by Christian Kravagna
“Nothing is more galvanizing than the sense of a cultural past. This at least the intelligent presentation of African Art will supply to us.”
– Alain Locke, A Note on African Art, Opportunity, May 2, 1924
In his forward to the catalogue for the exhibition Blondiau – Theatre Arts Collection of Primitive African Art, which was shown at the New Art Circle in New York in 1927, the philosopher Alain Locke writes, in connection with a general characterization of the exhibited artworks and their significance for European modernism: “[…] it is curious to note that the American descendants of these African craftsmen have a strange deficiency in the arts of their ancestors.” Like in previous essays of his, Locke postulates that African American visual arts lag behind achievements in music, dance and literature. While a synthesis of traditionally Black and eminently modern forms of expression has already succeeded in the latter genres, he writes, the fine arts have yet to see an interpretation of the art of their ancestors that corresponds to the modern Black experience. Locke understands the political significance of this engagement with African art to lie in the empowering affirmation “that the Negro is not a cultural foundling without his own inheritance.” In emphatic disagreement with the widespread notion that Black Americans lost their African culture through centuries of enslavement, Locke argues that the African art which made such a vital contribution to the early 20thcentury European avant-garde could be taken up all the more legitimately by artists of the African diaspora and translated into an aesthetic expression of the new self-confidence of the New Negro Movement. Here he speaks unequivocally of the need to recapture the “creative originality” of African art.
more “The museum of liberation An excursion into the early history of reconquest“
by Rainer Hatoum
*Translated by Jonathan DeVore and Julian Schmischke
Ethnological museums and collections occupy a special position within the museum landscape. One of the reasons for this is that many contemporary descendants of the communities from which the collections originate seek feedback from these collections. In this respect, these institutions have a new, particular user group, the “source communities”[i].
In my several years of exploring the challenges and opportunities of this development, through a two-year apprenticeship at the Ethnological Museum in Berlin and two three-year research projects (2005-2012), as well as in subsequent research, I have been intensively concerned with exploring the question about the extent to which museums can more actively involve these communities as “partners.” The emergence of the core idea of a “shared” or “common cultural heritage” is obvious – after all, the collections are also products of our interwoven histories of interaction. I shed light on this idea on the basis of several long-term, “collaboration”-oriented projects. The aim was not only to review the history of individual collections, but also to update their biographies. The experience I gained along the way made clear to me the necessity of better problematizing one’s own role as “dialogue partner” in such processes, and addressing the question, “What do we actually want and for what purpose?”
more ““Dialogue” and “Collaboration” with “Source Communities” Personal reflections on the theme of “common heritage”*“
by Christian Feest
Cultural heritage is the claim of a more or less exclusive collective ownership of material and/or immaterial cultural capital, whose origin in located in the past, which contributes to the construction of a group’s identity. This basically holds for all present and past societies of the world, although they differ from one another in the manner in which this capital is accumulated and managed, how the past is constructed, and to what extent the construction of identity is articulated or reflected—be it as an expression of a living and continually changing tradition, be it through the preservation of unchanging material documents (including records of actions or events in writing, images, or sound), be it—as in our society—by a never consistent parallel use of both strategies.
more “Humboldt Forum, Anthropology, and Cultural Heritage”
by H. Glenn Penny
Last fall, when the editors of this blog asked me to join their discussions about the Humboldt Forum, I declined. They explained that they wanted to broaden the debate by bringing in outside views. They thought I would be a good candidate, given my past work on the history of German ethnology and ethnographic museums. I was not so sure. It is a strikingly internal debate, and to be quite honest, it’s disconcerting on many levels. I cannot touch on them all here; but I can share some of my exasperation.
more “Exasperation An Outsider’s Take on (some of) the Current Debates Surrounding the Humboldt Forum“