking down on them through the eyeglasses she holds in her hand. Hewitt wears a traditionally tailored European dress, but it’s made of European-made fabrics imported to Africa. The artist may be suggesting that Europeans undermined the traditional African weaving industry by selling imported, industrially-manufactured textiles. Hewitt is headless: most African cultures see the head as the source of identity and wisdom. By removing the head, the artist takes away Hewitt’s identity and wisdom. Hewitt has brown skin here; in Western culture, brown skin is usually associated with the ethnic “other” or the minority. By depicting Hewitt with brown skin, the artist identifies Hewitt as the ethnic minority or racial “other.” The artist seems to be re-creating Hewitt’s identity in a denigrating manner that she would not have appreicated. He may be “mimicking” how Europeans denigrated the cultures and identities of different African peoples and individuals during the colonial period. By clothing Hewitt in textiles made in Europe as cheap imports for the African market, the artist is suggesting that the European textile industry damaged the African textile industry. More expensive African-made textiles were rejected by Africans in favor of cheaper, European-made fabrics. Have students think about the implications of cheaper imports – what are the benefits? What is the effect on the local industry? Can students think of examples today?

Through African Eyes Now...The West and Beyond Post-independence, African ideas associated with “Europe” become those of the “West” which now includes the United States and American culture. Post-independence, as Africans looked beyond their own continent, the void left by the departing Europeans was quickly filled by the United States. American culture was extremely attractive to many Africans in the 1950s and 1960s. American music, films and television become more easily accessible. Peace Corps volunteers helped build schools and hospitals. Food aid poured into Africa from the U.S. All of these factors contributed to an idealistic impression of the U.S. as wealthy, generous and benevolent, especially in contrast to the colonial Europeans who had taken so much from Africa (money, lives, natural resouces).

Barbershop Signboard, 2009 Paint on plywood Isaac Okyere, a.k.a. Azey Ghanaian Left: rap artist R. Kelly Center: rap artist and film star Will Smith Right: President Barack Obama This is a sign that advertises haircuts in the styles of American celebrities. Customers choose who they want to look like and the barber cuts their hair accordingly. This is an example of the powerful influence of African American culture in contemporary Ghana; interest has shifted away from Europe to the U.S., particularly in terms of culture (movies, music, television) With access to internet, artists know immediately who the latest stars are in America. History: Barbered hair became widespread in Africa during the colonial era, when European expectations for appearance became entrenched; post independence, hair has becomes a fashion statement, with young men looking to pop culture icons for inspiration. Discussion: Do you think people in Africa get an accurate idea of the U.S. and African American culture through the media and the internet? How might access to the internet change how people in different parts of the world think of one another? What becomes instantly accessible? What remains difficult to understand when people are still separated by geographical distance and/or language?

Still More Came Back, 2005 Metal, bottle caps El Anatsui Ghanaian, born 1944 Image detail This sculpture is very large, and hangs on a wall like a piece of heavy fabric. It’s made of soda bottle tops, and pieces cut from aluminum cans for beer and soda. These pieces of refuse (garbage) are woven together to create what looks like a beautiful, shiny, gold tapestry. The artist is making a critical statement about corporate culture and consumerism: He suggests major western corporations like Coca-Cola have charmed their way into African cultures. Using clever advertising strategies that suggest associations with the “good life”, corporations insinuate their products into everyday life. Everything looks good on the surface, but trans-national corporations can intrude on African life, damaging local traditions and industries while taking significant profits overseas. The shiny, pretty sculpture—which is actually made of garbage—is the artist’s metaphor for this corrosive situation. Discussion: Have students discuss the benefits and costs of consumer culture in Africa. How is importing products like Coke, McDonalds, American movies, and American fashion a good thing? Is it more beneficial for Africans or Americans? What kinds of opportunities exist in Africa because of consumerism? What is lost? Is there pressure to conform and buy into a certain way of life? Can students relate to this in their own lives? Image detail

Acrylic and pencil on canvas Kwesi Owusu-Ankomah Ghanaian, born 1956 Movement #27, 2002 Acrylic and pencil on canvas Kwesi Owusu-Ankomah Ghanaian, born 1956 Teacher notes: Notice two African men racing against a backdrop of adinkra-like symbols/ The painting is made up of adinkra symbols, which represent ideas and concepts in parts of west Africa. Usually adrinka symbols are stamped onto cloth. Here, the artist combines traditional adrinka symbols with corporate symbols. Also notice the outline of runners on the left side, who race across the field of adrinka and corporate symbols. Have students recall the discussion of traditional and European systems of knowledge. Africans today live in a world where traditional African ideas and ways of life exist alongside—and sometimes conflict with—western ideas and ways of life. Identification of symbols: Aya - fern, endurance, resourcefulness (top row 3rd full symbol from the right) Nkyinkyim - twistings: initiative, dynamic, versatility, playing many roles (far right column, 3rd from the top) Pempamsie "sew in readiness", readiness, steadfastness, that which will not crush (4th column, partially a runner's leg so difficult to tell, but it is the 2nd symbol from the bottom) Crocs connected at stomach - unity, one destiny (bottom row, second from right) Discussion: Have students discuss examples from their own experience – have they dealt with conflict between cultures in their own lives? Between their family’s culture and the culture of their friends? How do they deal with these conflicts?

This map shows 2010 nation states in yellow and major culture groups in purple.

This exhibition has been organized by the Detroit Institute of Arts This exhibition has been organized by the Detroit Institute of Arts. Generous support has been provided by the Friends of African and African American Art, the DTE Energy Foundation, the National Endowment for the Humanities, and the National Endowment for the Arts. Additional support has been provided by the Michigan Council for Arts and Cultural Affairs and the City of Detroit. Additional program support has been provided by Comerica Incorporated.   Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.